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sineala · 3 years

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How would you say fandom culture has changed over the years? What are some differences you notice between older and younger fandom folks?

I’ve been thinking for a while about how to answer this, and I’m not sure I have a really good answer, but I’m going to try.

I’ve been in fandom since approximately 1995. Maybe 1994. At that point, the world wide web was a relatively new part of the internet, and the fandoms I was in had most of their activity on privately-hosted mailing lists (predating eGroups/OneList/Yahoo Groups) and on Usenet newsgroups, with fiction beginning to be available on websites as part of either fandom-specific or pairing-specific archives as well as authors’ individual pages. Fanfiction.net did not yet exist. LiveJournal did not exist. AO3 definitely did not exist. If you wanted real-time chat, there was IRC. I was coming in basically at the tail end of zine fandom; zines were no longer the only way of distributing fanfiction, as fandom started to move online. So I have a selection of zines from 90s-era Western media fandoms but even by then zines weren’t where I was doing most of my reading.

I think in terms of generally “what it was like to be in fandom,” the big-picture stuff hasn’t changed. Fandom still produces creative fanwork and likes to, y’know, get together and talk about fandom. Also, almost every fight or complaint that fandom has about something is a thing that has been going on for actual years. People complain that, say, the kudos button is ruining comment culture because back in the LJ days the only way you could comment on a story was, well, by leaving an actual comment, or sending an email on a mailing list, and this might mean that people who would have otherwise commented have left a kudos instead. But back in the LJ and mailing list days, people were complaining that commenting was going downhill since the days of zines, when in order to comment on a story you had to write a real paper letter and mail it and because you had to do that, the quality of feedback was so much better than you got nowadays because people could just dash off a quick email or comment. You get the idea. Top/bottom wars are not new either. Pairing wars are not new. If you’ve been in fandom a while, you will pretty much have seen all the fights already. I think one thing that is new, though, is the fandom awareness of things like privilege and intersectionality and various -isms, as well as things like “providing warnings might be nice” (do you know how much unwarned deathfic I have read? a lot!) and I sure won’t say we’re perfect at any of this now, but I think fandom is trying way way more about all that stuff than it used to.

There are some fights we actually don’t have anymore, as far as I can tell. I feel like it’s been years since I’ve seen the “real person fiction is wrong” battle, but also I don’t hang out in a whole lot of RPF fandoms, so it’s possible that’s still going and I just don’t see it.

There also used to be a recurring debate about whether gay relationships that were canonical were slash or not. When slash started, obviously this wasn’t a question because there weren’t canonical gay relationships in fandoms, period. But as gay characters began to appear in media, people started to wonder “does slash mean all same-sex relationships, or does slash mean only non-canonical same-sex relationships?” Now, you may be reading this and think that sounds like an incredibly weird thing to get hung up on, but that’s because what appears to have happened is that the term “ship” (originally from X-Files Mulder/Scully fandom) has, as far as I can tell, come up and eaten most of the rest of the terminology. Now people will just say, “oh, I ship that.” For any pairing, gay or not, canonical or not. Fandom seems to have decided that for the most part it no longer actually needs a term specific to same-sex relationships as a genre.

Similarly, there are a few genres of fic that we used to have also pretty much don’t exist anymore. There are also plenty of genres that are well-entrenched now that are also extremely recent -- A/B/O comes to mind. But there are some kinds of fic we don’t write a lot of now. Like, I haven’t seen smarm in years! I also haven’t seen We’re Not Gay We Just Love Each Other in a while. There was also a particular style of slash writing where you’d basically have to explain, in detail, what made you think that these particular characters could be anything other than straight. You’d have to motivate this decision. You’d have to look at their canonical heterosexual relationships and come up with a way to explain why all those had happened in order to reconcile how this one guy could have romantic feelings for another guy. When had he figured out he wasn’t straight? Who might he have been with before? How does he interact with people in ways that make you think he’s not straight? That kind of thing. You had to, essentially, show your work. And these days a lot of fanfic is just like, “Okay, Captain America is bisexual, let’s go!” It’s... different.

Fandom also used to skew older, is my sense. A lot older. I don’t know, actually, if it really was older, but I get the sense now that there are some younger people who are surprised that adults are still in fandom. I have seen people saying these days that they think they’re too old for fanfiction because they are not in middle school anymore. And I think a lot of this has to do with the fact that the barriers to access fandom are a lot lower than they used to be. You used to basically have to be an adult with disposable income (or know an adult with disposable income who was willing to help you out; but even then if you were reading explicit fiction you also had to swear you were 18+, usually by sending in an age statement to whoever you were buying the zine from or to the mods of the list you wanted to join, so a lot of fandom was very much age-gated). Internet access was not widely available. Even if you had internet access, you maybe didn’t have your own email address, so you couldn’t sign up for mailing lists; free email providers didn’t exist. If you wanted to buy zines, you had to have money to buy them. If you wanted to go to cons, you had to be able to afford the cost of the con, travel to the con, et cetera. If you wanted to have a website you had to know HTML. Social media did not exist. You want to draw art? Guess what, you’re probably drawing it on paper! You might be able to upload a picture to your website if you have a digital camera or a scanner, but both of those things are expensive, and also a lot of people don’t have the capability or the money to download pictures from the internet (some people have data caps with overage charges, and some people have text-only connections!), so they won’t get to see it. Maybe you can sell your piece at a con! You want to make a fanvid? We called them songvids, but, anyway, you know how you’re doing that? You’re going to hook two VCRs together and smash the play and record buttons very fast! If you want anyone else to watch them, you are either making them a tape personally and mailing it to them or bringing your vids to a convention. Maybe you can digitize them and upload them, but it’s going to take people hours to download them!

(Every three hours my ISP would kick me off the internet and I’d have to dial in again. If it was a busy time of day, it might take me 20 or 30 minutes to get a connection again. And that was assuming no one else in the house needed to use the phone line. Imagine if your modem went out every three hours now.)

And now, for the cost of my internet connection, I can read pretty much whatever fanfiction I want, whenever I want it. I can see all the fanart I want! I can watch vids! Podfic exists now! Fanmixes exist! Gifsets and moodboards exist! If I want to write fic I can write it with programs that are completely free, and as soon as I post it everyone in the entire world can read it. If I want to draw or make vids that may require some additional investment, but I may also be able to do it with things I already have. Do you have any idea how good we all have it?

There are a couple of kinds of fan activity that don’t seem to exist anymore, though, and I miss them. I know that roleplaying still goes on, but I feel like these days most people who do real-time text roleplay have switched to things like Discord. I know that in the LJ days, RP communities were popular. But I really miss MU*s (MUDs, MUSHes, MOOs, MUXes..), which were servers for real-time text-based RP with a bunch of... hmm... features to aid RP. There were virtual rooms with text descriptions, and objects in virtual rooms with descriptions, and your character had a description, and they could interact with the objects as well as with other characters, and you could program things to change descriptions or emit various kinds of text or take you to different rooms, and so on. Just to, y’know, enhance the atmosphere. It was fun and it was where I learned to RP and I’m sad they’re pretty much gone now.

I also don’t think I see a lot of fanfiction awards in fandoms. Wonder where they went.

Going back to the previous point, the barriers to actually consuming the canon you are fannish about are way, way, way lower now. You can pretty much take it for granted that if right now someone tells you about a shiny new fandom, there will be a way to read that book or watch that show or movie right now. Possibly for free! Of course you can watch it! Why wouldn’t you be able to?

This was absolutely, absolutely not the case before. I’m currently in Marvel Comics fandom. If there is a comic I want to read, I can read it right now on the internet. I have subscribed to Marvel Unlimited and I can read pretty much every comic that is older than three months old; the newer ones cost extra money. But I can do it all from the comfort of my own home right now. I was also, actually, in Marvel Comics fandom in the nineties. If I wanted to read a comic, I had to go to a comic book store and hope they had it in stock; if they didn’t, I had to try another store. Not a lot of comics were available in trade paperback and they definitely weren’t readable on the internet. I used to read a lot of Gambit h/c fic set after Uncanny X-Men #350. I never found a copy of UXM #350. I still haven’t! But I did eventually read it on Unlimited.

Being in TV show fandoms also had similar challenges. Was the show you were watching still on the air? No? Then you’d better hope you could find it in reruns, or know someone who had tapes of it that they could copy for you, otherwise you weren’t watching that show. It was, I think, pretty common for people to be in fandoms for shows they hadn’t seen, because they had no way to see the show, but they loved all the fanfic. The Sentinel had a whole lot of fans like that, both because I think it took a while for it to end up in reruns and because overseas distribution was probably poor. So you’d get people who read the fic and wrote fic based on the other fic they’d read, which meant that you got massive, massive amounts of fanon appearing that people just assumed was in the show because it was a weirdly specific detail that appeared in someone’s fic once. Like “Jim and Blair’s apartment has a small water heater” (not actually canonical) or “Blair is a vegetarian” (there’s an episode where his mother visits and IIRC cooks him one of his favorite meals, which is beef tongue).

Like, I was in The Professionals fandom for years. I read all the fic. I hadn’t seen the show. As far as I know, it never aired in the US, and it certainly never had any kind of US VHS or DVD release. I’d seen a couple songvids. I eventually saw a couple episodes in maybe 2003, and that was because my dad special-ordered a commercial VHS tape from the UK and paid someone to convert it from PAL to NTSC. I didn’t get to see the whole show until several years later when I got a region-free DVD player someone in fandom sent me burned copies of the UK DVD releases and then I special-ordered the commercial release of the DVDs from the UK myself. But if I were a new fan and wanted to watch Pros right now? It is on YouTube! For free!

I think also one of the things about fandom that’s not immediately evident to new fans is the way in which it is permanent and/or impermanent. There are probably people whose first fannish experience is on Tumblr or who only read fanfic on FFN and who have no idea what they would do if either site, say, just shut down. But if you’ve been in fandom a while, you’ve been through, say, Discord, Tumblr, Twitter, Pillowfort, Imzy, DW, JournalFen, LJ, GeoCities, IRC, mailing lists. And sure, if Tumblr closed, it would be inconvenient. But fandom would pack up and move somewhere else. You would find it again. It would, eventually, be okay. Similarly, if you’ve been in a lot of fandoms, if you’ve made a lot of friends, drifting through fandoms is like that. You’ll make a friend in 1998 because you were in the same fandom, and then you might go your own ways, and ten years later you might be in another fandom with them again! It happens.

But the flip side of that is that I think a lot of older fans have learned not to trust in the permanence of any particular site. If you like a story, you save it as soon as you read it. If you like a piece of art, you save it. If you like a vid, you save it. Because you don’t know when the site it’s on will be gone for good. I have, like, twenty years of lovingly-curated fanfic. And I feel like people who have only been in fandom since AO3 existed might not understand how much AO3 is a game-changer compared to what we had before. It’s a site where you can put your fic up and you don’t have to worry that the webhost is going out of business, or that the site might delete your work because they don’t allow gay fiction or explicit fiction or fiction written in second person or fiction for fandoms where the creator doesn’t like fanfiction, or whatever. Because all of those things have absolutely happened. But, I mean, I still save pretty much everything I like, even on AO3, just in case.

So, basically, yeah, fandom is a whole lot more accessible than it used to be. I think fandom is pretty much still fandom, but it’s a lot easier to get into, and that has made it way more open to people who wouldn’t have been able to be in fandom before. There is so, so much more now than there ever was before, and I think that’s great.

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gallacrafts · 2 years

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we’re SO excited to announce a ✨ gallacrafts zine project ✨ to celebrate a YEAR of crafting magic!!

details under the cut, including the july 2022 theme reveal...

A GALLACRAFTS ZINE?!

hell yes, you heard that right! we weren’t lying when we said that 2022 was going to be a big year for gallacrafts and first anniversaries are traditionally represented by paper so we thought bet

and, of course, it would be insane not to shout out @odietamo-gallavichzine as they’ve paved the way for fandom zines and @mishervellous has been so incredibly generous with their time and talents, sharing tips and tricks to make sure this is an enjoyable and smooth process

THEME REVEAL

it feels fitting that our anniversary theme be mickey’s iconic

you’re under my skin, man. fuck can i do?

because these two really got under all of our skins, didn’t they?

CREATOR FORM

you know that we’re always excited to see you and your beautiful works! the process is similar to normal gallacrafts, however, we’re also challenging participants to really consider how their submissions can be interactive, whether that means providing a supplies list and step-by-step guide to replicate your craft, or maybe assembly instructions such as @suzy-queued theme 7 gallaball, whatever sparks your creativity!

submission ideas...

artwork (we need images of our beautiful boys... if you’re interested in providing cover artwork, let us know!)

how to draw ian and mickey

recipes

making gifs 101

postcard someone can tear out and send

step-by-step guide to perler beads, cross stitching, finding a rock that looks like mickey, making a stamp of ian and mickey smooching, etc.

garanimals!

know that you want to participate? submit a creator form here! ✨

rhys and leah are the only two who will have access to the forms. emails will be sent with creators bcc’d, but please note: if you join the discord, people will be able to see your username.

