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tillidontneedfantasy · 4 years

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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wazafam · 3 years

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The launch of DC's Future State has already brought new and ambitious re-imaginings of the publisher's core characters. But after learning just what is in store with the Future State versions the Suicide Squad and a millenia-old Black Adam, there's no question some of the biggest surprises for readers are still on the way.

In addition to a new version of Batman or wild glimpses of DC's possible futures, the conclusion of Death Metal also brought with it the return of parallel worlds and realities many believed to be erased, or at least overlooked, from the DC Multiverse. It's those worlds that have been chosen for DC's Future State: Suicide Squad #1 arriving January 26th. With a new version of Task Force X taking a mission to Earth-3, followed by Black Adam's own mission in the 853 Century in the same issue, the stage is set for two major twists. Screen Rant got the chance to speak with new Suicide Squad writer Robbie Thompson and Jeremy Adams about both unexpected tales. The full interview, as well as a preview of both stories contained in Future State: Suicide Squad #1 can be found below.

RELATED: Superboy is Building DC's New Suicide Squad

Screen Rant: So with Death Metal setting up a new status quo, the shift from that finale into Future State obviously happened faster for readers than for you guys. Can each of you speak to the process of how you joined Future State, and landed on these particular characters, and inside the same book? I'm assuming you didn't need to be talked into an event like this.

Robbie Thompson: I was working on Teen Titans, and this was a long time ago. Usually in comics, your runway is about 20 feet, so it was quite a while back. I'm not sure when you go brought in, Jeremy, but I felt like we got a lot of time which we don't normally get. Was that your experience as well?

Jeremy Adams: No, my experience was that I was brought in under the umbrella of 5G. Then that all fell apart. I had never written a comic, and that's always been on my bucket list since I was a little child. So I thought, "Oh, it was so close. And yet again, it has crumbled before me." Then a couple months ago, my friend Tim, who's writing Teen Titans now in the Shazam Future State, mentioned me to our editor Mike Cotton. Cotton asked, "What about these guys?" And Tim's like, "Oh, Jeremy is great." So, Cotton called me up and said, "Hey, would you like to do something with Black Adam in Future State?" And I'm like, "Okay, what's that?" I really didn't have much time.

The advantage I had compared to a lot of the people in Future State is that mine is so far removed in the future to the DC One Million segment that I didn't need that much run-up, other than trying to make sense of DC One Million. Which I loved, but it's crazy. Cotton, very cleverly, is trying to weave some overarching story between the Future State titles that he's editing - which I think is very good. So, having to try to figure out how to put that into what I was doing was really fun. But I didn't have a lot of lead up.

Robbie Thompson: I guess we had somewhat similar experiences in that, although I was not involved in the artist formerly known as 5G, there was definitely a sense that I got of, "Okay, here's this big event, and here's how we can be interconnected. Here's how we can tell stories that can stand on their own," which was another big appeal to me.

I also knew I was going to be writing the Suicide Squad ongoing book, so that that was really helpful too. Because Cotton and [Assistant Editor Marquis] Draper both had a very clear idea what they wanted for that book, which made forward reverse-engineering Future State a little bit easier on my part. Just to finish the thought, I was working on Teen Titans and my job was to come in and land that plane. That's that's what I did, and that was fun. I figured, "Okay, my time at DC is done. I'm wrapped. I never got to write Ambush Bug, but it was a good time." But then Cotton reached out and was like, "Hey, what are your thoughts on the Suicide Squad?"

I was a big fan up to Tom Taylor's recent run with that crew, so I'm like, "What did you have in mind?" I'm from TV, so it's always great when editors are like showrunners and have a clear vision of what they want; it makes the job a lot easier and a lot more fun. To have a little bit more time than usual was also cool. It's not that we haven't burned through that time or changed some stuff, but to have the luxury of that was very cool.

SR: Death Metal opened the door for revisiting previous worlds and realities and storylines. For you, Robbie, that means a return to Earth 3. And for Jeremy, it's a trip it's a trip through time to DC One Million. Can you both set the stage for these return trips, if it will be the same version fans know, and what it was you found appealing about these corners of DC lore?

Jeremy Adams: For me, it's the Black Adam of it. When you read DC One Million, which is so far flung in the future, one of the things that I noticed was that there was a lack of discussion of magic. And I think that was kind of the thread I started pulling at when you're talking about Black Adam and who would that character be. Why is there no real discussion of magic, and what does that look like? Kind of hinting at what could have happened to magic, but also using that as a catalyst to get us into a bigger threat that is going to play a critical role, especially in Teen Titans Future State.

I thought that, to a degree, I had one of the easier jobs because I could be so far in the future. I don't know if I'm spoiling anything, but in one of the panels in the background, you can see Etrigan, except he has a Detective Chimp hat. I didn't have any brakes put on me, in terms of the things I could do or not do. The fact is that the DC One Million just afforded me an opportunity to play with that, and go into that world. When I first read it, I was kind of like, "I don't know..." and then I reread it and I'm like, "This is awesome!" It's really strange and out there, but it has a really great ending. To be able to play something in that time, and then try to trace it back to what might have happened in some of the other books, was really fun.

Robbie Thompson: I would say I had a similar experience, in terms of the worlds that's opened up. Earth-3 is fun and everything but, I think for me, it was more about what Cotton and the crew wanted to do with Amanda Waller. I think she's always been such an amazing character. She's both the protagonist and the antagonist of the story. And where they wanted to take her was eventually to Earth-3, which is sort of a bit of a cautionary tale. If she gets what she wants in the ongoing series, it's curtains for us. But it was really more about exploring what drives Amanda Waller.

In Future State, we see what she's doing. And then in the series, I guess, we kind of unpack why she's doing it. We're seeing her trying to do something different after having done the sort of the same for a while. And we're exploring what that breaking point was for her, and why she wants to try something different. That, coupled with the addition of Superboy to the team - he's in the Future State books, and the two-parter is centered around him and Waller. He's introduced very quickly in the ongoing story, and I was just really excited about that character.

We have a bit of a mystery with him - I don't know how much I'm allowed to say - in terms of where he's going and why he's there, but it dovetails a little bit with Walter's story. You'll see it hinted at in Future State issue 2. I was excited Earth-3 and I love the crime syndicate and all that other stuff. But, really, it was about exploring what Waller is up to, and it was kind of a means to that end. She's a means to an end kind of a character, so it felt like it fit pretty nicely.

Jeremy Adams: It's such a good high concept too, Robbie.

Robbie Thompson: I blame Cotton; it's all his fault.

RELATED: DC's New Superman Is Quite Different From His Father, Kal-El

SR: Despite the name of the book being The Suicide Squad, you're getting to assemble three teams in play at this point. The first page will pleasantly surprise people when they open the book to meet the Justice Squad, which has been glimpsed in some preview pages. You have assembled a motley crew out of some hilarious deep cuts that are guaranteed to send fans searching DC Wikis.

Robbie Thompson: Again, I have to credit Cotton and Draper, the editors on the book. When we first started talking about the book again, we initially were talking about the ongoing Suicide Squad book. There were a lot of pieces that they wanted to play around with. But the thing that was appealing to me, and I think it's the appeal of the great Suicide Squad runs that I've enjoyed, is the motley crew of both familiar faces and obscure faces. To spoil a little bit in the new series, we'll be introducing some new characters. I wouldn't get attached. I mean, it is the Suicide Squad. I literally will put that in the script. I'll be like, "Don't get attached. Two pages later. the neck bomb's going off."

But, yeah, we wanted to kind of play around you know with what a Bizarro Justice League would look like. What would it look like if Waller was assembling ostensibly her own version of the Justice League, with her squad bent on it? It led to some larger iconic characters, like Conner Kent now being Superman. But then we were like, "Okay, who's our Flash? Who's Wonder Woman..." and that led to some really just fun and frankly weird shit, getting Talon as Batman and Clayface as the Martian Manhunter.

To Jeremy's point earlier, because Cotton is weaving a bunch of these things together, we do have the futuristic version of a new Teen Titan character that will be introduced in Tim's book. It's definitely a weird group of people. I think this is in the preview pages, but much like any Suicide Squad or anything with Waller attached, I wouldn't get attached to any of these people. Pretty quickly, you see a pretty iconic character go right out the window. But that's been our MO: how do we keep this true to those classic Ostrander stories that are character-driven, but with characters that are obscure and weird and that you end up caring about? Then, of course, their heads blow up and that's the great paradigm of a book like this.

The Justice Squad is definitely a motley crew. But, like you said, we're gonna meet a couple of others. I think I'm allowed to tease stuff. If this is the new Task Force X, there's also hinting at a Task Force Z. What powers that, I think, is a cool mystery for fans. And then, of course, our last page is the Squad itself. It's always fun to build teams, but on Suicide Squad, it's even more fun to break them down - sometimes literally. The two-page spread that introduces the Squad is really just another piece of fantastic storytelling from Javier Fernandez, who's the artist on the book.

SR: A special treat is that Peacemaker is playing a major role here. He's getting a ton of buzz right now, thanks to James Gunn's Suicide Squad sequel, but you have the cool honor of introducing him to a lot of fans. Where does your Peacemaker fit in this battle of bad versus evil?

Robbie Thompson: I think the great thing about Peacemaker is in his first line: "peace at any cost," or whatever, I'm blanking on the exact phrasing. He is such a delightfully arch character in that regard. And he's such a fun contrast, especially in the later years where he got even more rigorous and how he wanted to find peace. So, I think the thing that's fun about him is that he's not really interested in good or evil; he's interested in peace. He doesn't really care who gets in his way, as you'll see in the story, and this is the story that we're gonna be telling long term with Peacemaker.

He is at odds with Amanda Waller. As you'll see in the ongoing series, he's a willing member of the Suicide Squad - as much as you can be. At least that's what he's telling himself. In terms of placing where he's at, I think what we hint at in the story is that he was working for Waller and was a believer and what she was doing, and she has gone a step too far even for Peacemaker. Waller is kind of off the rails. But what I think is great about both characters is they both can be protagonists and antagonists. They both genuinely feel that what they're doing is not only the right thing, but the good thing. In their minds, they have justified their actions to meet that questionable morality.

Yes, he's a buzzy character, because he's going to be in the movie and they're doing a TV show. And it's John Cena playing him, which is amazing. I love that guy. But it was really about finding a fun, opposite number for Waller. They're two people that might seemingly be on the same page, but then what would tear them apart? That's sort of where you're seeing Peacemaker at the beginning of this; he is none too pleased with Waller.

SR: That actually is a fantastic segue for you, Jeremy. Fans of Shazam don't need to be told how far Black Adam would climb if he was given a few hundred centuries. For that very reason, the Adam they meet in this story is not the one that they're going to expect. What led you in that direction of subverting his reputation?

Jeremy Adams: I think because Adam's trajectory from being the chosen champion of the wizard Shazam, and then that power going through his head so he becomes this kind of antihero, feels like a hollow pursuit. I think what makes him interesting is when he finally found Kahndaq, and he's like, "I have a people, and I have a mission to protect." This has extended out into the universe now, but he gives up that iron fist, and it's more about Kahndaq being a place of refuge. He mirrors that, and he's kind of stepped away when we meet him from that life of being a warrior; of being somebody that fought for things. He's almost gone the other extreme, into kind of pacifism.

And he's lived for hundreds of years. There's this perspective he has on what actually means something. That's kind of where our story moves a little bit. What would it take for somebody that's seen it all to keep wanting to live? And that's where we meet him. What brings that fire back that makes him want to fight again? Because that's not where he is when we meet him.

Related: The New Wonder Woman is Completely Rewriting DC Mythology

SR: What are your hopes for this tale? I feel like this is a very different story than people would expect from Future State Black Adam.

Jeremy Adams: Yeah. I'm in awe of many different things: the fact that they let us create some characters, which has been an absolute joy - particularly one character that I got to help create that is my favorite person ever. Also, taking something from my animation work and being able to put it into the DC proper has been really great too, and seeing how that character will have far-reaching effects in other books.

But this is my first time out as a comic writer, and I'm still learning the ropes. Mostly, when I see Fernando Pasarin's art, I'm like, "Why are we splitting it with words? This is stupid. We need to strip out all the words, and just put this incredible art there." Because he really captures the emotion and the humor and some of the insanity of it. But I think because it was my first attempt at a comic, and it was also me thinking it could be my last attempt at a comic, I'm gonna just throw the kitchen sink at it. I think it's really fun, and even the second one doubles down on the craziness of it. But I like that kind of unrestrained imagination, where I can keep putting ideas out.

Robbie Thompson: I did the same thing when I was at Marvel, I think it was issue 4 of Silk. Because I was like, "Oh, we'll get cancelled at 5." Right? But I put the Fantastic Four and Galactus in it, and there was no reason for either to be in the book. I thought, "This is it. This is my chance. It's the fourth issue."

Jeremy Adams: That's what I did when I got on Supernatural, because I knew it was the last season. "Here's a bunch of ideas!" And they're like, "No."

SR: You both are giving readers a lot to talk about with, with more than one headline-worthy twist or reveal or development. Are you prepared to see how fans react to those bombshells?

Jeremy Adams: Robbie and I have been through the crucible that is Supernatural. So, sans expectation, I'm just like, "Alright, whatever." That's not why I do it. I do it because I want to tell that story. I want to be crazy or zany or whatever. Because I'm a fan, so I write toward my inner fan.

Robbie Thompson: I mean, you're always going to have - on characters that people are so attached to, or teams that people are so attached to, or content - you're always going to have something. It's almost a fool's errand to chase it. Becaus when you do chase after the shiny thing, it's the thing that you never thought - it turns out they love this over here, and they're obsessed with that detail.

I certainly hope that people talk about it. As one of my first editors said, "It's only when they're not talking about your book that you're in trouble." I certainly hope they do, but I wouldn't say it was the intention. I really can say that on every book I've ever worked on, there's always the thing that I felt like, "Oh, this will get their tongues waggin'." And then no, it was actually this thing over here. It was this relationship that people got really invested in, that was for me just a means to a plot end, but for them it was the conduit into the book or the story or whatever. So, yeah, I certainly hope they get chatting.

SR: In that vein, can each of you speak a bit about the art teams responsible for this future cosplay? They more than deliver right from the start, and it's hard to imagine them elevating it from here.

Robbie Thompson: I'm really bare bones in my scripts. I'll just say, "This is a new version of Batman; it's Talon. Have fun?" I'm dressed like a failed lumberjack; I'm not the guy for that. Fortunately on Future State, I'm working with Javier and Eduardo on the ongoing. They're just briilliant artists. Javier took all of the ideas that we were talking about in the book and really just made his own take on all these characters. And then Alex came in with his colors and did an amazing job, and everybody just came to play in their own way. If people end up cosplaying as Talon Batman or this creepy Martian Manhunter, it's all thanks to Javier and his design work. I don't know about you, Jeremy, but seeing those new designs come in every single time is always so exciting and really fun.

Jeremy Adams: Yeah, I was a little overwhelmed by it all. Because in animation, you write something and then you got to wait a couple years before you actually get to see it. But when it comes to this, it's almost like live theater a little bit. You have a very quick reaction that you get, because these geniuses that are artists and colorist and inkers come in, and give you this magic from the little words you scribble down. I probably am a little more descriptive in certain things, just because of the byproduct of animation in general. But the fact is that everything that I had in my mind, Fernando did it times 10. It was just so detailed and so interesting. Even the coloring and the inking; everything was just so perfect.

It's a weird thing for me, because you get the pencils back and you're like, "Can we just release this? This is so good." Then you get the inks back, and you're like, "Well, this is great!" And then you get the colors back, and you feel like, "Well, I don't know why I'm here." That's kind of how I feel the entire time.

Future State: Suicide Squad #1 will be available at comic book shops and digitally on February 26th, 2020.

Future State: Suicide Squad #1

Written by: Robbie Thompson, Jeremy Adams

Art by: Javier Fernandez, Fernando Pasarin, Alex Sinclair, Oclair Albert, Jeromy Cox

Cover Art by: Javier Fernandez, Marcelo MaioloDerrick Chew

Editor: Mike Cotton,

SUICIDE SQUAD, PART 1 / BLACK ADAM, PART 1

The Suicide Squad enters the Future State era as Amanda Waller uses Task Force X to save the world and remake it in her image—but what happens when the team shows up to stop her? And in the second story in this extra-sized issue, Black Adam, the immortal one-time champion of the wizard Shazam, rules the planet Kahndaq in the 853rd century. Can he save the future from a threat rooted in the past?

MORE: Nightwing Is Becoming The Anakin Skywalker of Future State

Exclusive Preview: Suicide Squad & Black Adam Future State from https://ift.tt/3qO4evh

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trashballerina · 4 years

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BNHA Fics I really like

Btw, the ones with a ⭐ are my favorites

journey to the past

https://archiveofourown.org/works/15046934

Izuku is five years old the first time he's saved by heroes. He's an instant fan of the woman in pink with her cheerful smile and the man with his ice powers and fine-boned features, even if they both refuse to tell him their names.

For most of his life, Izuku has been the centre of villain attacks, but he has never been injured. Every time, he's saved by bright, unknown heroes—heroes who smile at Izuku, and ruffle his hair or ply him with hugs, and seem mesmerised by how small he is.

Heroes that the rest of the world doesn't believe exists.

Opinion: Honestly, it’s really pure and heartwarming with a side of angst. Seeing a young Izuku fanboy is adorable and from what I remember it's pretty well written. I honestly really love this one.

Lies in the guise of truth

https://archiveofourown.org/works/15124007/chapters/35067359

All Might is the world's #1 hero, the symbol of peace, the pillar that the world knows they can stand on. He dominates every room he's in, from press conferences to his Hero Agency.

It's pretty easy for everyone to overlook Yagi Toshinori, All Might's 'quirkless secretary'. But he's still there.

