#(although i don't know if this is really meta?)

[starflungwaddledee]

Song quiery/request: Starstruck and Meta? o:

starstruck and meta knight (gen... ish?) ; liar by the Arcadian Wild

i sense deception to come, honestly, truth and i are never one coz i am the lying man, and i have made you my next victim oh, i need you to see through my act, to tell me i'm wrong, to take off the mask or else i'll be left in the lie, and i'll deceive my way straight to demise

[shimmerluna]

i do think there's probably something suspicious about the way everyone loves Ca$h and Quinni and their depth while essentially reducing Darren to their shared supporting character and/or the sassy black woman(/person in this case) stereotype, but I feel somewhat hypocritical bringing it up

[impmansloot]

Basically all the inconsistencies in Solas' character can be summed up as 'there were a bunch of white people writing about a racial minority being a rebel willing to do anything to defend his people and they decided this was a bad thing'. Like everything fucked up about the Elves and Sera and Solas and their weird opinions can just be traced back to the fact that their writers had biases and decided to put them in the game. And sometimes they ramped it up to make a point.

tbh I don't think they frame the rebellion itself as a bad thing, considering they had to basically do damage control in Trespasser via codices and some banter like hey fen'harel was actually a good guy he freed the slaves the evanuris sucked ass—but considering current events, this has some weird implications. I mean, I like complex characters and like theories but unless you like diving into lore, speculating, and exploring characters' motivations, well... you won't see Solas as a morally gray multifaceted character with other potential motives, you'll just see him as an idk, elf supremacist which is Unfortunate. And yeah, his weird non-consistent opinions on some things really don't help that

Sera-wise... (not so coherent Sera rant incoming)

I'm actually torn between thinking that 1. Sera is an interesting character that represents real-life examples of how some people deal with oppression while being a part of the oppressed group and 2. They really did write her in a very awkward way which upon examination doesn't really make much sense.

Like listen, I like Sera and I think she's street-smart; she doesn't articulate her thoughts well, but she has a pretty nuanced understanding of what "little people" need, and ultimately how you can help the lower classes with the least amount of lower classes' blood spilled (which is apparent in her dialogues with Solas about organizations but can be dismissed as her stubbornness/ignorance at first glance). When it comes to elves though, Sera deliberately ignores the fact that they are like, actually oppressed. I get that she chose to prioritize "little people" as a whole, but generally If you can see the struggle of the lower class, then how do you not see actual issues with how elves are positioned in social hierarchy? Surely she must've seen more aside from her own experience/background, especially as an elf originally from an alienage that was terrorized by Vaughan and his people. I know that she struggles with her elven identity and I honestly find it sympathetic, but with the way the game frames it they just made her look dumb.

[actual-changeling]

welcome back to alex's unhinged meta corner, today's topic: the chest touch at the pub. that scene has me in a chokehold for some reason and i still cannot stop thinking about it.

the first thing i wanna talk about is crowley's reaction, since this is the shorter part. he did not expect aziraphale to reach out to him like this and freezes for a second while aziraphale happily chatters away.

they were both walking and the hand on his chest stops him, so he comes to a stop right next to him while he was slightly behind him before that. his gaze also snaps to aziraphale's face, who is very much not looking at him.

they were having a conversation, but the touch essentially shuts crowley up and zira leaves him to get their drinks.

now, my question is why aziraphale does it. sure, it could just be an absent gesture since they're in a crowded place, just that he has never really done so before. i think it was very much planned, like asking crowley to dance and grabbing his hand later on.

a second before he actually reaches out, he also looks back to check whether crowley is where he thinks he is. that is the only time he does that, he was busy looking for a free table and miracles them one when he cannot find one - the look back is deliberate. especially since crowley is practically glued to his side, he has no need for confirmation, he can feel him brushing against him while walking.

the hand motion he does gets me, too. he is busy fidgeting with his hands like normal and has them clasped in front of him. aziraphale lifts them once he gets to "that is precisely the point", yet also already moves it slightly towards crowley, realizes he miscalculated where exactly he/his chest is, looks to check, then looks away again before actually touching him. am i reading too much into it? maybe.

i think it is his version of a little temptation. not only does it make crowley's brain short-circuit for a second, he also gets them their drinks and is now (or so aziraphale hopes) a bit calmer and will take the news aziraphale is about to give him better. the conversation at the cafe did not go entirely as planned, after all.

additionally, something i am not sure if other people have noticed or not is that aziraphale does not just touch crowley, it is a caress. he moves his hand down his chest.

the movement in order:

bar girl unfortunately moves in front of them, but you can clearly see the way his hand takes. to give you a direct comparison of the starting and end point:

a good point of reference is crowley's bolo tie but also the angle of aziraphale's arm while it is still visible.

the best part, in my opinion, is that aziraphale puts his hand right on top of crowley's heart. i think the symbolic importance of that is pretty clear and does not require any more explanation, although it makes me want to throw myself into a river. but that's by the by.

to summarize, aziraphale caresses crowley's heart chest to get him to calm down and not go insane over the news he is about to give him. he is also simply a bastard and knows exactly what he is doing to crowley.

as always, this is me going nuts with analysis, but i'm also curious to hear other people's thoughts on this.

don't tell my therapist about my unhinged meta posts or she will probably be very concerned for my mental wellbeing

[ennn]

Guys, Agatha and Rio fighting because of Billy is OKAY

Because it’s not really about Billy. It’s about them. Billy’s just the immediate problem, the catalyst for a fight that’s been brewing since the first episode.