TIMELINE

march 15: creator forms are due

april 15th: midway check-in point

may 1st: submissions due

may 1st: order form goes live

may 15th: order form due

june: assembly, printing, etc.

july 1st: mailing begins

FAQs

how much is this bad boy going to cost? we won’t know for sure until we receive all of the submissions, but we are estimating between 10-15 USD and that would include shipping costs.

how can i order a copy? we will make an order form live on may 1st! much more information will be shared.

what about folks outside of the US when it comes to ordering? we’re likely going to set-up a wise account, which is like an international venmo/cashapp. if you live outside of the us and you have any recommendations on ways to make it easiest (we’ve heard paypal is a real beach), hit us up! we definitely have all of you sweet babes in mind though

how is this different than the regular monthly gallacrafts? it’s not that much different, it’s true, but it will allow us to engage our sense of touch and that’s super rad. also, it’ll be a super cool memento!

what if i get inspired after sign-ups are closed? reach out to rhys or leah asafp! we built in secret buffer time so hopefully we could figure something out together that feels good, but if you’re even a little interested in participating, we strongly encourage you to submit a creator form! also, if for whatever reason it’s too late, still share your artwork on july’s posting day! we want to celebrate you!

will the monthly gallacrafts still be taking place? absolutely yes! we are announcing this now to give everyone who would like to participate time to plan and get things together, but rest assured we will still be operating gallacrafts as usual, so if you don’t wish to participate in the zine and would just prefer to be part of the monthly themes, that is perfectly ok!

i’m a world class gif maker and that doesn’t lend itself to print. how could you do this to me? gif makers, we love you and value you as the backbone of fandom, and we still want you to feel loved and welcomed so please please still share your beautiful creations digitally!

#gallacrafts zine #gallacrafts #theme 12 #you're under my skin man #ian x mickey #ian gallagher #mickey milkovich #gallavich #shameless #fan art

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forasecondtherewedwon · 3 years

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Stare Enough

Fandom: The Falcon and the Winter Soldier Pairing: Sam Wilson/Bucky Barnes Rating: T Word Count: 4034

Summary: Bucky's got a new stare. Sam spends all afternoon and most of the evening working up the courage to meet it.

Both Sam and the food are the main attraction at this party and the problem with that situation is that it takes so damn long for one main attraction to get a second to enjoy the other.

He’s grateful—god, is he grateful—for the turnout. Friends, neighbours, the kind of people he and Sarah call family without there being any actual relation by blood, they’ve all shown up. Since the Blip, Sam’s felt like he’s always around, but this feels like a real homecoming. No sadness, nothing bittersweet. It’s a celebration and he’s at the center of it. Him and the food.

At last, Sam’s done the circuit with his plate, spooning creamy salads and grilled vegetables, stacking shellfish pink as a sunrise. There’s a fresh-baked roll perched atop a scoop of sweet potatoes and caramelized onions that smells so fucking warm and mouth-watering he has to resist walking with his nose buried in it. He collects a set of utensils furled in the middle of a paper napkin (courtesy of an efficient assembly line of old ladies, chatting and twisting neat rolls of cutlery), plate bowing into the palm of his other hand, and that’s when his damn phone vibrates in his pocket.

Sam halts and makes a sound of frustration. Nobody’s come to this thing empty-handed, so there are dishes crowding the surface of the tables, no place to set his plate down. His phone vibrates again. A teenager comes up to peruse the spread in front of him and Sam sighs, knowing what he’s about to do.

“Here,” he says heavily, offering up his beautifully arranged and wonderfully fragrant meal. The cob of corn shining with the butter he lovingly smeared over it nearly rolls over the edge. “You’re the luckiest kid in the world.”

Quickly, Sam turns away, sliding out his phone and bringing it to his ear. He doesn’t want to witness the boy digging in. His stomach growls as he greets Joaquin Torres.

“Sam,” Torres says. “Uh, I mean, sir. Mr. Captain Am… Captain Wil—”

“Take it easy,” Sam laughs. “You know me, Torres. Don’t get starstruck now.”

“Honestly, I never really got over you being the Falcon. Now that you’re Captain America… Apologies if it takes me a little while to be cool about it.” After a pause—taken while Torres attempts to become cool with Sam being Captain America, Sam assumes—he asks, “You celebrating?”

Not far from where Sam’s standing, there are two little girls singing along to their clapping game. At a table behind them, a trio of elderly gentlemen are arguing over which one of them it was that caught that 50-pound snapper off the dock back in 1978. There’s a sear of meat and fish being rotated onto and off of the grill and, bouncing over everything, music from a speaker someplace.

“Yeah,” Sam says with a broad grin. “Yeah, we are. I’d save you a plate, but I can’t even manage to hang onto my own.”

He doesn’t mention that Torres is responsible for that situation; he’s aware that, besides being a fan, the Lieutenant is a little bit infatuated with him. Sam’s trying to be gentle until the day he can respond to Torres with friendly smack-talk, the way he would Steve or Scott or Bucky. Maybe not exactly like he does with Bucky.

“Don’t worry about it,” Torres cheerfully insists. “I wasn’t calling for that, I just wanted to give you a heads up about something.”

“Alright. Let me just…”

Sam strides away from the heart of the party towards the water, seeking quiet. Kids dart in front of him and that’s nothing unusual, but when he follows them with his gaze, he sees they’re running towards Bucky. Bucky, who has his Vibranium arm extended and two kids dangling off it already, one of whom might be Sam’s nephew. Of course, Mr. Casual, Mr. Smiles, Mr. Social Butterfly, is carrying on a conversation like his arm isn’t being used as a jungle gym. A conversation with Sarah.

For just a moment, Sam stops in his tracks, considering whether he should go over there and break up any potential flirting. But then he watches them. Bucky’s just talking to her, not flicking his gaze up and down while he checks her out. And Sarah, she’s relaxed and smiling, totally at ease, like Bucky’s another member of their community. That makes him a friend. Family.

That’s one thought too far and Sam jerks himself into motion again, walking until he’d be swimming with another step.

“What’ve you got for me?”

“Well, I’ve been trying to watch as much of the coverage of the fight outside the GRC vote as I can, trying to get a sense of how they’re spinning Walker’s reappearance, the legacy of the Flag-Smashers now that Karli and her inner circle are gone… Anyway, there’s a lot of footage and you’re at the center of most of it.”

“Guess the new suit draws the eye. And the cameras.” It’s no surprise to Sam. Part of the job of being Captain America.

“Yeah, but…”

“What is it, Torres?”

“Bucky’s in the background a lot,” he explains in a voice that tells Sam there’s more Torres isn’t saying.

“Makes sense. He was in the thick of it as much as I was.”

“He’s there at the end too. When you were talking to the Senator about power and the common struggle. Man, that was a great speech. Do you think—”

“Torres. Please. The point.”

“Right, for sure, man. Bucky never takes his eyes off you.”

That flusters Sam for a second. He wasn’t expecting the blunt delivery, especially of those words. He squints down at the water where it’s lapping the side of the dock. He knew Bucky was there; they spoke right after, when Bucky tried to feed him that bullshit (and he knew it was bullshit at the time) about texting and missing the exact speech Torres is apparently still hung up on.

“So Bucky was actually listening to me,” Sam says carefully. “That’s a surprise, but it isn’t really the kind of thing that’s significant enough for you to bother notifying me about, is it?”

“I’d say that depends on what you consider significant.”

“Torres.”

“I know, but he’s not just listening! It’s how he’s looking at you!”

“Like he’s wishing I would wrap it up?” Oh, Sam remembers Bucky’s miracle from their session with Dr. Raynor.

“Like he’s totally into you! Major heart eyes. Sir,” Torres hastily adds.

And Sam should reprimand him for this. Calling with a trivial piece of information when he must know Sam’s already being very selective about which of the hundreds of recent calls (and it’d be more if more people had this number) he chooses to pick up. Calling to speculate on how Bucky was staring at Sam that night in New York.

“I don’t need to tell you this is gonna be one of those investigations we keep between you and me,” Sam states.

“For sure. I just thought maybe you’d wanna know.”

“Uh huh. You get any real news, you pass it along.”

“I will.”

Sam ends the call and turns. He looks to his right: the sparkling river. His left: his people, all the way down to the squirt with the glasses who’s hanging off a metal arm, and the man that arm belongs to.

He’s felt it, the way that Bucky stares. It’s not like it used to be though, when it irked Dr. Raynor at the police station in Baltimore, or confused Walker and Hoskins in the back of that jeep in Germany. This new stare of Bucky’s isn’t one Sam’s ever caught him doing. Bucky hasn’t quite let him. That’s actually how Sam noticed it was happening—Bucky would immediately glance away instead of leaving that dead expression on his face when Sam met his eye. Now that he has proof of it, proof he’s certain Torres would send him footage of in an instant if he asked, he’s scared to look.

Instead, he watches Bucky look at other people. Like Sarah. Like kids from the neighbourhood. His literal hangers-on disperse as Sam observes, scattered after Bucky leans towards them to say something. Sam sees half his smile and even that much has his heart swelling up in his chest. Bucky weaves through the tables and standing groups, the dancers and the kids who’ve broken out a skipping rope. (After eating from that buffet? Kids are crazy. Gonna make themselves sick.)

Without thinking too hard about it, Sam returns to the noise and the smells, trailing Bucky with a stealthy eye on his ass in those jeans. There’s no friction here between him and everybody else Sam cares about, he can see that in every short, friendly exchange someone engages Bucky in as he walks. Things flow as smoothly as the butter oozing off the corn Sam reluctantly gave up. Clearly, they remember Bucky from when he was here helping with the boat. They respect him. They like him. They’ve gotten to that last thing faster than Sam has, which makes Sam feel a little embarrassed as well as a little overwhelmed by how much the two of them have actually been through. He’s seen Bucky as a mindless killer and it almost brings a genuine tear to his eye—here on this glorious day in front of all these folks—to see the dork who rushed out to get his hands on a copy of The Hobbit in 1937 return in his current form as the dork who’ll take a fake punch from AJ and blush over brazen old women telling him how handsome he is.

Bucky stares different? Well. Sam feels different about the staring.

Sam keeps his distance until Bucky reaches the food, then his stomach gurgles a reminder than he hasn’t eaten yet. No ass is nice enough to distract him from his meal. He sidles up beside him and Bucky seems unsurprised, not even glancing over.

“Anything important?” he asks.

“What?”

“Your phone call,” Bucky clarifies, adding a heap of glossy green beans to his plate. Damn, those are some of Sam’s favourite. Bucky better not take all of them. “They need us somewhere?”

“Oh. No.”

Bucky shoots him a suspicious look after this stilted response, but he doesn’t say anything until Sam grabs a plate of his own, hungry eyes roving the feast that’s diminishing now that people have started coming back for second helpings.

“Put that down,” Bucky instructs. He doesn’t wait; he takes the plate out of Sam’s hand and tosses it back towards the pile. Thankfully, the plates are made of paper.

“Buzz off, man,” Sam tells him, reaching for the plate again. “I’m starving.”

“I figured.”

Wait.

“That’s for me?” he guesses, gazing longingly at the plate Bucky’s preparing.

“Yep.”

When Sam doesn’t reply, Bucky pauses with the plate in one hand and a serving spoon in the other and sighs.

“I didn’t want you to miss the good stuff. This party’s for you.”

“I think it might be for both of us.”

Bucky seems too self-conscious to say anything to that. He goes back to loading up Sam’s plate while Sam quietly feels his throat close up with emotion as he watches. He clears it gruffly.

“I woulda had to eat the cake you brought,” he jokes. “Pretty sure only the really little kids have eaten any. You know, people who don’t know better.”

“I was tryin’ to be a good guest.”

“I can’t believe you brought a store-bought cake,” Sam says, laughing as he grabs a set of cutlery for the second time and continuing to shuffle along next to Bucky.

“Have you ever seen me cook?”

“…No.”

“Exactly. Trust me, what I did was kinder.”

“If you say so.”

“You know what, Sam?” Bucky demands challengingly, turning to face him. “I do say so.”

Sam’s eyes go from the plate Bucky’s holding between them up to Bucky’s face. He’s close. And he’s got this look, this dancing look in his eyes that undercuts the shit out of the hard line of his eyebrows. Trying to seem all stern. All Sam can think for several seconds is that, if he just grabbed Bucky by the chain around his neck and hauled him forward, they’d never get the food stains out of their clothes. But their laundry would smell delicious.

He clears his throat.

“Then you better stay for a while.”

The corner of Bucky’s mouth twitches up and he hands Sam the plate he’s prepared for him.

“I plan to.”

When Sam picks a table to sit at, he makes sure there’s enough room for Bucky too. When Bucky sits next to him, he sits so close that their thighs press together and claims that’s all the space there is. Bucky talks and laughs when other people at the table talk to him. He’s easily drawn into conversation now and Sam feels weirdly proud of having brought this great guy home to meet everybody, even if he’s not here like that. People tells stories about last week and last century interchangeably, one old smartass making Bucky howl with laughter when they toss out a memory of Little Sam Wilson streaking from his house to the river for a naked swim. This is the danger of welcoming Bucky into the community. Sam, suppressing a smile, doesn’t really mind.

Elbows up on the table so he can eat, talk, and gesture emphatically with his fork, Sam feels Bucky’s stare creeping up on him. Slow, like the sun slides across the landscape when the clouds blow past. Bucky didn’t make this food, but Sam can feel his satisfaction as he watches Sam accept what he provided. Feels like there are grasshoppers springing around in his stomach. He still has a roll on his plate, one side soaked in family-secret barbecue sauce, and he tears it in half. While the rest of their table are caught up in some story being boisterously told by overlapping voices, Sam turns to Bucky and wordlessly offers the bread, edges dimpled where he gripped to split it. They watch each other chew and Sam’s closed mouth is smiling.

Inevitably, somebody pulls Sam back into the conversation and he does his best to laugh and heckle, covering the fact that he wasn’t listening, that he dropped the thread. The voices rise and rise and fall like water slopping over the side of a bucket.

In the next quiet moment, Bucky inclines toward him slightly and says, “You wanna talk later?”

And Sam says, “Sure.”

The day feels long, long, long, and Sam’s face gets sore from smiling, tired from talking. He does not confess that to Bucky, who’s almost always at his side. Lights go on overhead and beers come out of coolers, leftover food packed up and redistributed among neighbours, small children with drooping eyelids toted home. At first, Sam thinks Bucky’s leaning into his side because he’s drained from so much socializing too, but when he meets his eye, he just sees an invitation.

“Where are you two goin’?” Sarah asks when they slink past her carrying a too-big Cass in her arms.

“Just walkin’,” Sam tells her.

“Gotta stretch our legs,” Bucky contributes.