Opinion: I really love Dadmight. Like I really love Dadmight so I may be a bit bias. It diverts a bit from canon, but I was alright with that. It’s wholesome, cute, and Toshi deserves some love

I Would Understand ⭐

https://archiveofourown.org/works/12729852

Shinsou Hitoshi had a bit of a problem, and that problem was that he’d gotten attached to Aizawa Shouta. And somewhere along the line had started seeing him as a parental figure, a replacement for all the foster home parents who’d passed him along and never quite done their job.

A kid who's been in foster care his entire life spends a normal, average day after training with the teacher who seems to care a little too much.

Opinion: I have found myself revisiting this fic thrice already lol. Honestly, the first chapter is my favorite and well written--as are the other chapters. I love the melodic and somber atmosphere of some of the scenes and it really feels so sweet but hits me in the feels. The EraserMic in here is beautiful and great Dadzawa.

Ghosts of Flowers

https://archiveofourown.org/works/19851709

Shigaraki gets the chance to carefully sift through the pieces of his recovered memories and tries to hold them close.

There is something that bothers him a bit though: Hana seems—oddly familiar.

It’s not until he’s reviewing the U.A. training exercise footage their mole got them that he realizes it.

The Yaoyorozu heiress, with her long, dark hair, her elegant eyes, and her confident smile, she looks just like—

But she can’t be Hana.

Opinion: I love this one a whole lot. The concept is interesting and executed really well. I really love the characterization of the characters and you get some great internal dialogue and inside thoughts. While I do think the story goes a bit fast, I really enjoyed and understand there’s a lot to tell in ten chapters.

Not a Spare Part

https://archiveofourown.org/works/18974530/chapters/45052543

In one universe, Tony Stark closed his eyes to a world where Superheroes were a rarity.

In another universe, Tony Stark opens his eyes to a world where Superheroes are the norm.

(An AU where after the events of Endgame, Tony Stark finds himself inhabiting the body of a young quirkless boy named Midoriya Izuku and figures out that the world could use... another Iron Man)

------- Basically, Izuku becomes Iron Man.

Opinion: I really like this fic. Tony is giving Izuku the confidence he needs and makes some new friends and builds old ones.

Reconfigure ⭐

https://archiveofourown.org/works/16893972

It's been years since the League of Villains was disbanded. Out on parole and stuck in therapy, Tomura Shigaraki is coasting through life. While he's no longer a villain, he's not exactly a productive member of society either. When an awkward past fling shows up, he's met with a shock: a 3-month-old baby girl. Turns out motherhood is hard when you're a serial killer. Suddenly saddled with the responsibility of a child, Shigaraki has a choice: keep his life the boring way it is or become a father for his kid he didn't know he had.

He knows nothing about being a good parent (and neither does the recently paroled Dabi/Touya Todoroki), but help comes in the most surprising of forms, specifically pro hero Uravity. All Ochako Uraraka wants to do is be a hero, so when she stumbles across the former villain with a baby, she can't help but worry. With Shigaraki clueless, Uraraka decides to do her best to help. What starts out as a chance meeting between two old enemies turns into something else as they find themselves in a strange predicament and more people get involved. They say it takes a village to raise a child. Sometimes, it's a handful of mostly reformed villains and the heroes they tried to kill when they were teens.

Opinion: Alright, before you dismiss this one, hear me out: Tomura/Ochako really works in this fic. This fic has become one of my favorites because of how its written, characterization, and Tomura’s child--because I’m a sucker for wholesome parent and child content. I honestly really love this fic and had a lot of emotions throughout.

Something Still Remains ⭐

https://archiveofourown.org/works/22737019

��Are you Shouta?” the shadow-man asks, and his tone is polite but there’s something verging on almost desperate behind it.

Shouta considers. He’s unarmed, facing an unknown person who knows his home address and his first name, he hasn’t slept in thirty-six hours, and he’s wearing kitten-patterned pajama pants. Despite all of that, he’s still confident in his ability to handle himself in a fight, but nothing about this situation is making sense, and it’s sending him slightly off-kilter.

Starting with how the shadow man knows his name.

“Maybe,” he says, after his silence has dragged on a beat too long. “Who’s asking.”

Opinion: It’s a one-shot, but a heckin good one at that. The tone of this fic is so gentle and quiet. Also, Kurogiri characterization is great. I’m absolutely craving more.

How to kidnap an underground hero and an UA General Studies student- A guide by Present Mic

https://archiveofourown.org/works/23068645/chapters/55178836

Hizashi knew what the villains were planning, he was one of them after all. But they wouldn’t hurt what was his and the plan was rather simple. Really.

Step 1: Convince them that it is just going to be a family holiday and that they desperately need a bit of a break

Step 2: Get Shinsou to take quirk suppressants, make him believe it’s a good thing and that it would help him, tell him that they would wear off on their own, not that they do

Step 3: Put the pills into tea, not coffee, the latter could cause health problems

Opinion: I have so many feelings about this. Like way too many. It’s not finished, but I need more. Erasermic, Shinsou, and Eri, and literally everything I love

it's a chatfic, but with villains

https://archiveofourown.org/works/11777448/chapters/26554635

DABnation added NotDeadpool, Ketchup, Magic Mike, BIG MEATY, MoonMoon, FidgetSpinnerPro, MAGNIFICENT, and Loan Snake to the group.

Stab Lick Delicious:Why is Kurogiri crying DABnation: i think DABnation: he realized he made a mistake

Opinion: It’s been a while since I’ve read and it’s unfinished, but I remember having a really fun time reading this and having quite a few laughs.

Karma in Retrograde

https://archiveofourown.org/works/14924609/chapters/34574417

When Dabi is struck by a de-aging quirk that regresses him to the most influential part of his life, he finds himself turned back into a sixteen-year-old U.A. General Studies student with lots of self-esteem issues, parent problems, a destructive quirk that he can't manage, and no memory of the years that he's lost - not to mention the fact that his little brother is now the same age as him and one of the top students in the U.A. hero course. In U.A.'s attempt to make up for what they missed and help the Dabi of the past, present, and future, he is placed with the only students that know him and have yet to find out what truly makes the difference between a hero and a villain. There, they must face the question of whether he can change or his destiny is already set in stone.

Opinion: I really like this fic. I really love young Dabi. It’s been a while since I’ve read, but I really love this one.

komorebi ⭐

https://archiveofourown.org/works/16717599/chapters/39209133

The change can't be immediate, or it’ll seem forced. It has to take time, in order to be realistic. He knows that.

He’ll need to seem like a villain. But he’ll be a hero.

And for that, Hitoshi thinks he’d do just about anything.

Or,

Someone's selling UA's secrets, and Shinsou Hitoshi definitely doesn't have anything to prove.

Opinion: If you haven’t noticed, I really like Dadzawa. This one is super interesting, written really good, and I love the characterization of Shinsou. Like some chapters had me rioting I thought they were so good. I love the alternating moods ins scenes and I feel that I can really feel the atmosphere--if that makes sense lol.

Mendacium ⭐

https://archiveofourown.org/works/21297146/chapters/50713442

"Why are you doing this?" Shouta couldn't help but ask. Really, this kid couldn't be much older than his class, and he was already out his risking his life to fight... and was good at it. That was the worst part of all, that a child would act like an experienced soldier in the face of danger. "If you stop now, I won't report you. You can just go on home to your family, and maybe try to be a hero-"

A laugh cut him off, but it was more sad than condescending. "Mr. Trash Bag, I'm doing all I can to get home. But like hell I'll be a hero. I've been used by the government too much." A slight European accent colored his words, and his Japanese was a little hesitant, but the determination was clear. "I have to admit, though, your quirk is really awesome. The ability to stop others' energies... remarkable."

The boy tensed, and Shouta activated his quirk on reflex.

"Too bad it doesn't work on me, then. Can't erase what you don't have, after all!"

OR: Edward didn't want to help Truth. He didn't want to go to a different world to defeat yet another Father. He didn't want to become a vigilante there.

He also wanted his brother back. The choice was obvious, even if Truth is a massive asshole.

Opinion: 10/10. Superb. Love our short funky blond alchemist. There’s ling chapters, great Edward Elric, and it had me rolling a few times with laughter. I thoroughly love this fic.

Demons of the Past ⭐

https://archiveofourown.org/works/17642501/chapters/41601551

For Enji Todoroki, hero name Endeavor, reconciling with the past is easier said than done. Even more so when a dead son comes back to haunt him.

Opinion: I had this before BUT HEAR ME OUT! This fic is absolutely amazing. I was blown away with the characterization of Enji and I know so many people hate him-- I included--but I think his perspective is interesting. The high emotional scenes really had me feeling. Honestly, give this fic a try and you’ll see what I mean.

Black Cat Cafe ⭐ ⭐ ⭐

https://archiveofourown.org/works/15442725/chapters/35844969

Aizawa Shota was a man tired of life, bitter and jaded from the endless horrors of the world. Six years ago, he disappeared, his existence erased.

Redeye is a stoic man with a mysterious past, who runs a tight shop, cares for his young ward with his whole heart, and makes a flawless cup of coffee.

He also has an unabashed fondness for stray cats.

(Otherwise known as a bitter Aizawa makes café Switzerland, adopts twenty hero-in-training children, some villains, and Shinsou, and then kicks All for One’s ass into next week. And maybe falls in love.)

Opinion: This is the one bois. I think this is my favorite bnha fic. The concept, the characterization, the PINING. I am absolutely in the with this story and the author.

Sure As the Setting Sun ⭐ ⭐ ⭐

https://archiveofourown.org/works/12111294/chapters/27462717

Mob never aimed to be a hero, despite being an apprentice to one. He only wanted to make sure his quirk never hurt anyone ever again. However, an incident that occurs in his third year of middle school spurs him into action despite his wishes. Mob enters into UA academy, the top heroics school in all of Japan, and winds up with several new friends and much more trouble than he bargained for.

Opinion: It hasn’t been updated for a while, but seeing my two favorite cinnamon rolls together melts my heart. Mob is in the hero course but has the moral dilemma of fighting, and honestly, it is so interesting to see how it’s handled.

_________

Well, I hope you enjoyed the list. I really tried not to star everything (I like them all!). I’m probably going to make more for different fandoms and more in-depth tbh. I had a lot of fun doing this! If anyone has any fic recommendations for, please don’t feel shy to send me some! I love talking about writing!

#bnha #fic reccomendations #fanfic #dadzawa #deku #fic list #my hero academia #mha #boku no academia #bnha fanfiction

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curlyhairedbibliophile · 5 years

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Doctor Sleep by Stephen King || Book Review

ATY in 52 Books | A book with a monster or “monstrous” character

Synopsis | On highways across America, a tribe of people called The True Knot travel in search of sustenance. They look harmless—mostly old, lots of polyester, and married to their RVs. But as Dan Torrance knows, and tween Abra Stone learns, The True Knot are quasi-immortal, living off the “steam” that children with the “shining” produce when they are slowly tortured to death.

Haunted by the inhabitants of the Overlook Hotel where he spent one horrific childhood year, Dan has been drifting for decades, desperate to shed his father’s legacy of despair, alcoholism, and violence. Finally, he settles in a New Hampshire town, an AA community that sustains him, and a job at a nursing home where his remnant “shining” power provides the crucial final comfort to the dying. Aided by a prescient cat, he becomes “Doctor Sleep.”

Then Dan meets the evanescent Abra Stone, and it is her spectacular gift, the brightest shining ever seen, that reignites Dan’s own demons and summons him to a battle for Abra’s soul and survival. This is an epic war between good and evil, a gory, glorious story that will thrill the millions of hyper-devoted readers of The Shining and wildly satisfy anyone new to the territory of this icon in the King canon.

REVIEW

Someday, Danny, it will be your turn to be the teacher. The pupil will come.

It had been some time since I revisited the world of The Shining and the Overlook Hotel. I remembered little bits of the story here and glimpses of some of the imagery made iconic by the Stanley Kubrick film like the bloody elevator and the Grady twins lingering in the hallway, but aside from that, the rest is a almost a blur. I'd read The Shining a while back and knew of the story continuing with Doctor Sleep, but like a few other titles was one I always said I'd get to and something always came before it in my TBR stack. With the new movie around the corner, it seemed like the perfect time to go back in and absorb the story in its entirety before it would be edited and changed in its journey from page to screen. 6 and a half hours later, I devoured the story in one sitting.

When you couldn’t sleep, when you were afraid to look around because of what you might see, time elongated and grew sharp teeth.

From the very first moments, I was immediately pulled in. Given that I had just re-watched The Shining and skimmed back through the novel for a refresher for what was missing, I appreciated the mini recap of the final events from the first part of the story and a continuation that wasn't too far removed. The room to wander in the atmospheres King created within the pages, which is something I've grown to love with his novels, was also great here. I knew the basics of the premise I was walking into, but I loved the overall creepy nature of the characters and the circumstances they found themselves in. The familiarity of the Overlook Hotel and the spirits lingering in limbo from of its demise were great, but it was the nature new pieces of the puzzle that I had the most fun with. Rose the Hat and the True Knot are unlike any monster I've ever encountered in a book. They could have just been vampire-like creatures that feed off of the power of children that "shine," but the fact that they also draw strength from their fear and pain makes them that much more terrifying. The detailing that went into their feeding and turning sessions made for a very unsettling read at times, but I always appreciate any time that a story can pull me in to that degree.

There came a time when you realized that moving on was pointless. That you took yourself with you wherever you went.

My favorite part of this read would definitely have to be Abra Stone. As someone who gravitates toward horror in both books and movies, it's rare for me to find stories with females in central roles - especially at a younger age. I loved the strength of her character in both personality and ability, as well as how she continued to grow throughout the course of the novel. Her relationships with Dan and against Rose and the True Knot were nice touches as well. It was great to see that she had plenty of support and guardians for her safety, but could also hold her own when absolutely necessary.

Life was a wheel, its only job was to turn, and it always came back to where it started.

Overall, this was such a great and creepy read. Although it was only about half as long as my last Stephen King read, there was still much to grab onto and absorb in both the characters and the atmosphere. In finishing, I was able to pick on some differences from the upcoming film adaption, both small and major, but I'm still looking forward to checking it out. There's enough remaining in both versions that I can't wait to see how some of my favorite moments are brought to screen, even the most unsettling.

Rating | 🌟🌟🌟🌟🌟 Goodreads

#doctor sleep #stephen king #the shining #dan torrance #abra stone #rose the hat #the true knot #crow daddy #snakebite andi #barry the chink #overlook hotel #around the year in 52 books #aty 2019 #reading challenge #booklr #bookblr #book review

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douxreviews · 5 years

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True Detective - ‘The Big Never’ Review

“You feel like maybe being a detective again?”

I’m sensing the overall theme of this season is uncertainty.

This appears evident in the fractured point of view Wayne Hays, the detective with the faltering memory and a dark and troubled past. A past he is equally longing to remember and desperate to forget.

Old Hays seems just as uncertain of the truth within the Purcell case as his past selves, and finding the truth has never been harder now that he is dealing with not only senility creeping in, but the ghosts of the pasts as well. The ghost of the late Amelia strongly hints that there are things he has allowed himself to forget, things which might compromise the proud integrity that lingers even in his twilight years.

Elisa, the documentary director, may have planted this seed of doubt in his mind when she reveals that there happen to be a lot of holes in the original 1980 investigation. Several members of the community were apparently never questioned, and Hays cannot account for a few who were questioned and divulged pertinent information.

Information which Hays and West get a lead on in this episode. Hays discovers Will’s backpack near the spot in the woods where he was likely murdered. And a local brings to their attention new suspects, a black man with a scar and a white woman who both rode in a brown sedan. They also find that the abductors might have known the children through church, since an old family photo shows Will in a prayer position similar to the one his corpse was staged in.

New suspects might not matter, since I was right about the West Finger rednecks going on a witch hunt and attacking Brett Woodard. The mysterious bag Woodard furiously retrieves from his property can’t bode well. Pretty sure they’re barking up the wrong tree, and I’m thinking he’s going to retaliate and end up making himself look even more guilty than he already did before.

Meanwhile, we get a bit more elaboration on what’s going on in 1990. Hays and Amelia’s attempt at sleuthing in the name of finding Julie only leads to strife in their marriage. Hays panics when he briefly loses track of his daughter at the super market. And since he’s still the only one truly aware of the darker side of the case, Amelia’s enthusiasm at her budding investigatory skills only irritates him.

We get a lot more of Roland West in this episode than we have previously. In 1990, he’s made lieutenant and doing very well for himself. Hays later suggests that his success is a result of being white and getting shot in the line of duty; I guess we’ll see that happen later. Lt. West still greatly respects his former partner, so much so that he invites him onto the task force he’s leading in the new Purcell investigation. Finding no joy in being reduced to desk duty following the first investigation, Hays accepts.

This last scene was my favorite. It establishes that there is a lot of friction between the two men, but they still share a bond over their past as partners in addition to their general cheeky cop’s sense of humor. A lot of great back and forth dialogue in this scene.

I’m glad that they seem to be dropping the deposition format at this point; the documentary aspect in 2015 doesn’t really count, in my opinion. As I’ve said before, fun though it may be, it’s a bit too similar to season one. And this story deserves to be its own thing.

Bits and Pieces:

* This episode highlights something I overlooked in the premiere episode, which is that 70-year old Hays keeps his service revolver handy in case he “needs it.” The implication being that he’s frequently contemplating suicide. Whether this is solely to avoid being put in a rest home by his son or to atone for his past remains to be seen.

* West maintains ties with Tom Purcell of all people in the years following the 1980 case, even helping overcome his alcoholism. Tom has subsequently become a born-again christian in 1990. Lucy seems to have died somehow in the years in between.

