#& I also think there would be a lot of ‘what if we break up and it ruins the group’ fears whereas

[undoing-daughters-blog]

I'm going to explain the theory that Jinx is not actually dead

(I know this is long, I promise it's worth it)

This starts in chapter 8 of season two.

We see Jinx in the prision, she's devastated, lost, defeated, and wants things to end. And we see the first interaction she has with the voice of Silco. In this interaction Silco tells Jinx that "killing is a cycle" and that it would continue. But Jinx says she's "done running in circles", meaning: she wants to stop this cycle. To which Silco says:

And later, when Vi goes to visit Jinx, and Jinx tricks Vi and escapes the prison. Vi then asks her what she will do, Jinx answers:

And now Jinx knows the way to break the cycle, is by leaving.

Next time we see Jinx is in episode 9. She is still in the same mood as before, and now she cuts most of her hair off and burns The Last Drop

Burning down The Last Drop and letting go of her hair shows this closure. Later, she tries to kill herself, which is her way of "walking away" to "break the cycle".

But then Ekko shows up, saves her, and they go to save Vi and the others together.

At this point, Jinx wants to stop the killing and wants to leave, but she will always want to save Vi ("I'm always with you. Even when we are worlds apart").

But she still wants to break the cycle. She still needs to let go.

So, as she saves Vi from Warwick with the monkey bomb explosion, she escapes and leaves Piltover.

And we get a hint of that in the final scenes of the show when Caitlyn is going through her mother's database. She finds a blueprint of the hexgate tower and finds secret air ducts in the place where the explosion happened.

We also see her holding a part of Jinx's bomb.

And after seeing the blueprint she has this look. Like she's thinking "is it possible she survived?"

And in the very last scene we see one of these things that is flying away from Piltover.

Which reminds me of Season 1 Episode 1:

She has always wanted to ride one of them.

Maybe, this is her new way of walking away, instead of dying.

And the two frames are almost exactly the same, it couldn't not be a reference to that s1 moment.

And I know this theory may sound dumb but, why would they show us Caitlyn looking at those blueprints then? Every scene, every frame in Arcane is carefully designed. The team is very good, they wouldn't just show it for no reason. It wouldn't make sense. Especially because they have only 9 episodes of 40 minutes each (except 9 which has 50) to develop everything that happens in season two. And there are A LOT of things going on, they don't have time to spare. If they chose to show us that, it had a very important meaning.

Also I think it's kinda bad If Jinx just dies, I wouldn't like that ending, at least not like this.

[catboybiologist]

Yay I'm going to get all Political and angry again.

So pretty much every trans American is probably aware of the Sarah McBride situation at this point, but here's the bullet point summary if needed for anyone else:

Sarah McBride gets elected to the House as the first transgender member of Congress in US history.

Republicans predictably flip their shit. They pass internal rules of conduct that prohibit trans people from using bathrooms of their gender and stating that bathroom use is defined by AGAB. It obviously singles out McBride, but I believe there are trans staffers that are also affected.

McBride issues a statement that she will abide by these rules, and pretty much only use the bathroom directly associated with her physical office. She issues a statement saying she "wasn't elected for bathrooms" and will instead fight in issues that matter, with a milquetoast criticism of Republicans for wasting time on this.

Many trans Americans are predictably scared and disappointed by this, especially because this internal house rule is being used as a blueprint for more extensive laws, including a likely ban on trans people in gendered bathrooms in all federal land and buildings (including, notably for me, national parks. Which breaks my heart, but that's a different rant.)

There's been a lot of disappointment and criticism of McBride over this. The general leftist reaction has been criticism. There's lots of people that have expressed disappointment or rage, including Erin Reed, and also more "personality" type people like Vaush and Jessie Gender.

Now.

I'm disappointed too.

But. And please keep reading before chewing me out for being an apologist.

I think we can all understand that McBride is in an impossible situation. If she fights this too hard, then it vindicates the Republican rhetoric that Dems are crazy trans obsessed leftists. But there's a fear that this will only lead to more infringements of rights for trans people. McBride is completely stuck, and is a junior, freshly elected member of Congress who is trying to figure out how to make her voice the most effective.

I am so, so fucking tired of rights being ceded one by one. So I'm disappointed. But yeah, I understand McBride's statement.

But there's just one tiny. Eeny weeny. Minor. Itty Bitty question having over all of this. Just one little concern.

Where.

The fuck.

Are the rest of the Democrats?!?!?!?

There is a PAINFULLY fucking easy solution to all of this. McBride needs backing, solidarity, and other people to speak for her. If she's worried about her voice being effective, and being branded as the crazy trans representative, then step the fucking up, you spineless liberal slimebags.

AOC is the only one that I know of that has expressed any real opposition or anger. Her statements are getting aaallll the airtime.

But the real story is McBride's sentiment being echoed amongst the entire party. This is absolutely some kind of official platform. The fucking grumbling, milquetoast finger waving and "well I don't like this, but there's nothing to be done! Anyways"

Of fucking course minorites are abandoning the left. The message they're sending is "we'll abandon you with the most pathetic of excuses. We don't give a shit." Trimming groups out of their support one by one.

McBride is doing the impossible calculus of trying to be the most effective on the house floor. It's an insane task for a trans woman. And yeah, she got it wrong this time. But where the fuck is the anger for her cis colleagues? Why the fuck aren't people angry and terrified for everyone that let this shit happen?

As much as people love the narrative of the line wolf resistor, resistance takes coordination, effort, and solidarity. Without that, what would McBride raising opposition even be? One representative against the hundreds of others.

And yeah, of course I didn't expect any better from the Democratic party. But you should be disappointed and mad at your representative, not just McBride.

[soundwavefucker69]

I don't share this often, but I am a trans man named Minty.

awhile after I got my legal name change, I asked my mom what she would have named me if I was a boy. she said Sebastian, and I groaned and complained that I should have asked before I got the name change, because I really DID like Sebastian now that it was occurring to me as a possible name and had ALWAYS liked Sebastian, even before my MCU days as a teenager. I had even considered it as an option but worried I'd end up looking like a weird fandom kid that had never let go of the MCU. if I had known that was the name my mother had picked for me, I would have had justification to choose it.

she asked me why I picked Minty then. i kinda paused in surprise because I thought it was obvious. and I was like. well. I wanted a name i felt like I could associate with childhood me.

after the first house we lived in was foreclosed on by the bank, we had to rent while my parents fixed their credit and swore never to get a fixer upper again. so we picked a nice house in our small town with only two real neighbors of note: an old lady, whose kids had forgotten about her, that lived way down the alley, around the point it turned from paved to dirt, the only house down there, who had a pomegranate tree in her ill-tended front yard, and a nice old lady next door that for some inexplicable reason had a miniature horse and a beautifully tended flower garden she had foolishly once planted mint in. she also had a very, very old fashioned rotary telephone. I mean the kind hardwired into the wall, of metal, with a speaker with a smooth wooden handle that sat neatly on top. not one of the plastic ones. the ones you see in old movies.

we loved these old ladies very much. the pomegranate lady was too old to keep up on her yard, so my brother and I would go with our dad to help weed whack and scrape up the dead leaves. we didn't offer too much, she was a proud sort, and couldn't pay us, but just enough to help out a little. and the mint in her flower garden lady loved it when we came by to say hi to her horse whose name I forget and loved to teach us how to garden.

she would send us home with mint. obviously. because when you have a mint infestation, well. it's pointless, but you gotta try anyway. and my mom would take that mint and make sun tea, just on the edge of not sweet enough, bc she was a bit of a crunchy mom, but not enough to reprimand me for sneaking a bit of sugar into my cup after to mix it up. (the sugar never dissolved right, especially after it was chilled, and i would always make a racket trying to get it to do so)

I told her I picked Minty because it ties me to my childhood. I didn't want to just cast it away. I wasn't Minty yet, but I also wouldn't be Minty without those days.

mom hasn't fully come around to me being trans. but she was quiet for a long, long time before she kind of whispered. I think I like Minty better than Sebastian. you should keep it.

my mom has always beat herself up over our childhood. she lacked a lot of stability in her upbringing and thought church was the way to go with my brother and I. unfortunately, she picked the wrong church. it was intensely traumatizing for us. we've had a lot of tough conversations about it. but I was able to tell her that day, you know Mom, I know you think you didn't do enough, but just know I'm not trans because you put me in a place where womanhood was miserable and I'm running from it. I don't remember much of the church, even though it consumed my life. what I do remember is my mother, the woman I may have complicated feelings towards, but have always admired and was always my standard for womanhood, being criticized by the other women for allowing me to read this book or that book and not bending or breaking under their rebukes for twenty years. I remember finding out as a twenty year old that I was the only "girl" in church that got the HPV vaccine, because you wanted to protect me, and not rely on chastity alone, like some sort of egotistical maniac who believed I'd always be your daughter, not a living breathing person that would make choices you didn't approve of as an adult, that shouldn't have to suffer for no reason from those choices. I remember you reading to my brother and I well into our teen years, using your acting talents that didn't blossom into the career you wanted to bring the characters in Peter and the Starcatchers to life. I remember listening to Lord of the Rings on cassette tape in the mini van, even though they said it was demonic when they found out. I remember the mom that let me be a tomboy. I remember the mom that would put on the Wind and the Willows on cassette from the library on rainy summer days and we'd listen to it and eat meatballs and spaghetti in the kitchen.