Now I know there’s been more focus on Billy lately, the same way Wandavision at times focused on Monica and her hero origin story – but Billy's story is here because of what it tells us about Agatha – who's projecting hard on the boy (see my other meta post on their relationship).

And this development isn't a twist. The situation between two has always been tense (in ways good and bad). And it looks like these two messy bitches are basically making their relationship problems everyone’s problem.

Let’s look at what the text’s been telling us, shall we?

GIF credit to michaun

There’s animosity between Agatha and Rio that’s unresolved

As sexy their fight in episode one was (and boy was it), there’s certainly anger and resentment between the two, or at least the easily combustible grounds for it. Now we have an idea of why Agatha is mad at Rio (Nicky) although we're less clear about what Agatha did to piss Rio off: was it just Agatha running away or was it something specific she did?

Regardless I don't think Rio is kidding when making threats of bodily harm.

GIF credit: sersi

And neither does Agatha. But she knows all too well how quickly Rio caves to her pouty flirting (and let’s be honest Rio knows too), and basically manages to get a reprieve from her exe’s retribution in episode 1.

GIF credit: marril96

The agreement: They’ll continue fighting it out once Agatha gets her powers back.

We know this is a serious threat on the backburner because you can hear Agatha muttering about how "she's unstoppable" at the start of episode 2 while planning to flee.

More obviously, Agatha touches on it again in episode 4, asking for Rio to hold off on her violence until she finishes the Road, and they can hang out like old times: “Maybe the Road is like Switzerland…”

GIF credit daisjohnson

I absolutely get how it can be confusing because these two clearly still care for each other and are still attracted to each other, with lots of yearning looks across episode 4 and 5. As Schaeffer puts it, the muscle memory of that love is still there, feelings are still there. They were in love and there is still love between them.

But they never worked through what tore them apart in the first place.

And you can see this when Rio gently and firmly reminds Agatha that Billy isn't her son – that Nicky is really gone, and Rio still did the thing that Agatha hates her for.

Agatha closes herself off and runs, and Rio feels her scar tear open again.

Notably, Rio isn't sorry for doing her job. Her heartfelt confession – possibly the most emotionally vulnerable she can be – isn't an apology. She didn't want to hurt Agatha, but she couldn't do what Agatha wanted either. There's a disconnect there.

Chaotic vs Lawful: Billy is basically the new Nicky

Now we know Nicky was the reason they first separated. And it’s still a theory but I think there's a good chance of Rio wanting Billy dead because he probably should be. Billy Maximoff, born from The Hex, "broke the rules" to survive and some piece of Billy Kaplan still lives on despite a fatal car crash.

And that's partly why Agatha is hardcore-projecting on Billy, Agatha "I did not break the rules, they simply bent to my power" Harkness has always been a rule-breaker. That's what started her path to become the infamous witch-killer.

Not to mention Agatha is a shameless survivor. She'll certainly cheat or take shortcuts if she can get away with it. See episode 3:

GIF credit: daisjohnsons

Rio, by contrast, follows certain rules – which Agatha taunts her for — "You can't kill me, it's not allowed" – and she has a job she has to do, even if she doesn't want to. There’s a clash here of value systems as well.

To be fair, at this point Rio's motivations aren't entirely clear. It's possible Rio just wants more dead witches, or she gets impatient and angry and decides to go at that emotional vulnerability as a way of hurting her (“You’re vulnerable.” “Only physically.”)

Either way, Rio taking away a boy that Agatha now considers hers (even if only with a massive amount of projecting) after Agatha’s freshly reliving and processing the absolute devastation of Nicky's death. That is sure to bring things to an open conflict.

And these two (in their own way) are so dramatic.

Change and Growth

There are other factors as well, in terms of Agatha’s character arc and journey, which I’ve talked about in my other meta post on these two being star-crossed lovers.

It's a tragic, complicated story with these two. It’s about them, it’s about more than them.

[kcwriter-blog]

I've been thinking about how we the players know so little about Solas compared to what the writers and developers know about him and how that affects the way he is written.

I mean we know he is an ancient elf. We know he was powerful enough and skilled enough to create the Veil. We know he and Mythal were friends. He doesn't seem to have liked Andruil and Falon'Din much. Skyhold belonged to him. He removed vallislin. He tried to free slaves. He had kind of an underground railroad thing going. He seems to have had a lot of money secreted away. He painted even back in Arlathan. A lot of statues seem to have been made of him. People in the Vir Dirthara knew he created the Veil but were surprised that he would do something like that. He seems to have always had an affinity for the Fade and spirits. He enjoyed whatever version of the Game nobles in Arlathan played. He was cocky and hot blooded, always spoiling for a fight. He is capable of love and friendship.

I think that's all and it really isn't much. Everything else anyone says about him is pure speculation. It makes meta fun but its easy to get too caught up in our own ideas.