* We’re introduced to the Ozark Children’s Outreach Center, which posted a reward for Julie Purcell’s return and subsequently led to many false reports of her whereabouts. It was established by the Hoyt family, which also owns Hoyt Foods, where Lucy Purcell used to work. And the OCOC was founded after the loss of Hoyt’s granddaughter. A bit suspicious. The past two seasons have featured dark conspiracies at the heart of their respective investigations. Either this is it or it’s one big red herring.

* Speaking of possible misdirections, Hays wasn’t happy that Amelia went out for dinner and drinks with one of the detectives overlooking the Walgreens robbery where Julie’s fingerprints were discovered, ostensibly to flirt information out of him. Are we meant to wonder if she cheated on Hays, or are we just meant to think Hays is wondering? He’s clearly paranoid when it comes to his family.

* The poem Hays and Amelia keep discussing is called Tell Me a Story by Robert Penn Warren. It also seems to highlight the theme of uncertainty I mentioned. I found it interesting that Amelia tells Hays in 1980 that we separate ourselves from something when we name it, and the next scene features Hays in 1990 telling her he still can’t read her book because he keeps seeing his name in it; I guess he’s already separated himself from the case, or rather the story of the case.

* “Purple” Hays probably has more significance beyond being just a funny nickname. Many interpret the song “Purple Haze” as evoking some psychedelic experience, but Jimi Hendrix apparently saw it as more of a love song. This might be fitting, as Hays’ relationship with Amelia seems to be as meaningful as his trippy relationship with time and memory. “Is it tomorrow or just the end of time?”

Quotes:

Old Hays: People don’t remember being babies. Good we get to revisit this stage at the end.

West (1990): I think once we stopped working together, we just stopped. Sometimes it’s like that with people.

Amelia’s ghost: Scientists now theorize an infinite number of dimensions outside our own. Einstein said past, present and future are all a persistently stubborn illusion… And are you waking up to that illusion, now while things fall apart? Are you starting to see them clearly? And at the end of all things, are you awakening to what you withheld? Did you confuse reacting with feeling? Did you mistake compulsion with freedom? And even so, did you harden your heart against what loved you most? Oh sweetheart, did you think you could just go on and never once have to look back?

Still very good, but I believe the next episode will offer a bit more clarity on what we've seen so far. Four out of five backpacks full of toys.

Logan Cox

#True Detective #Mahershala Ali #Wayne Hays #True Detective Reviews #Doux Reviews #TV Reviews

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cerullos · 5 years

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thoughts on live action disney remakes. any/all of them. go off queen

SCREAM...............................i mean, like....stop. that’s my main thought on live action disney remakes....stop. but that’s obviously not going to happen unless someone locks bob iger in a closet and refuses to let him attend anymore board meetings. i’ve probably already made my feelings on beauty and the beast (2017) clearer than anyone wanted or needed so i won’t complain about what an abysmal trainwreck that was, but...i do hope going forward (obviously not with aladdin, TLK, and mulan, which are already...kind of doomed imo, but beyond those) disney feels comfortable taking more liberties with these adaptations, so there’s at least, like...the ghost of a reason to pay $15 to see them in theaters. i mean, dumbo directed by tim burton falls extremely low on the list of movie concepts i consider....’Worth Pursuing’ but at least it’s a departure from the original, and based on a film old enough to merit a revisit. i’m also very into emma stone as cruella, because like..........................yeah

this is the full list, i’m gonna get real with them:

aladdin: bad...it’s going to be bad. it looks like it’s leaning heavily on the broadway show for aesthetics. if disney had a backbone and actually wanted to make a movie that’s visually distinct from the 90s version, they would have imagined a completely new look for the genie and wouldn’t have had to LITERALLY drop the frozen 2 trailer a month early to draw attention from this mess...next

the lion king: not a live-action movie! neither was the jungle book! beyonce is there so i’ll see it. next

mulan: supposedly “there will be music” but there’s no confirmation it will be a musical, so i’m holding out hope...the casting seems cool (although i wish the mulan was A Bit More Buff) and i’m not bothered by the writers switching out shang for another character if it means it’s a fresh retelling of mulan’s story that will actually pull from her history and not just regurgitation of the disney movie

maleficent 2: sure....i like to have fun

cruella: again...i like to have FUN

peter pan: ENOOOOOOUGH

tink: enough part two!

the sword in the stone: i think this is going to be on disney’s streaming service (?) i like medieval pieces and it’s an already overlooked film with a lot of room for some cool new worldbuilding (btwn the magic, the historical period, etc.) so...i’m tentatively interested

pinocchio: CANCELED baby! you’re never gonna top the scare factor of the original movie, it’s pointless to try

rose red: sure....if we’re doing this, golden & silver age movies (except for peter pan.....not peter pan) are preferable to renaissance movies since they were generally less interested in characterization...just another reason batb failed on very level and cinderella 2015 was a pleasant surprise

prince charming: literally no one cares

#asks #i've also heard they're doing live-action lady & the tramp for disney+#and it's using ACTUAL dogs AND tessa thompson is lady?#gold!#carlyraejepsun

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snowpatrolfanclubbrazil · 6 years

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By Paul Mcnamee

Chasing Cars was the UK's most widely played song of the Noughties. But after global success, Snow Patrol have been quiet for seven years. Frontman Gary Lightbody was drawn into the 'dirt darkness' by drink and depression but now, he tells Paul McNamee, he's found his way home.

Gary Lightbody's moment came two years ago in a gym in Santa Monica. The Snow Patrol frontman has long had a reputation of indulging his appetites. But even he was going at in on a bigger scale, with a fierce, Valhallan vigour. The band's last tour had finished in late 2012.an then: "I started drinking." he says, "with a gusto that a professional boxer might train for a prize fight. It'd be mostly beer, I was quite a happy drunk. There was a hell of a lot of fun. Until it wasn't.

"I'd get to 2am sitting on my own, have a cry, and then a glass of something [stronger], I didn't have any relationships and I wasn't having sex either.I was very hermetic. Around 2015/2016 I was drinking every day and also I was hating it. I regret doing it even though I knew I was doing it out of compulsion" He was hitting the gym in the mornings to sweat it off. Then came the moment.

"I bent down to touch my toes and everything started spinning. It felt like the floor beneath me was moving. I thoughy it was an earthquake. But I kept going on. I phoned a friend who lived around the corner. I was like, 'Are we having an earthquake?' He said "Something's going on here'.

"I had a bunch of CT scans on my head. My whole head was infected - sinus, ears, eyes, everything. I'd been having styes and stuff on my eyes. Stick a teabag on it. This was the week before I was going to France to see Northen Ireland play in their first tournament i 30 years. I siad to the doctor, 'I'm flying to France in five days'. He's like, "No, you're not. If you fly with the air pressure it's feel like daggers ripping into your head'. I was still thinking maybe I'll be alright. I spoke to a friend, Gabrielle, an acupuncturist, an extraordinary human being. She'd been trying to get me to stop drinking for while..." So he stopped. Or at least, he began to stop. And in flooded the dark realities he'd been masking.

In recent weeks, as he's been working around the release of Wildness, Snow Patrol first album in seven years, Lightbody has started to talk for the first time about the mental health problems which have plagued him for year. ("I didn't talk about anything, nobody knew, the band didn't know.") Last year, after 12 months sober, came another key moment.

"Last summer", he says, "I thought I'd be relieved to get the album done. We'd just finished. But I wasn't. I was devasted. I'd opened a place in my psyche and I didn't know how to shut the door. It was like ark of the covenant was opened [from Raider Of The Lost Ark] and there were melting faces left and right and I didn't know how to shut the thing down. So instead of talking to somebody I tried to shut myself out. Let my own face melt. And the band knew something and they flew from London and arrived at the door and I broke down and told them everything.

I have a depressive personality that has no relationship with reality. I could be having the best time on the surface and yet my depression goes 'You're still a cunt. Don't forget that. I'm dragging you down into the inkand the dirt and the darkness'. I could be playing to 15,000 people and three hours later be in a hotel room cruying on the floor. That's happened a bunch of times. The depression and the success have no relation to each other. It's just part of me. I've learned that rather than running from it, which you can never really do - you can have and turn and face it and look it in the eyes and say I'm not afraid of you any more".

And so he went home. Back to Northen Ireland, to North Down where he was brought up. It's the place he was desperate to leave in 1994, whe he ran to Dundee to star university, to start a band , to start years of chipping away with no success. Then he wrote Run and everything changed.

It's easy, given their time away, to forget just how huge Snow Patrol were for a period from the mid to late Noughties, Nobody, really, was bigger. The song Chasing Cars, from fourth album Eyes Open, was picked up for UA his TV show Grey's Anatomy and propelled them to massive fame. Lightbody moved to Santa Monica around 2009. ("Soon as my feet hit the sand in Santa Monica something just hit and I thought, I want to live here") Recently he claimed he'd moved back to Northern Ireland because the band were getting ready to work again and he needed to be near them. But it feels like the truth is little more complicated.

"You're right. There are quite few reasons. My dad isn't well, my mum isn't coping very well and my niece is going to be 11 in July, I've missed most of her life living in LA.

"And I missed home. It's a time in Northern Ireland as well when it feels like we're at a bit of a crossroads again. I felt a bit of a calling back here. Not that I figure I can help in any way, but I certainly won't feel connected if I'm 5,000 miles away I wanted to reconnect". We're meeting in the Crawfordsburn Inn, the picture post card hotel not far from Gary's shorefront home, overlooking Belfast Lough.

It feels timely. We meet on the 20th anniversay of a concert in Belfast's Waterfront Hall, hosted by U2, that helped deliver a huge Yes vote in the referendum for the Good Friday Agreement. In a nation where defiant, No's had been the lingua franca, a Yes was significant. A political statement and a cleansing.

On that day, John Hume and David Trimble were ushered onstage by Bono , a man with a keen eye for a moment, U2 sang Don't Let me Down. Ash were there too, being young and hopefull. Twenty years on, as Lightbody says, Northern Ireland is at a bit of a crossroads. And he's found his way home. The album, Wildness, is worth the wait. If Snow Patrol had touched on themes of running and movement in the past, Wildness has a leitmotif of finally settling; The word 'home' is laced throught several songs. Two tracks in particular illustrate what Snow Patrol can really do - the anthemic reach of the huge, wondroug openning track Life on Earth ( a track that took Gary five years to complete) and the intimancy of What If This Is All The Love You Ever Get?), a piece with just Gary on piano, a heartbreaker written for a friend going through a divorce.

The song Soon marks another significant theme. It deal with Lightbody's father Jack's battle with Alzheimer's . It's a simple builder, full of grace note and sadness. There is a something quietly heroic in it. The video, filmed in Lightbody's apartment, sees him and his fater watching old home movies his dad recorded throught the years. As well as the sadness over what his father is losing, there is an understanding of a farewell to lost youth that the hopefulness of that other country is worth revisiting for both of them. "I love my dad," he says. "I have a lot of respect for him so I wanted to honour him, but at the same time I also have a lot of guilt for being away for most of my adult life. I don't just mean LA, I mean Glasgow, London, or on tour constantly. And there is probably a place in my head where I go when I'm feeling somesick and that is both a place of calm and nostalgia and also a place of guilt and some shame.

"I've felt I've been running away most of the time from myself. So [he pauses]...someof the home references are me feeling disconnected rather than connected...feeling like I'd never really found a home. I never truly felt at home when I was growinh up in Northern Ireland. Then I left and never really felt at home anywhere else. And then I moved back to Northen Ireland and now I do feel at home here, but that has also coincided with me feeling at home inside my own body. Which was the whole problem the whole time. I wasn't comfortable with myself, I didn't like myself. So you have to figure that out before you can feel at home anywhere.

The band's influence and legacy go beyond their own work. They've helped shape the sounds that have become pervasive in post-millennial pop. Lightbody and band member Johnny McDaid have written with, among others, Ed Sheeran, Taylor Swift and One Direction. Snow Patrol took Sheeran on the road in the States in 2011, helping him break through. They remain close. "Between myself and Johnny McDaid, we're written a lot of things for other pop acts, him more than me", he say. "I would say Ed came fully formed from his first album. He'd done the groundwork. All the grafting that you need to do, when you're a young band. He busked his ass off from the age of 15 on the streets of London, sleeping on his mate's couch. He had turned up to gigs and said to promoter, can you give me 15 minutes after the doors open. And promoters say aye. That's how he started. He grafted harder and still does to this day - harder than anyone I know. Sheeran's returning the favour, taking the the band on an American tour autumn.

Refusing to accept Snow Patrol as fountainheads of a sound, Lightbody says they are more like Zelig, "probably bystanders". One got away, though. Mutual friend James Corden introduced Lightbody to Adele.

"It happened to be a birthday of somebody that James and Adele knew...and I sat down with her and she said when are we going to do [a song]. We did two days - Adele, Johnny McDaid and me - the bones of three really amazing fucking songs. But we never got round to finishing it. And then the album came out and obviously we weren't on it."

While his own album has just come out, there is already preassure to get busy on the next. Long time producer, friend and mentor Garret "Jacknife" Lee has been in touch ("he says we need to get cracking on the next one"). For now, ahead of their own arena tour in the winter, Lightbody is learning to cope, listening to podcasts ("StuffyouShouldKnow from HowStuffWorks is my favourite one") and Bon Iver ("I think he's the finest songwriter alive") and working things out.

"Me, now not drinking, I like myself but I'm socially awkward, I'd rather be sitting with bandmates, my family. I'm 41. I know what I want.

And that is?

"Peace I want to make sure that every day of my life I take a moment and realise eveything is calmer. I've learned how to meditate, learned how to do Qigong. Learned a whole load of practices that I do every day. They mitigate the madness. The greatest thing I ever did for my own emotional wellbeing was to talk."

And if we went back 20 years, and said here are the successes, here are the demands it'll make on you mentally, personally, physically - would you have taken it? "I would have taken it for half the successes I can't believe what happened to us. I still can't believe when I look back at it, at everything that is successful that has been good. At everything that is still happening. It is a dream, It's a bloody dream."

#snow patrol #gary lightbody #article #news #interview

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aion-rsa · 3 years

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15 SNES Games That Deserve a Sequel

https://ift.tt/3vtwp5A

The SNES isn’t just the greatest Nintendo console of all-time: it’s the home of a truly impressive collection of classic games, underrated gems, and, for our purposes today, a shocking number of games that never got the sequel they deserved.

While you can usually list the business reasons why certain games don’t get sequels, that does little to diminish fans’ desires for more of a particular experience or even a second chance to get things right. In the case of some of these games, fans have been holding their breath for quite a long time.

Before we dive into this look at SNES games begging for a sequel, please note that while we will mostly focus on games that never got a sequel, a few of these titles did get underwhelming sequels that missed the mark or otherwise haven’t been revisited in over 20 years.

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15. The Adventures of Batman and Robin

While I actually slightly prefer the Genesis version of this game, this underrated SNES gem was still a Konami beat-em-up made at the peak of that studio’s efforts in that genre. Even better, it was based on arguably the best Batman adaptation of all time: Batman: The Animated Series.

So why did this never get a sequel? It certainly wasn’t perfect, and Konami may have struggled to retain the rights, but given how much the company’s TMNT games improved over time, it’s hard not to wonder what Konami could have done if they had been allowed to expand upon this brilliant marriage of an expertly adapted world and nearly airtight gameplay.

14. Saturday Night Slam Masters

This game did technically get a sequel, but that title never officially made it out of Japan and also made some drastic changes that made the series more of a 2D fighting game. It was actually quite good, but it didn’t reach the heights of the original.

After all, Saturday Night Slam Masters balanced a fascinating mixture of fighting games and wrestling games that was compelling enough at the time but may bring a generation raised on increasingly stale WWE games to tears. This is quite simply one of the most entertaining wrestling games ever made.

13. Super Star Wars Trilogy

This entry is a bit of a cheat since it not only combines three games in one entry but arguably ignores the fact that we’ve obviously gotten quite a few Star Wars games since these were released. Still, what I really want is a new trilogy of games that mimics the gameplay and style of these brutally difficult classics.

Whether they’re based on the prequel trilogy, sequel trilogy, or tell entirely original stories, I’d love for a modern developer (probably someone in the Devolver Digital family) to make a modern Super Star Wars game that leaves you wanting to throw your controller through the window and enjoying every minute of it.

12. Mario Paint

While Nintendo has made other strange games that emphasized player’s creative input (Mario Maker is probably the most notable recent example), they’ve never really properly revisited this Super Mario spin-off that showed Nintendo fans everywhere there was an artist inside of them.

Mario Paint may be simple by today’s standards, but that’s all the more reason for Nintendo to upgrade what was essentially an educational game that mastered the “gamify” concept long before that really became a talking point in the industry.

11. U.N. Squadron

The SNES wasn’t exactly lacking in worthwhile shooters, but there was always something special about U.N. Squadron. Granted, it was tough as nails, but the game’s upgrade system, visuals, and incredible level design typically made it easy to put up with the frustrations.

Capcom is always talking about revisiting and reviving its back catalog, so why not release an “indie-style” sequel to this cult classic that’s always deserved another look?

10. Skyblazer

This largely forgotten gem from the SNES era shows just how spoiled we were at that time for these kinds of experiences.

After all, Skyblazer was a game that combined great visuals, a killer soundtrack, puzzle-solving, platforming, and intense side-scrolling action, and few people ever actually played it. A simple re-release of this underrated classic would be more than I could hope for, but truth be told, my heart cries out for an admittedly unlikely sequel.

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9. Sunset Riders

Long before Red Dead Redemption offered arguably the definitive Western gaming experience, one of the most enjoyable ways to take a trip to that era was this run-and-gun side-scroller shooter that failed to really make a name for itself despite having so much going for it.

Sunset Riders‘ old west setting carries a lot of this game’s weight, but it’s really this shooter’s gameplay (which feels like a combination of Contra and a light gun shooter) that makes you wonder how it spent so many years in relative obscurity. A sequel would go a long way towards helping to ensure this game gets the love it deserves.