I told her, you're not a failure as a mother, and I didn't hate womanhood because of your example. it just didn't fit me. you made mistakes because you're human. I never thought of you as less than because you're a woman, and I didn't want to escape the cage you're thinking i wanted to escape.

my mom cried. I think that was the first time i made her cry and didn't feel bad about it.

anyways. not a soft memory, but it feels soft to me.

Tell me a soft memory

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[soft-pine]

1.18 something wicked

say your desk is covered with a pile of paperclips. something wicked is the magnet you drop in the middle and then they all stick to it; they're all connected.

it's all here. the parentification, the neglect, the way john treats dean which sam doesn't witness, the extreme likelihood that john was using his kids as bait, and the intentional, specific, glorious, lovely ways dean has specifically chosen not to be like his dad.

in the flashbacks, we see dean is in charge of feeding and looking after sam for (at least) three days in some random motel room with the shades drawn. he's not even supposed to go outside. he doesn't have a number for john, just the instruction that if john's not back by a certain time, he's supposed to call pastor jim.

we see john giving dean instructions and responsibility (and criticisms) which he's not giving to sam.

dean is at most 11 years old (ep takes place in 2006. dean says the case from when he was a kid was 16-17 years ago (1989/1990). john's journal places it in 1988; dean was 9)

crucially, even as an adult, dean barely talks to sam about what he remembers of the case when he was a kid. he lets go of little bits at a time and absolutely necessary to the case. but he does not want to process what happened. even when he's so torn up that he breaks down and explains what happened, he doesn't want to talk about it. in part, of course, because he's ashamed of failing to kill the shtriga. but also because dean keeps john's secrets (9.07). and even when he doesn't, sam is not who he tends to process with.

but it's deeply impactful to have an episode where we get to see how dean was treated as a child versus how he treats the kids he meets.

dean is so kind to children throughout season 1, from lucas in 1.03 to lily and charlie in 1.05 to michael here. there is something so great about the way he is both clear that the bad things aren't these kid's fault, while also understanding kids have agency and insight.

i know dean is torn up about using michael as bait for the shtriga but feels he doesn't have much of a choice in order to stop the thing. but the conversation he has with michael is so thorough it really gets me.

DEAN: This camera has night vision on it so we'll be able to see clear as day.... Are we good? SAM: A hair to the right... There, there. MICHAEL: What do I do? DEAN: Just stay under the covers. MICHAEL: And if it shows up? DEAN: We'll be right in the next room. We're gonna come in with guns. So, as soon as we do you roll off this bed and you crawl under it. MICHAEL: What if you shoot me? DEAN: We won't shoot you. We're good shots. We're not going to fire until you're clear ok? Have you heard a gunshot before? MICHAEL: Like in the movies? DEAN: It's gonna be a lot louder than in the movies. So I want you to stay under the bed, cover your ears, do not come out until we say so. You understand? DEAN: Michael, you sure you wanna do this? DEAN: You don't have to, it's ok, I won't be mad. MICHAEL: No I'm ok. Just don't shoot me. DEAN: We're not going to let anything happen to you. I promise.

what a specific contrast that is with

DEAN hesitates, terrified. As he does JOHN bursts through the front door, gun raised. JOHN: (Shouting) Get out of the way! DEAN ducks and JOHN shoots the shtriga multiple times with his hand gun.

something wicked is up there with monster at the end of the book for episode titles that'll make you crazy if you think about it too much.

some other thoughts are just, the first time i watched this scene i thought i was going to explode with love:

DEAN: Yeah well, first of all, I'm not going to open fire in a freakin' pediatrics ward.... Second, wouldn't have done any good, because the bastard's bullet proof unless he's chowing down on something. And third, I wasn't packing, which is probably a really good thing cause I probably would have just burned a clip in him on principle alone.

moral compass boy i would die for you a thousand times and get up and gladly do it again.

and nothing - i mean nothing - hits like dean's voice cracking over the "if it means anything sometimes i do too." like i could actually go insane.

also watching supernatural is how you fill up a computer disc with pictures of dean looking ever so beautiful. like. look at him!! ethereal!!

also also ilu microaggression michael. they should have brought you back in the finale, king.

[arceus-insanity]

Endeavor Deserves No Sympathy!

I don't understand how anyone can think Endeavor was ever a good dad. It also always comes off as incredibly victim blamie, especially towards Touya, and often Shoto too.

He literally only got married and had kids to use them. He never gave a shit about their well being, never even thought about it until he had the one thing he cared about and was still miserable. I've already gone over the math proving he gave up on achieving his dream himself at 21 at the absolute latest. (https://www.tumblr.com/arceus-insanity/763259515356512256/i-liked-endeavors-character-when-he-was?source=share)

And basic math will once again be used to prove just how little this waste of flesh actually tries.

This time the focus is on how quickly he abandoned Touya and immediately went to emotional abuse via neglect & literally replacing him, and once again risking that more children be born with self-destructive quirks.

For context we only see Endeavor doing anything with his kids that's not him literally walking through and ignoring them in two circumstances. Once when Fuyumi's a newborn and Touya is attempting to crawl (not walk) over to her. And training. Those are the only times he tries to spend with any of them, even after he starts his 'atonement'

Now comparing Touya in the scene of them training and himself as a toddler and all the child imagery this series loves to use instead of actually saving imperfect victims, Touya is at least 3 (probably closer to 4) when he's taken to the doctor and they are informed of his condition

Natsuo is 4 and a half years younger than him.

We know for a fact Natsuo (& Shoto) was conceived after they got the news, not willingly either. Pregnancy takes 40 weeks average, so Touya would still be 3 when Natsuo was conceived. So once again it took this 'man' less than a year to give up and have another child he hoped to use as a tool, and was explicitly making to hurt his existing son. And as I have said plenty of times before, risking that the new kids could be born with the same disorder, I hate how convenient it is that Shoto gets near zero negative quirk side effects.

Want to know what we never see, Endeavor doing something else with Touya and Touya demanding training, it's always him walking past/ away from Touya. Considering all of the shit they've pulled to soften Endeavor's abuse both in the manga and even more so in the anime, they wouldn't skip something like this. It's not hard to tell that Touya's 'obsession with training' is really about spending time with his dad, you know like a human child that literally needs love, proven by numerous studies and research in the real world.

He throws all parenting responsibilities onto Rei, adds more children to that load, and when Touya suffers for it (like everyone else) he does nothing, doesn't even hire a nanny

Another are you kidding me take I've seen is that somehow Touya's quirk issues are worse than Midoriya's and Yuga's. Touya managed to train his quirk to produce blue fire at 13 with zero equipment and less than no help, and only lost control of it, because of the mental abuse Endeavor had inflicted on him leading him to a mental breakdown. And/ or the theory I've only seen once of AFO using his ability to force quirk activation (seen with a passed out chapter 90 during his first confrontation with All Might)

Midoriya was breaking his bones all the way into the Shie Hassaikai arc and was only able to fight because Eri and was breaking support equipment in the following arc as well. Yuga had a support belt all the way back in the entrance exam and was still struggling with that.

Speaking of Yuga let's compare parental effort here, because as much as it backfired Yuga's parents tried a whole lot more. For starters they nearly bankrupted themselves to get him a quirk, so he could feel equal. All For One is a mythic man prior to his arrest, and those who knew of him were shown to be serious long-term villain groups, so they had gone to quite a bit of effort to find that he existed to begin with. They also got him support gear (the navel belt thing) as a kid to help him with said quirk, he literally had it in the entrance exam. Endeavor never looked into that, Endeavor is not only rich too but he's a top hero he would have direct access to support equipment companies that would jump at the opportunity and it never even occurred to him.

Endeavor's name is an irony as endeavour means to try hard to do or achieve something. He never tries hard he gives up incredibly quickly the second there's any road block, but instead of moving on he makes everyone suffer for it. He's a toxic pageant mom who'd rather force their child into a toxic world and a role they don't want than work on himself

And what finally makes him change? Getting exactly what he wanted and still being miserable, and he still expects through his actions his family to cater to him.

Not his son getting a major disability due to his actions, no, he decided to double down, mentally abusing and neglecting the son he supposedly loves, raping his wife who didn't want more kids or participate in this abuse, and again risking that Natsuo & later Shoto might have that same issue. Not when his wife breaks down and permanently scars his precious masterpiece, who proceeds to rightfully blame him, and he just thinks of it as a tantrum despite it lasting a fucking decade. Not when his eldest literally dies as the result of his selfishness. Not literally during any part of this entire process!

Dabi is 23 when Endeavor finally starts to 'try' to be better, that means that for at least 24 years he has only been caring about his fucking precious number one spot in a popularity contest that he couldn't even bother to try to be likeable for, this wasn't one bad decision, this was him constantly choosing to be so insanely selfish that he found ways that shouldn't even be possible for over two decades. And it was all him.

[azaharinflames]

Will you share your theory on what you think is happening behind the scenes of 911?

Hi, Nonnie!

Sure! As long as everyone is aware this is purely speculation, and nothing I say should be taken as proof of anything, I have no problem.

I've gone over a few things in my head, to be honest. I thought that JLH having filming conflicts could've been a major factor, and I still don't exactly disagree with that initial idea, but overall I think it was one of the things that threw TM for a loop.