She looks from Sam to Bucky and back, smiling knowingly.

“Uh huh,” Sarah says.

Sam grabs Bucky by the shoulder to turn him forcibly away from his sister’s insinuations and just… forgets to let his hand fall as they wander along the water. Bucky’s steps angle towards his until his arm’s bumping Sam’s side, Sam’s arm slung around his shoulders. Is this still the body language of a couple buddies on a warm Delacroix night? Is it now, when Sam drops his arm and brushes the back of his hand across Bucky’s?

They leave the party lights on the horizon with the lazily setting sun, scrabbling off the end of the dock and onto the riverbank. Sam reaches up to give Bucky a hand down, so he won’t step in the soft mud and sink to his ankles. Bucky clasps his hand firmly and jumps.

The sound of people drops off down here and the sound of wind in grass, frogs hiding between reeds, rises.

“Are there alligators in here?” Bucky wonders, scanning the river’s edge.

Sam laughs.

“For sure.”

“And you swam here when you were a kid?”

“Even then,” Sam boasts, puffing his chest out, “my courage was legendary.”

“Yeah, and your nudity. Is there anyone within a mile of here who hasn’t seen your bare ass?”

Their eye contact holds. Oh right. Sam breaks away with an awkward, hiccupping laugh, directing his gaze at the dirt.

“The gators haven’t gathered too close to the dock in decades,” he promises Bucky. He stares out at the undisturbed water, enjoying the sun on his face. “Got skittish of the boats. Most of ’em, anyway.”

“Consider me not entirely reassured.”

“You scared of a little Louisiana lizard, man? Didn’t you grow up with Creature from the Black Lagoon?”

“Nah, that was after my time.”

“Damn, you’re old.”

Bucky snorts a laugh, refusing to look at him.

“You wanna take a dip?” Sam goads.

“No.”

But by the time Sam’s pulling his shirt over his head, Bucky’s peeling off his socks. Sam spares him a smile and keeps going, the ground soft underfoot. It could be like the few times they’ve changed in proximity to one another before, but it’s not. He senses Bucky’s eyes on him the whole time. Face hot, he takes a quick look in Bucky’s direction as he’s unzipping his jeans. His heart feels like his new suit—wings just waiting to unfurl.

When they’re down to their underwear, they wade in.

God, it feels nice. The water’s cool and the sun’s clinging to the horizon.

“Just don’t get any water in your mouth,” Sam instructs, then dunks his face and comes up squirting water at Bucky from between the gap in his front teeth, a trick he perfected as a kid. “That arm ain’t gonna rust, right?”

“You asked for this,” Bucky warns. He points a menacing finger and plunges below the surface.

Sam twists as he treads water, trying to see what’s going on down there, searching for a ripple or bubbles of released air. His legs move in twitchy kicks because that’s where he’s expecting Bucky to grab him. But the idiot is playing some kind of psychological game first, making Sam wait a full minute. Two minutes. Three.

He’s opening his mouth to call out Bucky’s name when he breaks the surface. Sam’s ready to swap the concern he was about to form into words into a taunt instead—did Bucky get down there and decide the scariest thing he could do was let Sam’s imagination take over?—until Bucky shakes his head and slicks his hair back. Then the words get caught in Sam’s throat and he just kinda stares.

“There was a really gross fish down there,” Bucky informs him. “Do you guys have eels there? Mighta been an eel. Maybe we should get out.”

“Alrighty, scaredy-cat, let’s get you to shore.”

Bucky propels himself out in front, arms moving in powerful strokes, and Sam’s hand darts out on instinct, fingers closing around Bucky’s hard calf muscle. Bucky jerks and Sam burst into loud laughter.

“Did you think that was an eel? Did you?”

“You’re lucky I…”

I’m lucky you what? Sam wants to ask when Bucky trails off, but he just swims after him.

During their game/possible eel panic (there’s no way it was an eel), they weren’t always fighting the current, so they’ve drifted downstream some. Bucky takes sloppy, sloshing steps out of the water, underwear that might’ve been light grey now dark and plastered to his ass. Sam feels like he’s choked on river water, though his mouth is dry. He lumbers out too and they begin the march back in the direction of the dock and their clothes. The water tickles as it runs down Sam’s legs; must be bugging Bucky too because he plucks his waistband away from his skin before letting it snap back. Clenching his jaw, Sam stops himself from trying to see too much.

This end of the dock is made of old boards before it transitions to pavement farther down, wood smooth on Sam’s feet when he and Bucky haul themselves up, dropping their collected clothes and shoes into a single pile. No point getting dressed until they’re dry, so they sit on the edge of the dock, feet swinging. Feels good. Feels home. They don’t speak until the sun’s set, the sky orange, then grey, then rich, velvety blue.

“You know, don’t you?” Bucky asks softly.

“Know?”

“Yeah, you know. Whenever you don’t know something, you talk and talk—”

“Sometimes I can work through a problem better if I vocalize,” Sam explains.

“But when you do know,” Bucky goes on, ignoring Sam’s input, “you’re quiet.” He looks at Sam. “You’re quiet.”

What else is Sam? Nervous. His skin’s prickling with it, and because even the warm air feels cold when he’s just climbed out of the river. There’s a wet patch spreading around him that he can barely see with evening rapidly deepening into night. He lifts a hand from the dock and sweeps it up his neck, brushing water droplets away.

Without glancing over, he says, “You’re doing that thing you do.”

“What?”

“Staring. That new stare you do.”

“Maybe,” Bucky acknowledges. A bird starts calling, the sound drifting in and away like the sway of a hypnotist’s watch and Bucky’s silent until it’s over. “Maybe I’m staring for the same reason you’re quiet.”

Sam waits. Bucky doesn’t add anything, so Sam turns to look at his face, hung with cool shadows.

“You’re not gonna say it, are you?”

“I thought you would say it,” Bucky argues defensively.

“You’re the one who’s been staring at me like that for a week. You should go first!”

“Please, you don’t even know how I’m staring at you, I only do it when you’re not looking.”

“Do it now then and see what happens,” Sam dares him.

“Fine.”

Just like that, Bucky locks in like Sam’s attention is the only handhold on a sheer cliffside. Vital and stable, a last chance, the one thing around him that wants to help him higher instead of watching him fall. A lot of that’s familiar from his regular hard stare, but then something opens up behind his eyes. Some fragile thing (that might be Bucky’s sense of caution) breaks. Suddenly, Sam’s seeing what Joaquin saw in the news footage and amateur cell phone video. Except he’s seeing it two feet in front of him. It’s intense. It makes the air a little harder to breathe.

Bucky’s lips curve into a smile, then part as he says, “I love—”

Hopefully, he wasn’t going to end that sentence with ‘store-bought cake,’ because Sam can’t really take back his reaction. The finger slipping behind Bucky’s ear as he cradles his face, the mouth sealed to his. Especially that. Thankfully, Bucky kisses him back, just as hard, and then harder.

“Thank god,” Sam pants when they break apart.

“You interrupted me.”

“I got you to stop talking? Guess we’re in my miracle.”

“I’d complain…” Bucky shrugs. “…but your miracle is pretty nice.”

“Not bad, right?”

He sighs and looks out over the water. Bucky pushes up on his fists and sits closer, offering his hand for Sam to interlace their fingers.

“Hey,” Sam prompts when it hits him that it’s super dark outside and they aren’t gonna dry much more like this, “did you book a hotel room again?”

“You kiddin’ me? I spent all my money on that cake.”

Sam laughs.

“Right, well, I guess you need a place to stay tonight then.”

“You know anything nearby?” Bucky asks with a soft smile.

Getting to his feet and bracing to pull Bucky up after him, Sam uses his free hand to motion towards their clothing pile.

“Put your pants on,” he says, “and I’ll see what I can do.”

#my writing #tfatws #tfatws spoilers #The Falcon and the Winter Soldier #CAPTAIN AMERICA AND THE WINTER SOLDIER #Sam Wilson #Bucky Barnes #Joaquin Torres #Sarah Wilson #sambucky #Sam Wilson x Bucky Barnes

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justanotherpersonsuniverse · 3 years

Text

uh, ml bnha au

Yep. Here we go folks. Uh I don’t know much I’ll expand on this but it’s here. The quirks that is. Uhm- here we go I guess? Thank you @ghostatjoes and @symphonic-scream and all y’all for the ideas and inspiration.

Adrien’s will be the only on the nose most obvious one. I wanna try and keep these powers from being just the miraculous powers. So this will be a mix of just original ideas and akuma stuff.

Adrien: “Cataclysm” pretty much it’s Shigaraki’s Decay but a little different. It’s this au’s version of One For All. The Destruction Hero, Plagg, passed this quirk down to him when Adrien proved that he had a good heart to be a hero cause Plagg needs a replacement due to an injury causing Cataclysm to slowly start to kill him. Adrien is aiming to save as many people as possible as a rescue hero. (His outfit has a cat motif in honor of Plagg who has a cat head due to an unrelated mutation like how Tokoyami has a bird head)

Marinette: “Growth” Marinette can amplify the life in a living object. Whether this means taking a small flower and turning it a building tall beanstalk or amplifying the healing of someone’s body. However she can only use this in short bursts or else she risks over growing her body causing chronic pains and possible plants growing from her arms.

Nino: “Bubbles” Okay yeah so obviously Bubbler, but it’s a little cooler? Nino can entrap anything into these bubbles. Sounds, healing packs, explosions, balls of fire, light itself, all condensed into these bubbles ready to be yeeted across the battle field like bombs, med packs, or flash bombs. However they can be a little fragile so he’s working to make them more tough. The bubble solution he uses to make these bubbles are made of his unique sweat. Bakugo style. Don’t ask what it’s made of he isn’t sure either. At least it makes him smell nice.

Alya: “Signal” Not the most offensive quirk, but she can send a signal to every single person in a certain radius that she’s training to grow. Whether this is a message, an image she’s seeing(this can extend to just what she’s seeing in general), etc. She’s also training for this to extent to different signals in the air like WiFi signals so she can send them electrically as well. However she risks heavy migraines with overuse. To make up for her very situational quirk she’s working on upping her physical strength.

Chloe: “Venom/Honeycomb” With Venom she can temporarily paralyze a specific part of an opponent. It’s not as strong as her mother’s Venom or her Aunt/Mentor Pollen’s Venom as it’s a quirk she’s gotten from her family, but she’s working on making sure she’s the most exceptional in the entire class, and making sure no one hears of her other quirk. Honeycomb, which is actually her main quirk and not secondary, gives her the ability to produce a honey like substance that can harden into resin following her will. Chloe refuses to use it for it is unexceptional. She must be like her mother or else..

Sabrina: “Emotional Pulse” Sabrina draws energy from the emotions around her to give her a physical boost. It can go from a strengthened punch to something looking like Detroit Smash. However a draw back can be that the emotions around her can start literally affecting her and somewhat tilting how she may feel. So in an angry environment she herself might start to become angry as well. Hyper empathy basically. And it makes her a little anxious about her identity as an individual.

Nathaniel: “Ink” Nathaniel basically water bends ink into creations he can control, quite literally drawing his creations to life. His limit is how much ink he has. Like that one fuckin Mickey Mouse game.

Alix: “Clockwise” For, at most, thirty seconds, Alix’s speed is super enhanced to an incredible degree, practically breaking time itself. This also enhances her strength and mind, pretty much giving her the spiritual equivalent of that one scene with QuickSilver or that one scene from Over the Hedge. However she can’t go over thirty seconds right now or else her body, mind, and definitely internal organs will begin to face serious damage. To make sure she can track herself, she has a pocket watch that she always has handy to remind her how much time has actually passed.

Kim: “Icarus” Kim can create wings out of a waxy substance from his back that allows him the power of flight. One of the most straightforward power here honestly. Like Icarus however, these wings can melt and can be destroyed. Kim, however, has a small control over the wax which means he could potentially be able to use it for something else, however this requires patience and control, something he lacks.

Max: “Locker” Pretty much, Max is able to set a “marker” on any enclosed space (of a arm reachable size, spanning from a literal locker or a luggage bag) and from anywhere in a 4 mile radius (that he can train to grow) Max is able to “reach into inside” and grab anything that’s inside there. However this space must exist, it’s not a pocket dimension, and so are the objects inside as well. This quirk is useful for holding emergency equipment or grabbing a quick weapon. However it has to be something he can actually hold and something he has already put in there, so he must calculate what would be useful so he can prioritize space and what he should bring with him.

Ivan: “Minotaur” Gives him attributes akin to The Minotaur. Though his appearance is mostly human, it does become more and more beastly as his anger or need to use his power rises.

Mylene: “Fear” Mylene gets a boost of power from the fear around her, which she has the ability to enhance to terrifying levels, leaving her victims in states of trauma and distress if she doesn’t control its degree. This quirk mutates her slightly to be akin in some way to the form of the person she’s using her quirk on’s fear. However she herself is easy to be scared so this backfires most of the time.

Juleka: “Vampire Bat” She can do anything a bat can do! Plus a bloody bonus. She has the power of echolocation which, if trained, can possibly knock down a small target. She doesn’t have wings but is working to incorporate some kind of glider into her hero design. As for that vampiric bonus, she has minor control over blood, able to bend it at will, however at this moment, the best she can do is make someone dizzy through a few edits with their blood stream.

Rose: “Perfume” Rose is able to admit a powerful perfume like gas which, upon inhaling, can reduce the victims into a drowsy state of mind. However she’s the only one immune to it so she must be extremely careful with how she uses it and who's around to possibly inhale it. A strange side effect from this quirk is that there’s a slight green tint to her blush.

Extras-

Luka: “Synesthesia” like the actual condition of synesthesia, he is able to visualize and conceptualize sound on different levels of understanding. With this, his hearing is incredibly sensitive and simply pressing an ear against the wall could help him develop an map of the entire building. He claims to hear the souls of others as well, which is supported by his ability to tell from illusion or reality just by his sense of hearing.