8. Weaponlord

It felt like every developer was trying to make the next great fighting game in the ‘90s. While most of those efforts fell well short of being the next Mortal Kombat or Street Fighter, the decade’s onslaught of subpar efforts meant that a few fighting games never got the chance they deserved.

Weaponlord was one of those games. Sometimes referred to as the spiritual predecessor to Soul Edge/Soul Calibur, this weapon-based fighting game complemented its shockingly deep gameplay with a unique art style that stands out to this day. It wasn’t perfect, but it’s so easy to imagine how a sequel could have fixed nearly all of this game’s flaws.

7. Uniracers

A racing game about unicycles is strange enough, but what really sets this game apart is its surprising speed and wacky courses that emphasize almost “stunt-like” racing and tricks. I even kind of love this game’s weird ‘90s attitude.

There was just so much more that could have been done with this concept had Uniracers gotten the sequel it deserved. Since its developer DMA Design (now known as Grand Theft Auto developer Rockstar North) clearly isn’t doing anything these days, I don’t see why they wouldn’t revisit this one.

6. Secret of Evermore

It’s easy to get this game confused with Secret of Mana and some of the other titles of this era, but Secret of Evermore truly was a special piece of action RPG design that has been tragically overlooked over the years for reasons that have little to do with the game’s quality.

At a time when many fans were looking for a Secret of Mana sequel, Secret of Evermore offered a somewhat similar but distinctly different gaming experience that was a little slower, a little stranger, and a little more complicated, but arguably never got the chance it deserved to really carve its own identity and find an audience. I think modern gamers would be more receptive to this title’s ideas, though it would be a lot easier to confirm that theory if we got a sequel.

5. Kirby’s Dream Course

Kirby’s Dream Course is one of those games that I feel was both hurt and helped by its license. While this project’s association with Kirby probably inspired more people to play what essentially amounts to a combination of golf and puzzle games (think Marble Madness), a lot of young gamers who took a chance on this thinking it was closer to a traditional Kirby game were left throwing their hands up in the air.

Years later, though, it’s easier than ever to appreciate what Dream Course is going for. This almost zen-like experience challenges you to use your brain to solve its most fiendish puzzles but keeps things light enough to encourage you to progress even when you hit a wall. Even if an eventual sequel was nothing more than a mobile game, Dream Course is more than worthy of another look.

4. Illusion of Gaia

Illusion of Gaia was one of those SNES games that not everybody owned, but those who did own it typically wouldn’t shut up about it. To be fair to those sometimes persistent gamers, it’s kind of hard to forget about Illusion of Gaia once you’ve given it a chance.

Though perhaps best described as an ARPG, Illusion of Gaia is actually sometimes closer to a more complicated take on a classic Legend of Zelda game. Its incredible world, surprising plot, fun action, and unique action/adventure concepts made it easy to love, hard to forget, and surprisingly difficult to play. While part of an unofficial trilogy of games, this one has always deserved a proper sequel.

3. Super Mario RPG

While the Paper Mario series and some of the Mario & Luigi games eventually carried on Super Mario RPG’s legacy, you’ve got to forgive fans who still cry out for a “proper” Super Mario RPG sequel to this day. Maybe that’s because there’s really not another game quite like Super Mario RPG.

Developed by SquareSoft during their 16-bit peak, Super Mario RPG combined the better elements of a Final Fantasy game with the more lighthearted nature of a Mario title. The result was an RPG that was much more “accessible” than other notable RPGs of this era but never left you feeling like you were playing a lesser game. At the very least, a Super Mario RPG sequel may be the only way that we get more Geno adventures.

2. Demon’s Crest

There’s a loose rumor that Demon’s Crest‘s sales were so bad that it actually registered negative sales at one point due to an excessive number of returns. It may be little more than an urban legend, but it kind of goes to show you just how poorly this game performed when it was released.

To this day, I’m not sure why Demon’s Crest wasn’t an instant hit. It was a bit short and some of its design elements were somewhat confusing, but this lovely gothic action title combined Castlevania and Mega Man in a way that is so easy to fall in love with. It’s the kind of game that practically begged for a sequel that it just never got.

1. Chrono Trigger

While I’m actually a fan of 1999’s Chrono Cross, I understand why many fans don’t like it. I believe Kotaku once called it a great game and a bad sequel, which really kind of sums up some of the ways that game distinguished itself while seemingly ignoring so many of the ways the classic original made a name for itself as one of the best RPGs ever.

So yes, count me among the many who still wants a “proper” Chrono Trigger sequel to this day. While there are plenty of reasons to doubt that a modern Chrono Trigger game could replicate the ways that this game’s “dream team” of developers made it arguably the best JRPG of the golden era of JRPGs, it’s almost impossible to walk away from this one and not be left wishing for more.

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wineanddinosaur · 3 years

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EOD Drinks With Shannon Mustipher

In this special episode of “End Of Day Drinks,” VinePair’s editorial team is joined by Shannon Mustipher, a NYC-based bartender, author, cocktail consultant, and spirits educator specializing in tiki and rum. Mustipher details her experience in working in the world of spirits and becoming a student of rum, an often overlooked spirit among American consumers.

Mustipher also explains how the Caribbean became an influence in the style of her cocktails. Finally, Shannon discusses the future of rum cocktails amid the ongoing pandemic and gives listeners a sneak peak into her future ventures.

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Joanna Sciarrino: Hi, everyone! Welcome to End of Day Drinks. I’m Joanna Sciarrino, executive editor of VinePair. And as always, I’m here with members of the VinePair team. We’ve got Tim McKirdy, Elgin Nelson, and Cat Wolinski. Today, we’re joined by guest Shannon Mustipher, award-winning bartender, spirits educator, cocktail consultant, and author of “Tiki: Modern Tropical Cocktails.” Welcome, Shannon. Thank you for joining us.

Shannon Mustipher: It’s great to be here. As always, it is fun to spend some time with the VinePair crew. Thanks for having me.

J: Of course. Shannon, among all these other things, you’re also a rum expert, which is pretty awesome. We definitely want to talk about Women Who Tiki and your book and everything else. First, we’d love to hear more about your interest in rum and cane spirits and how you came to be so familiar with the category. Also, you touched on this briefly in a piece for VinePair but how you learned about the history of rum cocktails and their significance in modern-day drinks culture. I think that’s really interesting and something that people probably don’t know a lot about.

S: Yeah, I like to say I was drafted into service here as prior to becoming beverage director at Gladys Caribbean. That was in 2015, when I knew next to nothing about the category. For those of you who may be less familiar with the New York bar scene over the last decade or so, at that time, there was next to nothing going on where rum cocktails, tiki or otherwise, were concerned in the influential bar spaces. If you look at Back Bar, maybe there were three or four options. For myself, prior to taking that job, my main interest in spirits and cocktails was more based on American classics, pre-Prohibition era cocktails, gin and whiskey. Up until that point, I think I had three or four rums tops. Bacardi, Smith and Cross, Blackwells, Goslings, maybe. I think that was the extent of it so I didn’t know anything. Looking back, that was actually beneficial. I had no preconceived notion going in as to what the category is going to be like or what I would end up doing with the drinks as a result. I had about 30 days to taste somewhere between 200 and 250 rums to come up with Gladys Caribbean’s opening selection of 50. It’s hazy. That’s why I say 200, 250, because those are some hazy days, but they’re really enlightening and eye-opening. I was pleasantly surprised and shocked by what I discovered as I started to taste through rums from all over the world. Up until that point, the only thing I knew about rum cocktails was that there is a Mojito, a Daiquiri, and I’d never had a really good one up until that point. Then a handful of tiki drinks that I’ve heard of that are pretty ubiquitous, like the Mai Tai or the Zombie, and that was it. I took a deep dive first by reading Jeff “Beachbum” Berry’s books because he just released “Potions of the Caribbean.” It was a really cool primer on the history of rum in the Caribbean and how that led up to the invention of tiki. I like to think of him as a tiki guy, but the book covers quite a bit more than that, and that was super cool. I also read books like “Cuban Cocktails.” Jane Danger was one of the authors of that book. Those are my crash-course guides to learning about rum cocktails when it came to learning more about the role that rum drinks played in the history of American cocktails. A few years into opening the bar when I had a little more time, I started to revisit books like “The Ideal Bartender” by Tom Bullock, the Jerry Thomas “Bartenders Guide,” looking at books like “Punch” and realizing that in colonial America, rum was the spirit of choice. First, because it was the easy thing to get here. This is before corn and wheat became a staple crop, and people weren’t really making a lot of whiskey. It just made more sense to either get rum from the Caribbean as part of trade or to bring up molasses and do distillation here. A fun fact, the favorite spirit or preferred spirit of George Washington was actually Barbadian rum. I learned that the earliest punches were made with rum. Some of the earliest examples of the Mint Julep were based on rum. There were examples of Old Fashioneds that were also based on rum. These started to fall out of favor in the 1850s, and maybe we can unpack that a little bit later, but rum is the basis of American drinking culture.

Elgin Nelson: Hi Shannon, I want to talk about the Caribbean. I’m currently in the Bahamas right now. What I’ve noticed is that rum plays a big part in the drinking culture down there. Do you draw any inspiration or share any background in terms of the Caribbean influence on rum? I know you spoke about reading books on why rum is such a big influence in the Caribbean. However, did you use any Caribbean style or influence when you started making cocktails?

S: Oh, yeah. It was absolutely essential that I did it because I really wanted the bar at Glady’s — and this is per the owner’s passion and point of view and why he wanted to do this concept in the first place — I wanted to reflect the way I would feel to taste and drink rum in rum drinks as if you were on the island. The menu at a restaurant, the centerpiece of it was wood fire jerk. That covered not only chicken and pork, but seafood. With a really simple set of side dishes. The vibe was just make to feel like a beach shack. I didn’t want to deviate from that where the bar is concerned. I started off with a really simple menu that was based on traditional things that you would find on an island. For instance, the rum punch, we always had one on the menu. It would rotate seasonally, but we needed to have that because that’s authentic to when you spend time in the Caribbean. Likewise, we had a Painkiller that was based on what you would get at the Soggy Dollar Bar. Our Daiquiri that was on the opening menu was based on a historical recipe from El Floridita in Havana that a lot of people had not seen in the U.S. for some time. Having that history there was really important, too. Over time, as the restaurant grew in the neighborhood, I eventually put edgier drinks on the menu. This is Crown Heights, mind you. I didn’t want it to be about my take on rum from the outset. I wanted to be on the authentic experience of rum, which is what we were selling. Then, I let my personality come out a little bit as I got more comfortable with it as well. Case in point: One of the things I learned about rum as I was tasting all the bottles was that there are some rums that you see on islands that you don’t see in the U.S. and vice versa. I try to have this healthy mix of bottles that are very ubiquitous in the Caribbean and maybe you never see in the U.S., and then go easy on bottles that are actually more designed for American consumers and never really show up in the islands. One specific example, Forest Park is a puncheon rum. That’s an overproof white rum from Trinidad. Bartenders don’t use that stuff, but I had guests that totally lit up when they saw it. I wanted to make sure that someone could revisit what it was like growing up there or visiting whatever island they’ve been to.

Tim McKirdy: Shannon, can you describe that feeling behind the bar? Because you mentioned before that you were coming into this from a professional place of making the modern American classics as we know them or the cocktail renaissance drinks. Those are really high-quality drinks. But in some respects, maybe the setting is a little darker or people take themselves quite seriously, whereas trying to transport people to the traditional settings where you’d enjoy these cocktails. Did it change the way that you experience service, drinks, and interacting with guests?

S: Well, up until that point, I’d worked primarily in fast-casual Brooklyn neighborhood-type spots. For instance, I worked at Saraghina, I worked at Do or Dive. I did stints in other places as well, but I did prefer a more neighborhood feel. For me, I felt that I was disguising elevated cocktails in this casual form because they were served very casually. I needed them to be as good as drinks that you find in the East Village. I was really adamant that we were all using fresh lime juice, which at that time was crazy because Mexican cartels were putting a squeeze in the market, and each lime cost a dollar. The owner was like, “are you crazy?” It was nuts. It was right before we were opening, and I wanted to use fresh lime. I did not want to use pre-packaged juice in these drinks. I refused, because I knew that rum didn’t have a great reputation at the time. In order for that program to be successful, in my eyes, I needed people to experience not only authentic rums, but also the best-quality version of these drinks so that they wouldn’t walk away thinking they had yet another sugary rum drink. We even went so far as to squeeze our juice to order at the bar for each Daiquiri that we made. I wanted to send that message to the guests that their drink is not coming out of a cheater bottle. They could see that this is actual fresh lime juice that we’re squeezing right here in front of you for this Daiquiri that you’re about to get.

Cat Wolinski: Speaking to the freshness of citrus being so important to any cocktails that use it, but especially tiki, do you think that tiki drinks or rum drinks that incorporate lime or other citrus is something that will become part of this larger ready-to-drink (RTD) canned cocktail space? Or do you think it always has to be right there in front of you, freshly made?

S: No, it doesn’t always have to be. Again, there are different geeked-out opinions about squeezing it right then and there or squeezing it before service. I was doing that as a way to send a message that people can see it was fresh. However, from a more scientific perspective, if you juice it a few hours before, it’s actually better because a little bit of oxidation gets into the juice and will balance it out better. Whereas if you’re doing à la minute, there’s a chance that the flavor can be slightly off. Yet there is a way that we built that drink that would offset that problem. Nevertheless, the juice should be pressed the same day and not used the next day. I don’t see that going anywhere, because it’s just so standard right now that any bar that doesn’t keep that level of quality, they’re just not going to be able to compete.

C: Right. What about as bars are creating cocktails to-go or prepackaged drinks? Do you think there’s a chance for tiki to move into that?

S: I love that you ask because as chance would have it, I just made a tiki RTD this weekend. It was for a pop-up at Fuchsia in New Paltz. I worked on this in collaboration with Eamon Rockey. He supplied one of the ingredients in the cocktail. It is called Bird of Paradise and it is a white Jungle Bird. We used a combination of citrus and citric acid solutions for shelf stability. I think you’ll see some people, if they’re carrying the cocktail as we did, err more on the side of using malic acid and citric acid just so it keeps longer. If it’s a to-go that the bar is reasonably confident the guest is going to consume within the same day or two, I still see people doing fresh juice. Strong Water in Anaheim, they use fresh juice. Most other programs I know do that as well. Now, when you start moving into the can, that’s where you go to see people veering off into two directions. Are we going to just do juice only? Are we going to do juice and acid? Or are we just going to do acid? At Fuchsia, we used juice and acid. In a case of another project I’m working on that I cannot divulge here — I can tell you about it after we wrap because it has not been announced yet — I’m doing an RTD with an L.A.-based company and we’re just using acid in this cocktail.

J: Yeah, so I have a follow-up to that. When you were talking about becoming more confident with your cocktails the more time you spent at Gladys, and I’m guessing that your guests were receptive to those drinks. What do you think the future of tropical cocktails is and what do you envision your role will be in that?

S: One of the things I observed when Glady’s opened, there was next to nothing was going on, rum cocktail-wise. Then, you start to see more mainstream programs have things like a Jungle Bird or Mai Tai or at least the ingredients to make it. If someone asks for it, you start to see the Daiquiri emerge just like the bartender handshake. We call them Snackerquiris where you go into the bar, your friend’s working, and you get a half-Daiquiri or you do little shots of Daiquiris with your friends. That’s basically a thing no matter where you go, be it tiki tropical or otherwise. It’s just a way of saying, “I love you.” Now, you see places like Blacktail open and that was a Cuban-style bar, but they did a little bit of tiki here and there. Now, it’s come full circle, where I know there are some people that are questioning whether tiki is something that we want to keep doing, given the cultural connotations. You are starting to see bars and restaurants either choose a nautical theme or tropical theme? There is Navy Strength in Seattle. They have tiki drinks but are not a tiki bar. There’s the Coconut Club in Washington, D.C. Again, it’s a tropical bar with a Polynesian-ish seafood menu, but it’s not tiki. They’re not saying that they are. Even locally, a place like Diamond Reef is more of a nautical bar. I think the tropical drinks are going to start to encompass other spirits apart from rum as well, as you see people move away from overtly tiki things. That’s when you see more agaves, more Margaritas, even things such as pisco and brandy starting to make an appearance. The drink builds might resemble tiki drinks, but they can be a little simpler, maybe four ingredients instead of seven or eight, because tiki bars are very expensive to run. If you want to go broke as an operator, open a tiki bar. I think especially post-pandemic, operators have to be more cost-conscious and also labor-conscious because tiki programs are very labor-intensive. The Polynesian’s prep crew all by themselves, I’m sure their payroll allocation rivaled the whole bar staff. That’s how much production has to go into that. I think there will be some people that continue to love the genre, but I think we’re starting to see more tropical and nautical bars that come into play now.

T: Shannon and I wish we were having this conversation last week because I had a real-world scenario where I could be asking this question and wish I had. However, to that end, with tropical drinks, many require a lot of ingredients. I was wondering if you could give us any tips or certain things that you should always have on hand. Possibly, a small selection that would open up a range of possibilities and possibly not like Polynesian-levels of prep because they went pretty deep.