Now, I've seen a lot of people theorize that perhaps Angela is leaving and that is what is causing so much chaos in BTS, but I am on the fence about this. I do think she might've asked to not have such a big role moving forward, especially if they get a season 9 (which I am also on the fence about ngl), like perhaps retiring, or just having a more laidback position training new recruits. The seeds are planted for that, not so much for her fully leaving. And it would give Angela more free time to dedicate to other projects (which, yes please. I need her in new projects ASAP).

So... (and please don't kill me for this, it's just a theory).

I think it all comes back to Ryan. And that he perhaps is leaving, or actively wants to leave. I will try to explain myself as concise as possible:

A couple of months ago there was already speculation about this. In all of his individual interviews (which were a lot, to be honest), Ryan made a point of talking about his work beyond 911 and talking about what he would like to do after 911.

On top of the individual promo, there was an uncharacteristically high amount of BTS dedicated to him and the godforsaken mustache. To the point where they threw a mustache party. And in the pics of that party, the vibes were that it was a party for Ryan, not in general.

Small thing, but Josh randomly dressing up as Eddie for Halloween. Perhaps unrelated, but I wanted to add it.

The 911 account reposting and celebrating Ryan's 100th ep, when 1. it wasn't his 100th (if we count the eps he was actually in) and 2. it was also JLH's, and yet they didn't say a thing about it. Ryan reposted that as well and the message he reposted it with was more nostalgic than anything else. Very much giving 'it was an honor to work with you, what a journey'.

I could be wrong, but I do think his contract ends this season. So, that just adds to it.

The timeline of the move to Texas. By the reactions alone I was fully expecting Eddie to leave for Texas at the end of 808, and then to be back with Chris (in a lazy way of solving their conflict off-screen) by 809-810. But the way he's currently thinking about it makes it very sus for me. As in, it can be a thing for the end of the season, and an actual goodbye for Eddie.

Of course, nothing of this has to actually happen, and it's quite possible it just exists in my brain. But this makes sense in my funny brain because then it explains why BT had to break up so soon... because they wanted Buck to feel completely isolated.

We know 809-10 will deal with Maddie being kidnapped. That alone will make Buck spiral. But if on top of that his best friend is also leaving... well, being alone just adds to the isolation and the angst. Because if Tommy was still around he'd be able to lean on him, and have him help him through this. But it seems like the writers wanted Buck fully alone for this, because sure, seeing a character never learning and being completely isolated is so much fun.

If this ends with BT getting back together, I honestly don't know. It wouldn't surprise me if Tim doesn't know. But, all in all, I wouldn't be surprised if RG deciding he's done is the thing that kinda created the domino effect.

(Also: I do not believe Oliver was telling Tim to fire Lou and end BT. Sorry. I just don't really see it. Nor do I think there were actual conflicts between actors BTS, as much as everything they're doing right now does feel a bit weird)

Anyway, thanks for letting me rant, Nonnie! My inbox is always open for ranting, venting, or discussing

Take care <3

[spaceman-earthgirl]

“Agatha and Rio arrived at school together this morning,” Jen says by way of greeting, dropping her books on the table and joining Alice and Lilia.

Alice looks up, half intrigued, but Lilia keeps her head down, ignoring Jen except for a little wave in greeting.

It’s before school, and the staff room is mostly empty, giving them plenty of space to gossip before the school day starts. Though not a lot of time, the bell for first period is about to ring so they better make this quick.

“When you say ‘arrived together’ do you mean they got out of the same car, or just walked into the building together?" Alice asks.

Jen deflates a little. “I saw them walk into the building together.”

“Then that proves nothing,” Alice says, returning to her book too.

It’s been a hot topic of discussion over the last few months, what’s going on between the two of them, ever since Alice had seen them in the hallway together, Agatha laughing at something Rio said. 

The way Alice tells it, Rio even touched Agatha’s arm, but that detail was added after a few retellings so Jen isn’t so sure about that part.

Either way, ever since they noticed, they can’t stop speculating, because even just the few times Jen has seen them interact since, there’s definitely been a vibe.

Lilia has repeated on multiple occasions that she thinks they’re together, but they need proof.

And Jen is determined to find it.

---

“Someone sent Agatha flowers.”

Jen grins, Alice always gets the good gossip.

“Who are they from?” Jen asks. There’s a pile of homework she needs to grade before her next class but this is more important.

“I’m not sure, I was in the main office when they got delivered. I managed to sneak a look at the card but all it had on it was a little green heart.”

Jen thinks about this for a minute. “A secret admirer perhaps? Maybe even one who teaches biology a few doors down.”

“There’s no way to prove that,” Alice says, but she still looks on board with this information.

“What if we just ask Agatha?” Jen asks, keeping a straight face for as long as she can before she bursts out laughing, Alice, and even Lilia joining in.

“It’d be your funeral,” Alice says.

And Jen knows it would be.

Agatha is snarky and no bullshit and you always want her on your side in an argument. There’s no way she’s risking Agatha’s bad side.

When she’d first met Agatha, she’d wondered why someone like her would even want to be a teacher, and then she’d actually seen her with her students and she’d changed her mind. Agatha might be scary, but she has a way with kids that Jen didn’t expect.

Maybe it’s the no bullshit thing that kids respect, but whatever it is, the kids love Agatha and she seems to love them too.

But there is still no way she’d ever ask Agatha about her personal life. From what Jen can gather from their limited interactions is that Agatha is a private person, and she’s not going to question that.

She really hopes Agatha never finds out that their favourite way to spend their lunch break is gossip about her and the chemistry she clearly has with Rio.

read the rest on ao3 or under the cut

---

“I just saw Agatha and Rio having lunch together in Agatha’s classroom.”

They really don’t greet each other normally anymore, they just spill gossip. She hopes the other teachers don’t overhear them. Or if they do, they have gossip to contribute.

“I knew it,” Jen says, like that’s the proof they needed when in fact it proves nothing except the fact that they’re friends.

Which they knew already, so that’s not news. They've seen them together enough to know that they're friends, which only adds fuel to their speculation because Agatha doesn't have any other friends at school besides Rio.

“And they were sharing a sandwich,” Alice adds.

Ok, that might be something. 

“’Lady and the tramp’ style?” Jen asks, because that’s the first thought that pops into her mind when Alice says it and she also knows Alice will hate her question.

As expected, she gets a withering gaze in return. “No not ‘lady and the tramp’ style, they were sharing a sandwich like normal people do, Rio handed Agatha half of her sandwich, but that’s all I glimpsed as I walked by.”

“I mean, that’s kind of something I guess?” Jen says. “Lilia, back me up?”

Lilia barely looks up from the book she’s buried in. “You already know my opinion on the matter, but that alone proves nothing.”

“I’m adding that to the list of signs they’re dating,” Jen decides after some thought. It doesn’t really prove anything either way, but she’s going to figure it out.

---

“Guess who is chaperoning the school lock in tonight together?” Jen asks. She feels like this is good information.

“I’m guessing Agatha and Rio?” Alice answers, taking a carrot stick from the container Jen offers. 

“As well as about 10 other teachers,” Lilia pipes in, ruining the fun.

Lilia is still firmly in the camp of “they’re definitely together, and why bother gossiping about someone else’s personal life?” but even she sometimes gets involved. She’d been the one that noticed Rio wearing a shirt she swears up and down she’d seen Agatha wear before.

But maybe they just shop at the same place, so that proved nothing either.

“Are either of you two chaperoning?” Jen asks. When they were taking volunteers, she’d said no. She couldn’t think of anything worse than being locked in the gym overnight with a bunch of kids. 

Agatha doesn’t usually volunteer for school activities either, which is why this is a little suspicious.

“No,” Alice says as Lilia shakes her head.

Damn, she wishes she’d volunteered now, they might’ve gotten some good intel.

On Monday, they get no information from any of the other teachers because she’s pretty sure no one else is as invested as they are so that’s a bust.

---

Jen is halfway through her sandwich when Agatha walks into the staff room. She watches in surprise as Agatha crosses the room, takes a seat at the only empty table and pulls out her lunch.

“Do you think they’ve had a fight?” Alice asks, as quietly as she can. There’s no need to ask who she’s talking about, they all know.

They’re all fairly certain that Agatha and Rio spend every lunch break together, so why not today?

The logical answer is that she’s busy so Agatha is eating alone but gossip and speculation isn’t logical.

A couple minutes later, Rio walks in and the imaginative side of Jen’s brain runs away with her, to the point that by the time Rio has crossed the room, Jen is expecting a fight because in her mind they’ve broken up, but all Rio does is sit down next to Agatha and pull out her own food.

Jen deflates a little. Not that she’d wanted a fight, but it at least meant they might get some drama.

That doesn’t stop her from watching them though. As subtly as she can, of course. She can see Alice and Lilia doing the same, all three looking for clues to whether something is going on between them or not.

But it’s about as boring as watching anyone else each lunch. All they’re doing is talking and eating and Jen is just starting to wonder if maybe they’re reading too much into things when it happens.

Jen can’t see from where she’s sitting what Agatha is eating, but whatever it is, it must be messy enough for Agatha to get something on her face. Rio reaches out and wipes her thumb across Agatha’s lips, removing whatever food was there, before bringing the thumb to her own mouth to lick it clean.

Alice immediately clutches Jen’s arm, clearly just having seen it too.

They (again, subtly) watch in silence until Agatha and Rio get up and leave not long later, nothing else eventful happening after the incidentTM.