We speculate about him based on things we learn from his personal quests and what we see in Trespasser but we don't know anything for sure. Was he a slave? Was he a spirit called out of the Fade by Mythal and given a body? Did he manifest a body like Cole? Was he just a normal elf born in a small village to the north? Was he a noble and privileged or did he work his way up? Did he join the fight against the Titans? Was he a genius who theorized that the waking world and Fade could be separated? Did he use untried magic because his back was against the wall and he couldn't think of any other way to save the world? Was he a friend of the Evanuris so they trusted him enough to fall into his trap? Was he one of them?

So many questions. The writers have tried to portray him sympathetically. They want us to empathize with him. And I have to ask myself why? He is one of the antagonists. Wouldn't it be easier to portray him as not having any redeeming qualities? And yet, he is basically described as the hero who lived long enough to become the villain.

I know his detractors believe he is a genocidal, racist maniac but that doesn’t track with everything we learn about him as high approval or romanced Inquisitors. It certainly isn’t born out by his statement that he is doing his best to minimize the damage.

He truly believes what he is doing is best for the world and is willing to break it and remake it. What does he know? But more importantly, what do the writers know? Fen' Harel has existed since Origins. Devs have always planned for him to make an appearance. That means the valleslin has always been a mark of slavery even if the Dalish didn't know. The Creators have always been horrible, slave owners even if the Dalish don't remember. Which means Solas has always been the rebel fighting for what he believes is right.

Why do the writers see him not so much as the villain (although Epler uses that word constantly - he is usually the only one though) as they do a somewhat noble person who keeps making mistakes? Why is he portrayed as just a sad man who can't see past his regret and guilt. What was he like? What changed him? What did he know about the Veil before he put it up?

I get that a lot of people don't like the idea of being tied to him in Veilguard but maybe the writers did that so we have no choice but to get to know him - the good and the bad. Maybe we finally get to know Solas the way the writers and developers know him. I'm looking forward to that.

[gossippool]

what do you recommend for people who are very new to deadpool comics and looking to get into them?

hiii thank u for asking!! this is kind of a complicated question because there's no right answer really. especially with deadpool, there's no actual best starting point because besides the basic origin story that he was experimented on, everything else about him is fair game (he just lies all the time and has false memories about his past) and so all the comics are different and pretty much standalones. but here's a list of a few comics depending on what you want to explore (i have not read every deadpool comic ever so this is not the best list but i will get there):

for shorter and more lighthearted reads:

deadpool (2022)—SO so cute wade has a crush on this non-binary assassin and it's actually adorable how much he likes them lol. in terms of shorter deadpool comics i think this one is quite a standout [update: the ongoing deadpool (2024) is brilliant as well and is a direct in-depth continuation of this]

deadpool infinity comic (2021)—a short partnership with sue storm. funny and the art style is so cute too

dogpool infinity comic (2024)—this is just cute and logan is in it too

deadpool (2018) #6—the issues in this run are all kinda standalone stories (although they all connect at the end). they're all a fun time but this issue in particular is hilarious. comics usually don't make me actually laugh but this one did

for a more meta read that explores exactly what makes wade unique from other superheroes:

deadpool kills the marvel universe (2011)—in my opinion THE most iconic deadpool run, i'm sure everyone's heard of it lmao. a little darker but hey cameos from every marvel character ever. this was the first deadpool comic i ever read and it was a good time

for a familiar face from deadpool and wolverine (for other specific familiar faces you could just search "deadpool vs [character]" and that comic would probably exist):

honestly just search "deadpool and wolverine" and you'll probably get the whole list but here are some i've read that are lovely:

deadpool & wolverine: wwiii (2024)

deadpool vs. wolverine: slash 'em up infinity comic (2024)

weapon x-traction (2024)

for long in-depth characterisation that explores a lot of deadpool lore:

deadpool (2012)—if you've been following me you might know this is my favourite deadpool comic ever. it's pretty depressing and much grittier than the movie deadpool you might be used to, also REALLY long so it can be daunting but it's very worth it imo. it starts to get really good by the good, the bad, and the ugly issue and there's just SO much in it. for me wade in this run is inseparable from wade as a character to me (this comic is also followed up with deadpool (2015) and despicable deadpool (2017). these aren't necessary to read because 2012 kind of wraps up on its own, but it's definitely bittersweet to get to the end)

deadpool (1997)—another hulk of a comic run. i have not read this yet but i've heard very good things about it, and many people say that joe kelly is the defining deadpool writer so you could give it a go! older comics may be a little harder to read though, from experience

for comics featuring ellie (wade's daughter) that you may want to read in order if you want to fully appreciate her and wade's relationship:

deadpool (2012, 2014, 2015)

deadpool (2018, issues #8, #12, #15)

deadpool (2024)

a lot of comics will sometimes redirect you to other comics that explore a sideplot, and the main comic will just pick up where those left off so you could miss some storyline. despite this it's not necessary to read those other comics, but if you want to avoid multiple instances of this when you first go in, then i would suggest starting with the shorter runs!!

i hope this was helpful lmao sorry this got really long but i think the starting point really is different for everyone depending on what they like

[chiisana-sukima]

hi so what qualities do you think dean admires about sam and vice versa would like to know your thoughts

Love your meta btw as a new spn fan

Hi Nonny, tysm for the ask!