S: Yeah, I’d say there are three syrups, three juices, and three types of spirits that if you always had them, you could come up with a really simple punch. As for syrups, you want to have cinnamon clove syrup. It’s a simple syrup that’s infused with cinnamon and cloves. It’s so easy. You just put the spices in there and let it simmer. Honey syrup is also really easy to make. It’s just half and half honey and water, or maybe two to one. You can also add spices to that. Vanilla syrup is nice. It’s a little more subtle, and if you’re doing drinks with gin or vodka, that is a really nice complement to the flavor profiles of those types of spirits. It’s important to note that with vanilla syrup, you want to use a vanilla bean, you want to use a split pod as opposed to an extract. An extract will do it in a pinch, but it doesn’t give you everything. It’s not the same. Some of the things I mentioned you can buy already. Those are really easy things to make at home. If you want to add one more thing that comes across as a tad exotic, you can buy passion fruit syrup. There’s a couple of places online to get that. You can also buy orgeat if you don’t want to make it yourself. I would say those five syrups. Of course, there are at least 10 that I could rattle off, but those three could easily make it home. Then, the other ones you can order online from numerous sources. That’s where I would start within the syrup department. Now in terms of juice, obviously fresh lime and lemon, that goes without saying. You have that at any bar. Pineapple juice, again, really easy to get. I like Dole. I think it’s decent quality if you’re not making it yourself. Passion fruit juice as well. Also, there is a juice that I don’t always see people use too often. I encountered this mostly in the French Caribbean. Guava juice is delicious and it works really well, either rum or with agave and tequila.

J: Oh, that sounds good.

S: It is everything. I visited Martinique a few years ago and every restaurant has this drink called Planteur, which is basically planter’s punch. It’s just guava and rum, and it’s so good.

J: There you go, Tim.

S: Anything else that I would add to that, of course, rum. Have some tequila, pisco, or brandy. I use whiskey in my tropical drinks, too. It’s a lesser-known niche there, but it’s all about the modifiers. I love using rye whiskey in my tropical drinks.

J: Shannon, you talked very quickly about tiki and its possibly problematic past. You wrote a book called “Tiki.” How do you think your book redefines what people know as tiki?

S: Yes, my book did or does — and this is my intention — was to open up the idea of what a tiki drink was. Up until that point, the majority of tiki books had historical recipes, and yet it would have a scattering of originals or newer drinks, but by and large, if you open up any tiki book before mine, about 80 to 90 percent of those are all classics. I flipped it around. So I had only 20 classics, followed by 70 originals. The whole idea is explaining that a tiki is an approach to making drinks, and you don’t have to use this narrow set of ingredients that you see recurring throughout the tiki canon. You can take any ingredient and make it into a tropical cocktail, though for me, the philosophy behind tiki is just balancing complex flavors. I thought to myself that this genre was invented in the ’30s when there are only so many things that you could get in the United States to make drinks with. That time has changed. I would say to myself, “Well, what would Don do?” I feel like I should make a T-shirt that says that. If Don Beach had mezcal, I’m sure he would have been using it. If he had lemongrass, galangal, or Buddha’s hand, I’m sure he would have used it. He just didn’t have it, so that was the idea. It’s about layering flavors, use whatever you like, and make it interesting.

J: Sounds great.

S: Looking back, and I don’t know what I was on because there were over 300 ingredients in that book, and I’m kind of afraid to write the next one. My editors are asking, “Where is the next proposal?” I’m not doing that again. I learned my lesson.

C: Maybe the next one has three-ingredient tiki drinks.

S: You’re hitting it on the head. We’re heading in that direction. I was like, “We can make everyone’s life easier.”

T: With your incredible experience with rum and the time you spent now with the category, rum remains one of those spirits that many people might describe as the next big thing, especially more aged rums. I’m not sure whether that does it a disservice, but I still think rum hasn’t quite reached the levels of a whiskey or a tequila. Where do you think rum is currently in its journey in the United States and possibly returning to that glory where, as you were saying, it was the most popular liquor in this country?

S: Well, among rum circles, this idea that rum is going to be the next big thing has been a rumor that’s been circulating for 15 years. We joke that we’re waiting for the Messiah to come back. We’re sitting there praying, and it hasn’t happened as of yet. I can just say that I think there are some good signs, though, that it could be closer than we think for a couple of reasons. One is that it has been embraced by the bar community. Bartenders love rum. They figured out that you can do a lot of things with it in cocktails that you can’t do with other categories, mostly by virtue of how diverse the category is. It comes from over 90 countries. There’s no one universal standard or definition apart from it having to be based on sugar. Thus, the diversity of the category means that it’s almost akin to wine. Of course, I’m a little biased because I worked in wine prior to working in rum, but I think there’s a good case to be made for that. From a bartender’s perspective, it’s a really intriguing category because there’s such a range of things that you can pick out of it. Then, when it comes time to make drinks, unlike other categories, again, rum is amenable to mixing various bottles together. In fact, that’s inherent to the development category. You would take rum from a couple of different islands or different ages to create a blend that you desire. Bartenders really resonate with being able to have that flexibility with a spirit, as opposed to you wouldn’t do that with multiple gins because that just runs counter to the idea of what a gin is meant to do. You also wouldn’t do that with whiskeys either. I think bartenders are doing a lot to introduce the consumer to rum, and they’re doing it in a setting where, as a consumer, if I don’t know much about the category and I go to Astor Wine & Spirits and I see 200 bottles, I’m going to be at a loss. But if I go to my local bar and my bartender pours me a couple, then I start to get it, and then I understand what it’s about. The education piece is really big. Meanwhile, I’ve seen the selection and variety of rums in the U.S. explode over the last five years. When I was working on setting up Glady’s, it was almost a struggle to find those 50 bottles that I felt really good about pouring. Now, or when the restaurant was last open, I didn’t have enough space for the bottles that fit my criterion. The criterion, in this case, was a certain level of quality and production, authenticity to tradition, things along those lines. There’s just so much more product to choose from now. I think the fact that bars have been leading the charge has emboldened producers in the category to start offering more releases and better products. It’s about to hit a mezcal tipping point, like where mezcal was at maybe a decade ago. Think about when Vida came out and it was the only game in town, similar to how Plantation for a time was this one house that was representing the category as a whole. So we’re getting there.

E: That was great. You broke down what the future of rum has in store. Obviously, there’s a rumor going around for 15 years that it may or may not come back. Either way, I do want to ask about your future plans for the upcoming year. Where do you see yourself? Obviously, people are getting vaccinated, and we might see the emergence of bar culture come back, or we may not. I want to get your opinion on that and where do you see yourself fit into that as well?

S: Yeah, that culture will come back because people want to socialize. We can’t eliminate that out of human nature. I think we’re going to start to see different types of bars. I think rooftops, and outdoor spaces, they’re going to have a handy advantage. I think anybody moving forward with new projects is definitely going to be prioritizing outdoor spaces, so that as we ease out of the pandemic, they can comfortably offer guests not only a safe experience but one that actually feels good. It’s already been a big trend, but I think this is just going to become more of a priority. I think to-go and RTDs are still going to be big because there will be people who won’t go out as much as they did in the past. They’ve come to enjoy drinking at home or not exposing themselves to as many people as they may have done before, so I think RTD is going to continue to grow. I’m curious to see how that will be integrated into bar programs. I say that because I recently met a business called Canned Cocktail Company, and they make RTDs custom for bars. They were the ones that did the RTD that I served this weekend upstate. They have an upcoming restaurant and retail location in the West Village where they are going to be pouring cocktails for various clients. We might see more of those. As far as me personally, well I may not look it, but I’m getting older, guys. I’ve worked in hospitality for 15 years, and when I started at Glady’s six years ago, in my conversation with the owner, I said, “This is going to be the last restaurant job. I’m planning to consult after this.” So I started consulting maybe three years ago. And when the pandemic hit and the work that I was doing was largely attached to bars went away, thankfully it already had enough momentum to shift into consulting full-time, which I’ve been doing for the past year. I expect to continue to do so as well. What that looks like, practically speaking, is I create recipes in educational content for brands, and some of that is aimed at consumers. Some of it is aimed at their internal team, and that could be a mix of everything from making recipes and giving seminars, putting branded content on my social media channels, leading seminars virtually or in person, and recording training videos. Education is my passion, and I forgot how much I missed doing seminars. I had a lot of fun this weekend. That’s what I plan to be doing for the foreseeable future. I’ve also entertained the idea of creating a product and working on this RTD, which I can again elaborate on a little bit later. This is my first foray into that because the company that I’m working with has let me in on the marketing conversations and strategies, and they’re incorporating my ideas into that. I was approached to create a rum brand a few years ago, and it wasn’t a good time for me. But now, I would certainly welcome that opportunity because it would be a lot of fun for me to take what I’ve learned over the years and be able to find something special and bring it to market. Those are a couple of things, but there’s more. I might end up in front of a camera, too. I’ve been approached by a few outlets to develop shows. I basically plan to become the Martha Stewart or Rachael Ray of cocktails. That’s the dream.

T: I’m here for it.

J: Yeah, that would be wonderful. That all sounds so exciting. This is also a great moment to end our chat. Thank you so much for taking the time today, Shannon. It was so great to talk to you.

S: This was super fun.

J: I think we’re all looking forward to our next tropical cocktail, maybe this weekend. We hope to share one with you soon.

S: Well, you guys know where to find me. We can always do a Zoom happy hour, it’s not a problem.

Thanks for listening to this week’s episode of “EOD Drinks.” If you’ve enjoyed this program, please leave us a rating or a review wherever you get your podcasts. It really helps other people discover the show. And tell your friends. We want as many people as possible listening to this amazing program.

And now for the credits. “End of Day Drinks” is recorded live in New York City at VinePair’s headquarters. And it is produced, edited, and engineered by VinePair tastings director, yes, he wears a lot of hats, Keith Beavers. I also want to give a special thanks to VinePair’s co-founder, Josh Malin, to the executive editor Joanna Sciarrino, to our senior editor, Cat Wolinski, senior staff writer Tim McKirdy, and our associate editor Katie Brown. And a special shout-out to Danielle Grinberg, VinePair’s art director who designed the sick logo for this program. The music for “End of Day Drinks” was produced, written, and recorded by Darby Cicci. I’m VinePair co-founder Adam Teeter, and we’ll see you next week. Thanks a lot.

Ed. note: This episode has been edited for length and clarity.

The article EOD Drinks With Shannon Mustipher appeared first on VinePair.

source https://vinepair.com/articles/eod-drinks-shannon-mustipher/

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doomonfilm · 3 years

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Ranking : John Carpenter (1948 - present)

If one were to name off ten American directors from the past half-century or so in rapid fire fashion, I’d be willing to put money on the table that a vast majority would have the name John Carpenter on that list. His impact on horror, suspense and psychological thriller films is undeniable, and his prolific ability to score his films with iconic music he creates puts him in the realm of legends. For a director that dwells in the areas usually set aside for disposable box office fodder, it is surprising that at least five of his films (and possibly more, depending on who’s doing the debating) could be consider bonafide classics.

Perhaps the most interesting thing about putting this list together was the discovery and true understanding of just how much range that Carpenter is capable of, even if his films are distinctly his both in terms of genre-based elements and directorial style. When it comes to the films Memoirs of an Invisible Man (a personal favorite from my pre-teen years) and Starman, I didn’t even realize they were John Carpenter films because they were so different from what I’d come to know him for. Revisiting the films I was familiar with gave me great joy, and taking in the films I’d overlooked or passed on gave me a deeper understanding of John Carpenter not only as a creative spirit, but as a man trying to stake a claim to his voice in an industry famous for conformity.

With that being said, I took all eighteen of John Carpenter’s feature length films and ranked them in terms of my personal enjoyment and opinion. As always, the floor is open for discussion, so feel free to share your thoughts and open up a dialogue, and enjoy!

18. The Ward (2010) I’m going to be 100% honest with you all… coming in to this list, I pretty much had already decided that Ghosts of Mars was going to anchor this list. Fifteen movies in, it felt like my prediction would come to be. But then, something funny happened… The Ward showed up in my mailbox courtesy of Netflix DVD. I watched the film, and so many other films came to mind : Girl, Interrupted… One Flew Over the Cuckoo’s Nest… Shutter Island… Session 9… Unsane… The Jacket… the list goes on and on. That’s the thing about this film… nearly 40 years in, the last thing you’d expect John Carpenter to be is derivative. The Ward really wants to be an asylum thriller, a revenge-based ghost story and a period piece, but it never really commits to any of its aspirations, and what we’re left with is 90 minutes of Amber Heard, and in an information age obsessed with cancel culture, what’s going on in her personal life is infinitely more compelling than what she’s going through in The Ward. There are some good shots of fire in the film, and Mamie Gummer is acting circles around everyone she shares the frame with, but otherwise there’s not much to this one. Hopefully this won’t be the last film of Carpenter’s career.

17. Ghosts of Mars (2001) If nothing else, Ghosts of Mars is an ambitious film. What it lacks in coherency, it makes up for in its amalgamation of ideas. The film is all at once a prisoner transport film, a film about a team of crack operatives, a film featuring a revolt and a tale about respecting the land that you intend to exploit for its resources. It sets itself up to be a John Carpenter take on Rashomon, with a number of stories being told through a singular unreliable narrator (due to the lack of those left to tell their own story). While there are some good ideas present in this film, not to mention some wonderful examples of non-traditional casting for an action movie, Ghosts of Mars falls short in its need to be everything to everyone. The film has garnered a cult following since its release, but as someone who saw this in theaters during its initial run, it still doesn’t do it for me.

16. Vampires (1998) If From Dusk till Dawn isn’t enough to satisfy your Vampire Western cravings, then I humbly submit to you John Carpenter’s swing at the mixture in the form of Vampires. All the earmarks of both genres are present : a crack team of experts hit hard and early, an undercurrent of religion that neither praises nor damns it, a seemingly insurmountable antagonist with a single-minded blind focus, and even a damsel in distress forced to rough it with the roughnecks. Like many of his films, the Carpenter score plays unofficial star against the bananas series of events laid out. Speaking of crazy events, leave it to the likes of James Woods and Daniel Baldwin to take what could be best classified as pulp material and elevate it into the realms of honest entertainment. While not as flashy or fantastic as some of his previous films, the special effects work is effective (no pun intended), with a nice batch of memorable kills sprinkled throughout the film. If this film would’ve been made in the 1980s, I would argue that it could’ve been timeless, but unfortunately, it screams of the 1990s in all the ways that make a film dated, which is even funnier when you consider it was released near the end of the decade. Vampires is fun, but I’d be lying if I called it a classic.

15. Assault on Precinct 13 (1976) Assault on Precinct 13 marks the proper feature debut for John Carpenter, with Dark Star essentially being a glorified student film. Interestingly enough, the film has a ton of representation across the board in its casting, making it one of the more diverse films released on a major level with its Black lead and strong supporting cast featuring women, Black and Hispanic actors/actresses. At the time the film was released, the gang problem was going from an underground and isolated situation to more of a widespread panic, and Assault on Precinct 13 provides plenty of subtext in terms of how gangs are viewed, the perception of their impact on the community and, most importantly, their everlasting struggles with the police. Speaking of the police, there are some subtle jabs at the inept practices of police in terms of administration and the way the handle prisoners, all of which lead to a perfect storm of despair for our protagonists.

14. Escape from L.A. (1996) This film marked the final collaboration between Kurt Russell and John Carpenter, and what an odd one to finalize such a rich and fruitful collaborative relationship. There are some things about the film that definitely work… Snake Pliskin is (and always will be) magic on the screen. Los Angeles certainly had the landmarks and the culture suitable for stylizing into a post-apocalyptic labyrinth of dangers. The statements the film makes on the moral majority and the isolation of people over cultural and ideological differences works as a harbinger for what could be in an extreme example, and has only become more relevant as time has passed. That being said, this film seems to not know whether it wants to be a comedy on the sly, or whether it’s just accepting of taking the often occasional odd detour for seemingly aesthetic purposes, which makes sense when one realizes that the film spent a decade in development hell simply because Carpenter was afraid to pull the trigger on a script he felt was “too light, too campy”. While a departure in comparison to Escape from New York, and definitely a tonal shift from the vast majority of the Carpenter films, it does have its moments… unfortunately, the moments are not frequent enough to put this one in the upper echelon of Carpenter’s work.

13. Dark Star (1974) For a debut film, Dark Star already had enough elements to be distinctly John Carpenter… the use of an ensemble cast, DIY special effects, a John Carpenter score, and hilariously, a Kurt Russell facsimile in the form of Cal Kuniholm. Oddly, this is really the only proper science-fiction film in the Carpenter canon (outside of the flop turned cult semi-classic Ghost of Mars), with several pieces of machinery requiring voice casting due to their intelligence and autonomy. Dark Star is also unique within the Carpenter legacy due to its reliance on wit, logic and humor more so than star power and wild premises, making it one of the more cerebral films made by Carpenter. On a personal note, my old friend Thomas spent YEARS trying to get me to watch this film, and after finally taking the time to do so, I’d love to have those years back to commit to the fandom of this film. It’s sadly been a bit lost to time, but it’s one of the John Carpenter films that I like to recommend the most, as it definitely deserves to be remembered.

12. The Fog (1980) After a massive hit like Halloween, I’m sure expectations from viewers and critics alike was sky high. With his follow-up after his first foray with fame, John Carpenter released The Fog, a supernatural affair with a much more deliberate pace than anything he’d previously released. Perhaps it was this slower, more methodical approach, combined with an extremely powerful use of subtle practical effects, that makes The Fog feel more like an uneventful slow burn than it actually is. More so than any film he’d released previously, The Fog pulls you in over your head into its tone and mood, and while nothing much on the fantastic side occurs, there are levels to visual stimulus used to engulf viewers in an emotion matching those within the world of The Fog. The sound design for The Fog does a great bit of the heavy lifting as well, which is something that should be noted, as it is some of the best work in that realm that Carpenter and company executed for any of his films. A subtle masterpiece, but it feels like the victim of being made on borrowed time, kind of like an album made by a band while in the midst of touring their breakout release.