“Did you see that?” Alice asks as soon as Agatha and Rio are gone.

“That is not 'just friends’ behaviour,” Jen says, still in shock at what they’d witnessed. Maybe there was something to this after all.

“I mean-“ Alice starts, like she’s about to justify it.

“No. Do you ever do that with your friends?”

“No,” Alice says, her cheeks going red.

“Exactly. So we’re adding this to the list of evidence that they’re dating.” Not that that list is very long, but if they’re not dating, then they’re clearly into each other, evidenced not just by what Rio had done, but by the fact that Agatha hadn’t punched her afterwards.

---

It’s early, earlier than she’d usually arrive at school, but they have a school spirit event today so they’d all arrived early to set up their classrooms.

But before that, Jen needs coffee.

There are a few other teachers on campus, all trying to get an early start on the day, so she’s not surprised when they walk into the staff room and find they’re not alone.

What she very much is surprised by, however, is that the two people in the room are Agatha and Rio.

And they’re kissing.

It’s a fairly chaste kiss, as far kisses go, which is probably good considering they’re at school. But Agatha is pressed close to Rio, Rio crowded against the counter.

At least their hands are in appropriate places.

The noise of the door closing must alert them to the fact that they’re not alone as they break the kiss and turn towards the noise.

“Morning,” Rio smiles, giving a small wave. She makes no move to push Agatha away though and Agatha doesn’t move either. Agatha does give a flippant wave in their direction which Jen is assuming is also a hello.

Clearly, they don’t care that they’ve been caught because Rio turns back to Agatha, saying something too quietly for them to hear but whatever it is, Agatha laughs.

Jen will blame the lack of coffee and the fact that they’ve been speculating about this for months for her next words.

“You two are together?” Jen asks before she can stop herself. There definitely was a more tactful way to ask that but it’s too late.

“I told you,” Lilia says, as Agatha and Rio turn back to them, finally stepping apart. Lilia pays everyone no mind as she walks across the room and starts making herself a coffee.

Jen ignores her, too focused on the two women on the other side of the room.

Agatha looks mad now, which is a little scary, but Rio looks amused.

“Are you serious?” Agatha asks, voice gruff, and Jen is starting to have regrets. But they’re in this now, and there’s only one way to find out the truth.

“We just…” Jen looks to Alice for support, but she holds her hands up in a way that says ‘don’t make me a part of this’. 

Traitor.

“We’d just noticed you two spending a lot of time together and you obviously have chemistry so we couldn’t help wondering if something was going on.”

Rio looks even more amused, and there’s a slight quirk to Agatha’s lips too which means she’s at least not contemplating killing her right now.

“You know nothing exciting ever happens in Westview,” Jen adds, like it justifies their actions. “It was just idle gossip.”

“Well, Rio starts. “You know, I saw Agatha and I just couldn’t stay away. I’ve been trying to get her to go on a date with me all year, it was those sexy reading glasses that-

Agatha gives Rio a slight shove, pushing her away and cutting her off. Agatha still doesn’t look mad at least. “We’re married,” Agatha says with a roll of her eyes, but the look is directed at Rio.

“See, I just couldn’t stay away,” Rio grins, gesturing to Agatha. “All she did was ask me one little question and now I’m hers fore-“

“Stop,” Agatha cuts in, giving Rio another playful shove but she’s looking at Rio with such affection that no one could deny them being in love. “Or else you’re walking home.”

Rio holds her hands up in surrender with a grin.

“You’re married?” Jen finally asks, incredulous. She almost feels like she’s intruding on something.

How on earth did they miss that?

“We’ve been married for eight years,” Agatha supplies, looking a little annoyed again. It’s very clear that the annoyance is directed at them, and not Rio. “It’s not a secret, everyone knows.”

Jen’s mouth drops open. 

“Or we thought everyone did.” Rio says, taking Agatha’s hand, threading their fingers together. “We have a kid too, if that helps,”

Jen feels each new piece of information like a physical blow. She needs to lie down, this is too much this early in the morning.

They clearly missed a lot.

“Come on,” Rio says, giving Agatha’s hand a tug. “Let’s leave these guys to whatever it is they’ve got going on here.”

“Sorry,” Jen says, having the decency to look sheepish as Agatha and Rio walk past them.

Even more so when Agatha stops and turns to them. 

“Maybe next time, don’t gossip about people behind their backs. If you have a question, just ask.”

“You heard the lady,” Rio winks, tugging on Agatha’s hand once more and then they’re alone again.

Jen and Alice wait a few short moments, making sure Agatha and Rio are out of earshot before they turn to each other.

“Oh my God,” Jen says, at the same time Alice says “I thought Agatha might hit you there for a moment.”

“I told you so,” Lilia says, carefully setting down three cups of coffee on their usual table.

She’s a lifesaver.

“I’m sorry, you did,” Jen says, gratefully accepting the mug. “Next time, I’ll believe you.”

“I can’t believe we missed it, all this time,” Alice says, looking equally grateful for her drink.

“Technically we missed nothing, we thought something might be going on and we were right.”

Jen is sticking by the fact that they got this one right.

“Yeah,” Alice says. “But married for eight years is a little different than wondering if two people are dating.”

Jen waves her off. “Details. But don’t think I will forget that you basically threw me under the bus there.”

Alice is the one who looks sheepish now. “Sorry, but she’s scary.”

Jen won’t deny that. “So, who’s going to be our next source of gossip? We’re going to need something new to talk about.”

Alice rolls her eyes but doesn’t protest, which is either because she’s too tired this early, or because she wants the gossip too.

Probably both.

“What about your love life?” Jen teases, earning a glare from Alice that she knew was coming. So, what? It’s easy to wind her up.

“Don’t you dare,” Alice warns.

“Fine,” Jen laughs. She’s sure they’ll find something else to gossip about, at least for now they’ve solved the Agatha and Rio mystery. 

Which wasn’t really a mystery after all, because it was common knowledge.

Apparently they were just the last to find out.

[wolfclan-gen]

WOLFCLAN: MOON 16.5

"What's that weird thing around his neck?" "He smells funny." "Why's he always asleep? Doesn't he want to explore the camp?"

Rapidwind sighed. His kits were at the age where they had endless questions about everything around them, and asked faster than he could answer. "He came from far away. He smells funny and wears that thing around his neck because he didn't live with a clan, he lived with big animals called 'Twolegs'. Try not to bother him, he's hurt and he's been through a lot. He needs rest. And, um, don't tell him he smells funny. That's rude."

Robinkit, crawling up Rapidwind's back, managed to tumble over his father's head and fall into his paws. Rapidwind avoided the impulse to itch his face where the kit's tail tickled it - Indigoleaf would be furious if he accidentally wiped the poultice off his snout. Again. "But, but, why is he here now?" Robinkit mewed, before Finchkit interrupted by pouncing on his brother.

"Because… Twolegs don't like cats." Rapidwind answered. But was that true? His old clanmate, Terracotta, had claimed most Twolegs were kind. But she had been hurt and thrown out by them too, hadn't she? "So stay away from them. Just like you'd stay away from wolves, or coyotes, or eagles."

"And foxes and snakes and owls!" Oriolekit added. "Is that where we come from?"

Rapidwind stared at the kit for a moment, caught off-guard. "What do you mean, where you come from?"

"Badgerstripe said you brought us to camp." Oriolekit continued, and now her brothers were also looking up at Rapidwind. "Did you get us from Twolegs, like Shimmerstar brought Dusty back to camp?"

Rapidwind knew they'd ask about their origin eventually, but he hadn't settled on how much he would share. "No, you didn't come from Twolegs." He eventually answered. "You're clan-born, because I'm your dad."

"Badgerstripe said most cats have two parents." Oriolekit's gaze was more prying than Rapidwind thought was possible for a kit.

Badgerstripe needs to mind his own business. "That's true." He admitted. He couldn't lie to them. "You're my kits. And you also have a mother." Robinkit opened his mouth, about to speak, but Rapidwind laid his tail over the kit's muzzle. "Hush, just listen. She lived far away, with other cats. She didn't think it was safe to raise kits there, but she couldn't leave, because she was loyal to them too. So we decided you would grow up here, because WolfClan will care for any cat that needs help. Little kits like you, and old kittypets like Dusty."

Rapidwind realized his kits were all looking up at him, wide-eyed. "Does that answer your question?"

Finchkit nodded. "So, does everyone else know our mother?"

"No, I don't think so." Rapidwind glanced around the cave, but it was empty besides him, his kits, and the sleeping Dusty. "A long time ago, back when I was as little as you and the clan lived somewhere else, cats weren't supposed to have families outside their clan. Now that we live in the mountains things are different, but... I thought it was best if I didn't tell everyone. All that matters is that you're here, with me."

Rapidwind assumed that he and Shimmerstar were the only ones to actually remember living with the old codes and traditions. Indigoleaf, Badgerstripe, and Polecatspot had been too young at the time. When they fled to the mountains, it had felt like those restrictions were left behind, and all that mattered was that they would take care of each other. Shimmerstar hadn't punished Rapidwind when he brought his half-clan kits to camp, and treated the kits with the same kindness that they had shown Rapidwind when he was little, but it was obvious that the leader was actively avoiding the subject of WolfClan's deputy breaking the old clan's rules.

"Well, I like being here." Robinkit announced, his squeaky mew as serious as he could make it. Rapidwind didn't miss how he was starting to get fidgety.