Kagami: “Storm” She has the entire essence of a storm wrapped up inside her. Though it may be confused with Class 1b’s Aurore Beaureal’s quirk “Weather” if you were to mistake those two, you would certainly get a lightning bolt to the stomach. Kagami’s quirk has been part of her family for generations, and as the up coming member of her hero family’s legacy, she is planning for no one to be in her way.

Marc: “Origami” Has complete control over paper and can manipulate them to become any creation they can think of, getting said creation’s attributes. So if Marc made a origami dog it might start barking and it’s teeth might become sharp enough to actually pierce skin, same if Marc made a paper sword. However the limitation is how much paper Marc actually has.

Lila: “Whistle” Lila can manipulate a person’s perception through the power of her whistle, causing possible hallucinations or problems in their sight. However it’s controlled by her whistle and it’s power so breathing exercises are important for her to do. To make things easier, she has taken up using the flute to better enhance her quirk.

Maybe in a different post I’ll talk about the different pro heroes, vigilantes, and villains.

#ml bnha au #adrien agreste #marinette dupain cheng #nino lahiffe #alya cesaire #chloe bourgeois #sabrina raincomprix #nathaniel kurtzberg #alix kubdel #kim le chien #max kante #ivan bruel #mylene haprele #juleka couffaine #rose lavillant #luka couffaine #kagami tsurugi #marc anciel #lila rossi

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lollercakesff · 3 years

Text

And They Were Strangers

Jyn Erso has been prepping for this for months. Years even, if you count the endless hours she'd spent running pools and hosting watch nights with her college roommates. She'd choreographed hundreds of dollars in auctions for remaining teams and had led multiple nights where her and her friends cooked their way around the world with the country of the week. The memories were great, sure, but to say she didn't feel a connection with this path in her life would be a lie. Something drew her in, tied her up, and convinced her that this - this - was the thing she needed to do before she died.

And now it was time. She was ready. Mentally… Physically… Hopefully.

AN: Will I finish writing this? I have a plan... But is it worth my time?

But the path to her next adventure was currently being blocked by some too-tall goon with haphazard hair and piercing dark eyes who kept getting in her way. First at check in, then in line for security, and now at the boarding gate. They’d practically been together, crossing paths and crashing each other, since she entered this damn airport and it was starting to really get to her.

"Are you planning on getting on this plane or just standing in the way?" Jyn growls under her breath when the man doesn't move forward with the gate agent's call.

"What - Oh," he leaps forward a step and hustles towards the woman, pulling his passport from his pocket as Jyn sighs and checks her papers again.

Her new American passport feels heavy in her hand, its empty pages a sign of things to come. She was on her way to Los Angeles where she was scheduled to show up at her first and only briefing for the next season of the Amazing Race. The producers had promised a full day of orientation covering the rules of the race and how the team match up would work before the "trip of a lifetime" began the next day. She was trying not to stress about it but she didn't quite know what she was getting into.

This was the first season where every team in the race would be a set of strangers. They'd all meet at the briefing but it wouldn't be until the start of the race when they'd learn who their partner was. The producers had billed it as the season of 'fate' where they tried to pick a winning team by pure dumb luck with names drawn from a hat. Or so she'd been told. Who knew how it would really work.

"Next!" The agent calls and Jyn scurries forward, passing her documents over and brushing her bangs from her face. In another second she's motioned through and she's heading down the gangway and onto the plane.

When she gets to her seat her frustration returns tenfold as the man from before has settled himself in her seat by the window, his seatbelt already clipped and his attention turned towards the action on the tarmac.

"Hey, you're in my seat," she greets, stuffing her duffle in the overhead bin.

"F? Window?" He answers with an almost-accent and a quirk to his lips. Jyn frowns and steps into the row to let the people behind her pass.

"Yes. That's my seat, can you move please?"

"I was sure I had the window, I feel claustrophobic if I can't see out - "

"Yeah, I'm sure. Can you check your boarding pass?" She asks, cutting his sob story off before it can even get started.

"Can't I just have it this one time? It's a short flight," he answers, making no move to relent. Jyn sighs and drops into the seat next to him, her eyes closing tight as she urges the irritation to ease.

"Fine. But this is bad karma and I hope it comes back to bite you in the ass, asshole," she grumbles the last part, determined to insult him but not loud enough to cause a scene. The man coughs as if to hide a laugh and Jyn hates him even more, pulling up her hood and taking out her headphones.

She was going to spend the next two hours in a music haven, mentally far from this man and the constant bumping of her elbow that came from sitting in the aisle row. Soon she'd be in LA at her hotel and then she'd be on to a new country, with a new language and culture that she'd have to work with to get her team to the finish line. Then she’d do it again and again until they won. Or they lost. She didn't like to think about that last possibility so instead she closes her eyes and hits play.

---

The hotel bed is more luxurious than anything she's ever slept in in her life and when she wakes it's with a curse as she realizes she's almost late to the briefing. Hustling around the room, she nearly crashes onto the floor when her pants get tangled and she loses her balance. Cursing out her alarm, her beautiful sleep, and the time difference, Jyn pulls on her t-shirt just as she pulls open her door and slams into someone walking past her room.

"Shit, sorry!” She gasps as she rights herself and pulls back. When she looks up it’s to find the man from the plane. The one who wouldn’t give her back her seat. The one who’d been a pain in the ass all day. “You!” The man’s eyes widen and he looks around him like he’s being Punk’d, surprise in his brow.

“From the plane?” He counters, as if he was still struggling to place her.

“Yeah. What, are you following me? How did you know to find me here?” Jyn growls, crossing her arms. The man cocks his head and furrows his brow, looking at her as though she was crazy.

“Follow you? I’m here for… A thing that has nothing to do with you. If anything, I’d think you’re stalking me,” he adds sharply. Jyn scowls and shakes her head, her watch beeping with her five minute alarm.

“Sure. Fine, whatever. I won’t be here long enough to have this happen again. Have a good life!” She shouts as she hurries off down the hall, her hand flung up into the air and her middle finger pointed towards him.

She takes the stairs down to the conference room because getting stuck in the elevator with that jerk would put her nerves over the edge, their already frayed status from the late wakeup making her more punchy than usual. By the time she barrels into the room and grabs a plate of the breakfast, the producer is calling everyone to a seat.

Jyn moves towards an empty chair and begins measuring up her fellow racers, her eyes drifting over one person and then the next as they settle in a semi-circle around the speaker. Some of them were incredibly fit, others a bit paunchy but she figured they could probably take her in a memory challenge or two if it came down to it. Most of them were on the younger side, maybe in their twenties or thirties, though there were a few who easily slotted into their fifties at the very least. She didn’t want to be ageist but she secretly hoped she’d get paired with someone who could keep up with her at the very least and she didn’t really peg any of these older folks as marathoners.

“Welcome, good morning everyone!” A young woman calls out, drawing their attention to the front of the room. Jyn sits up and nimbles on a muffin, trying to look intimidating to the others around her who she assumed were doing the measuring up as she had just been.

“You’re in my seat,” a voice says over her shoulder. Jyn’s stomach drops and she frowns, looking back to find the man from the airplane and the hallway standing behind her. “Don’t worry though, I’m not going to make you move, I’ll just take this empty one here.”

“You’ve got to be fucking kidding me,” Jyn hisses, clenching her hands and nearly crushing her muffin to pieces.

“Nope,” he responds as he sits in the chair next to her. An insult is on the tip of her tongue when the woman calls out again and really takes control of the room, beginning with a welcome spiel before moving right into the security briefing. After the team has explained every terrifying aspect about the world in explicit detail, Jyn looks around the room and finds half of the contestants with a concerned look on their faces, the other half grinning wickedly at the challenge. Beside her the man keeps his expression reserved though his eyes are calculating, the look making her guess whether he was regretting his choice or simply bored.

After the welcome session, they’re broken up into groups of four and are led to a table in the corner of the room. Jyn sighs a breath of relief as the man is placed in another group, his presence finally dissipating and allowing her to focus on the tasks at hand instead of the prickling skin she felt whenever he was close.

Hours pass and the contestants are moved around the room to different stations where they focus on different aspects of the game. There’s logic tests and geography quizzes which she passes with flying colours but when it comes to the language skills and memory games she flounders, her attention twisting towards her fellow contestants. She spends half the time trying to measure up where they stand on these activities, who would be best suited to the way she wanted to run this race.

Her strategy - based on years of watching the show - was to run with brute force. She would power through on the physical challenges and when it came to figuring out a puzzle she was set. She just needed a partner who would be able to keep up and rush into everything just as hard. Smarts weren’t what won you the race, it was being able to push your way through anything and she had trained to do just that.

“Everyone now has an hour for lunch. Feel free to get to know each other and remember, these folks might be your competition or they might just be the person you cross that finish line with!” The producer from earlier calls as the stations are closed and the participants are left to loiter in the room.

Jyn feels like she’s in a social experiment as she beelines towards the food table to take a plate. She loads it up with everything she’s going to miss for the next few weeks - caesar salad and french fries and pasta salad that looked too delicious to miss. When she settles at a table she’s quickly joined by a handful of others, the conversation easily picking up from the morning activities.

“I’m Bodhi Rook, you?” The man sitting next to her says around a forkful of salad. Jyn looks him over quickly and notes his tall frame and long hair, his thin frame and open expression. He could be a good partner - she’d seen him race through some of the challenges with an efficiency she admired.

“Jyn Erso,” she answers, lifting her hand to offer a shake. Bodhi takes it and squeezes it before turning back to his food, diving in as she looks around the table at the others. “You heard anything about how we’re going to be assigned teams?” She asks after a few minutes, her water lifting to her lips.

“Not really. My group thought maybe the stations were to see where our strengths were so they could match us up better. But I was also told it would be a name in a hat, so who knows what they’re planning.”

“Yeah, I heard the hat thing too. I hope there’s a little more thought put into it,” she responds with a shrug. Bodhi nods and lets a laugh escape.

“Either way, I think I’ll be okay. I just like the adventure of it, you know? Don’t really need to win the whole thing,” he says around another bite.

Jyn frowns and looks at her food, debating internally whether she could be paired with someone who didn’t want to win the whole race. If she had to admit it - though she’d never say it on camera - she wasn’t here just because she liked the show and wanted to see the world.

She was here because she needed the prize money.

The thought creeps up on her and she pushes it back down, stuffing it into her chest like too many clothes in a carry on bag. She didn’t have time to think about it now, not when she should be sizing up her competition and thinking about U-Turn and Yield strategy. No. She needed to focus.

“What about everyone else?” Bodhi asks the table when Jyn still doesn’t respond. She turns her attention to the people around them, listening as first a bright eyed Luke Skywalker and a gruff Baze Malbus explain their motivations before moving on to Leia Organa, a beautiful but strategic thinker, and her cocky puppy-dog-tail for-the-day Han Solo easily admits he’s only here for the money. Jyn can’t help but think he might be her real competition if they don’t get paired together, the gleam of a quick buck in his eyes adding to his boisterous energy.

Taking another glance around the room, Jyn weighs the rest of her competition as they sit at two other tables. Sixteen racers in total, all with different motivations and experiences that they bring to the table. They’d be eight teams and the producers had all but guaranteed it would be a tough race with all of them having secret strengths that were admitted in their bio videos. Jyn can’t remember what hers ss but by the time she turns back to the conversation at hand, she already knows one thing is for sure - she’s going to win, even if it kills her.

After lunch they’re broken off into individual briefing rooms where they’re given their racing issued equipment and a final check in with the producers before they’re sent off to their rooms to pack. In the morning they’ll all be meeting in the lobby to hand over their backpacks before heading to the starting line.

When the race starts their first activity will be finding their matched backpack with a coloured bandana tied to it. The racer with the matching bandana will be their partner for the duration and it will either be a successful match or a story of just how quickly Jyn can crash and burn their team.

Throughout the evening she tries not to think about it - pushing away thoughts of how hectic tomorrow would be, how much adrenaline is already rolling in her veins and just how is she supposed to sleep tonight? To distract herself she focuses on potential strategies depending on who she paired with in the morning. Baze could work, or she’d even probably be successful with Han if they didn’t rip each other's heads off. Bodhi would be a great candidate - he seemed relaxed and competent, but Jyn didn’t like that he wasn’t driven by the final prize so much as he just wanted to have an adventure.

No, she could pair with most of the people she’d met that morning. With the very real exception of the man from the plane who she’d learned was named Cassian Andor. There was no way they would be able to work together to even get out of the States, their partnership tanking before they even took their first flight. She was sure of it. And so when she falls asleep that night it’s to the thought that she had a one in fifteen chance of failing and those were pretty good odds.

---

Morning comes in a rush of excitement and insanity and a paranoia that she’s forgotten something even though she’s checked her bags at least a dozen times. When she gets to the lobby, the assistants take her old bags and mark them with her tags before collecting her race bag and shoving it onto a luggage cart with the other packs. She’s directed to a holding queue where the racers mill about, snacking on the continental breakfast and filling their water bottles.

Twenty minutes later and they’re piled onto a bus. Thirty minutes later and they’re being placed around an empty field with only the production crew circling them and a pile of luggage in the center of the field. Jyn thinks she spots her bag with a blue tag and she grins, looking around at the nervous faces she was up against.

“You’ve got this,” she whispers to herself as Phil Keoghan begins his speech from near the luggage pile. Adrenaline spikes in her blood and then there’s a horn and she’s racing forward, scrambling for the luggage pile and her bag with its bandana looped through the arm. She pulls it free and stumbles back, looking around at the other racers as they take in their own colours, desperately looking for their partner.

Not Bodhi. Not Baze. Fuck, not even Han. She scours the faces and colours until she sees it - blue, like hers! She steps forward, her smile widening having finally found her partner.

But then she looks up. And her eyes meet her partner’s.

Dark brown meeting green.

Fuck. Fuck, fuck, fuck.