I haven't thought a ton about this question prior to now, so I'm interested in other people's opinions too if they want to add them on reblog. But it seems to me that the 'what does Dean admire about Sam' half of the question is pretty easily answered, because Dean isn't shy with his praise of Sam in canon.

He's also not shy with his criticism, of course, and I think this is because some of the things he admires most about Sam are the same things that are dangerous to him personally. My favorite recap is in the finale:

And there's this from 15.11:

Dean says similar things in other episodes, going way back to 1.11, which the finale speech is practically a word for word recap of:

I think Dean legitimately believes all this; that Sam is better than him in practically every way-- smarter, more compassionate, more optimistic, possessed of a better moral compass (usually), more skilled in a variety of ways, etc. And especially that Sam is healthier than him; more of a complete, autonomous human being who would be fully able to live a "normal" life if circumstances were right, whereas he, Dean, would not be. By "you're stronger than me" (which he also tells Sam before he goes to Hell in s3) he means "capable of independence".

I have decidedly ambivalent feelings about the "Dean is Sam's Parent" reading of spn, but I do think this is a very parental type of admiration; both because of the 'I'm proud' piece and because 'I raised you to be able to outlive me' is maybe a parent's primary responsibility second only to unconditional love. And I think it's realistic and sympathetic that Dean admires these traits in Sam while simultaneously fighting tooth and nail to undermine Sam ever actually becoming fully independent as long as Dean's alive (and until the finale, even afterwards). "You're better than me; don't leave me" is honestly extremely relatable.

R.e. the 'what does Sam admire in Dean' part of the question, I think that's more complicated to explain, and I'm especially interested in what other fans think about this part. I think obviously if someone asked Sam what he admires in Dean, he'd be able to run off a list of traits. And he does sometimes mention traits he finds admirable in Dean, like in 8.14 where he says "You're not a grunt, Dean. You're a genius" and says Dean is a better hunter than either himself or their father.

But for the core of what I think Sam feels about Dean that's in the same, idk, synonym group ig, as 'admiration', I don't think 'admires' really covers it very well. It's almost more like worships. He thinks, quite simply, that Dean is good. And since he thinks that he, Sam, is fundamentally not good, he sees Dean as the final arbiter of, well, everything. Sam thinks Sam could never go on a quest like Galahad, but although it's never specifically mentioned, I think its pretty clear he believes Dean could.

I think Sam feels about Dean the way I think deeply religious people--not the kind that mouth platitudes but the kind that have really struggled with and thought long and hard about their faith--feel about God. He knows Dean makes mistakes, he knows Dean is deeply fucked up in many ways, he yells at and argues with Dean and goes behind Dean's back and lies to him and etc, all because he does truly understand that Dean's decisions are, on a practical level, sometimes honestly pretty messed up. But he also has an unshakable faith that where he, Sam, might make bad choices because he's bad, Dean will struggle but ultimately always eventually choose correctly, even if one of the steps along the way is chopping Sam's head off with Death's scythe. Because Dean is good. Sam fans (myself included) will look back on the panic room and think "wow Dean sure was living up to the family-is-hell premise on that one", but Sam will look back on it and think "he saved me".

[stagefoureddiediaz]

Costume Meta 7x04

How we all doing?? have we managed to find some semblance of equilibrium in this new world where we have canon bi buck?? I’m not sure I’ll ever know how to exist in this world but that’s fine with me! I’m still here writing my silly costume metas and having a blast in this bright new world!

No Hen this week as we never see her out of uniform!

The rest is below the cut because you would all hate me if i clogged your feeds with this beast (shes 7k)- you have been warned!!

Actually going to start this week with a uniform out of work section!

Because three times in this episode, we had one of the firefam wearing an element of their uniform out of work and its actually pretty key!

We have Bobby in his LAFD polo when he informs Athena that Harry is wanted for assault and he fled the state.

Then we have Chim at the basketball game in his LAFD hoodie

And finally Buck at the airfield on his tour with Tommy.

All three are playing into the idea of protecting ones self by being in an official capacity in some way. Firefighters (like all first responders) are of course there to 'protect and serve' the community.

Bobby delivers the news to Athena about Harry - he's in uniform because he can inhabit a small aspect of his captain mentality - makes it easier to deliver the news and also gives him the distance to play the 'don't shoot the messenger' card if necessary.

Chimney has to step into paramedic mode at the end of the scene. The LAFD hoodie separates him from everyone else at the court and foreshadows that he will have to 'go to work' its also about chimney being there as the colleague not the almost brother in-law of Buck. An important distinction - it protects Chim from being seen to favour anyone (specifically from Buck. (Buck is angry and not being rational so Chimney has protection from Bucks potential anger for helping Eddie - Buck is already feeling awful by that point so the protection isn't needed but it provides cover if it were) and allows him to go into first responder mode. (this is so badly worded but I'm sure you get what I mean!!)

Buck is at the airfield under the guise of wanting to find out more about becoming an air support firefighter - its the cover under which he is operating to try and befriend Tommy. The jacket also provides him protection from Eddie when he shows up and finds out Buck is not coming to Vegas with him and Tommy.