11. Prince of Darkness (1987) In-between two of John Carpenter’s most outstanding and wonderfully outlandish offerings came Prince of Darkness, a deeply methodical slow burn that parks itself firmly in the intersection of science and religion and mines it for horrific fodder. Tinges of science fiction, mystery, horror, espionage and the supernatural are all working in tandem to create a literal house of horrors filled with intellectuals blind to the proof right in front of their eyes. As the midpoint of Carpenter’s self-appointed Apocalypse Trilogy (which also features The Thing and In The Mouth of Madness), it certainly continues the tradition of unfolding mysteries and threats that transition from vessel to vessel. Carpenter’s score is doing overtime in terms of setting the mood, nearly establishing itself as a physical presence in the manner that it accents what is presented visually, and the use of color is a bit more expressive than what is normally found in the Carpenter production style. The insect motif is also a nice touch, as it serves to literally make your skin crawl moments before traditional scares occur.

10. Christine (1983) On paper, the combination of a Stephen King story told through the lens of John Carpenter sounds fantastic, and Christine is definitely the type of Stephen King story that can fit the Carpenter bill. Being a teenager can be a frustrating section of life, and for the vast majority, the day that you own a car symbolizes an important step towards maturity and freedom. Stephen King took this ages old scenario and made it a deeper story about finding yourself outside of the protection and orders of others (be it dictator parents, picture perfect friends or a possessed vehicle), and John Carpenter picks up on every nuance of this subtext. Outside of Harry Dean Stanton, the film is cast mostly absent those in the realms of star power (and with all due respect, calling Stanton a traditional star is a stretch)... for my money’s worth, I imagine that Carpenter did this consciously in order to let Christine be the star of her story. Halloween proved that Carpenter knew a thing or two about horror films, and Christine shows that he can apply that formula with such precision that an inanimate object becomes terrifying.

9. Starman (1984) Starman is one of those movies that I’ve always been familiar with, but never took the time to seek out and watch… so much so that I didn’t even realize that it was a John Carpenter film until I started working on this list. Tonally, the film differs from other John Carpenter offerings, as it has more Spielberg energy to it than it does Carpenter stylings (although it does embrace the use of practical special effects, albeit outside of a battle or shock-based context). The invasiveness of an alien lifeform morphing into your lost love one right before your eyes is certainly jarring, but it makes for a stellar hook that yanks the viewer right into the heart of the narrative matter. By using Jeff Daniels’ Starman as a surrogate for someone with no understanding of human customs, Carpenter is able to extoll core human values without coming off as holier than thou or preachy, all the while setting up a buddy road trip scenario in order to accelerate the interaction between his leads and capture some countryside photography along the way. For a director known for doing the most, Starman is a surprisingly tender venture, succeeding via the use of less from a director associated with always doing more.

8. Village of the Damned (1995) The best thing about Village of the Damned is how much it feels like John Carpenter hitting the randomizer button and striking gold with every bit of output. Do you dig small creepy towns? How about unexplained weather anomalies? Strange occurrences and phenomena? A cult made up of psychic kids with mind control abilities that woke up and chose violence? Maybe even a little conspiracy and paranoia? This film has all of that and then some. The film actually stands out as one of the best looking in the Carpenter canon, with a surprisingly vivid use of color implemented that offsets the shades of grey the children are bathed in. Everything about this movie is drenched in a heavy creep factor, especially the performances of the children, who manage to be so pitch perfect in their characterizations that it is genuinely unsettling. Watching this story unfold is one of the most enjoyable experiences presented by Carpenter, and it stands as an example of when a fascinating concept is met with brilliant execution.

7. Memoirs of an Invisible Man (1992) Memoirs of an Invisible Man came out at an interesting crossroads between my budding interest in film, the idling of John Carpenter’s career, and the downward spiral that was Chevy Chase’s career. Looking at it through an objective lens is rough, but time (and the task at hand) has allowed me to do so, and I find that I still enjoy this film as much now as I did then. The special effects at the time were downright jaw-dropping, and many of them still hold up. The practical effects help sell the illusion, so much so that the illusion is implied in points that it would be a budgetary burden and still manages to not distract. With Chase in the lead, one would imagine that the film would be funny, and while not a comedy, it does allow for several beats of well-timed comedic moments. At the time, the film’s narrative was panned for being uninspired, but in my opinion, some of the harsh judgement may have come from the expectations set by the careers of Carpenter and Chase. While not your standard John Carpenter affair, the film does showcase his ability to “play the game” and create solid work, even if it continues to be harshly judged and misunderstood.

6. Escape from New York (1981) When it comes to actors connected to directors, it’s usually not long before the pairing of Kurt Russell and John Carpenter comes up, and Escape from New York marks the genesis of this cinematic bond. With his traditional good looks, no-nonsense attitude and penchant for sharp wit, Russell was the perfect leading man for Carpenter’s vivid cinematic exploitation ventures. As for Escape from New York, the city had yet to undertake its Disneyfication of the 1990s, and the movie stands as a bleak vision of what the crime and moral dissonance of the city (and era) could lead to if taken to the extreme. Creating the worst place in America as an inescapable pit to drop the President into immediately sets the stakes high, and with little to no background, we are given the one man seemingly capable of achieving against impossible odds in the form of Snake Pliskin. Like some kind of urban Mad Max, Escape from New York gets wilder and wilder as the minutes tick away, making it one of the most iconic New York films to date, and one of the strongest offerings from John Carpenter during his legendary run.

5. Halloween (1978) The first of many John Carpenter classic films, and arguably the most iconic of the bunch. Three films in, John Carpenter not only managed to turn one of the biggest profits in independent film history, but he created one of the all time great movie monsters in Michael Myers. The film put Jamie Lee Curtis on a rocket to success, turning her from a burgeoning television hopeful to a certified rising Hollywood star in just one role. In terms of pure production, the trend of growth continued for Carpenter as his cinematography gained more freedom of expression, the performances from his actors and actresses felt more natural, and quite possibly most importantly, his scoring ability was hitting maximum resonance, with the main theme of Halloween being equally as iconic as Michael Myers himself. The film has become an October staple for the masses, but manages to be enjoyable any time of the year due to its sheer ability to entertain and frighten audiences. If one were looking for a singular example of the John Carpenter aesthetic, Halloween stands out as a smart choice. Bonus points to John Carpenter for giving the Howard Hawks produced version of The Thing a shoutout two whole films before remaking it.

4. In the Mouth of Madness (1994) Films about collective psychosis are nothing new… be they fodder for popcorn consumption such as Fallen or Identity, or teetering on the realms of art like Jacob’s Ladder, they are always a strong foundation for something memorable. Maybe that’s why In the Mouth of Madness seems at once exciting and familiar while watching it, as collective psychosis provides John Carpenter with plenty of ingredients to make his trademark-worthy best. Building an entire referential lore around fictional fiction writer Sutter Cane builds all kinds of abstract immersion layers to explore, especially with direct references (and delightful digs) at Stephen King and his Multiverse. Sam Neill and Julie Carmen take us by the hand and yank us through the innovative twists and turns with wonderful chemistry, with Neill giving an especially cavalier performance. The film has a billion and a half production touches that put the creep factors on overdrive, with some of the directing choices nearing the realms of Lynchian. It’s also a nice touch to hear Carpenter back in the scoring chair (even in a shared capacity). Films like this one aren’t done justice via rumination, review or commentary… it’s best to just dive in and deal with the repercussions on the other side of it all.

3. They Live (1988) John Carpenter has made some amazing films in his time, but there are a small chosen few that contain genius-level writing and execution. Of this upper class of films, it’s arguable that They Live is both the most entertaining and the most thought provoking in terms of what it is saying (not to mention how much more relevant that message has gotten over time). A damning examination of capitalism, mass consumption, class divides, media influence and the use of police state tactics, Carpenter paints his science fiction with bold strokes of relevant facts that many often choose to ignore. The action in the film is top notch (including quite possibly one of the best fight scenes ever captured on film between Roddy Piper and Keith David), the makeup work on the aliens is instantly iconic, and the story not only sticks with you, but contains aesthetic elements reminiscent of Jenny Holzer’s influential artwork while being used for an identical purpose. If this list centered solely on John Carpenter minor box office successes that became top tier cult classics, They Live would likely occupy the top spot.

2. The Thing (1982) The Thing is one of those movies that works on so many levels that it’s hard to fathom. The shorthand used to set up the story gives you a clear understanding of the situation with minimal use of exposition that is replaced by loads of character and world building. The threat is initially unclear, but the indication of its eventual impact kicks off the film with context that is only understood after your first complete viewing. John Carpenter turned over the scoring helm to Ennio Morricone, perhaps the only individual who could score a Carpenter film better than Carpenter himself, and the results are classic. The special effects work is brilliant, as it is not only initially shocking to see the terrifying transformations the creature undertakes, but it is deeply traumatic in a way that sticks with viewers permanently. Carpenter could not have asked for a better ensemble cast, especially considering that it seems like everyone came prepared to play team ball rather than try and outshine one another. It’s always fascinating to me that this film was widely rejected both critically and at the box office upon release, as it took me way too long to get around to this one (and I was only 3 at the time of release). I’ve always encountered nothing but deep fandom for the film, and rightly so, as this film is a masterpiece that deserves every piece of praise it receives.

1. Big Trouble in Little China (1986) What doesn’t this film do right? Kurt Russell is giving his all as Jack Burton, and the film beautifully wraps itself around him in a hurricane of action-based slippery slopes. Setting the film in San Francisco automatically gives it a memorable aesthetic, and locking down the majority of the film in iconic Chinatown is nothing but cinematic gold. We’re told that we’re going to get an unbelievable story, then we meet our everyman that will guide us along on our journey, but very quickly his expectations (and by extension, ours) are blown clear out of the water, and things continue to escalate at an exponential rate. Memorable runs in high quantity and quality for this venture… some of the most quotable John Carpenter film lines come from Big Trouble in Little China, his score for the film ranks high among the canon, the special effects are electrifying (pun intended), the action is high octane, and the martial arts is treated with complete respect in its presentation. Outside of They Live or Vampires, this is arguably the most fun film of the Carpenter collection, and is almost guaranteed to turn the unfamiliar into fans.

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miraculousturtle · 7 years

Text

to you, i thee wed (chapter ten)

They didn’t know they were marrying each other until the bride got to the altar. And then panic ensued. Married at First Sight AU.

(AO3//FF.net)

Parts: 1 2 3 4 5 6 7 8 9 10

WC: 8.5K

Paris is dark by the time they make it home, the airport chilly, but not as frosty as the Faroe Islands. Remnants of magic grab at his clothes, tendrils tugging him somewhere cozy and safe. But bright lights and no stars in the sky remind him that he’s home again and that’s both exciting and terrifying.

(Like free from tall buildings and jumping out of planes and leaping over rooftops and—)

He cranes his neck back and tries to close his eyes, take in this moment of bustling life on the tarmac but winces. Adrien hisses in pain though, the side of his head still a dull ache.

Last night only flashes in bits and pieces towards in the early morning hours. Marinette’s soft body against his, the less than chaste kisses on an icy sidewalk. Laughter sounding through the air as they made their way upstairs.

It blurs when he hits the bed, the last of his memories of Marinette’s mouth against his, of blue eyes and pink lights and—

Dreams of Ladybug bathed in lamplight.

He rolls his eyes, his heart caught up in the past and in the present, an old love that’s gentle like a flame and...something new he doesn’t know how to name. It is brighter and warmer though, the promise more than great, hope washing over him like an ocean’s wave.

“Goddamn it,” he whines, “please remind me to never drink again, okay?”

Marinette’s face twists for a moment in sympathy and she gingerly rubs his back.“Yeah, wouldn’t want you to, um, fall again.”

She’s cute. Her midnight hair loosely frames her face, mussed slightly from sleeping on the plane. Even with chapped lips, she’s imperfectly gorgeous. Effortless and real. And in some ways, his.

“Yeah. No kidding. God, I just remember laying down in bed with you and nada. Besides waking up to this splitting headache.”

She tangles her fingers with his. “I know, you told me.” A nervous smile awkwardly paints her features, spread a little too tight and thin.

Adrien decides to focus on the now instead of the then. None of this is Marinette’s fault, he knows. He just...got stupid and fell and this is his reward: to have a sore noggin with a bruise spreading under his hairline.

He lets out a yawn, “I know, I know. You’ve been listening to me complain all day about it, but yeah, it’s been a long day anyway.”

The wind whips at her grey coat as she gives his fingers a gentle squeeze. “I don’t mind listening to you complain though. Not about...this at least...or anything really. Complain away!”

Despite the poor lighting, Adrien swears he can see a healthy rose dust her cheeks. Marinette’s heart is stitched into her sleeve whether she knows it or not. She’s a cautious girl in theory, but in application, he’s only met a few that are so brave. His wife leads much more with her heart that he thinks she’d care to admit.

Adrien shrugs, enjoying the warmth from her hand. “Nah, I think I’m okay for now. I’m just cranky from the flight. Not even the longest one, but the short ones always make me a little green around the gills.”

“Ah yes, I’ve married quite the world traveler. How soon I have forgotten,” she says with a coy grin.

Lights reflect off her eyes like a starry sky, gleaming bright pinpricks of color. He stares a moment longer than he should. Her smile becomes shy, like moonlight through curtained bedroom windows. He never knew that night could be so soft and kind.

Adrien wraps an arm around her, breaking eye contact. He hugs Marinette close to his body, enjoying the small gasp she emits. “You’re just jealous of my passport. I saw you eyeing it.”

Marinette chuckles, with a playful accusatory tone. “It just has a billion stamps, Adrien! A billion! I’ve only had a few since I rarely leave France, let alone the EU.”

He beams at the envy, the unspoken praise his spouse gives him and the awe in her voice.

“Good thing I didn’t get any stamps this week or that would really suck for you,” he teases. “But it’s okay. We can get more together. That should be fun, right?”

Her reply hangs in the air, shifting the atmosphere to something heavier. Marinette’s fingers curl into his coat, at the spot between his shoulder blades. “...are you sure?”

Her voice is a small, a low thing that could easily be caught on a chilly breeze. These are the moments where Adrien can see the purple outline of his wife’s anxiety, the obscurity in the unknown. Unsurety clouds her brave spirit.

Adrien blinks. “Marinette!” he says. “Of course I’m sure. I married you, didn’t I? Who else am I supposed to travel with?”

“I don’t know. Nino?” she wonders, her foot scuffing the ground.

He bumps into her shoulder. “Nino is an awful flight companion. He also snores.”

Marinette finally relaxes, her body less tense. Her mind travels far away though, no response to his retort. A dreamy haze envelops her form.

She gets like that sometimes, he learns. Like at the hill overlooking the water, he felt when he saw her there, that she would fade away if he spoke. She’s a shadow out of the corner of his eye. If he turns too quick, she won’t remain.

“Marinette?”

Her gaze settles back on him, clarity registering. “Oh yeah, I was just thinking.”

Adrien takes a step closer, rubbing his thumb where he thinks her heart would be on her sleeve. “About?”

She can be skittish too, his new wife. It’s best to sometimes step lightly and speak in a low voice. Almost cat-like, he thinks, much to his amusement.

“Where are we gonna sleep tonight? I mean, we don’t have a place that’s...ours, you know. I know that we’re supposed to start house hunting tomorrow.”

Adrien chews on that bit of information for a bit and tries to be as nonchalant as possible. “I mean, you live all away across the city and...I don’t know...don’t. So, um, you see, uh, if you don’t mind, we can sleep at mine tonight?” he babbles. “And, uh, tomorrow, we could...always head over to yours?”

He inwardly cringes at himself. Just. Wow.

(This is what he gets though. Applying as the start of a joke and then actually getting married to a wonderful person. How in the hell is he supposed to measure up? Just. He’s. Yeah.)

Marinette shuffles her foot for a moment before slightly grinning, easing the erratic beating of Adrien’s heart. “That should be fine, I think. Do you have any PJs for me though?”

Adrien stares at his wife for a moment and tries not to swallow, anticipation sizzling under his skin. “We’ll manage something.”

Marinette blinks for a second and tugs him to the re-entry area. “Oh my god, Adrien. I don’t even want to know where your mind is going,” she says, humor warm in her voice.

It takes a moment for him to reply, mock annoyance coming out as he grips her hand harder. “Hey!”

His wife laughs and pulls him with more force this time, the cool air fanning their faces as they tease and bicker with each other. He still feels caught in a dream, the faint looming doom that he might wake up and none of this was real lurking at the back of his mind. He chooses to ignore it.

It doesn’t take long for them to be verified as French citizens. Once through immigration, they make it through to baggage claim easy enough. It’s warm, this feeling of not being alone.

When was the last time he took a trip for fun? Let alone with family?

(Adrien remembers the flight to New York. The somber silence that rested between his father and him remained almost impenetrable as they flew across the Atlantic. A suffocating end to lives they both promise they would never revisit. Not as long as they had each other.)

At baggage claim, they are surprised by happy faces.

Holding up a big sign that says: Welcome home Mr. and Mrs. Agreste are Mr. and Mrs. Dupain-Cheng. Marinette screams with glee and lets go of Adrien’s hand instantly, making her way to her parents with an extra bounce in her step.

“What you doing here?” she says as she launches herself into her father’s arm.

“Surprise, Angel!”

Adrien watches from the side. Plagg looks up from his big coat pocket and offers a rare soft smile and pats his knuckles. Adrien curls his finger under his chin, rubbing the point with affection.

Family is an “us versus them” thing sometimes, an invisible wall of where he feels like he’s on the outside looking in, a relationship that he’s not—

(meant to have, he wants to say)

—but Mr. Dupain-Cheng looks over the top of Marinette’s head. He surges forward, curls a large arm over his shoulders and wraps him up too, memories of when he was a child springing forth as his father used to do the same. The warmth hits him automatically, cracking the glass and the world becomes snugger as his wife slips an arm around his waist, a point to follow because it’s like the world...the world is more than it was before two seconds ago. More—loving and kind and—he didn’t think that could be possible.

“Tom, you’re crushing your new son-in-law,” Mrs. Dupain-Cheng says, laughter in her voice as she tugs husband away.