“Guess you’re stuck with someone with bad karma,” he says evenly, the nerve of it making her want to pull her hair out. She curses again and grabs for his arm, dragging him towards the clue box for their next instructions. They didn’t have time to waste on pleasantries and witty comebacks, not if they wanted to win.

She could do this. Brute force was all it would take, right?

#rebelcaptain #lollercakes tries to write #amazing race au

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actor-mark · 3 years

Text

Red Candles Pt 7

Assist (CW: Some spoopi stuff ahead. Knife mention and image, gun mention and image, twisting/spiral hallway image and detail, slight hands horror. Be safe <3)

While you slowly get your bearings from the visit to Dark, you agree that he’s right and Mark needs to be stopped before you get too deep into his new manipulating game.

Quickly you hurry up the steps to the upper floor and slip out of sight into the hallway. A long stretching path of doorways and an over the top Rich Boy carpet.

Before you are 7 doors. 3 on either side and one at the very end of the hallway. You don’t remember this hallway from what you’ve seen of this place, and the longer you look towards that end door the more the hall seems to twist in a spiral, as if you’ll start walking on the ceiling if you followed the carpet.

Shaking your head you try not to focus on the twist of the hall and venture towards the first door on your left. Red Candles... That’s all. Just gotta find some funky looking candle holder with red candles in it and somehow figure out how to make a “Hollow Flame” that’s blue. Easy peasy right?.... Right?

The first room is a small washroom, toilet, shower, sink and a fluffy towel on a rail. Not much of interest, not even things like toothbrush and such, its spotless, unused. You back out and cross the hall to door number 2 on the right hand side. A small study, a little searching reveals not much at all either. Door number 3 on the left, a guest bedroom. Bed, desk, wardrobe, night stand, a trunk at the foot of the bed, nothing too fancy. Door number 4, locked. Door number 5, another guest bedroom pretty similar to the first. Door number 6, locked. Finally you reach the door at the very end of the hallway and out of instinct you turn to look back at where you came in.

The hallway is straight again...

It’s a little jarring but you know this house likes to mess with people. You feign being unphased by it and proceed to the final door.

It opens with a slow creak and the room inside is bathed with a strange greenish glow, little particles float through the air like dust, like orbs, there’s whispers and intangible movement. The feeling of hands grip at your ankles, your shins, trying to drag you downward.

There’s the feeling of a hand grasping around your throat, cutting off air, but you push forward. More and more hands and shadowy shapes passing in your peripheral vision. You’ve heard of them before, whether briefly or in detail. Hollows.

Empty shells, bodies without a soul, reanimated and left to wander. Mark’s puppets. ɥⅎ ʌʌᴉn

You keep pressing forward and finally reach the desk in front of you, hands phasing through it before you manage to place them and the room slowly bleeds back into reality again. The glow gone, particles gone, whispers gone.

“We’ll fight you in the harbor, we’ll battle you on land but when you meet singin’ pirates they’ll be more than ye can stand~ A pirate I was meant ta beeee, trim the sails and roam the seaaa~”

You can hear Mark singing down the hall, odd.. wasn’t he downstairs? Is he looking for you? No... The room moved, of course it did. You’re downstairs again? Or is Mark now upstairs? Either way he’s close... qoʌɥɹp ʌɥʅʅsx ʍɯz ɯʅɹƃⅎzx sƃɹp ʍzʌᴉ⅁

You opt for stealth and begin to search the room you’re in quietly, the house lead you here so best to check. But once again, there’s not much to see. Books, papers, a lamp, a chair... Why did it bring you here? To throw you off course? The house needs Mark after all. An eternal puppet, a toy, a play thing, kept alive for all eternity, and for what?

You curl your fists a little and go for the door, and enter the- kitchen? Okay.

The kitchen’s how you imagined, same as what you had seen before, little Buddy was no longer here, but the kitchen had been left spotless by its previous inhabitant. Maybe it would be a good idea to arm yourself.. y’know.. just in case?

Hunting around you find the knife rack, but in one of the draws it seems there’s also a hand held gun. Something feels off about them both but it’s one or the other.

Your choices are as follows:

Take the knife If something were to happen, it’s the least lethal option at least. The blade is impeccably sharp though, glossy and reflective but it calls to you in a strange way. For some reason you hear the faintest notes of a music box in your head?

Take the gun

Why is there even a gun in here? Who left it here? Is it Chef’s? Marks!? Better in your hands than his at least. A gun seems a bit extreme, but it will quickly keep your assailants at bay from range and you wont need to get close. Like the knife though..it seems to call to you in a way that feels unsettling.

sƃzʌʍ ⅎʅq ʇɯɹᴉʎ ooɹp sƃʅ⅄

OOC: Bit of a strange one this time but a little glimpse at the house and my concept of Hollows. For those who dont know what Hollows are, you’ll find out soon enough.

Reminder to new folks joining, you can vote by sending an ask to the blog! Votes in comments or reblogs do not count as I wont be screenshotting them for the tally up as I do not get notified of these. I only get notified of asks (thanks tumblr)

thanks again to those who have been voting through this story!

#actor mark #markiplier #ask actor mark #red candles #red candles cyoa #cyoa #ahwm #adwm #wkm #cw knife #cw gun #cw horror #cw spiral

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merakiui · 4 years

Note

Hi again Meraki ^^ can I request first date hcs with Jamie, Theo, Kati, and Nine? :3

(Hi there! Please forgive me. orz The wait time shouldn’t have been this long. But I hope you’ll enjoy these hcs nonetheless! ^^ They were a lot of fun to write!)

First Date HCs (Jamie, Theo, Kati, and Nine)

🐴 Jamie 🐴

He’s unfamiliar with the concept of first dates. Having grown up on a farm, there weren’t many romantic areas nearby—unless you count the chicken coop as a wild ride. (Which it technically is. It’s extremely messy, but Jamie knows how to get the job done.) Still, a date isn’t something he encounters on a daily basis.

Adjusting to the ways of the city folk have definitely been a challenge for him. Milk that’s not taken straight from the udder of a cow or eggs that aren’t freshly plucked from the nest of a hen. It’s so foreign to him.

On the farm, he knew where everything was. His sense of direction was impeccable. But now, faced with bustling streets filled with busy people, Jamie feels lost.

That’s why he thinks horse riding is a perfect candidate for a first date. It’s better than cleaning a coop with your partner, that’s for sure, and it ensures enough privacy for both him and you to chat about whatever you’d like.

He doesn’t have any need to feel nervous or flustered because he’s ridden horses plenty of times.

Jamie takes you to an area where horse riding is allowed, paying whatever fee may be necessary for an allotted time. It’s exciting, and he can’t wait to relive more of his hobby with the person he’s interested in.

He’ll help you get on your horse if you need it. If not, he’s pleased to watch as you climb on yourself, sitting on the saddle with both legs on either side.

Jamie explains everything you need to know about controlling the horse’s pace, not leaving a single detail out. He even demonstrates on his own horse, allowing you to see how skilled he is.

But Jamie’s intent isn’t to brag. It’s to ensure your safety and enjoyment. After all, he doesn’t want to risk messing up an already perfect day.

If you’re uncertain or worried, Jamie will console you, offering to have you sit behind him on his horse while he takes you through the open pastures.

Once everything’s settled and you’re confident, the two of you will ride your horses side by side, savoring the moment and each other’s company.

You’ll talk about all sorts of things as the horses gallop steadily along the grassy ground.

Jamie finds himself falling more in love with you as he listens to you recalling silly stories about yourself.

Everything goes exceptionally well, with Jamie even asking if you’d want to visit the farm someday.

You’re so enthusiastic about getting to know more about his life and hobbies, so you agree, and Jamie smiles. He’s equal parts elated and relieved. He’s heard enough stories about how first dates can end in disaster.

Thankfully, this isn’t the case.

He’ll definitely invite you to horse ride with him in the future, and you might end up growing used to the wind rushing through your clothes and hair as you and him ride your horses farther into the distance.

“Guess we’ll be sowin’ our own wild oats from now on.”

Jamie hopes the relationship will be long-lasting and fruitful, as he can’t imagine a life without you.

🎹 Theo 🎹

Theo doesn’t have an exact preference when it comes to dates. He’s happy as long as he gets to spend time with the one he loves most.

But if it were up to him to choose where you’ll have your first date, he’d like to spend the day with you at a library. Just something casual while he gets to know you better.

A library, in his opinion, is the best way to converse with your partner. In doing so, you’ll learn what genres they’re interested in and which authors are their favorite. It’s also fun to witness your lover light up when they explain their literary interests.

Theo also enjoys the calming atmosphere of a library, where the two of you can sit together and whisper about character arcs and subplots.

He’ll definitely take you to a café afterwards, allowing you to get any pastry and drink of your choosing. In such a setting, it’s easy to make conversation about food and hobbies. He even tells you about his passion for baking.

Theo will spend the entire day with you. Maybe he’ll take you for a walk in the park after your café excursion so that the two of you can continue your idle chatter. He just wants the moment to last forever as everything you say makes him like you even more.

He might not do anything too fancy for your first date, which is why he prefers to remain local. After all, he doesn’t want to go overboard and drive you away.

But once the relationship develops, he’ll definitely take you wherever you want.

Before your first date, Theo actually had so many plans in his head and on paper. He made a list of possible places, constantly crossing them out because he was certain you wouldn’t like them.

During your walk in the park, the two of you stumble upon someone who was playing the piano.

The both of you are drawn to it instantly, listening to the way the pianist elegantly plays a sensual tune.

When you bring up how good they sound, Theo feels inclined to mention that he’d like to play for you one day.

Why wait for that day to come when he can just do that now? You manage to convince the pianist to let Theo have a go at the keys, who is surprisingly more than happy to oblige.

Theo tries to get out of it at first, a tad shy to play for you so suddenly. A million thoughts race through his mind. What if they don’t like it? What if I make a mistake? It has to be absolutely perfect. What if—

Your smiling expression eases his worries. It’s such an encouraging sight, and it convinces Theo to do his best.

So he plays a random tune, not exactly sure how it should sound because you’re watching. Should it be slow and romantic? Fast and upbeat? He just plays from the heart.

He’s so focused on pleasing you that he doesn’t seem to hear how melodious it sounds. His playing manages to surprise the pianist, and it even draws in a few passersby.

By the time he’s done, you’re clapping and exclaiming so much praise that his cheeks flush.

Theo feels a hundred times lighter, and your compliments make him realize that you’re such a sweet person. As the saying goes, it’s a match made in heaven.

🍎 Kati 🍎

Kati checks his daily horoscope for nearly everything. He needs answers to some of his burning questions! Will a Taurus such as himself get along with Noah, a Gemini, or will it be another turbulent day?

He wonders whether or not your star sign is compatible with his. It must be if you’re allowing him to choose the location of your first date.

Now Kati knows a first date can either make or break a relationship before it even blossoms, so he wants to make sure his partner will have as much fun as possible. For someone as energetic as himself, the amusement park is definitely the best place for a first date.

It may be cliché, but Kati would rather do something fun and exciting. First dates can’t be boring, and he doesn’t want to mess up his chances.

So the amusement park it is!

To be fair, any place that offers endless hours of joy without seeming mundane is a good first date option. Kati can imagine many places: the arcade, a water park, and even a circus performance!

When the two of you get to the amusement park, Kati’s like an awestruck child, racing from here to there in search of cotton candy and which ride to go on first.

If you’re nervous about rollercoasters, he’s prone to whining in hopes that he’ll be able to drag you on the ride. But he’ll understand if you seem truly terrified. In that case, it’s off to stock up on sweets and to win prizes from the games.

You might have to hold him back from biting anyone when he doesn’t win, though...

If you don’t mind the dizzying speeds and the stomach-churning drops of most coasters, then be prepared to go on as many as possible. Kati will quite literally pull you in the direction of the scariest ride he sees, which only get more intense with each one you conquer.

You’ll have to take a break at some point, to which Kati fusses over how boring that is. Once you’re finished with your coveted ten minutes of rest, it’s off to the next huge ride.

He can’t stand waiting in those lines, so it’s best to get the passes that let you cut others in line. As the two of you advance past exhausted, sweaty strangers, Kati’s grinning and teasing them about how he’s going to be the first one on the ride.

A day with Kati, especially one spent as a first date, is an entire rollercoaster in itself. You’ll be so tired by the time the moon’s in the sky, and Kati will still have boundless energy.

He’s relieved at how smooth the date is going. If he checked his horoscope before, which he definitely did, he’ll chalk the luck up to his great fortune. If it were unlucky, that would be another story...

But everything’s great so there’s nothing to worry about!

At the end of the date, Kati’s hoping you’ll want to spend more time with him. After such a great day, who wouldn’t want to stick around?

He’s so happy that you’re such a compatible match. Star signs or not, it must be a stroke of fate!

Your next dates are going to be filled with so much chaotic fun, so get ready for a tiring, yet incredibly exciting relationship.

Kati’s definitely considering competitive tag as a date option and there’s nothing you can do to stop him.

🎼 Nine 🎼

Nine would rather not experience any sort of date at all, which is why he’s incredibly hesitant to even consider going through with this.

But he doesn’t want to upset you, nor does he want to ruin the relationship he’s already built up with you. Besides, dates are ways for couples to become closer, right? If anything, it’ll help him get to know you better, and it’s a perfect way for him to work on his one-on-one skills.

Nine doesn’t want to do anything too extravagant. He’d prefer something modest and tranquil, where it’s just you and him.

So he suggests something gentle like stargazing. Looking up at the stars is good for inspiration, and it might even help him clear his head. On top of that, he can come up with new ideas for his compositions!

For Nine, stargazing is also nice because it’s isolated and calm, which is wonderful for someone who spends most of his time alone.

The two of you check the forecasts religiously, awaiting the day when the weatherman explains that the night will be clear and starry.