Bobby

Just the one costume for Bobby this week - a maroon tee that her's wearing to sleep in. we see him in this colour a lot - its a bit of a staple colour for him and I've spoken a lot about maroon tees and shirts representing parental roles in relation to the various children of the 118. Its no different here -we can see from Bobbys face he isn't buying what Harry is saying and the parental concern we see evidenced here plays out with him calling Michael and finding out what is really going on.

Athena

Athena wears a lot of black this week, which is fairly typical from her, although we are in a much more overall muted palette than usual and its missing the jewel tones we're used to seeing her increasingly wear. its a bit of a signal of returning to normality now they're back from the cruise disaster.

She starts off in black and pink pyjamas but I'm going to talk about those at the end in the pink section so we're skipping ahead to this ruffle smocked cream blouse and her gorgons head necklace is back. the ruffling is an nod to her feathers being ruffled when Bobby tells her about Harry and his arrest warrant, and the white with the black trousers is about things being black and white - for Athena as a cop things do tend to be black and white when it comes to the law - of course Athena has always been one to work within the law to bend the rules but in this moment things are black and white.

Then we have her all in black with a red longline cardigan which has a open weave that give the appearance of mesh or a cage. The show has been using Red since day one which makes sense as it is a first responder show and you literally cannot escape it when the fire trucks are red! But they have always been pretty careful about when they use bright red in the costuming meaning its appearance with such regularity this season so far is pretty telling. Its an advance warning of incoming danger/trouble/strife, but it is rarely worn by the one who is directly in danger - they will be involved, but not the centre of it. The best example of this is Bucks bright red broadcloth shirt when Christopher calls him because Eddie is smashing up his bedroom.

Here we have it on Athena in the scene when things are about to properly kick into action with Harrys story. Athena is literally a red net about to ensnare Harry. its the one time in this episode we see Athena in a bold bright colour - something that generally is attached to her being happy or having fun, but not here.

The denim sleeveless shirt/jacket when Athena goes to the hospital to visit the lady who shot her son (does she have a name - I cant remember!) and later to talk to Harry about the reality of his altercation, is quite bulky and blocky. It's far less fitted, structured or flowy that we are used to seeing on Athena. To me this is about playing into her struggles to tread the line between mother and cop - that neither role fits right. That denim is also a fabric associated with labour, it suggests Athena is working hard to figure it out.

Then we get this all black outfit when she takes Harry to the station - it is such a simple yet effective bit of costuming, especially with the silver zips and buckles- it blends her in with the police officers in the station so she can hover the line between mom and cop - and makes it look like an arresting officer bringing in a suspect.

Harry

New Harry comes with a new style!!

I actually can't wait to see how they dress him over the rest of the season because there was a definite colour theme at play here this week with all the beiges, greens and redish browns which is very not how younger Harry dressed (he was much more bright colours).

Not going to lie - my hatred for the copaganda and the fact I've been in Bi Buck land since the episode aired has made it hard to focus on Harrys outfits in greater detail, but I do have a few thoughts!

This first shirt is a map print, maps denote journey's andHarry is on a literal and metophorical journey - the literal being the one he made form Florida to LA. The metaphorical one is all about his journey to become a man, and learning to take responsibility for his actions, so this shirt is essentially setting out his arc for the season - Makes me feel like the storylines with harry we're going to see are going to be about the community service he has to undertake and him figuring things out and growing up a bit in relation to that.

Then next up we have this cream hoodie with an brownish beige pocket. the thing I found interesting about this choice was the fact that Harry played himself off as innocent. lawyers usually instruct their clients to wear white shirts to court, and to avoid loud patterns. The white is because i suggests purity or innocence, and the loud patterns should be avoided because it suggests you're trying to employ subterfuge (that you're lying). So Harry wearing a block of cream is a play on this idea. We see him in the map shirt before - when he is employing subterfuge about his reasons for visiting, and now this cream is him trying to suggest his innocence to his mother - the use of cream rather than white is telling us that he isn't as innocent as he is making out!

Finally we have check theory (my most beloved) in play. harry returns to wearing patterns - this one check and in greens and browns. there is an element of military to the green shades, its a coloour we've seen used on Eddie to show his military background, but it is also a colour frequently worn by Athena - usually when she is fighting for her family in some way. Here it feels like a refelction of that, with the added aspect of green being a colour of growth. Harry shows contrition and is willing to take his punishement, showing his growth, but also showing his understanding of fighting for his family - and Athenas willingness to do the same. its showing us tht he is his mothers son. And of course the check is the pointer towards the fact he is in trouble - that his earlier protestations of innocence were false!

Then we move on the he Buckley-Hans

Chimney

Only the one for Chimney this week, it's a very short scene where he is completely oblivious to the tone of the conversation. He's dressed completely in greys and is by all accounts neutrally costumed. this is intentional - he's not the focus of this scene and when we think that so much of this episode is shown from Bucks pov, the use of neutral grey makes sense - Buck is projecting on to chimney in this scene. Buck himself is speaking his jealousy and fear, while what Chimney says is actually the little voice inside his head that isn't in fact jealous of Tommy, but is impressed by him

Maddie

Again only two costumes for Maddie this week and one of them is her dispatch outfit, but I'm including it because of its place with a mini colour theme for this episode, which both of her outfits play into.