Tom laughs, boisterously and full of heart. “It’s tradition, my dear. Father-in-laws have to smother new son-in-laws.”

Sabine gives him a pointed look, raising a brow, completely unimpressed. “Just because my father was crazy, doesn’t mean that you have to go and—and—” she fumbles before looking at her daughter. “Marinette, what’s the word you used to say when you were a teenager and liked all that Japanese stuff?”

Marinette colors pink and Adrien can barely contain an unattractive laugh. He answers instead, feeling like he’s finding wondrous new ground with his wife. “I think you’re trying to say glomp.”

“Yes! That’s it!” his mother-in-law says with a snap of her fingers. Scolding her husband, she juts a finger at him. “You can’t just go and glomp the poor boy, Tom!”

Out of the corner of Adrien’s eye, Marinette cringes and covers her eyes. Under her breath, he hears her, “Why me?”

Adrien wraps an arm around her shoulder, shaking with silent laughter. “You were a weeb,” he sing-songs.

Marinette peeks from her fingers and glares. “Shush you. I remember Nino telling me about your weeb phase.”

Adrien shrugs. “What phase? I’m still a weeb, through and through.”

“Oh my god,” she groans before her parents turn their attention back to them.

“Anyway,” Mr. Dupain-Cheng says loudly while looking at his wife. “As I was saying, it’s tradition and welcome back and we’re here to take you home.”

“But dad, we live all over the city.”

Her mother laughs. “Not your homes, our home! At the bakery! With lots of warm food and a good place to sleep.”

“But—” Marinette says, looking up at Adrien sheepishly. “We were, um—maybe…”

Oh, she looks so shy. A part of him inwardly wants to decline, wants to spend time alone with his new wife; however, looking at his in-laws, they are eagerly waiting to hear their reply.

Adrien decides then and there, giving his wife a quick squeeze while saying goodbye to alone time.

“Sounds good, Mrs. Dupain-Cheng. Thank you. We’re kinda tired anyway.”

His mother-in-law smiles and throws her arms around them much like how her husband did. “No! Thank you, sweetheart. And you can call me Sabine.”

“And Tom is fine for me, son,”

(Oh god, son. No one has called him that in a long, long, long time.)

Sabine and Tom are off to get the car, leaving Marinette and Adrien alone surrounded by many busy and honking taxis. With her parents finally out of sight, Adrien releases a breath he didn’t realize he was holding. The night air seeps into his lungs with a chill.

Beside him, Marinette laughs. “Sorry. They’re a bit overwhelming, huh?”

Adrien warms his hands with his mouth and nods. “I didn’t realize—,” he starts, yawning again, “that I would be getting a real family too out of this experiment.”

Marinette hums in agreement. “I know, from the way the doctors were telling me, it seems like families are a bit more distant, but maybe because my family knows you and they’re just more excited about it than others.”

“Oh yes,” he teases. “I bet they’re just cackling on how you got to marry your girlhood crush.”

(He will never tire of that, of the sweetness that melts his heart. His wife loved him once—and that is...wow.)

(Adrien remembers always looking at her back, how tall she would stand and laugh with her friends. Marinette both timid and bold, creative and daring, quiet and loud. A paradox only noticeable if you saw her shift between situations. Shy and awkward with him, quirky and funny with Nino, driven and sweet with Alya.)

Marinette rolls her eyes. “Seriously, you’re never, ever going to let that go, are you?”

“What proper husband would I be if I didn’t constantly seek ways for you to stroke my ego?”

Marinette gives him a flippant response. “Oh, I’ll show you stroking.”

Adrien stills, breathing ceasing to be a function. “What?”

Marinette huffs, absentmindedly repeating herself. “I said, I’ll show you strok—” before her face twists with mortification. “Oh my god! Um, no—not like that—but like—well, maybe?”

“Maybe!?”

“I don’t know, maybe?!” she squeals. “Maybe later? Don’t ask me these things,” she whines.

“Maybe what?” Tom says.

In horror, both Marinette and Adrien snap, “Nothing!”

Sabine looks at them then at her husband. “Oh, oh dear, honey—this is definitely something we don’t want to know.”

“Maman!”

Tom throws a thumb, grinning wildly. “Anyhoo, car’s this way kiddos. Please leave all marital embarrassment on your honeymoon and come back to reality. Right this way.”

“Papa!”

The trip to Marinette’s house is pleasant. Idle chitchat as her parents ask about the honeymoon and all of the mishaps. From incorrect flights to big breakfasts on a hidden gem of an island. It boggles the mind, they say. Even slightly soap opera dramatic, but—well, what about their marriage isn’t a soap opera?

Tom drives the car around the back of the bakery and pulls into their garage. It strikes Adrien then, as the door is lowering itself behind them at this is really happening. He’s spending the night at his in-laws with his new wife and it’s a bit—exciting.

He stifles a large yawn behind his hand when Marinette catches his eye and gestures towards the house door. Looking at her father, she pleads. “Papa, please tell me there’s food.”

The trunk pops open with a satisfying click. Tom chuckles as he lifts both suitcases, a smirk in his voice. “Darling, did you hear that? Our child asked us if there’s food.”

Sabine ushers everyone inside, her fingers brushing against the mid of his back. Smiling from ear to ear, she shrugs. “It’s like she thinks we don’t live in a bakery.”

Marinette huffs. “Yeah, yeah. Anyway! We’re going up to my room!”

They both kick off their shoes by the back door and Adrien takes a moment to admire the way the family lines their shoes together. Nice and neat. It’s adorable. He places his pair of shoes a smidge closer to his wife’s.

Marinette laces her fingers between his. “Ever since they got the floor redone, they’re very anal about scuffs on it.”

Adrien knocks into her shoulder. “It’s not a problem. Makes sense. I personally don’t wear my shoes inside for the same reason. I hate the mess.”

“Adrien, don’t listen to her,” Tom calls. “We’re a very Chinese household! I was born there, you know!”

He turns at the sound of the voice, unsure exactly where Tom could be. Marinette shakes her head as her mother’s laughter rings somewhere not too far away.

“Don’t humor him. He already thinks he’s a very funny man.”

“He kinda is a funny man.”

Mariette sends him a mock glare, mirth clinging to her voice. “Don’t!”

With that, she drags him up the stairs two at a time into the main living room. Adrien smiles broadly all the way. It’s a dream, he thinks, it has to be a dream made of good things as she looks back at her eyes sparkle with mischief. She leads him up the slight ladder and pushes her floorboard open. It’s almost like entering a different realm, the way the moment vibrates with magic.

Or as if the time-traveled and they’re both teenagers again.

It’s still completely pink, Adrien realizes when he enters and Marinette flicks on a light. It’s neater though, more mature. Stocks of fabric hang everywhere in a corner, taking up most of the room. Mannequins display work in progress pieces for various gowns and outfits. He’s instantly reminded of his father’s studio.

(A cramped office with swaths of fabric in every direction. Beads in containers and a singular mannequin with brown stains. An old lamp with a bright bulb sways overhead.)

“I use this place a lot for storage or when I design wedding dresses,” she says.

Her words interrupt his thoughts, his fingers admiring the embroidery on a satin gown.

Adrien turns to her. “You design wedding dresses besides for your own wedding?”

She rubs the sleep out of her eye. “Sometimes. On commission. I design a lot of things though.”

“Yeah, enough for your own shop and it’s doing—?” he asks.

Marinette wears a bemused smile, idly folding wayward fabric scattered on a nearby table. “Well. It’s doing surprisingly well. I get asked to do a lot of fashion shows and I even have three of my own employees.”

“Wow. How did you manage that?”

Marinette coughs. Her hands still as she folds another piece of fabric for a second, before ruffling it all up and starting over. “Um. Your dad actually. He—so many scholarships and things...I won a lot of them…”

(I am the future, Adrien. And to be the future, you have to help people along the way.)

Serendipity and happenstance pull at this moment, tug at him and want him to notice. Point out the alignment of how too much is happening at once. That his tremulous past is converging with his present in paving something new.

Pride warms his heart, but the edges remain brittle from ghosts he doesn’t want to name. He doesn’t show her the duality of his conflicting emotions in his praise.

“That’s amazing, Marinette!” Adrien pulls her into a tight and affection hug. “He would have been so happy! God, he loved those scholarship things!”

Her laughter buries into his shirt, over his heart, and helps chase away the cold that tries to come forth. She’s quickly becoming—

(—all that he needs, his heart wants to say, but it won’t. Not yet.)

Marinette peers up at him, her blue eyes sparkling gems. “Did he now?”

Adrien leans back and cups her face. “Yes. Yes, he did. He wanted talent to matter, not connections. God, wow, Marinette. You’re spectacular!”

He presses a quick kiss to her forehead, her cheeks warm in his hands.

“...thank you,” she blinks, stunned for a moment before looking down bashfully.

Adrien swallows and releases his wife, sticking his hands in his pocket. However, before he turns away, he doesn’t miss how her fingers go to her forehead, coupled with a small beaming smile.

The room falls oddly silent before Marinette blurts out. “Why become a professor? Why not work for your father’s company?”

Adrien finds her own chaise and sits on it, patting for her to follow. “Well, a lot of things.”

Maybe because he’s told the story so many times or maybe because there’s a lot of good things in his life and those good things outweigh the bad. Like when his dad helped her become an amazing designer from far, far away. Like his wife being amazing.

He starts as his fingers curl around her hand. “I’ve always liked science. Always. I mean, yeah, I was a good model, but science. Now that’s the stuff,” he says fondly. “When my dad and I left France after high school and moved to New York, I started taking heavy English classes and fell in love with school again. It was a good move for us, to be happy, you know?”

(Happiness is subjective, he thinks. Happiness never meant the same thing for the two of them.)

“I was about 21 at the time and I got my acceptance letter to NYU and well—my dad—he passed away,” Adrien says, swallowing over the lump that wants to form.

He won’t cry this time. He’s cried too many times before so he refuses to do so now. Refuses.

He blinks once and finds his voice again. “So, like, he was controlling the company overseas and when he passed, I decided to do it. But running a company is hard,” he emphasizes. “Six months of sleepless night plus grief and let me tell you, I don’t have a strong business sense,” he laughs, “I just...don’t. So, I made Natalie the CEO and we moved me to the position of the owner. She gets to make the hard calls and all I’m required to do is help pick new designs. I do a get a lot of the final say so with our fashion trends which is a bit fun.”

(Marinette patiently listens, doesn’t mind his rambling, doesn’t mind the emotion that leaks into his voice as he talks about his father. Her fingers only tighten around his in solidarity and in comfort.)

“Really?”

“Yeah, which is part of the reason I’m relaunching a lot of my dad’s older products from the start of his career.”

“Ah, I noticed that,” she says softly. She rests her head on his shoulder. “It’s been so refreshing to see all his old pieces! I really loved the re-release of some of his printed graphic pants. The one with triangles or the one with palm trees. They’re so sleek now, the cut much more modern.”

Adrien preens at the praise. “That may have been my personal suggestion. The new cut on the pants.”

Marinette happily sighs. “Oh, you know, I never thought I would have gotten a husband who was into fashion, but I’m so glad I did.”

“Well,” he starts. “I’m just happy to have you.”

They sit side by side for a breath, capturing the moment and enjoying that comes with it. Downstairs, his in-laws hobble around and their joyous laughter comes muffled through the floorboards. Adrien wonders briefly where Plagg has disappeared to, the black cat hiding somewhere in his wife’s old bedroom.

Marinette lifts her head and places her hand face to move him in her direction. Her fingers warm the apple of his cheek. “No, I’m the lucky one,” she whispers leaning closer. “Truly. You’re amazing.”

She kisses him lightly on the mouth and Adrien sighs into the kiss. It’s so easy to kiss her, so wonderful. His palm slides up her spine, her body melding closer to him as she grins with pleasure.

Her nails scrape the collar of his shirt and Adrien begins to push her down an—

There’s a knock at Marinette’s trap door, revealing Sabine as both Marinette and Adrien spring apart.

She grins at them, a knowing glint in her eyes. “Dinner’s ready kiddos.”

Marinette smooths her hair and clears her throat. “Kay.”

His wife gets up and stretches her back, rolling her neck from side to side. Looking over her shoulder, she extends her hand. “Ready?”

“I’ll meet you in a second. Gonna run to the bathroom first.”

Marinette nods. “Sounds good,” she says as she makes her way downstairs.

Adrien waits for the trapdoor to click. “The coast is clear, Plagg.”

Plagg zips out and yawns. “Thank god. I was too warm. This is why I hate when you wear sweatshirts. They make me extra sleepy.”

Adrien rolls his eyes. “Well, if you promise not to get caught, when I head downstairs, you can go sleep in my bag. And well,” he pauses. “I think I’m going to have to tell Marinette about you much sooner than I intended.”

Plagg stops stretching his body and narrows his eyes at Adrien. “What brought this up?”

“Mostly that I can’t keep you scrunched up all the time? I hate doing that to you?”

Plagg looks thoughtful for a moment before smirking. “You know I love to exploit your kindness.”

Adrien rolls his eyes and makes his way downstairs. “Yeah, yeah. C’mon O God of Destruction and Chaos.”

“Don’t yeah, yeah, me!” Plagg starts. “I—I want my own cell phone!”

Adrien stops and turns back. “A cell phone? Why?”

Plagg crosses his arms. “Well, other kwamis get cell phones! I should get one too!”

“Other? Kwamis?”

“Yeah. L—,” he starts to say, but clamps his mouth instead. “Just! Other kwamies have cell phones and awesome data plans and I want to watch TV shows and stuff. And maybe text and call my friends.”

Adrien’s brows furrow together before he shakes his head, lifting the trap door. “I—look, okay. We’ll talk about this. I don’t see why not, but yeah. I’m too tired and hungry to figure out the logistics, but yeah. Sure, whatever. I’ll buy you a cell phone with an awesome data plan.”

Plagg preens before zipping away into the shadows, swelling pride in every movement as he flies out of Adrien’s sight.

Going down the stairs, Adrien admires the photos that line the wall and sit on the bookcase. Dozens of family photos everywhere. From school pictures to family vacations to portraits. And much to his surprise, there’s a snapshot including all four of them. They all look very—happy.

Hearing his name pulls him out of his reprieve and he joins his new family at their breakfast nook. The clinking of bowls and silverware echo. Heat insulates the kitchen as warm spices fragrant the air. Set up neatly on their breakfast nook are little dishes with sliced red meats and vegetables. In the center, a large pot sits on a burner and Marinette squeals with delight as she bounces to her chosen spot by the window.

"Really? Hotpot and fried lotus root too? Is that pickled eggplant and...kimchi?"

Tom rubs his nose and beams. "Well, yeah. It’s easy and your mom has been on a bit Korean kick lately. You keep recommending those dramas to her!"

Marinette giggles. “My friend has really good taste so I trust totally trust her when she says one is good.”

Sabine turns to Adrien and guides him to sit next to her daughter. "I hope you don't mind. It's one of Marinette's favorites. The broth is pork bone and I didn’t make it spicy."

Adrien smiles. "No, it's fine. I love spices. And hot pot is always good."

"Oh, that reminds me! Marinette used to be so amazed that you spoke Chinese! My uncle was really fond of you when you came helped translate when the two of you were in school."

At the mention of Uncle Wang, he laughs."Yeah. I'm still nearly fluent. I try to keep up with it if I can."

"See, Mari. I told you'd marry a smart man one day," Tom jibes, pointing his fingers in her direction.

The rice cooker next to Marinette dings and automatically she pops it, adding a starchy scent to the aroma of the kitchen. She takes the plastic paddle and starts to pile rice into a well-loved matching set of bowls.

Marinette rolls her eyes, sarcasm dripping with every word. "Ah yes. You knew this would exactly happen."

(He doesn’t ignore how she serves him, edges into his personal space and places a bowl of rice in front of him. Naturally banters with her father as she feeds the people she loves mos and Adrien happens to be apart of that too.)

"Well..." Tom side-eyes, smirking his wife with mischief.

"Papa!"

Sabine heaves a great sigh and lightly smacks her husband. "This is why she doesn't want to come home all the time, Tom. You always tease her." As she places onions, pumpkin, and small mushrooms in the pot, she looks to Adrien, giving him a defeated look. "Adrien, please, don't let my husband scare you away. I need you to bring my Angel home to me."

He grins, nudging her shoulder. "No worries, ma'am. I'm sure we can have weekly dinners, huh, Marinette.”

She scoffs, cracking a few eggs and letting them disappear underneath the broth’s surface, much to Adrien’s fascination. "Adrien, don't let my parents fool you. I'm here several times a week at all different hours. They're just upset because they only had me and now they have no one else to smother."

"Well, excuse us, my love, if we love to smother our dear daughter," Tom pouts, placing a generous heap of kimchi on Sabine’s plate. "We just love you."

"Papa, I love you too,” she says, adding some red meat into the pot. “But we all know that I'm here all the time and that is apparently not enough."

"We just miss being able to bother you, that's all."

"You bother me fine. All the time. Every day!"

Adrien laughs, enjoying the togetherness as he takes a bite of lotus root. "Well, I'm free for both bothering and smothering, if you must. Gives a chance for my wife to have a break."

(It’s different—the lotus root. Pretty when sliced revealing a flower. Almost chalky like water chestnuts, but better because it’s fried and crispy. He doesn’t really like water chestnuts anyway.)

"You hear that, Sabine. The boy wants us to smother him. He's perfect." Turning towards his daughter, pouring beer into four glasses. "Divorce or no at the end of this experiment thing, I'm adopting him now."

Marinette sighs and steals a piece of pickled eggplant Tom was eyeing. "Papa. I don't know why you're always so dramatic. You're such a drama queen."

Adrien relishes in the closeness between Marinette and her family as he picks meat and vegetables out of the pot to eat. He finds a nice piece of meat and shyly places it atop Marinette’s rice, hoping she doesn’t mind.