"I like it more!" Oriolekit mewed back, and swiped a paw at Robinkit. Robinkit swiped back, and the two started wrestling.

Finchkit bonked his head against Rapidwind's flank, purring. "I like that we get to be with you."

Rapidwind curled his tail around Finchkit, both of them watching the others play-fight. "I like that you get to be with me, too."

[nerdasaurus1200]

A little fix it fic cause the Zaun family deserved a better ending. Also, I just realized, this is my first Arcane fanfic, so I hope y’all like it!

Not Over Yet

“Is that singing I hear?” Caitlyn’s voice pulled Vi away from the fire for a moment. Despite the teasing smile, she still tried to covertly look at the plate on the table beside her partner. The sandwich was half eaten this time. That was at least some progress.

“Oh, yeah. It’s just this..silly little song my mom used to sing to me and Jinx when we were little.” Vi laughed under her breath. It was still a little strange calling her sister that.

“Before she…you know.” Vi looked back at the fire and shrugged, and she could see Caitlyn nodding slightly. The fire was a welcome distraction, but it still put her on edge. It reminded her too much of Vander dy-…of the accident. She swore she could see all their faces in the flames if she looked hard enough. All those she lost…or maybe she was just starting to see things too. Was this how Jinx felt all those years? That weird sense of…of emptiness while never being alone? Like some ghost was always watching over her shoulder?

Well, it wasn’t like she could ask her now.

“How did the service go?” Caitlyn wrapped an arm around Vi and leaned her head on her shoulder.

“Alright.” Vi shrugged again, unable to pull her face away from the flames, “I don’t know how I didn’t break down by the time it was my turn to get up there and spew sappy shit.”

Caitlyn chuckled, a dry and bittersweet sound.

“I think little man’s taking it pretty hard. He couldn’t even look me in the eye.” Vi recalled.

Caitlyn’s brow furrowed for a moment as she took in Vi’s words, trying to think of anything that would provide some comfort, “…I think Ekko just needs a bit of time. We all grieve in different ways.”

“Oh yeah, cupcake, some people go crazy, and other people decide to play dictator and declare martial law.” Vi remarked with a playful glare. Caitlyn huffed affectionately and flicked a strand of Vi’s hair, which in turn made Vi chuckle.

But then as soon as the happiness came, it vanished. It was so hard to be happy these days, with all that had happened.

“Have, uh…have the reports come back yet?” Vi asked cautiously.

Caitlyn’s eyes softened in sadness as she leaned forward to kiss Vi’s cheek, “Still no signs of any remains in the Hexgates. Only the bomb shrapnels we were able to initially recover.”

Vi’s jaw clenched ever so slightly and her eyes hardened for a moment. Damn it all, three times and they still couldn’t find any sign of her family??? Weren’t Enforcers supposed to be good at sticking their nose in stuff like this?

“However, I was looking at the schematics of the Hexgates, and…” Caitlyn let herself trail off as she dropped a piece of paper into Vi’s lap.

Vi’s eyes narrowed as she looked it over, some of it made sense but some of it was just nonsense, “Cupcake, what the hell is this?”

“If you and I know anything about your sister, it’s that she’s always two steps ahead.” Caitlyn pointed out, “The Hexgates have plenty of air ducts that she could’ve used as an escape route and we’d be nonethewiser.”

Vi’s eyes widened as Caitlyn’s implication hung in the air. So Jinx and Vander could be…her family really could be…

“If she’s alive she’ll turn up sooner or later. But we have a lot of work to do until that happens. For Piltover and for Zaun.” Caitlyn spoke softly, a gentle determination in her voice. Vi was helpless to the smirk that appeared on one side of her mouth. There she was, there was the Cupcake she knew.

“…Are you still in this fight, Violet?” Caitlyn couldn’t help but ask. At her question, a fond huff escaped Vi. She turned to look at her partner with a smile as she interlaced their fingers together.

“I am the dirt under your nails, cupcake.” She declared, “Nothing’s gonna clean me out.”

Caitlyn’s eyes sparkled with love, and then she smirked playfully, “That’s Sheriff Cupcake you you, creampuff.”

The couple shared another laugh as their forehead gently pressed together. For a moment, the world fell away…it was just them.

“…could you teach me that song?” Caitlyn asked.

Vi blinked in surprise, and then nodded, “Yeah sure.”