I spoke about the use of red in Athenas section and its representing danger, and it is in play for both of Maddie's outfits, the wearer changes though. In the first scene, Maddie is in blue - dark blue. a tee with 'The Great School' and bobcat logo on the front. I love this, the bobcat is a symbol of inner strength and resilience in the face of adversity, while Maddie is a great source of learning for Buck - he essentially raised him and has been a sounding board for him since she returned to his life. Maddie is the next level wise older sister, her point of view is important to Buck and is grounding for him. She had got him to back down from his spiral over Eddie and Chris, until Chimney came in (and like I said above, that was Bucks inner voice, not really Chimney)

Then we have her dispatch uniform and its red. This is a clever play actually, it allows the costume team to put Maddie into red, a colour we don't really see on her outside of work (a deliberate choice as it helps distinguish work from non work to the audience). Just like Buck was the angry one in the other Buckley siblings scene, her Maddie is the one who is angry (with good reason) and we again get Buck recieving education at he hands of Maddie - in her place of work where she is a lifeline to people and where she holds authority. Buck needed her in a lifeline capacity in this moment and he got it, despite her anger. She gave him the advice and help he needed.

Eddie

Eddie my man looking suave and confident - this Eddie is Bucks version of Eddie so of course he looks cool, well dressed and in a green and black combo. In nearly every scene where Eddie nad Buck have a deep meaningful conversation - one that gets through to Buck on a higher level - that works on Bucks abandonment complex, Eddie is dressed in a black shirt and khaki green trousers (the only exception is the will reveal when he's in navy blue but that is to play in the yellow blue colour theming and its a close to black as they could have a blue!), this outfit is an inverse though, which is actually really clever. Eddie (Bucks version) here is playing into Bucks fear of abandonment - Bucks version of Eddie has spent so long building him up and chipping away at that fear that to invert that colour theme and have green on top and black trousers is a fun way of inverting that chipping away at Bucks fear - this is putting another brick in that abandonment wall

The black tank top!! Its back and everybody cheered! Ok so I wrote this meta about when the show puts Eddie into a black tank top and how it means he's in an emotionally vulnerable place and once more, the theory plays out. Obviously Eddie gets physically injured, but his face when he looks at Buck after he's gone down shows him emotionally vulnerable. Yes there is a little bit of anger and a lot of pain in the look he gives him, but there is also understanding and a little guilt too.

It's the moment Eddie realises that he has unintentionally sidelined his best friend, and the effect that has had on Buck and his abandonment issues. This is Eddie showing his truly deep understanding of Buck and how Buck ticks (and because this is also from Bucks pov, its also showing us Buck understanding that Eddie understands how Buck ticks) we get all of this proven when Tommy comes over to Bucks later and clearly states that Eddie is feeling bad about the whole situation.

It is also worth noting that When Buck has seen Eddie at the gym or being sporty in some way Eddie has either been in uniform or in a black singlet and that he always looks super competent (even if he is working through things when he is in the black singlet). From my perspective, this is an interesting choice to play into because it suggests Buck recognises Eddies emotional maturity over him, even when he's not in a great place (we can discount fight club Eddie becasue Buck didn't actually see him there), its clearly something Buck admires and places as central to how he sees Eddie.

Tommy

Tommys costuming is chefs kiss perfection to me. The wardrobe department have literally dressed him as Eddie and I am living for it.

Its a way to emphasise that Tommy and Eddie are super similar. this serves two purposes - it builds a visual connection for the audience - we don't need to be shown Tommy in the army or fighting/ training in Muay Thai etc, we can mentally make a connection to the ones we've seen of Eddies in the past and accept the information as fact. obviously not all people who join the army or undertake MMA are going to dress the same, but this is television where visual information is valuable real estate, so playing into tropes and stereotypes is a key piece of arsenal.

The other thing about it is the specific Eddies its calling back to - fight club Eddie and to a lesser extent, post breakdown Eddie when he's back in therapy and unrepressing himself.

Tommys basketball outfit is really about making him stand out from everyone else - it makes him seem to appear more because the blue shorts and the light coloured top will catch your eye, even if he's not the focus of the camera at that moment. This is all about the fact that this is Bucks perspective on things - he is seeing Tommy everywhere and feeling like he's taking over/ taking away Eddie and so we the audience feel that same thing in a visual way. The thing the blue shorts do is visually connect Tommy to buck in the next scene we see Buck in - when he is talking to Maddie at dispatch - the blues are similar enough for us to subconsciously connect back to that scene and link Buck and Tommy together rather than Buck to Eddie - who Buck is dressed more similarly too in the basketball scene.

It doesn't hurt that the blue shorts also play into yellow blue theory - especially against the sunsets yellow hues in a scene that is playing homage to a famously queer coded scene from Top gun.

Then there is this outfit from Bucks loft. again is very similar to an Eddie outfit - its the same style of shirt we often see Eddie wearing especially in seasons 4 and 5.

Tommys jeans have always been reminiscent of Eddies Jeans (I mean I know they are jeans, but I promise the significance will become clear when I get to Buck!)