(The surprised smile she sends his way proves that she doesn’t.)

Her father frowns for a moment, before quickly grabbing a piece of pumpkin."Ah, my love, but the best men for you are men like your papa. We are romantic and I'm sure Adrien is the romantic sort, yes, son?"

Adrien slurps his broth a little too quickly and burns his throat. He coughs as he settles his ceramic spoon on the side of his bowl. "I guess you can say that. I'm more cheesy if anything."

Tom blinks before breaking out in boisterous laughter. "Marinette loves cheese! It's her favorite danish! And fondue is her other favorite. As well as smelly cheese."

The new information strikes him oddly funny. Because of irony and things related to cosmic little gods. "Of course," he snorts. "Good to know."

Marinette shrugs, fishing out a hard-boiled egg from the soup. "What? I'm a lover of all things salty. And cheese is God's gift to man."

"Marinette, when in doubt, you still can't survive off cheese," Sabine says, warmth in her voice as she chews on kimchi.

"No, Maman, I can't survive off sweets. I've tried."

“Well, here, darling. Have some more onions so you can grow big and strong.”

“Mother. I’m twenty-six years old.”

Sabine scoops more things out of the pot and puts more side dishes on her plate. “Well, you’re not twenty-seven yet. So, still growing.” She pauses for a moment and then puts more food on Adrien’s plate. “And some for my new son-in-law too!”

Adrien blushes. “Thanks,” he mumbles.

Tom takes a swig of his beer, some of the foam caught in his mustache. "Should've just been a baker like her mama and papa, but no! Had to be a fashion designer," Tom mutters. "Did you know that my daughter is a fantastic wedding cake decorator. She could have joined the family business, but she decided to go follow her own dream." He picks at his meat before shoving some rice into his mouth.

Sabine takes a sip of her beer and gazes fondly at her husband. "But she's following her own dream just like her father, right, dear? Because if I remember correctly, your father wanted you to take over mortuary."

He grumbles, his fingers tapping the condensation on his glass. "So? Running a bakery and running a funeral parlor are two different things! And my father came around to my bakery."

Marinette giggles and reaches across the table to lay her hand atop her father’s. "Yes, but Papa, you've always supported me and fashion."

To that, Tom gives a small smile and pats her hand. "I know, my love, I'm just being playful.”

Marinette flicks his hand, her expression changing lightening quick into a scowl. “Well, stop being playful then and eat your dinner!”

"Goodness," Tom says, faking a sniffle. "What a bossy and mean daughter I have. All I want...is to love you..."

(Across the table, Sabine shakes her head with fondness, giving Adrien a look that states that both father and daughter are always like this.

He swallows the bubbling happiness that rises in his chest, wanting to almost cry for something he can’t explain. Maybe for all the good things.)

Marinette groans and puts her hand on Adrien's shoulder. "Look here, Papa. I've given you a son. A son up for your constant smothering and dad jokes."

Adrien looks him straight in the eye with an affirmative nod. "I do love dad jokes, sir. I need a daily dose along with puns."

Tom perks up and grins like a madman. "Puns? You love puns too?"

Sabine stage whispers towards her daughter. "Look what you've done. I've been training him not to do that."

Marinette whines and wiggles in her seat. "I'm sorry, Maman. I've unleashed the apocalypse."

Sabine sighs. "All I wanted was to spend a nice evening with my daughter and new son-in-law, and yet my ham of a husband and child have made my life very difficult."

"Oh, but my darling, if I didn't make your life difficult, you would have left me long ago. For some dashing bad boy."

"You were supposed to be my dashing bad boy. Do you remember how we first met?

Tom looks to Adrien as Marinette blissfully sighs and rests her head on Adrien’s shoulder. “This is such a good story,” she whispers. “You’ll like it.”

Adrien nods and wraps an arm around Marinette for a quick squeeze, intent on listening.

"So, I first met Sabine when I was in my early twenties and at this fancy bar in London,” Tom starts, with a twinkle in his eye. “We were both on holiday apparently. But, there's this pretty girl and she's wearing this pretty dress, completely stunning. It was a bright red dress and her hair was long and framed her face,” he says fondly as he grabs his wife’s hand.

"Either way!” he continues. “I never got around to learning English, really. Just never suited me much, but I didn't let that stop me! Couldn’t really when there was this gorgeous girl and my mates were all chatting up other ladies anyway and this other man was eyeing the same pretty girl I was!.”

Adrien chuckles at that, Tom’s expression so annoyed at reminiscing the past. He wonders if he’ll feel the same in the future—tell his story to someone with such expression.

Sabine chimes in, playfully rolling her eyes. "So, I see this cool looking man come up to me and my friends. He's super tall of course, and just as big-shouldered, wearing this leather jacket. Now, I had recently broken off an engagement to someone. So my cousin convinced our parents to let us and some girl friends go across the Channel and I was out on the town to flirt a bit and maybe dance.

"And Tom used to look far more menacing looking back then. He's always been a sweetheart, but with his slicked back hair and dark clothes, he could have been a mobster. Anyway, this supposed bad boy comes up to me and I assume asks me if I want a drink in English, but I don't speak English. I speak French and Chinese.”

“But I didn’t know that, you know! Had no clue!” Tom interjects. "So, Sabine and I speak in broken English at the bar talking about the weather and it was awkward because I already said all the words I knew! But then! But then, she mutters some French under her breath and I was like--wait, I speak French! And the rest is history."

"Well, no, not history,” Sabine sighs happily. “More like a new beginning, but I forgot to give you my number and address and we didn't meet again until a year later in culinary school when you asked me about pies. However, I only started taking you seriously when one of my relatives passed and I ended up in your family's funeral parlor."

Marinette turns her head to whisper in Adrien’s ear. Her breath fans his neck and he wants to shiver. “The infamous funeral parlor my father refused to inherit,” she says, laughing quietly.

Sabine catches his attention again, wearing a bittersweet smile. "It was my favorite cousin. She was very sick, but when I told her about the man, the one I met in London, she always told me that she would help me find him. And she did, in a way, because we met in culinary school because she thought I should open my own bakery. When I told her I found him, she told me I was going to marry him. She was right about that too."

Tom nods, just as wistful. “Marie was right about a lot of things.”

Sabine grins up at her husband before locking eyes with Adrien. “But yes, that’s how Tom and I met, honey. That’s our love story.”

"Wow. That’s...some love story," Adrien says slowly, unable to form a more coherent sentence.

Marinette giggles. "You have no idea. These two are like romance novel constantly. I love it."

Adrien opens his mouth to reply when Tom cuts in. "No, you don't! You tell us all the time how gross we are. Like a baby."

"But I'm your baby, Papa. And it is gross sometimes. You two are ridiculous."

"We are your ridiculous then."

"More like ridonkulous."

And Adrien doesn't know why that strikes him funny, maybe a way to ease the tension of being with such a warm and loving family. They love each other and argue over silly things, but he remembers love like this once too, a long, long time ago.

Between his mother and father before everything went wrong.

And yet, Adrien lets out a snort, a kind of laugh that he definitely categorizes as his most ugly: the kind of sound that tickles your throat because you got too much air going up your nose and it becomes a half sneeze, a choke, and a whine. A bit mucusy too as some spit went down the wrong way. It only happens at the worst of times.

Like now, when all three members of the Dupain-Cheng house snap their attention to him and Tom's face washes with panic. He shoots from his seat as Adrien reaches for a glass of water and wraps his two bear arms around him to perform a Heimlich maneuver.

Expect when Tom's hands fist too hard under Adrien's ribcage, trying to expel something that isn't there.

"C'mon, son! I got you! Let's get that out," Tom grunts.

Adrien makes another choking sound, this time from being punched in the gut one too many times.

Marinette scrambles to her father's side. "Dad! Dad! You're hurting him!"

"He's choking, Marinette!"

Adrien is finally able to tap Tom's hand, trying to get him to stop. Tom lets go as if he was burned and Adrien falls to the ground.

Marinette rushes to him and touches his face. "Adrien, are you okay? Oh God!"

Through all of the chaos, Sabine sighs and grabs her cell phone. "112? Hi, so my husband tried performing a Heimlich maneuver on my new son-in-law, but I think he caused more damage than good...no, no. He actually wasn't choking—just had an awful laugh...."

Heart monitors beep out of sync, the air chilling her to the bones as the doctor scribbles notes on a clipboard. He’s pinned two x-rays up on a board, illuminating Adrien’s ribs. Nothing is broken. Thank goodness.

The doctor tears a note from his pad, the sound ripping through the air as he glances at her husband. His lips twitch. "Well, at least your father-in-law tried to save you. Mine isn’t as kind."

Adrien weakly laughs a stunned breath before grimacing. "Yeah, that’s good at least. I guess he likes me?"

The doctor smirks. “It’ll make Christmas go smoother. Trust me.” Looking at Marinette, the doctor gives her a prescription. "I gave him some painkillers earlier, but you can pick those up in the morning for him. He's to have bed rest and take it easy. Luckily, there was only some minor bruising to his abdomen area. My nurse will give you a numbing ointment at the desk and you can pick up a full size over the counter as well tomorrow."

"Thank you, doctor,” she says, gently taking the paper from him. “I hope you continue having an easy night.”

He nods. "Anytime, Mrs. Agreste. And believe me, me too! Must be a blue moon out tonight! Either way, good night to the both of you, and remember, take it easy!"

The doctor shuts the curtains behind him, closing the pair off from the rest of the ward. Marinette awkwardly smiles at her husband, her fingers digging into the material of sweater. "I am so sorry. So, so, so sorry."

Adrien shakes his head, happily experasted. "Marinette. It’s fine. I’m okay!"

"Uh, but my father indirectly assaulted you! And he’s my father and oh my goodness, does this mean I participated in indirect spousal abuse?!"

Adrien eases himself off the examining table, hissing. "Please, don't make me laugh. I hurt."

Marinette darts to his side. "I’m being serious, Adrien," she pouts. “I don’t like you injured.”

Mostly by my family. Whoops.

"Yeah, I'm starting to think that you Dupain-Chengs are a bit of the unlucky sort."

Marinette chuckles. "If only. C'mon, let's go back to my parents. My dad will most likely feed you until you’re nice and round."

“Mmmmm. Breakfast.”

“Not until tomorrow, you silly goose.”

Adrien wraps his arms around her and they make their way to the car. He playfully swats her on the shoulder. “I’m a cat for your information.”

The corners of her eyes crinkle. “Ah, yes. My apologies Mr. Kitty.”

His body is warm like his voice as they hobble down the halls together. “That’s Husband Kitty to you.”

Her reply is a quiet giggle as she holds him closer. There’s an easiness with Adrien, she realizes. Almost as if they’ve danced this sequence before in a past life. They always revolved around each other in school, but she was never this comfortable, this calm, this—

(She’s reminded of rooftops and close fistfights where he’d pull her in close and keep her out of harm’s way. In a life where her fingers skimmed the sky and her best friend taught her to fly. Because once upon a time, a little ladybug and black cat were—)

Marinette snaps back to reality when the cabbie pulls up to the front of the bakery, displaying his fare for her to pay. She slips him a fifty euro bill and runs around to the other side to help Adrien out of the car.

“I got you.”

“Thanks, babe,” he says offhandedly.

(And Marinette prays to everything under the blinding sun that she can keep her focus.)

The climb upstairs to her bedroom is a more daunting task than she expected, but Adrien champions through it all, taking each step at a time despite that his face is always on the edge of crumbling. She silently promises that he just can’t get hurt again on her watch.

They enter her room with a mighty huff, her husband collapsing on her chaise.

"See? That was good step in the right direction," he says as he stares at the light scattered upon her ceiling.

With her hands on her knees, Marinette pushes herself upright. "I'll show you the right direction."

"Like you'll show me stroking?"

Marinette's mouth hangs open before snapping shut. Propped up on her chair, Adrien is more than pleased. He’s more than tired, but joyful as she straightens her posture. As she crosses the room, he only becomes happier.

"You're not going to let me live that down, are you?"

"'Course not. That's what fantastic husbands do. Annoy their wives."

"Stop taking notes from my father," she sighs.

"I think I should take notes from your father," he says. "Your parents...wow, that's magic."

Marinette fondly smiles. "Yeah. They definitely have a one in a million kind of love. I really would love to have a marriage like theirs."

Adrien's eyes go downward. "We can try if you'd like. To have a marriage like that."

Her fingers brush his hair, sweeping his bangs out of his face. "That would be very nice. But how about we have our own marriage first and complete the experiment,” she replies. “Time is flying by so fast already and my head is spinning. I feel like we've been married for ages in a way, but at the same time, I barely know you. Like all the odds and ends of you."

A car honks outside, the moment stilling. "I think we were the lucky ones out of the experiment, Marinette,” he confesses, voice low. “I mean, to know each other, even a little bit, that puts us in a whole new category. We can take our time and I don't feel—very rushed at all, do you?"

Her fingers trace his jaw. "No. I don't. That's what I was a bit afraid of. That my new husband would want to have sex like...the night of...which would have been fun, but I'm glad we haven't yet. I feel...like we’re maybe more genuine this way..."

"Maybe because we see less of an expiration date," Adrien mumbles as she kisses the center of her palm.

"Maybe."

Marinette wraps her arms around him and rests her chin atop his head. She closes her eyes and enjoys the quiet that envelops the room. Like a piece of herself is settling into its new mold just right.

"Would you,” he starts, his breath warm through her shirt. “Would you be open...to having sex with me during the experiment?"

She stills for a moment and strokes his hair, letting the words flow from her with honesty. "I'm not against it. Let's just see where it takes us, okay? We're dating, but plus all the heavy commitment."

Adrien smiles against her shirt, almost over her heart. “I married such a smart woman.”

Marinette chuckles. “You know, some of my favorite romance novels have been the arranged marriage kind.”

“And why is that?” he asks, pulling back to peer at her. Adrien’s green eyes are jade in the low light. Luck and good things combined. “Are you saying you’re the reason we’re married.”

She shrugs. “Don’t think I’d go that far, but...there’s just something so beautiful about watching two people being open to love. Those were the best ones,” she says, caught up in dreams of romances she’s adored. “The ones where the couple opened up their hearts to the other since the day one.”

Warmth tickles her throat, sitting above her heart as she gazes down at the man she’s tied herself to by both chance and choice. Bliss permeates her skin and drowns her soul.

Adrien reaches up cups her cheek. “Is your heart open for me?”

She blushes, her heart hammering in her chest. “Is yours?”

His voice is a quiet whisper. “Yes.”

At his admission, her world closes in on this moment, her heart swelling in her chest, taking her very breath away. Affection leaves prickling goosebumps on her skin, coating her veins with utter captivation. Ever gently, she stands on her tiptoes and brushes her mouth against his, savoring the simplicity of them.

“Let’s get ready for bed and I’ll help put the cream on for you,” she whispers against his lips.

He wrinkles his nose. “What a kind wife I have.”

“Extremely kind,” she taps his nose.

Leading Adrien to her loft, she guides him to carefully sit on her bed, her heart twisting at his hiss of pain. Placing his pajama pants beside him, she pulls back the covers and then disappears to get changed.

When she comes back, his jeans are crumpled on the ground and his eyes find hers as she makes her way to her loft.

“What’s wrong?”

He plays with the hem of his shirt. “I don’t think...I can take this off by myself.”

“Oh. That,” she swallows, “does seem like it’d be hard.”

Adrien blinks, his mouth twitching. “Do you just...know what you just said?”

Marinette tilts her head to the side as she places a knee on the bed. It dips with her weight. “Not at all. I mean, this is what wives do. Sometimes. Undress their spouse?”

“Oh my god,” Adrien says under his breath. “You’re so unknowingly funny, but don’t make me laugh. Please.”

“Unknowingly?”

Adrien nods and winces as he lifts his arms in the air.“You have no clue how funny you are.”

“...I’m funny?”

“More than you’d know. Now, just...I feel like a child.”

Marinette suppresses a smirk and peels his shirt away. “You’re supposed to feel like a husband.”

(She doesn’t realize this, but her palm rests on his shoulder, burning him to his bones and—)

“Well,” he says, licking his lips. “If we continue down this course of undress, then, believe me, I’d feel like a husband.”

Her mouth feels dry. “Oh?”

He wears a small smile and a part of Marinette feels like for some reason it’s fragile. Like if he moves it one degree in any direction, he’d shatter, leaving her nothing but glass.

Adrien rests his hands on her hips and strokes up to her waist. “Yeah. I’d like that.”

Adrien sighs, his hands holding her firmly. “But much as I want to continue and find out what exactly can happen, I’m going to use my upper head and say no.”

Marinette smiles and pecks his forehead. “Okay. One day?”

His voice is quiet, but full of promise. “Most definitely one day.”

DISCLAIMER: before someone tries to drag me for hot pot, one of my most favorite dishes in the world that i love to eat on a regular basis, look. this is how me, my fam, my host fams, my friends, my boyfriend, my everyone i fucking ever loved do shit. we have fun. it's communal soup. we like to take care of each and serve each other. please let me live and dream happy thoughts about my most favorite dishes in the world next to pho.

AND HI. I AM ALIVE.

Can you believe I've been working on this chapter for like 4 months? Because I was working on this chapter for four months.

Also, my life has like extra changed. Yay!

Thank you for everyone who has had well wishes for mom! She's doing great and is back at work. I, myself, too have a job. Long story short: be really mindful to who and what companies you think you are talking to on the internet kids because I almost lost my job totally because something seemed too good to be true.

EIther way, thank you for all the comments, likes, and reblogs! Everyone's love for this fic has def gotten me through some tough times. You guys are the best and just thank you for waiting. I love each and every one of you.

#anapost #text #drabble #adrienette #miraculous ladybug #miraculous: tales of ladybug and cat noir #ladynoir #omg #i updated this story #marriage au #hi #i know it's been like a hot fucking min #but here you go!!!

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