Then she began to sing, “Dear friend, across the river…my hands…are cold and bare…”

~~~~

“Dear friend, across the river, I’ll take…what you can spare…”

Jinx alternated between humming and singing as she steered the airship, just staring out at the horizon before her. She wasn’t even sure how far away from Piltover they were now.

A familiar little shove pulled her attention away however.

“Heyy, do not distract the driver.” Jinx scolded, though her tone betrayed that she wasn’t actually that serious. Not that she ever was.

Janna above, Jinx was more grateful than ever for that mischievous that little smile now. If Ekko hadn’t saved Isha, then, well…

Jinx thought it best not to dwell on that. Or else Mylo might start up again and the last thing she needed was his smart mouth. Either way, she owed Ekko a solid for it. And of course, for helping her steal an airship.

Isha giggled and hugged Jinx, but still made a bit of a stink face as she saw Jinx’s hair.

“What, you don’t like my new haircut?” Jinx teased, and rolled her eyes fondly when Isha shook her head.

“Ah, you’re just mad cause you can’t play jumprope with my braids for a while.” Jinx reached out and gently pushed Isha’s helmet to cover her eyes for a moment. Isha giggled again as she pushed her helmet back up. Jinx stepped back and let Isha take the wheel.

“Sooo, what next Fishbones?” Jinx pulled her shark rocket launcher out.

“We’ll do our laundry, wash the dishes, pay some bills, and get Isha into a good school!” Fishbones ‘spoke’ sounding rather excited about such mundane activities. Isha looked excited too as she steered, while Jinx looked incredibly annoyed.

“Stupid dumb rocket launcher.” She muttered, giving Fishbones a firm smack. At the sound, a rough old growl was heard a few feet away. Neither Jinx nor Isha flinched, they were used to that sound by now.

“Hey, don’t worry, Vander.” Jinx set the rocket launched down and sat beside her adopted father, “We’ll find another way. We always do. In the meantime, Vi can relax a little playing housewife to the Hat Lady.”

Isha pulled a lever near the steering wheel of the airship and moved over to sit next to Jinx and Vander. After she was settled all snug and cozy in Vander’s fur, she signed at Jinx.

“Oh, you want me to keep singing, huh? Mmmm…well alright.” Jinx agreed.

“You still haven’t mentioned where exactly you plan on going.” Silco’s voice could be heard, his hallucination lingering in the shadows by Mylo and Claggor.

Jinx smiled and shrugged in acknowledgement. She still hadn’t quite figured that part out yet. For now, the top priorities were keeping Isha safe, and getting Vander’s mind back.

This time, Jinx chose to ignore Silco for once as she sang, “We raise…no mighty towers, our homes…are built of stone, so come…across the river, and find…the world below…”

[midnight1nk]

So, this week's episode...

[spoilers below cut]

WOW, a Mario Reacts! It's been a long time, hasn't it? Hell yeah, I can work with this!

(no bc seriously, I just finished watching ep. 7 of Arcane before this and I need an emotional break, yeah I know the rest of Act 3 is gonna kill me)

(the following is my live reaction:)

oh hey, Mario! Wassup?

jigsaw, is that you?

oh nvm, hello Swag! nice to see you again since last episode

I'm about to commit a crime [*strikes a pose then walks away*]

I'm willing to work in a government office just so I can come up with an acronym like, gee idk, Y.U.R.I. or something (I should've been a worker in NASA)

NO STOP STOP WHAT ARE YOU DOING?! WHAT. ARE. YOU. DOING?!

At this point, Mario, I would just give up

[*clears throat*] mejor me muero, ni modo que sigo con estos porquerías. bueno como dice Mario, bye bye [*drinks some water*] alright I'm back

TADC? ah, just a normal Saturday

no thoughts, head empty

honestly, mood

well, in his own way, yeah

[*echoes announcer voice*] VR, the new era of entertainment

...mr puzzles? nah jk jk

oh, Four's theory may not be wrong here (omg it's jesus)

still can't believe christianity is canon in the SMG4 universe

oh, so I was right! [*jigsaw voice*] "I wanna play a game."

That's actually kinda sweet that he immediately chooses his brother

OH SHIT OOOOH that's gotta hurt

NO MARIO, THAT SHOULD'VE BEEN ME

[*other me pops in*] emo girlfriend, omg it's smg3

no, we're NOT gonna look too much into this, shut up other me

PPFFFTTT that caught me so off guard

say it with me now: YOU CAN'T CONTROL MARIO [*applause*]

I mean, we've been through simulations before, we can take this one too

unironically, I wouldn't mind a 10-hour video of just Mario (and/or the rest of the Crew) just dancing :)

it doesn't even need to have music, I can just put my playlist on and I would totally join in

ooooh, you want to scan that QR code so badly

but also, how did they get a screenshot of my computer?

Mario 🤝 Mario Buddy from the last episode → destroying PCs for the LOLs

AKLDHLKSAFB;KL just the way Mario goes for a fighting stance just so he could run away will never not be funny to me

LET ME IN LET ME INNNNNNNNN

10 hours, welp I got my wish lmao

Mario morphing his face... hmmmm..... [*flashback noises*]

[SMG4: MAR10 Day]

....

don't think about it don't think about it don't think about it

KIRBO NOOOOOOOOO

NO NO NO SWAG NO

same vibes

meme factory? youtube arc? is that you? /j

(yeah I know that the Team uses the same assets ik)

LET'S DO THISSSS oh welp time to vibe

FIGHT FIGHT FIGHT

what would that be, Swag? Try not to Laugh challenge? I might win tbh

LET'S GO GAMBLING

laughing because of early victory call? very in character for Swag

oooh that's some good animation (y'know, as always)

HOLD UP WAIT A MINUTE

am i thinking too much into this or is this the same military base from last episode?

Alright, my little headcanon: the events of this episode and the last one took place on the exact same day

that's just for me specifically

oh hey, more TADC ref

Also, nice PINGAS STUCK IN A DOOR ref

man Mario can't catch a break dude

Congrats to CMorseu for your art being featured at the end credits 🎉

.・-: ✧ :--: ✧ :-・.

Such a good episode! Not plot-heavy, just a silly episode. I'll gladly take it as my late birthday present. And it's great to have Swag back, kinda was half-expecting Chris to just pop out.

I've said this once and I'll say it again: I wouldn't mind if the rest of the year is just filled with goofy episodes. After all, we just came from WOTFI and we do need a bit of a break so the Team could work on the next arc. (From the looks of things, we might get goop!4 *cough cough*)

Loved the bits of animation and Mario's expressions as always.

Now, I know there is some talk about the SMG4 Crew/Mario Does Things being on hiatus and merging with the Saturday videos. If you can even call it that. Personally, I don't mind it. I completely understand if doing 2 episodes per week is a lot for the Team to handle, though I do wish they would give an explanation for it. I think the best solution would be for the Team making an announcement of the change, the reasons behind it, and how it may be different from the regular Saturday episodes. Also make it clear that "hey, the title says this so it doesn't impact the main storyline".

Anyway, it has been overall a pretty funny episode and I quite enjoyed it! Now, if you excuse me, I'm gonna cry my eyes out watching the rest of Arcane Act 3 and bring that angst to the next episode concept :)

OH THE MISERY EVERYBODY WANTS TO BE MY ENEMYYYYYYY

[nordickies]

SuNor Royalty AU prompt Relationship: Sweden/Norway Characters: Norway (Sigurd), Sweden (Björn), Denmark (Magnus) I had a small oneshot exchange/exercise with @pvffinsdaisies and @ifindus and I feel brave enough to share my oneshot writings for the first time. We were feeling nostalgic and decided to roll some nostalgic AU prompts with a wheel. Mine landed on "Fake Dating" and "Royalty". I just had to go with Norway and Sweden, of course! We also randomized some dialogue prompts, as well and I got: #23 - “You’re doing the right thing.” ; “Then why does it feel so wrong to me?”

Something different this time, enjoy!

─•~❉᯽❉~•─

“You’re doing the right thing.”

The giant man sitting by the desk didn’t react to Magnus’ comment. He kept his eyes firmly on the glass his freckled friend had poured him just moments earlier. Watching the earthy-toned beverage sit still in the crystal snifter as if it could answer all the questions running through his mind. Something about the liquid’s stillness helped him focus — a small reminder that the world wasn’t boiling over, even if it felt like it.

Without raising his glance from the glass, the ashy-haired man pondered out loud, “Then why does it feel so wrong to me?”

Magnus, sitting right next to him on the velvet couch, looked up to the ornamented ceiling, breathing out with a heavy sigh. He was trying to find words to describe the predicament they found themselves in. Uncharacteristically for him, he didn’t feel like mocking his younger friend or dismissing his feelings. Things were less than ideal, and Magnus himself had a lot to lose here. But still, he tried to maintain his professionalism. As much as he could sympathize with his friend’s turmoil, he had to be the steady one.

“I think it’s a sign that you care about Sigurd,” he said calmly and leaned his back deeper into the couch. “Which is admirable, I guess. Considering everything we’ve been through.”

It was hard to comprehend how the three of them would ever refer to each other as friends. Their friendship, if it could even be called that, wasn’t quite built on mutual affection, but on proximity and shared survival. They had grown up tied together by the unrelenting demands of their families. There had been more than enough conflict to go around—bitter rivalries, fractured trust, and old wounds that never truly healed. Yet, in some inexplicable way, they had remained inseparable. Perhaps it was their proximity in age, or constant family cooperation pushing them to spend time together.  Or perhaps it was a bond from heritage, diplomacy, and an unspoken understanding that only those who had known such tension could appreciate.

And it all led to this moment. This outrageous marriage proposal. Björn had never imagined that his future would unfold in this way—not so abruptly, and certainly not under such strained circumstances. The bond he shared with Sigurd, once as natural and easy as breathing, now felt tainted, ruined by the very proposal that should have brought them closer.

It wasn’t that Björn didn’t want marriage. No, that’s what he had dreamed of all his life, of building a future with someone who could share his heart. But he did not expect to marry so soon, and to a person so dear and close to him at that. Björn felt conflicted. This marriage wasn’t driven by romantic love, nor was it born of true necessity. It was a strategy, all at the expense of Sigurd— and Björn knew Sigurd did not want this. He knew that his friend, his brother-in-arms, had no desire to be tied down by a union born out of obligation. And yet here he was, about to be thrust into a situation where his freedom would be stolen from him by the very man who called him his dear friend.

“He doesn’t want marriage” Björn sighed, breaking the brief silence with words so heavy you could barely hear him. He finally raised his eyes from the glass, the weight of everything pressing down on him. He met Magnus’ gaze, and for a fleeting moment, it was as if the younger eyes were pleading—do something!

“What’s done is done.” Magnus' answer was brief, but not at all intended as dismissive. His hands were tied, even his witt and games couldn’t get them out of this situation now. “But consider that Sigurd will be safer with you than with anyone else.”

Perhaps Magnus was right. Björn had doubts Sigurd could maintain his freedom for long regardless if he stepped in or not. These decisions weren’t theirs to make. They weren’t even Sigurd’s to make. The ties that bound them weren’t just between him and his family; they were tied up in expectations, traditions, and even obligations that went far beyond their small circle. 

Sigurd was in a vulnerable position here, his family’s heyday long gone. His family, once known for their power and prestige, had long been reduced to shadows of their former selves. The house they once owned, grand and full of life, now stood silent, its halls crumbling and burying a history of glory that felt like a distant dream now. The marriage proposal had come as a last-ditch effort to pull them from the gutter.

The decision was not easy, nor something they thought would come so soon. But in the last attempt to upkeep their relevance and have some sort of hope for their heritage, they offered their heir to a longstanding ally. Perhaps accepting the proposal was Björn’s family’s attempt to uplift their image, which had been shattered after the last conflict, turning them unpopular in people’s eyes. His family was convinced Sigurd’s integrity was supposed to conceal the tarnish in Björn’s name. 