Even Tommys watch is similar to Eddies Christopher watch (every other watch in the show worn by the men is all black - black strap black face and mount only the Christopher watch is different) in that it has a different coloured strap to the watch face and its mount.

The other thing I want to mention quick, is the progression of Tommys costumes in relation to them being similar to Eddies. By this I mean the first non uniform costume we see Tommy in is very stage 2 Eddie, while the one below is very much more stage 3 Eddie.

I also really like the use of a purple/red/black shot tee for this scene as well. If you watch the scene through, the way its lit changes its colour as different sections of the scene unfold. The red tones are there early on, during the apology and conversation around Eddie being allowed to have more than one friend and Christophers adoration of Buck. it gives it that air of danger lurking, because Tommy isn't sure how things are going to play out. and plays into the red/blue theme we saw with Buck and Maddie in this episode - just on a much lower level.

Then it turns this purplish shade as we move into the initial stages of flirting - from the moment Buck moves around the counter to put himself in the same space as Tommy. It gives things an air of mystery, but purple can also be a colour of enlightenment - both elements are in play here and I love they were able to do this with this shirt.

The shirt turns black at the moment Tommy says 'my attention' - the moment he essentially hold all the cards on making a move - he is the one with the power here (as the already queer person in the room) and black is a power colour, so its the perfect choice for the moment he makes his move.

Buck

Buck my beloved bi disaster. His costumes were doing some pretty impressive storytelling this episode!

We start off at the air field - I spoke at the start about this LAFD jacket and the theme of protection, but I also have other things to say about it and the rest of the costume. We don't generally see Buck out of work wearing uniform (we actually don't see many of the firefam in uniform out of work tbh) so when we do its going to have meaning. T

he thing with the bomber jacket being the choice (they could've made it a hoodie which we've seen him wear out of work more!) is that on one level plays into its name and the fact that its being worn at an airfield, while on another level it low key plays into the Buck cheating arc. which is actually fun - the idea that he's 'cheating' on the 118 by claiming he's thinking about his career options and also cheating on Eddie by trying to befriend Tommy (because at this point that is all it is its only once Eddie appears that things change).

The trousers are also important. I know I've said before about how trousers are less important than tops because they are less likely to get screen time. We not here - here they are really important, but only with the context of the rest of the episode.

These are the short in the leg dark trousers we've come to know and love on Buck - he's been solidly wearing them since season 2 and what we have seen him wearing so far in season 7 so no surprises to see them here. But this is the last time we see them and its super important and telling.

We also have Bucks white trainers - the ones that he wears when he moves forward on his journey - we see him in them the entire time this episode.

Buck and Maddie this episode have a red v blue thing going on in their scenes together. In this one Buck is in red and Maddie in blue. I spoke about the red for danger theme they seem to be using this season for the red clothes above in Athenas section and it applies here - Buck in red is foreshadowing the danger/strife that the basketball game presents as that is what he is talking about and what he is most upset about over Tommy and Eddies friendship.

It's a slightly burnt out red in comparison to Bobbys red shirt from the cruise, Athenas red cardigan, or even the red he wore when Eddie had his breakdown. Its not a full high alert colour, its a more muted and restrained colour - suggesting the danger is going to be less of a big thing, that it's just a part of it rather than the main big thing

We can also see that Buck is now wearing more traditional stonewash jeans - this is the first time we're seeing them on him since Eddies arrival at the fire house. I'll explain them in more detail in Bucks last outfit of the episode, but I needed to point their presence out here.

Basketball Buck in his white shirt and dark blue marl cut off tee - its very Buck posturing at the firehouse gym and its meant to be. Its a direct reference to the last time Buck showed any jealousy towards Eddie. The shorts are different this time in that they're white/light grey rather than black, but I think this is done for two reasons - it creates a pairing with Eddie - they are dressed similarly with dark tops and lighter grey shorts, but on opposite teams/sides.

It also makes him stand out from everyone else at the game - excepting Tommy (and a random guy in a red top with white shorts that I'm living for. When Red = foreshadowing as I've talked about above, this guys actions on the court are precursors of what is about to happen - we see him bump into Tommy - a couple of moments later and Buck does the same thing, then just before Eddie gets taken out by Buck, he gets breezed past by Eddie stumbles and starts limping. Its fun and clever and not something many people will pick up on - its a bit like the role of the bullet in Hamilton!)

Bucks bright blue chunky corduroy shirt with white tee underneath. I already spoke about the visual connection between Tommy from the basketball game and this shirt. It also fits into the red and blue theme I spoke about above - this time Buck is the one in blue and with the combination of Buck in his danger incoming white shirt and Maddie being in red it signals exactly what this scene is going to be about.

The danger, in my opinion, is Maddies wrath at Buck getting physical with Eddie. Its a perfectly valid and important response from her and plays into the growth we get from Buck in this episode that is not connected to his bi awakening - the recognition and acceptance of his bad behaviour in a far more mature way than we saw from s3 Buck.

The chunky corduroy give the shirt vertical stripes and we all know how I feel about Buck and vertical stripes at this point - I wrote about them a lot in my seasons 5 and 6 metas and the blue and white nature of bucks outfit plays into the theming that was at play in early season 6 - where Buck was free from Taylor and resisting buying a couch because he was looking for the right couch etc. (and playing house husband to Eddie nad feeding them!!!)