When that night comes, you and Nine drive out to the nearest open area. Whether it’s the sandy shore of a beach or an endless grassy field, you make sure everything’s perfect for your first date.

Nine sets up the telescope with ease, and you have an astronomy guidebook in your hands, which has been flipped open to the table of contents so that you can locate a certain constellation.

Blankets have been laid out for comfort and warmth, and snacks have been packed in case you get peckish.

For a first date, it’s awfully quiet, which isn’t exactly a bad thing. Nine only talks when he feels it’s necessary, or when he’s directly addressed, so as long as you can put up with the silence it’ll be a lovely night.

If you’re getting tired, Nine might just allow you to lean against him. It’s a pleasant evening, and you deserve maximum comfort. Besides, he’s in a good mood and you’re his partner, so he doesn’t mind.

He won’t say it outright, but Nine secretly enjoys spending his time with you. You’re just so refreshing to be around, and you understand him. You’re very special to Nine, who gives you many privileges when it comes to stuff he normally doesn’t let others say or do.

Nine’s actually glad he agreed to this first date. Despite his initial hesitation, he’s having a grand time searching for stars and constellations against the inky backdrop of outer space.

If you’re into conspiracy theories, you could have a light debate over the existence of aliens. Though Nine doesn’t contribute much. He’ll just smile as you enthusiastically point up at the sky, telling him that somewhere in the distant blackness of space there exists a civilization of aliens.

Under the moonlight, Nine looks ethereal. How can one man be so elegant and perfect? Maybe he’s one of the aliens from Mars... (Spoiler, he’s not.)

Because Nine sees you as more than a friend, you’re allowed to call him pretty. As long as your praise isn’t overdone.

Yet despite the peace, there’s a lingering emotion in Nine’s deep blue eyes. You can’t quite put your finger on it, but it’s definitely something akin to melancholy.

You let your voice go anyways, not having considered why Nine suddenly seems to be brooding. “You’re not alone, you know. I’ll always be here for you, as your friend and as your partner. You can count on it.”

Nine, who is so accustomed to crushing loneliness and is against forming any type of bond with those around him, is pleasantly surprised. In moments such as this one, you really do shine brighter than the twinkling constellations in the sky. It might be sentimental, but you’re his favorite star.

#afterl!fe #after l!fe #afterl!fe jamie #afterl!fe theo #afterl!fe kati #afterl!fe nine #afterl!fe headcanons #afterl!fe hcs #afterl!fe x reader #first date headcanons #first date hcs #afterl!fe the sacred kaleidoscope

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panharmonium · 4 years

Text

no man can know his destiny...

...because if we told him what it was, he might decide to tell destiny to bugger off!

all right, folks. i am obviously eight years late to this party (party? maybe not party; that’s...maybe not the best word), and i am aware that everybody who was ever in this fandom has probably already consumed all the finale reaction posts that they ever needed to read. i am putting this S5 finale round-up together for my own purposes anyway, because now that i’m no longer avoiding spoilers, i want to make sure i get all of my own thoughts down on paper before i accidentally run into anyone else’s.

fair warning before anyone decides to invest their time: this post is sixteen single-spaced pages long. i am putting it under a cut here, so feel free to scroll on by.

with that said, off we go!

in a land of myth and a time of magic (i fell in love with a ten-year-old tv show):

so, to preface this, i think it’s pretty fair to say that i very rarely complain about merlin.

i watched the first episode of merlin on a complete whim - i was by myself, on a trip to atlanta, and despite the fact that i usually never sit down and just decide to watch random tv, i was scrolling around on netflix before bed and saw merlin and thought “oh hey, that’s always been on my list as something i thought i might like.” i clicked it. i watched it. i thought it was going to be a silly, fun, low-investment show i could use to fill the spare time on my trip.

it was silly. and it was fun. it was not low-investment. i fell in LOVE.

and i know this comes through in the way i write about it, like - the vast majority of the blogging i have done about merlin has come from a place of THIS THING IS GREAT AND I WANT TO TALK ABOUT IT BECAUSE IT’S GREAT. sometimes the story will go places that stress me out or make me sad, but usually that hasn’t impacted my enjoyment, because generally, when i evaluate stories, i react more to my perception of the story’s integrity, as opposed to whether or not i personally ‘liked’ the ending. so i might personally prefer stories that don’t end in tragedy, but if the story has earned its ending, with integrity, then i won’t feel any desire to criticize it. i will talk about how sad i am or how low it made me feel, but if the story has earned its ending then i can’t - i just can’t argue with it. i have to respect it.

and i think i’ve demonstrated that well enough in all the other blogging i’ve done about merlin. with 5.10 and 5.11 particularly; i felt those episodes were impossibly tragic and dark and SO unhappy, but i respected the storytelling, despite this. i wasn’t hopping on here to make posts like ‘ugh this is getting so dark this episode sucks!!!’ i was writing about the story they were crafting - which, yes, WAS getting dark, certainly - and about how impactful it was (even when that impact was just “OUCH”). i was still deeply engaged, at that time.

so - i think i have earned the right to say honestly that the following analysis does not come from a place of ‘this was SAD and that makes it automatically CRAPPY!!!’ that’s not how i assess things. 5.10 and 5.11 were devastating, but i respect them. i loved watching them. i would watch them again. i thought that the show had the potential to pull off something masterful, after those two episodes.

but the one thing this series has always struggled with a little bit is follow-through. bbc merlin is at its finest when they aren’t afraid to go barreling after the moral ambiguity and complexities that their show inherently contains (‘to kill the king,’ ‘the sorcerer’s shadow,’ ‘the disir,’ ‘the kindness of strangers,’ ‘the drawing of the dark,’ to name just a few), and they achieve real greatness in those moments. but they sometimes pull back from the difficult questions they pose. and i can’t tell if it’s that they’re deliberately chickening out, or if it’s just some variation of carelessness or ineptitude that makes them fumble the ball, but the end result is that they hit these amazing highs of “wow, i can’t believe we’re finally going there; we’re addressing the central conflict” and then all the complicated questions they asked just get dropped.

it happens in ‘the sorcerer’s shadow’ (which is an amazing episode otherwise), when kilgharrah kind of...word-of-god handwaves away merlin’s conflict, saying ‘we just gotta wait for arthur to be king, that’s the right way to go about this.’ and they double down on this by having merlin say that it was gilli, not merlin, who had betrayed their kind - which is just not - that is not what that episode had been saying, up until that point! the entire point of that episode was that yeah, merlin has in fact gotten himself into a position where he’s made a morally questionable decision to serve a regime that oppresses him and others like him. they show us how conflicted he feels when he’s confronted by this reality. they show us that he knows it’s true. it was brilliantly done - and then they pulled WAY back.

but even then i don’t think it was like...unforgivable, at that point. it doesn’t break the story’s integrity; i can definitely believe that merlin would take that tack - i’m not sure he’s quite ready to confront/accept the reality of his situation at that point. so i get it. it wouldn’t be a big deal - if the show had eventually addressed/followed through on this conflict in the end.

and i think the same is true of the episodes leading up to the finale. they were dark and complicated and tragic, but they were telling an important story; and none of the terrible things we saw happening to the characters were dead-ends, story-wise. there was a place for that story to go. there was room for morgana to have her arc resolve in a meaningful way. there was room for mordred’s arc to do the same. the place in which we found ourselves at the end of 5.11 was as dark and complicated as merlin had ever been, and it was still bursting with potential.

and then you watch the finale and it’s just - empty. i described it as a paper castle in some other post, and that’s what it felt like. no substance. it was like they stuffed us on a bullet train and whizzed us past material that should have taken an entire season to handle, and you didn’t see any of it or feel anything because the trip took ten seconds and the scenery was a blur.

it honestly felt like they thought they had another season coming and then someone popped in and told them “actually you have to wrap this up in two episodes.” i can’t think of another way to reasonably explain how dramatically the quality of the storytelling downshifts between 5.11 and 5.12. i wasn’t watching the show then, so i don’t know, but it’s - at least if that had been the case, i would UNDERSTAND what had happened. it’s just insanity, otherwise.

so anyway, with all that said, here are my own reasons for why i think the last two episodes were objectively bad writing, as opposed to just writing i don’t personally like. nobody is obligated to agree with me on any of these points, but i’m also not putting them up here to debate them, really - i truly believe that almost everything i watched in the last two episodes was poorly-conceived.

(there’s an entirely different discussion to be had, of course, about the relative merits of ending your, uh, hopeful fantasy story on a bummer of a death knell, and i might touch on that later, but that’s a little bit more subject to personal preference, and honestly, it’s not the point i’m trying to make here, because to be frank, these episodes are bad without even getting into who lives and who dies.)

i. plot contrivances: EVERYWHERE.

i don’t mean plot devices. plot devices are important, in a story. a plot device is something like how merlin throws excalibur into the lake in 1.09, and then is able to retrieve it in 3.13 because of a choice he made to show someone compassion in 2.09, and thus he is able to save the day and defeat the undead. excalibur is a plot device, in that scenario - the ability to use it in 3.13 unfolds organically.

a plot contrivance, on the other hand, is artificial. it’s unnaturally convenient. it doesn’t feel convincing. it’s what you reach for when you can’t think of a way to make something happen, but a writer is supposed to look at these things when they edit and think ‘hey. if i can’t make this happen without it being contrived, maybe it shouldn’t happen. maybe i need to look at this again.’

so like, from the very beginning of 5.12, we have:

the face-sucker slug. never seen one before. never heard of it before. never given any indication that any such creature ever existed. never given any indication that “stealing” magic was something that could even happen. no idea where morgana found it. created for and introduced in this very episode, just to give merlin a reason to go to the crystal cave; removed from the episode ten minutes after it’s introduced, forgotten.

gwaine’s sudden girlfriend. NEVER SEEN HER BEFORE. NEVER HEARD OF HER BEFORE. NEVER GIVEN ANY INDICATION THAT ANY SUCH CREATURE EVER EXISTED. where does she come from? why do we care? (surprise: we don’t.) created for and introduced in this very episode for the sole purpose of explaining how morgana could get the information she needed to interfere with everyone’s plans, which was a contrived idea in and of itself, because it relied completely on making gwaine act like the kind of dope who tells a civilian military secrets.

you just. you can’t. if your plot point can’t function without a) introducing a brand new character in the penultimate episode of your show and b) forcing a long-standing character to do something they just wouldn’t do, you can’t use it. you just can’t. you have to figure out something else.

this lady’s very existence is nonsense. absolutely, utterly contrived. to waste that much time on a character we’ve never seen before and don’t care about, in the last two hours of your five-season show...incredible.

morgana’s army. they outnumber camelot’s forces “five to one.” where did they come from? how did she amass such a force? in season 4 she was losing all her allies - the episode with annis and caerleon was specifically designed to show us how people were turning from her methods and aligning with arthur. and then she spent two years in a pit. how did she amass such a force in such a short period of time? what could she offer them? why do they fight for her? there is no explanation of who the “saxons” are or what they want - the show just needed an army for camlann.

aithusa. aithusa was, apparently, just a vehicle to enable mordred to obtain a blade forged in the dragon’s breath. beyond that, he served no purpose. he literally just vanishes, along with that entire storyline - the future of the dragons, everything - just dropped, forgotten, never mentioned again.

morgana in the crystal cave. “gee, i finally caught merlin, the guy who’s supposed to be my doom. i think i’ll just...trap him behind some rocks. wouldn’t want to kill him, while i have him completely powerless and at my mercy. how then would he escape from this super powerful magical cave and ensure that the next step in this impossibly weak plot unfolds?”

the crystal cave itself. what is the entire point of this detour? killing time while arthur and merlin are separated? i mean, the whole “merlin loses his magic for all of five minutes” thing was a contrivance itself, just to ensure that merlin and arthur had a reason to be separated during the battle. but even putting that aside, once merlin is in there, and balinor says ‘you have to go into the light to discover who you truly are, you have power of which you cannot conceive’ - what purpose did that serve? all we see merlin do once he gets to camlann is call down some lightning. he’s done that before. he...he did that in season one.

the entire detour in the crystal cave changed nothing. it was a contrivance to mark time so merlin didn’t arrive at camlann at the same time as everybody else.

arthur at camlann. the idea that we are supposed to believe that arthur somehow finds himself all alone on that battlefield, long enough for mordred to sneak up on him and stab him and for him not be found by a single other human being until merlin shows up. he is the KING. there is no conceivable circumstance where his army lets him go wandering around by himself after the battle has been mostly won. it doesn’t make sense. it isn’t believable. it’s a contrivance to make sure mordred has an opportunity to get him.

“only the sidhe possess such magic.” the SIDHE????? you guys. the last time we saw the sidhe was in that gooftastically wonderful filler episode where a pixie wanted to bone gaius. you can’t - you just - you can’t center your entire ‘this is how we save arthur’ plan on a race of beings that we haven’t heard of since early season 3 and which we never knew anything more about than that they once possessed a farting princess.

“not without the horses.” are you telling me. that the reason they don’t make it to this fabulous isle in time. is because. their horses. were conveniently scared away. that’s what killed the glorious once and future king. the horses ran off.

and the horses conveniently ran off because they were conveniently scared away by morgana, who conveniently happened to show up because she was conveniently put in a position to extract information from someone who conveniently knew where arthur was going - all of this, of course, predicated on the impossible-to-believe assumption that a) gwen would ever tell anybody where arthur was going, when the stakes were this high, when nobody needed to know and camelot had already fallen prey to spies multiple times, and b) that gwaine and percival would, if they did for some reason know where arthur was headed, be so foolish as to literally serve themselves up to morgana on a plate, when they know that the whole point of this scheme is that they WANT morgana to hang out in brineved wasting her time in order to allow arthur to reach the isle safely.