The troubled prince understood the stakes. This union, fraught with problems, was not just about their personal wishes. It was about preserving something far greater. It was a lifeline for them. But recognizing that still didn’t make the mental anguish any less painful.

Björn snapped out of his thoughts, his mind drifting back to the present as he noticed Magnus slowly pulling himself up to sit straight. The Dane cleared his throat, “A piece of advice, if I may?”

“...For this one time, I’ll allow it.”

“Marriage is just a piece of paper,” he said with a mentor-like warmth to his voice. “No one is going to control how you and Sigurd go about things. As long as you two handle your responsibilities, it’s enough.”

Björn raised his brow, but Magnus continued, “You’re marrying your best friend after all. Sounds better than marrying a stranger, no?”

Magnus didn’t get an answer to his comment—just an empty gaze from his friend. The silence hung thick between them. Though Björn’s face remained stoic, his eyes betrayed him. Conveying a clear unease, which he let out as a grouch. 

"He will hate me."

[buddiebeginz]

I get that some of you are nervous of Eddie leaving and Buddie not happening but trust me when I tell you Ryan isn’t going anywhere. There are zero signs that he wants to leave the show.

All of the main cast seem very happy and like a family and like they want to be working together for as long as possible. They’re also working in roles that you can’t do in just any other acting job, doing these crazy emergencies regularly. You don’t just leave a work environment like that for no reason. It’s also not like Ryan can’t do other projects while working on 911, he just worked on a movie not too long ago. So no he’s not leaving.

When it comes to Buddie I think some of you have gotten so used to storylines that play out instantly on streaming you’re not used to a network slow burn where you have to wait.

I get being scared of being let down by the show. I know how much we’re all hoping and waiting for Buddie to happen. But Buddie has been in the works for years. It was originally supposed to happen in s5 (Buck was supposed to come out in s4) but Fox refused to let it happen. So Tim left and then the show moved to abc and so Tim came back. When he did he started putting the wheels in motion for Buddie canon and that started with Buck coming out in s7. Buddie going canon has already started we’ve been in the storyline since last season when Buck’s coming out was heavily connected to Eddie.

If I didn’t think Buddie was going to happen or that it was a big maybe I’d say so but in all the years of watching the show I’ve never been as certain it’s happening as I am now.

The other thing is I think there would be zero doubt right now if Buddie was a straight ship. But because they’re two guys and they’re breaking new ground with being the first real slow burn queer ship on a primetime network show people will question if it’s happening the whole way.

Tim knows how a significant portion of the audience for the show loves Buddie. Tim, Oliver, and Ryan have all shown support for Buddie over the years which btw isn’t common for non canon queer ships. A lot of things are in our favor. If Tim didn’t want to make Buddie happen he would have made that clear when he came back and it’s been the total opposite. In s7 they were together more than ever and they’ve still been joined at the hip in s8 even if hey haven’t had a ton of scenes while Tim was closing up other storylines. We can see with 808 and recent interviews that the bulk of Eddie and Buddie’s s8 storylines are going to be in 8b.

I’ve seen people say why doesn’t Eddie just go get Chris and bring him home. I believe he will eventually but this storyline with Eddie contemplating moving to Texas isn’t as much about the Chris storyline as it is about the Buddie storyline. You have to have obstacles in a will they/won’t they that makes the audience think they aren’t going to end up together. There is always lots of angst leading up to the moment when they finally get together or get back together. This makes for a more emotional dramatic moment and some of the best tv.

We’re meant to think Eddie is leaving but even if he goes to Texas for a minute it won’t be permanent. I’m confident in saying we’ll have Buddie canon by the end of the season and Chris back too.

Please don’t let fandom’s tendency to catastrophize make you worry about where the story is going. Also take all the interviews with a grain of salt because they can’t and won’t tell us exactly where things are going. Like with the most recent Tim interviews and him making it sound like Eddie is moving. That makes sense because we’re right at the beginning of that storyline he can’t say what will happen.

Things with Buddie will take a little time to play out but we’ll get there. We are going into this hiatus in the best possible place we can be in right now and we should all be incredibly excited for what’s to come for Buddie in 8b.

[johanna-swann]

Sorry if this feels vent-y but I am kinda done with the ppl that keep blaming Buck for the break up and absolving Tommy completely. I get so many saw him breaking up with Buck to be OOC but to go as far as to claim that it's Buck's fault for moving too fast when it's clearly about Tommy's insecurity is a bit fucked up. I have yet to see a person talking about how it was Tommy who fucked things up, if it was someone else acting out based on insecurity they would have been eviscerated and rightfully blamed but not Tommy ig he's a perfect angel who even if he hurt others it's not his fault for being fragile and insecure.

Well, personally I blame the writers for the break-up, but maybe that's just me.

Jokes aside, the simple answer is that everyone probably has their own personal opinion on this. Depending on your personal point of view, your own experiences with past relationships and so on, you will sympathise with one character more than the other or maybe with both of them equally. It's not a "Team Buck or Team Tommy" situation, we have two men here who both care about each other very much, but who also both bring issues to the table which the other one doesn't know about. It's not a cut and dried case, there's plenty of blame to go around. I have a lot more thoughts about this and I will take this as an excuse to rant, so settle in and buckle up.

The thing about Buck is that we see his thought process. We know which steps he went through, we know his train of thought, we know he's serious about Tommy. So it's easy for us to empathise and understand his journey up to the actual break-up. It's also easy for us to pick up familiar patterns though. Like Buck jumping all in all at once and putting his foot in his mouth a little in the process.

Because Buck definitely shouldn't have dropped "I want you to move in with me" on Tommy like that. As far as we know they've never talked about this topic before, they haven't exchanged "I love you"s yet, Buck doesn't even know if he loves Tommy. In my opinion he should've approached the subject very differently. He could've said: "I've been thinking about the future and I think we should talk about maybe living together in the not so far future." Have an open conversation about it instead of presenting Tommy with a fait accompli. At the very least he should've phrased it as a question, not as an "I want you to do x" statement. Not at this point in the relationship.

But all in all Buck's words and actions are somewhat relatable or at least comprehensible and show that he wants a future with Tommy.

On the other side of the break-up we have Tommy. The only piece of information about his dating history we have is Abby - a relationship that was never quite real, that he probably still feels ashamed about a little and that happened, what, 9 years earlier? At least 9 years. (The timeline is not lining the time as it should, somebody please check if Tim Minear knows how a calendar works.)

My point is: We don't know what Tommy is looking for in a relationship. We don't know if he's been hurt by a serious romantic relationship before. We don't know what he wants for his future in the long run. All the things that made us root for Buck and for this relationship to succeed - we know none of that about Tommy. But we do know that he thinks Buck has the power to break his heart. We know he already likes (loves?) Buck so much that he's terrified what this will do to him if he lets it continue. He'd rather turn tail and run than risk getting hurt by Buck. At least this way he's in control of the situation.

[This is very much the reason they broke up. Buck's mistake was a stupid mistake, but fixable. Tommy ended the relationship and ran. You can't fix something that's already over with someone who's no longer there. But I digress.]

A lot of what we get from their canon dialogue and overall relationship still doesn't add up. If Tommy thought he was just Buck's starter boyfriend, then why did he give Buck a second chance in the first place? If he thought this was never going to get serious, why did he agree to go to his sister's wedding with Buck after only one failed date? If he was afraid of liking Buck too much and getting his heart broken, why did he stick around for 6 months? 6 months is a very long time for a relationship you think will never go anywhere anyway.

It doesn't make sense and even throughout the scene where Tommy very abruptly dumps Buck they framed Tommy as a considerate guy with a big heart who truly cares about Buck. So we assume that there must be a reason. That something must've happened to Tommy at some point which makes him believe that this sort of relationship is not something he can have and that he can't trust this happiness.

If Tommy had a healthy sense of self-worth to go with his genuine feelings for Buck, he probably would've said something like: "Slow down, let's talk this through before we make any decisions." He wouldn't have run. And that absolutely was Tommy's mistake. Yes, Buck was a little over-eager upon discovering that he really can see a future with Tommy, but it was Tommy's responsibility to communicate his thoughts, feelings, needs and doubts. Instead he came up with some half-baked excuse and bailed.

TL;DR: They both made a mistake here. While Buck's mistake was relatively harmless in nature and not the one that put the final nail in the coffin, his mistake was definitely the more stupid one though. Buck fell back into an old pattern and thoughtlessly made a huge jump while just assuming Tommy would jump with him. His mistake was fixable and they could've probably talked this out, but Buck was a little reckless here and didn't really consider Tommy's side. He was too caught up in his own enthusiasm which, again, understandable. But still a little inconsiderate tbh.

Tommy's mistake came from a place of deep seated hurt. Yes, his mistake had the bigger impact, but it's the kind of mistake you empathise with instead of roll your eyes at. He was a coward, but he was a hurt coward.

We've all been there at some point, probably. Maybe not in the context of a relationship, but I've been a hurt coward almost every day of my life, self-sabotage is my second middle name. I feel for Tommy here. And I also feel for Buck of course, he barely even registered what was happening and then Tommy was already out the door. But when we break it down to the mistakes they made Buck's mistake gave me "not again you idiot" vibes and Tommy's mistake gave me "I'm so sorry, who hurt you?" vibes.

[tetsuooooooooooo]

ok im watching act 3 again to write down my questions and see if anything makes sense this time

edit im 2 eps in this got long as FUCK kjchgxhi come talk to me!!!!! im screeching into the void!!!!!!! americans wake up look at my post!!!!!!!! say everything to me!!!!!!!!!

why are we introducing time travel alternate universes into this story

where did the other ekko go, was he in Our ekkos universe/body or just out of commission, bc that makes no sense i think, if they didnt switch then wheres the ✨symmetry✨

do you think that skye had anything to do with them figuring out the cleaning flowers thing in the AU? and is viktor dead? and jayce in jail? banished? i wonder where skye went here i hope shes living her best not in love with a gay guy life

where the FUCK was the Original-AU heimerdonger when he got bodysnatched by the Our version? they do still call him professor but in Our version he just recently got kicked out of the council so would he still be just freeloadin around zaun at that point in the AU? was he ever councilor?

can everyone on my screen Please stop hurling their guts out from timetraveldisease

if theres no hextech and no anomaly in the AU reality then how did it throw them in it in the first place