I SAY AGAIN: if your plot point cannot function without making characters do things we just do not believe they would do, you can’t use it. you can’t. you have to revisit what you’re doing. you can’t just make anything happen that you want to in order to drive the story to the place you want it to go. it has to make sense.

kilgharrah. is called just in time to deliver a pat explanation of the ending, but not in time to shuttle arthur over to the isle? merlin could have called for a ride ages ago. merlin and arthur weren’t traveling fast, or far. it’s not like kilgharrah was having that much trouble getting around. we see that he handles carrying the two of them just fine. we see that he flies away, zoop, no problem. there is no reason for him not to have been called even a single hour sooner, other than that the plot demanded that he could not be, because the plot demanded that arthur not get there in time.

it breaks the boundaries of disbelief. it takes you right out of the story. it reminds you, inappropriately, that all of this is a thing someone planned (poorly). all of it is contrived.

ii. dropped plotlines

i can’t believe i actually have to say this.

i’ve seen tv shows tank before, but usually, when tv shows tank, it’s just that the quality of their writing has declined, and they’ve resorted to resolving their plotlines in ill-conceived ways.

i have never, in my life, seen a tv show DROP all of its major plotlines before it ends. i have never seen a tv show just. FORGET. to address their premise. never. i still can’t believe it actually happened. i’m sitting here trying to remember if the merlin finale was actually some kind of anxiety-induced fever dream i had while i was gearing myself up to watch the last few episodes.

merlin bbc had, at its outset, two major plotlines. these would be supplemented later by other throughlines (many of which were also dropped), but the two major ones always stayed the same, one for arthur and one for merlin:

for arthur, the question of him one day becoming the greatest king in history and uniting the land of albion

for merlin, the question of him one day liberating the magical community from oppression and being able to live free from fear

those were the two constant throughlines in this show, from episode one. the struggle to unite the land of albion, and the struggle to make the land a free and just one for ALL of its people, not just those without magic.

this show, somehow, ended without actually addressing either of these things.

it’s amazing. i don’t even know how they managed it. somehow, this show ended without actually ending.

to elaborate on this (and other dropped plots):

a) the once and future king: we never see a united albion. the show is driving at it, in seasons 4 and 5, when arthur makes peace with annis in S4, and then gets annis’s permission to travel through her lands in 5.01, and then helps Mithian’s father in S5, and makes peace with odin in 5.04, and then tries to make peace with the sarrum in 5.08, and it’s all making sense, and you expect that plotline to continue until we see its eventual fulfillment at the end of the show. you would expect, if this were supposed to be such an important thing, that the big struggle at the end of the series would have been all the peoples of albion united together against a threat.

but we never see any of these kingdoms again. we never hear a peep out of them. no one ever mentions them. it’s like they all just vanished into the wind. as far as we’re aware, camelot fights morgana’s army on their own - it’s like annis and odin and godwyn and rodor and those five kings that came together to sign the treaty in 2.10 never existed.

the dragon says at the end, “all you have dreamt of building has come to pass,” but we’re just like - WHERE? we literally didn’t see it! it was never shown to happen! you can’t just say that the most important outcome of your five-season series happened when it never did! it demonstrably NEVER DID! you can’t…..oh my god, you can’t...try to end your show offscreen, lol; i don’t know what else to say!

look - this is something i wrote before i knew how the series ended, when i was considering the possibility of arthur dying:

i wrote that before i even knew what happened. that’s not the result of, you know, retroactive complaining because they killed a character and i didn’t like it. i was doubting the idea that they would even be able to kill arthur, because i legitimately didn’t believe the show had shown us the uniting of albion yet (and they hadn’t, lol).

it just...it truly doesn’t make sense. something got tangled as they approached these last episodes. in 5.10, finna tells merlin, “without you, emrys, arthur cannot build the new world we all long for,” indicating that it hasn’t been built yet. but that scene takes place just a few weeks before the finale - you’re saying “the new world” hadn’t yet been accomplished at that point, but now, a few week later, it has? arthur didn’t DO ANYTHING in that interval! we saw camelot fight off a bunch of invaders (alone) like they’ve done a billion times before. there was nothing to hint that now albion is united.

and if finna was referring to the “new world” meaning a magical world, i mean - arthur didn’t do anything to build that, either. he died.

something happened. some wire got crossed. i don’t know what it was, but it meant that the show ended without actually closing out Main Plotline #1.

b) one day, we will be free: this show also somehow managed to end without addressing the plight of the magical community, which was THE central conflict of the show for all five seasons. more than that, it was the show’s premise - it was how they crafted their entire idea; it was one of two defining features of their pitch to BBC: that they would “wind back the clock” to when the characters were young, and that magic in this universe would be outlawed.

they literally abandoned the show’s premise. the episode directly preceding the finale was entirely about camelot’s wrongdoing and the right of magic-users to stand up and fight for their rights. it is not a crime to fight for the right to be who you are. and then we literally never heard a word about this struggle again. it was dropped like a hot sack of bricks.

IMPOSSIBLE.

and yet

it’s just left, twisting in the wind. we have no idea what happened. the one and only glimpse of camelot that we get at the end of this show has nothing to do with magic; it’s grim and somber people chanting ‘long live the queen’ in the throne room. and then we’re gone from that place, forever, never to return. it’s like they don’t even remember that ‘freedom for magical folk!’ was the driving source of conflict for the entire show. you would never have known that “magical oppression” was ever a feature in this show, if you just watched the end. camelot’s wrongs are never addressed, never referred to, never amended. the fate of the magical community is never hinted at. we don’t have any inkling of what happened to those people. we literally do not even have any indication of whether the magic ban was lifted.

it’s like none of that ever existed. it’s like the show just FORGOT its entire premise.

this truly might be the most unbelievable thing about the finale, for me. i’m still having trouble wrapping my head around it. in a roomful of writers and editors and producers, not a single person pointed out “hey uhhhh...we haven’t actually resolved either of our plots?”

i was exposed to enough vague reactions from fans to expect the finale to be disappointing. i assumed that the show would resolve its major plotlines in ways that i either didn’t approve of or found unsatisfying.

i did NOT expect them not to resolve their major plotlines at all.

i have never seen a tv show literally forget to end. never. never seen that happen before in my life.

c.) i am the last of my kind: the reveal of merlin as a dragonlord ushered in a third important plotline - his responsibility to the dragons, his duty to protect them and help them thrive. and the question was always ‘all right, so as a dragonlord, how is merlin going to ensure the survival of the dragons as a species, since they’ve been almost exterminated - .’ and that was also dropped. like a hot potato. like it never was. we never get clarity on what the heck was going on with aithusa, and then at camlann, aithusa just vanishes. gone. literally never to be seen, mentioned, or wondered about again.

d) i am old, merlin: this is a smaller thing, but in 5.10 the show starts this subplot about kilgharrah being unwell and merlin suddenly confronting the idea that kilgharrah is not, in fact, immortal. and it was actually very poignant and made me emotional despite how kilgharrah kind of drives us insane. they set us up for the idea that we are going to lose him. they set us up to expect that we will eventually see merlin arrive at a place where he doesn’t have that voice in his ear anymore, kind of like when luke goes to cloud city and obi-wan can’t help him.

but then, in the finale, kilgharrah just shows up like he always does, and there’s no mention of anything that came before. he’s fine.

it’s - it’s inconsistent, it’s not appropriate; there’s no emotional throughline. the exchange they have in 5.10 is such a beautiful moment, when a wavering merlin asks “what will i do without you?”

and kilgharrah says, like it’s the simplest thing in the world, “you will remember me.”

that’s such a powerful thing. for someone like merlin, for someone who has lost so many people who mattered to him - you can feel that line expand to cover miles and miles of ground. it’s about more than just kilgharrah.

but having kilgharrah then show up at the end of the finale to deliver his neat little explanatory summary the same way he always does dilutes that previous moment down to almost non-meaning. there’s no emotional consistency. they emotionally prep us for this figure’s departure, and instead he shows up, the same as always, with no reference to the fact that a few episodes ago we were getting ready to watch him leave us.

it’s not good writing. it just isn’t good writing.

iii. i want you to always earn your ending

i think it’s hard to come to grips with the idea that bbc merlin was specifically a show whose kind of...big premise was being a deliciously torturous slow burn up to some massive and long-awaited reveal, and then it fizzled just before it gave the audience what it had been leading up to for five seasons. it’s really just...wow. i’ve seen shows fizzle before, obviously, but the fact that this one was specifically built on the idea that you were waiting for something momentous (and inevitable!) to happen - which then doesn’t happen? that’s just...hoo boy.

the long-awaited, promised “payoff” doesn’t happen in any way that is convincing or satisfying or remotely plausible. it’s a little walk in the woods, and it ultimately doesn’t matter, because as soon as it’s over, so is the show, and everybody except merlin is long dead.

not with a bang, but with a whimper, indeed.

for a show that had its audience waiting on tenterhooks for five seasons for merlin’s secret to be stripped away, the fact that the show’s biggest “payoff” ended up carrying so little weight and feeling so unconvincing is truly a shame. there was no way for the show to give this concept the weight it deserved by flying through it in thirty minutes. the audience knows that there’s no way this could have been resolved so quickly, so everything that happens between the “reveal” (such as it was) and the end feels...false. it doesn’t seem real. it’s not believable. it feels (again, to use the word that truly sums up the entire spirit of this finale) contrived. rushed and squished together to be neatly tied up in the time they had available.

and that’s poor craftsmanship. stories shouldn’t feel like ‘well, i needed to reach x destination no matter what, so i made this that and the other thing happen to ensure that we got there.’ a reader/viewer shouldn’t be able to sense the presence of the author. they shouldn’t be able to feel the hand of god reaching in and arranging pieces to force a conclusion or extract an emotion that hasn’t been earned.

stories, if they are crafted appropriately, should feel like they have no author at all. like they just are. like everything that happens is the natural next step to whatever came before, as if events could not possibly have unfolded any other way. and i don’t feel like the “reveal” and arthur’s reaction to it met those criteria. all the supposedly super sad and emotional moments they were having at the end made me feel absolutely nothing, because the things arthur says don’t feel real. they haven’t been earned in-story. i felt like i was watching that sequence from a hundred miles away...just like...clinical. removed. like i was taken completely out of the story. like i was in the lighting booth of a theater watching some scripted scene play out below me.

(and this might be the time to mention that this has NOTHING to do with the actors. the entire cast was killing it. they were AMAZING. their performance threatened to wring emotion out of me even despite me being completely unconvinced by the idea of what was happening.)

but that aside - how can you stay immersed in something when you can feel the creator’s hand coming down and forcing a resolution that doesn’t make sense, that hasn’t been earned? it snaps you right out of the suspension of disbelief that all stories require you to maintain in order for you to engage with them. the writers needed arthur to say these things sometime before the end of the show, and so he says them, regardless of whether or not it would ever actually happen like that. but i didn’t believe it, because it wouldn’t have happened like that, and so the emotional impact was zero.

here’s the truth: you can’t use lines like “i want you to always be you” and expect me to get weepy about it when you haven’t earned that kind of resolution. it’s a false tearjerker. the writers are relying on our previous emotional attachment to these characters and our burning desire to see merlin validated in order to slip a contrived resolution past us without actually doing the work to make it plausible. they’re playing on our affections in order to cover up the structural shortcomings of the story they cobbled together.

i don’t like when a story tries to manipulate me like that. i’m not going to play that game.

iv. you are destined to be albion’s greatest king (*thor face* are you, though?)

i think there are probably some people out there for whom arthur’s death would have been a dealbreaker no matter what the rest of the story looked like. i respect that.

i’m in the camp where i could have accepted the ‘legend-compliant’ ending, if only it had been earned. as it is, arthur is never allowed to fully realize himself before he dies. the show keeps saying, and i quote, “one day you will be the greatest king this land has ever known,” but arthur skips off to avalon after having reigned for a whopping total of three years, during which time he is not shown to accomplish the only goal that was prophesied for him (uniting the land of albion) and during which time he also becomes further entrenched in his father’s anti-magic views (along with the hypocrisy of using magic for his own purposes), as opposed to ever seeing the error of his ways. he doesn’t right his father’s wrongs. he doesn’t usher in justice and freedom for all camelot’s people. he doesn’t change the status quo in camelot much at all, to be honest - and then he dies. and they try to tell us “there will never be another like [him].”

how? how can that not fall completely flat? he hasn’t accomplished his goal yet! he hasn’t become what they’ve kept telling us he will become.

so i can understand the ultimate plan of arthur shuffling off this mortal coil and being prophesied to return, and i could even accept that as an appropriate ending, but not when it hasn’t been earned. the way it actually unfolded, watching this moment feels like we skipped a season somewhere. it feels like a sham.

we’re being asked to give arthur credit for something he did not actually achieve, and it makes the whole thing feel like a farce.

v. gratuitousness and inconsistency

i had no emotional reaction when i realized they had actually killed gwaine.

that is insane, because you know how much i love him. but his death was so ridiculous that I actually started laughing in disbelief. and that in and of itself should be a sign that something wasn’t working. when your emotional beats are landing this wrong - falling this flat - something has slid fundamentally sideways with your storytelling.

i laughed when they killed my favorite knight! but what other reaction was i supposed to have? it was laughably silly! the premise itself was already foolish - that gwaine and percival would even come out here and endanger arthur in that way - and then gwaine dies because morgana used a nathair to extract information from him? we’ve seen morgana use the nathair twice before! she tortured elyan with it. she used it on alator. neither of them died. it’s never been indicated that being tortured with this creature will kill you. which isn’t to say that it can’t be the case, but from a writing perspective, if you’re going to use a sudden inconsistency to kill a major character, it’s noticeable! it’s jarring! and it makes us feel, once again, that the writers just grasped at any little thing they could think of to make what they wanted to happen happen.

and then there’s the whole question of why they wanted gwaine to die in the first place. what purpose did it serve? gwaine didn’t have to die in order for morgana to get the information the writers wanted her to have. and you’d assume that if they still killed him after that, that there would be a reason for it, or that it would at least...matter, somehow, but - WE LITERALLY NEVER HEAR ABOUT HIM AGAIN LOL. i wasn’t even sure he was dead at first. that’s how insignificant it felt. i felt like zuko in the ember island players.