ekko is smart but if he was smarter hed stay around to research what needed to happen to make zaun work in this version and save himself time figuring it out from the groundup back home, i think

but also what the fuck COULD have possibly happened to make it so different CUZ LIKE- ok the little flashback bit with vi dying in jayces house- the gang is wearing the same clothes as in Our version, so that would probably indicate that THAT zaun was also in the same state as Our ""original"" version too? right? no? i mean i would say they did put emphasis on clag n mylos clothes being different and more piltovian or whatever idk maybe im onto nothing WAIT NO BECAUSE CLAGGOR WAS MAKING THE DAMN FLOWER TO CLEAN THE POLLUTION SO IF THATS STILL THERE THEN IT COULDNT HAVE BEEN RESOLVED THAT MUCH EARLIER HERE RIGHT

also what the fuck had to be different exactly for enforcers to bust the kids after blowing up a building and not chuck them all in stillwater this time around? did they really care that much about vi dying? was that really the inciting incident for zauns inclusion? marcus? fucking MARCUS marcus? marcus "im gonna bury the lot of you" "deals with the devil to get a 14 yearold put in jail for life"* marcus sees a zaunite girl dead (after breaking into a piltover home and wrecking it) and just goes "aw :c" ? the council of rich businessfucks like salo whod do everything they can to maintain the status quo? is One Dead Kid (still the name of my nonexistent band) really all it takes this time? am i too tough on these people am i dumb if id like some elaboration on how that whole story went or

*to be honest i. dont really get what that Deal thing with silco was about in the first place

wheres Scar aaaat show me my guyy whERES VIKAAA

how did the shimmer story end up in the AU because IF the main change here is vis death then i could believe that silco WAS still already on track with beginning the production at that point if of course singed is also in the same position as Originally

is there a universe where that hammer lands on jayjays head and ends him right there

did silco forgive vanvan before or after zaun gets their "win" in the AU? because my bet is DEFINITELY after

ALSO how the fuck in a city like piltover did they not renovate jayces blown up flat after fuck knows how many years, at LEAST 3 (id wager at least 7 but thats just me so whatever) like city of progress who?? is it just there as like a cautionary tale??? did they put up a lil plaque for jayce after he kild himself?? they just boarded that shit up tho there was nobody there?? why did they leave it like that idk

WHY did heimerdeimer die???? DID he die?? why did he DIE?????? what happens to the AU-Original hongerdonger??? you couldnt have just waited 10 minutes and have powder do allat?? she trusted us right? maybe not

why WAS bonking viktor in the head with the zdrive the answer to our problems

powder knew what she was doing with that innovators cum petition sign right

WHAT the FUCK was that mylo claggor moment like am i inSANE OR WAS THIS SUS AS HELL also (man rapping) put some FUCKING RESPECT on stromaes name

how DID rizzard viktor stop being purple actually. god i still hate that reveal im not smart but i refuse to believe that was good writing

what happened to put that rock in jayces wrist? it wasnt a process it was viktor doing it in a split second why did that need to happen? so he wouldnt lose it? hunh?

no because WHAT IS AMBESSAS FUCKING GOAL HERE IN THE END

does she want kino back? whAT DO YOU WANT WOMANNNN

did that princess girl that got her head sliced off by bessa in the first season actually have anything to do with anything in the end or not cuz im just confuzzled

how does he know that

what does that mean

how does SHE know THAT

what does THAT mean

does loris have the same accent as vik??????

where the fuck did that ginger binch come from in the first place is she from piltover or noxus if shes from piltover what did ambessa give her and when

Neither of them would say ANY of this shit

wonder what vi would say if she saw this conversation before her and cait decided to pork

im just gonna choose to believe she was in there for like 5 hours so her labrador attention span just reset and she chilled out about jinx (actually ykw i guess im willing to believe at this point she doesnt really care that much if jinky offs herself or not)

what the FUCK ARE these goddamn doll puppet thingies viktor makes why are they LIKE that why is THIS the theme here (because orianna and Plot) (but like dyouknow what i mean)

what the fuck was the point of Skye Young as a character in this entire story other than a Gaydar Jammer. with all respect to skyvik stans but like. what is it.

lmao you abandoned them much before that guys

we stan a I Gave You Food And A Roof Why Are You Sad You Ungrateful Ingrate queen

it REALLY DOESNT DOES IT JGHCCGHIBC

why DID skye die again? they wouldnt have just? integrated? again? or smthn? why is this a one-passenger ride all of a sudden? we already got a hivemind thing goin? whatsup?

[adultemophase]

A VERY LONG ARCANE S2 REVIEW (Not spoiler free below page break)

Firstly, these are all my opinions and everyone is entirely entitled to their own. If you hated S2? That’s fine but I didn’t. So, I will be doing a kind of general breakdown of my thoughts on each act below but first my general review is that I think in terms of overall story telling, season 1 is better.

To ME, S2 seems like more of what they initially had in mind for the show, and they just really nailed the exposition of S1. This is what I think made S1’s pacing feel a lot better - it’s all exposition for S2. Season 2 had to fit a climax and resolution for all of these characters in the same amount of time that they took to set up all of these story lines in the previous season. I genuinely think that each act could have been it’s own season but w/ how expensive the show is to make and the amount of time production took between seasons, I see how that’s not practical. Especially if they want to explore other regions sooner than 15 years from now.

TBH I really enjoyed this season. I understand some people are hating it because of the parts they don’t like but it’s still a visually stunning show with great characters. Do I think there were areas where the story fell flat? Yes. I also think given the time constraints and restriction of this being the last season, the visual story telling was very well done and a great way to move along the story without sacrificing time. I genuinely think it’s such a phenomenal feat of animation that characters expressions convey thoughts and emotions that feel real without dialogue. I still am blown away that it’s a LoL show because despite my love of league lore and characters, I never would have expected that Riot could produce such a heart wrenching show about the tragic nature of love and loss, the things we do for love, and the flaws of our own humanity.

I also think some people set their expectations WAYYY too high for the social commentary aspect of the show after s1, as far as I’m aware there was never any claim made by any part of the prod or writing team that it would be one. Idk overall, I thought it was a lot of fun and still an exceptional show. Not what I was expecting but I’m not upset about how it ended. I think it was conclusive but also not so finite that it leaves zero room for interpretation of the characters implied futures.

It is a little disheartening to see so many immediate negative reactions to it but, again, people are entitled to their own opinions and as much as I complain about people not using critical thinking skills or passing grade 9 literature - art is subjective. Animation, ESPECIALLY at this scale and complexity, is a form of art. I, as I’m sure many other’s did, found it a fulfilling end to one of my favorite shows. Yes, I wish there was more but I can’t bring myself to be disappointed with what we did get.

Below is my (again PERSONAL and NOT SPOILER FREE) 1-10 rating and my thoughts on each act (not really going to analyze anything because I need about 3-5 weeks to scrub through every episode so only my little reviews) :

ACT 1 (7/10) : I think this act is the one with the worst pacing, but I said a whole back in a previous post that I believe to some degree it was intentional. There is suddenly a war happening so I think it’s supposed to feel chaotic a bit chaotic. However I can concede to part of it just being, well, bad pacing. This act is definitely one I wish could have taken up more episodes if there were more seasons since I would prefer flushed out development as opposed to music videos at the beginning of each episode. However, for what it was, they serve their purpose narratively and relay the information that the viewer needs to know. Otherwise, as heartbreaking as the act is, I gotta put myself on blast and say that I LOVE the end sequence of ep 3 when Ambessa makes Caitlyn commander. Like it’s so daunting and cool. Ep 1 fight scene at the memorial? super sick. I also loved the development of the dynamic between Sevika and Jinx. You can feel the characters devolve into a version of themselves that truly is worse and I think that’s so fun. Most of my drop in rating is from how fast it feels.

ACT 2: 9/10

I simultaneously have so much and so little to say. I won’t talk about Isha’s death because to me it was fairly evident that she was going to die from act 1. Anyways, for me this was the most tragic act and I’m still trying to decide between this and act 3 as my favorite. I love them both, in different ways. Seeing Jinx and Vi be brought together and Vander was so touching and sad. You get a real look of how much they still care for each other despite the fact that they’re perpetually ripped apart. I’ve already made a post about the scene between Caitlyn and Vi, so I won’t just say the same thing I’ve already said. I also honestly am not upset that Vi’s “six-ish months of going insane” wasn’t drawn out. Again, I don’t LOVE the music videos, but narratively, it tells you virtually everything you need to know about what’s happened to her and where she is mentally. It’s literally a montage of her life for the past several months. As a recovering addict and someone known to self destruct, I would much rather they condense that like they did rather than draw it out and not handle it well. If you’re going to be cynical, you could say they didn’t anyways but, recovering addict, so I was more worried before the act 2 release that it would be triggering rather than handled poorly.

Jayce coming back and tweaking out was also such a fun touch when it wasn’t explained until the next episode why he was acting that way. Like I figured it had to do with the hex crystal now fused with his body but it was still so interesting.

ACT 3: 9/10

Maybe unpopular but I LOVED this act. Everything was so visually intriguing that on my first watch I wasn’t even fully locked in just because I was focused on how good the imagery/animation is. I thought I was going to hate ep 7 because, unfortunately that leak was real (no I won’t be changing my pfp to a clown like I said I was bc I’m stubborn) but the implication to me of that episode was not “Vi dead so everything good!” it’s that they saw a kid die because of the crystals Jayce had and, in brevity, saw what the tension between the undercity and Piltover was doing to people. I am curious what happened to THAT universes Jayce but I imagine he was probably imprisoned.

Obviously, I have to address the sex scene, and honestly? I don’t mind that it’s in a jail cell BECAUSE of the very obvious parallel to how they first met. It was also done in such a wonderful way that it feels like a legitimately intimate scene between the characters and not just a “man well I suppose they need to fuck, huh.” or male gaze-y “lesbians 🤤” way.

I will be honest and say I don’t like multiverse stuff since it kind of kills the whole “arcane is cannon” thing. I also just don’t love it in general because in recent years it’s been just a cop out for companies to make more money off of IPs (see Marvel) but it makes me want to go back and rewatch s1 again to see if this has always been the plan. I don’t mind Viktor being the wizard that Jayce sees when he is a kid since they tied that up in a way thats really cool. I do think it’s an episode though that, after seeing it a couple of times, is easily skippable since it doesn’t really do a ton for the main plot. Like Ekko gets his Z drive, heimerdinger (i think?) dies, and Jayce discovers the damage hextech can do. Don’t get me wrong, I really like the episode, unfortunately it is just one that I feel like viewers can skip over upon rewatch because of the AU stuff.

Also MEL, I love her storyline with the black rose and I really hope that her putting on the Noxian clothing in the end is an indication that we will get more of her if Riot does a series based in Noxus.