that’s it. we never see him or percival again after that scene. there’s this weird moment where percival examines a footprint and the implication is that he’s going to follow morgana or something, but then it never happens. it’s like the showrunners ran out of time and were like ‘ok well, we just won’t be able to get back to that dangling thread.’ they gratuitously axed their most developed knight and then forgot they did it.

that’s why i laughed. it was so unbelievably bad - there was literally nothing else for me to do.

vi. let the bodies hit the floor (but like, anticlimactically)

i don’t feel like i need to examine mordred and morgana’s fates too closely, because i suspect the subject of “they deserved better” has already been done to death, and that’s kind of a different conversation than what i’m dealing with here. i’m not here right now to argue that they should have lived (though of course, yeah, i have my opinions on what would have made a better story), i’m just here to deal with how ineffectively the story we did get was executed.

one thing that amazes me is that when i watched the S5 deleted scenes, i realized that the showrunners did in fact originally have the right ideas about making morgana and mordred’s arcs deeper/more nuanced, but somehow these ideas never made it into the final cut. there are two deleted scenes that change so much about what could have been - one where arthur and merlin are talking about morgana and arthur is expressing regret and confusion about what happened to her, and merlin says it’s not arthur’s fault, that “there were others better placed to help morgana,” indicating his own guilty feelings.

and the other one was after mordred defected to morgana, where he has a whole conversation with her about how he thinks there is still GOOD in arthur!!!! he’s uncertain about what he’s doing! I JUST

i can’t believe

they had the seeds

of this better story

and they consciously decided not to pursue them. it’s not like they didn’t have the idea. it’s not like they just never thought of it. they thought of it, filmed it, and deliberately removed it. unfathomable.

it’s also pretty remarkable that the big baddie they’ve been touting for the last three seasons just pegs out from a stab wound in about 5 seconds as we’re being hustled on to something else. there is no space devoted to morgana’s death scene (such as it was…). it’s a parenthesis. it feels like, ‘oh we gotta get this out of the way quick hurry up let’s move on.’

and the thing is, i am not wholly opposed to the idea of morgana ultimately destroying herself - it’s not necessarily my first choice, but there are ways they could have gone that route and still told a meaningful story - but if they wanted to go that way, her death would have to matter. it would have to be treated like the terrible failure it represents. it would have to be given the weight of tragedy.

but structurally, the way this scene is set up, there is no way for this to happen. the viewers are already hyper-strung out on tension, when she appears, because they’re suddenly starting to get this horrible realization that one of the show’s two central characters might actually be about to die, but nobody wants to stop clinging to hope despite their bad feelings so there’s just this desperate, screamingly loud ticking clock running in the background, and when morgana shows up in the middle of that clenching fear, there’s absolutely no way her death can receive the attention she deserves. the audience doesn’t have room for something like that. they don’t have room to feel anything on top of what they’re already feeling. they’re already about to explode. they’re already maxed out on investment. they can’t focus on her; they want her to disappear because something more urgent is going on.

and so the show hustles us past her, and her death is just this blip. it barely registers. if you sneezed, you would miss it.

(and then mordred, for his part, doesn’t even have the benefit of a structural problem to explain the anticlimax of his death. he just gets taken out like the trash. for a character that they just spent all this time developing and making sympathetic - boy.)

i think...the thing, ultimately, is this: if this show truly felt that what they had to do was take their previously hopeful premise and stun their audience with the death of the hero, then they should have understood that trying to stack other things on top of that is too much. trying to squash morgana’s death right up against arthur’s is foolish. it’s ridiculous to expect your audience to be able to process morgana’s death and arthur’s in-progress dying at the same time. these two things happen within two minutes of each other. the audience has been following these characters for five years. it’s unreasonable to expect your audience to hold so much emotion at once.

vii. you’ll just have to trust me

the last thing i want to say is a more general thing.

the rest of this analysis focused on the ways in which the finale is poorly-crafted, rather than on my personal feelings about who they did dirty. it’s not really about my own personal thoughts re: the merits of killing gwaine and morgana and mordred and arthur or stranding merlin across the centuries; it’s about if these things (and all the other things in these episodes) were done effectively, and the answer, sadly, is no. the show could have killed all these people and still written something i would have respected (even though it would have been devastating), but that’s not what happened.

but here, at the end, i think i can make room for a little sentiment.

so what i want to reflect on here is this: ultimately, i don’t end up rejecting stories just because they do things i don’t like. the pre-finale episodes were filled with things i didn’t like. i hated how merlin turned mordred and kara in instead of letting them run. i hated how he let the execution proceed. i hated how arthur refused to see the injustice of his own actions. i hated how merlin was getting so wrapped up in ‘make sure arthur doesn’t die’ that everything else was fading away, that he was doing things he could never have done in good conscience before. but i was still deeply wrapped up in these stories, because i believed they were plausible and true. i accepted them. it made sense to me, that these things would be happening, dark and unpleasant as they were.

i don’t start rejecting stories just because they go places i don’t want them to go. i start rejecting stories when i feel they’ve betrayed my trust.

writers and readers/viewers can only ever move together if they trust each other. i allow stories to take me places i don’t want to go because i trust the authors to keep me safe while we travel. i know that they may take me somewhere i don’t want to be, but i trust that they will never take me somewhere i don’t need to be. i trust that they are taking me somewhere intentionally, with the story’s integrity in mind. a creator i trust can take their story anywhere, because i know they will take care. a creator i trust can end their story tragically, because they remember that i am experiencing it alongside them. they don’t surprise-punt me off the edge of the cliff so i can crash, alone, into the painful conclusion. they carry me the whole way, and by the time we get to the end of the line, we can both look back and see that the road that led us here was straight and true. i don’t fault them for taking me here. it was the right place to go.

the end of merlin didn’t feel like that to me. putting aside the fact that it was all so contrived that it didn’t even feel real (illustrated clearly enough in the ten pages above) - the truth is that even if it had displayed the highest quality writing in the world, the way this show ended felt like the audience had been abandoned. the bond of trust between the creator and the consumer was severed. the show forgot to take care.

i’m a ‘galaxy far far away’ girl first and foremost, so i’ll borrow an excerpt from the world according to star wars in order to make my point:

kasdan: i think you should kill luke and have leia take over.

lucas: you don’t want to kill luke.

kasdan: okay, then kill yoda.

lucas: i don’t want to kill yoda. you don’t have to kill people. you’re a product of the 1980’s. you don’t go around killing people. it’s not nice.

kasdan: no, i’m not. i’m trying to give the story some kind of edge to it…

lucas: by killing somebody, i think you alienate the audience. (x)

i think merlin forgot this.

i’m not saying that merlin shouldn’t have killed anybody at the end of their show. i’m not even saying that they shouldn’t have killed arthur. i’m saying that they forgot to take care.

merlin bbc betrayed their audience. you cannot take a show whose underlying theme has consistently been the promise of better things and then turn around and end it like that without taking special care of the people who are watching. you cannot just take an audience who has spent five years listening to someone bright and full of unflinching hope say - without any indication that anyone should doubt the certainty of this statement - “one day things will be better” and expect them to walk into this kind of ending safely.

by killing someone, i think you alienate the audience. and this doesn’t mean that nobody can ever die. but it does mean that if you’re going to kill someone, you have to understand that there is going to be an automatic pain reaction from your viewers/readers/etc, and if you want to maintain their trust, you have to take so much care. you have to be sure that you know exactly what you’re doing. you have to be sure that it’s the right thing. the only thing. you have to make sure that it doesn’t betray the fundamental promises you’ve made whilst crafting the rest of your story.

the end of merlin is truly stunning in a) its utter reversal/unfulfillment of every major promise that comprised its premise and b) the casualness with which it throws its characters away in the last episode. it’s not just “killing someone.” it’s a slaughter. we have to watch almost half the cast die onscreen, and then at the very end literally everybody is dead except merlin himself.

and this is merlin! not game of thrones! merlin is a “family show;” that’s what the writers/directors/producers keep calling it when you listen to the episode commentaries and they talk about how they can’t show certain things or make it too bloody. they wanted to follow in the tradition of “big, kind of epic family-entertaining shows, that—across generations—work on lots of different levels.” but i cannot imagine a young person who has watched this show for five years coming into the finale to see mordred and gwaine and morgana and arthur violently executed, and to see gwen in mourning, and merlin anguished and then more alone than he ever was even when he was hiding his secret, and then, whoop, there’s the credits, that’s all folks. aren’t you glad you got on this ride?

the show ends without fulfilling any of the promises it made repeatedly for years. the liberation of magic, the uniting of albion, and, for merlin, especially, the long-predicted day when he would be known and recognized for who he was - all forgotten. all abandoned. the finale finishes without giving the audience any of the things that they have spent five years being told to expect. the show rewards five years of emotional investment with death and desolation. it breaks all of its promises. it doesn’t take care.

i was lucky enough to have been so disconnected by how shockingly bad these episodes were that i mostly sat there shock-laughing at them in disbelief, the first time i watched. but going through them again to put this write-up together was just like - that’s when a deep sadness kicked in, for me. not at the ending itself, exactly, because, as i’ve said before, it was so poorly put-together that i can’t even see it as real. but just - at the idea that i still had to see it, period. that i had to witness this thing that i loved so much descend into this misery, for all that i didn’t recognize it as something plausible or true. that i still had to watch merlin drag arthur all over creation, still trying, still scrabbling for that sliver of hope, only to have arthur bite the dust like ten feet from their destination. that all merlin ever wanted in his life was to be accepted and loved for who he is, and that he put all of this on hold so he could (supposedly) bring about a world where it would be possible, and then he never gets it. that a life of hiding himself and believing that everybody around him hated who he was inside - that was as good as it was ever going to get, for him.

the writers just - piled it on. ‘you can watch mordred die, even though we just went to all this effort to make you root for him! and now you can watch gwaine die (why????? we don’t know!!! it doesn’t change the story, but why don’t you watch it happen anyway!). and now you can watch morgana die! but don’t look too long, because arthur is dying! and now you can see camelot cold and in mourning - but only for one second, because now you can see merlin, who we never showed meeting any of his friends ever again, wandering around as a solitary old man thousands of years after everybody else is dead and the universe we spent the last five seasons living in no longer exists!!!!!!’

unbelievable.

it doesn’t upset me in the sense of “it’s so terrible that the story ended that way” because i know it didn’t, really. it was contrived and false enough that i laughed through most of the episode. i know it isn’t the way things would have gone, and i won’t have any trouble forgetting it; whereas if it had been well-done, i wouldn’t have been able to dismiss it so easily. but i still had to watch it, regardless. you’re forced to watch it, because you care, and the creators know you care enough not to look away, and they use that trust to keep you glued there while they gut-punch you over and over and over again and then peace out without concluding any of their plotlines, saying, “isn’t it clever??? we really fooled you, didn’t we? technically, we fulfilled the prophecies - nobody ever said any of the characters would get to enjoy the new world they would build! i bet you’re so surprised!”

it leaves you stunned.

it’s so...mean.

it’s so careless.

i don’t have any desire to subject myself to that a second time. after i’m done with this post, i know i’m never going to watch those episodes again. they weren’t good, first of all; and if you need more clarification on that, please see the first ten pages of this document. but more importantly, i don’t feel the need to subject myself once again to the callous disregard for the trust i gave this show’s creators.

if i’m supposed to trust a creator to carry me over rough terrain, i’m trusting them to carry me all the way to the end. they can’t violently dump me to the ground two feet before the finish line, run me over with an ATV, and then expect me to willingly climb back into their arms.

viii: if you want something done right

in conclusion, i guess the one nice thing about this is that we can crawl the last two feet ourselves.

for me, sadly, i think canon!merlin is always going to end at 5.11. the last two episodes don’t feel believable to me. i couldn’t watch them and be convinced that i was watching something plausible; i felt like i was watching two hours of scripted theater. which is, of course, what we’re always doing - but if the story had been crafted appropriately, we shouldn’t have realized it. we shouldn’t have been able to feel the writer’s hand reaching in and making improbable things happen. we shouldn’t have been laughing in disbelief as supposedly “sad” things were happening in front of us, and we definitely shouldn’t have been almost falling off the couch because the last scene was so jarring we thought it was an advertisement. (the TRUCK, people. blaring across the screen and bulldozering through medieval fantasy-adventure show merlin bbc. nothing on earth or in high heaven could have prepared me for that moment.)

but the one good thing about a piece of media that ended so unsatisfactorily is that it lights a fire under people’s butts to go ahead and sort of...row the boat themselves. i was afraid, before i watched this, that seeing it would make me never want to go back to merlin again. i put off finishing season 5 for an entire year because i was in the middle of writing a fic and i thought that if the end of the show upset me, i would never want to write another word. but now that i’m finished, i’m relieved to be able to say that the finale, while it will always be a bitterly disappointing sore spot, was also SO laughably bad that i don’t feel the slightest compunction about just...letting it lie unrecognized. if it were well-crafted and i was just ignoring it because it made me sad, i’d feel guilty for being petty. but it was Just Actually That Bad, so my conscience is clear.

and so is the path to more fun things, i hope, because that is the point of fandom, in the end, to have fun with something you love in the company of other people who love it the same way.

i hope i haven’t written the last merlin thing i’ll ever write. i hope there’s more inside me that i want to say. i hope i haven’t come in too late to make connections. i hope i’ll enjoy rewatching (most of) this show someday. i couldn’t imagine that any of these things would be true, when i knew the end was going to be a let-down, but now that i��ve finished, i feel like there’s infinite room to play, and that, at least, makes me smile.

i’ve said before that this was a hell of a ride. it ended in a trainwreck, sure, but i’m not sorry i got on.

#the once and future slowburn #merlin S5 #meta

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