Here in this episode we kind of have Buck going through a similar process - free from the shackles of death and trying to figure things out - who he is and what he wants, he's still on that hamster wheel in many ways at this point in the episode but he is about to jump off it.

This is the key to happiness and Lev's advice and the year of yes scene 2.0 - the same shade of blue are at play here. Lev figuring it out ('I get it now') just as he's dying and Buck then trying to figure out what Lev had figured out and essentially failing before he died only to now get it and free himself is a blue thread we've been following through season 6 up to bucks death, then the use of this shade of blue in Bucks costumes tailed off - we saw it reappear a couple of times after the lightening strike - specifically around Natalia and his continues flirtation with death - almost like his hovering around death was him trying to grasp what Lev had figured out.

Then the blue had been gone again only for it to reappear here in this episode in a scene that precedes Bucks bi awakening and his comments about being free and 'yeah that works' with their double meanings that play in the same way as lev's 'I think i get it now' just without death coming immediately after. It's a scene when he starts to get an inkling on what his jealousy is actually about. (The fact we know he's going to be back in this bright blue in the next episode in a scene with Eddie - that is very likely a coming out scene also plays into this idea.)

And the stone wash jeans are once more there for all to see!

Then we get this dark navy blue shirt with silvery white dots and yet again those stone wash jeans.

Ok lets talk about the jeans! The fact that we haven't seen Buck wearing stone wash jeans, which if you watch the opening couple of seconds of the dispatch scene, you will see are proper normal length on him and not ankle swingers like we've got used to seeing him in for the last few seasons!

The thing with him suddenly wearing these stonewash jeans is all about imitation - imitation of Tommy (and by extension, imitation of Eddie even though we don't see Eddie in stonewash denim in this episode) because you know that old adage of dressing like the person you want to be , or the idea that you subconsciously start dressing like the person you have a crush one?? Well yeah - Buck has all these new feelings that he doesn't know what to do with, but Tommy is cool and Tommy dresses like Eddie and Eddie seems to like Tommy better than Buck now so maybe if Buck starts dressing a bit like Tommy he'lI get Eddies attention back. So he's pulled out the stone wash jeans so that he's dressed a bit more like Tommy, but he's also dressing a bit like his crush that he doesn't yet realise is a crush.

The other small thing that I think is a nice nod - So Like I said earlier, the last time we see the jeans is in 2x01 - Eddies introduction to the firehouse. This is the moment (on screen at least for us as viewers) that Buck ceases to be the probie - that baton is passed to Eddie, so its almost like a symbol of him graduating and maturing in some way. then we get the jeans back for Bucks bi awakening - we see them the entire time he's navigating all these new feelings he has - he's never been with a man, so he's like a probie again.

The thing is, that the jeans appear to be gone for his date with Tommy (makes sense - he's on a date so he's got to look good for his man!) , and from what I can tell from the (super dark even when brightened) stills from the Buck Eddie loft scene, it would appear they are gone for that scene too. We've had bts of Oliver in the jeans again, so I don't think they're gone completely, but that makes sense, he's still a baby queer after all, still navigating his way through things.

On to the shirt! I wrote a whole meta about this shirt (and the jeans actually!) when we first got this still - you can read it here and I'm still a little awestruck at how close to the mark I got!

What I want to add to what I said, now I have context is that the two previous times we've seen blue shirts with dots are played upon in this scene - the lawsuit is the obvious one and the parallel is showing Bucks growth - he got jealous and worried about being replaced and ended up lashing out and suing everyone, now he got jealous and thought he was being replaced, but as soon as he lashes out, he realises he is in the wrong and verbally acknowledges it.

The diner with Maddie scene is a bit more tricky to parse out, but for me, it ties to Doug - Maddie is quick to call Buck out when he confesses to Eddies injury not being an accident, because of her experiences at the hands of Doug. In the diner scene she is determined to go back to her apartment and her life in the aftermath of killing him - she wants life to go back to normal. In the loft scene Buck is trying to achieve that end too - he's in a new world where Tommy exists as part of his life now (as Eddies friend initially) and he wants to clear the air and move forward - so he's still a part of Eddies life.

I also want to talk about the contrast between this scene and the one where Taylor turns up at his door after the shooting and the difference between being chased and doing the chasing. Its spots v stripes!

Buck is in a similar shirt - short sleeved button up in a dark shade (black) - this one with vertical stripes for the Taylor scene and he thinks he's being chased for the first (ish) time (Abby sort of chased him but he is the one who pushed for it to be a relationship when I think she just wanted a bit of fun and a hook up! so I'm not sure if it actually counts or not). Thing is Taylor only chases him after they've already kissed and when he's then made it clear thats what needs to happen. (as an aside - Natalia does pursue Buck - not romantically, but because he has died - and she is the one wearing vertical stripes

While in this scene he doesn't have to say anything, yes he flirts, but he isn't explicit about what hewants - Tommy is the one who makes the decision to go for it, and so when he genuinely gets pursued, he is wearing dots

Chased verse's doing the chasing - dots v stripes

Then we have the Pink.

Pink is back in full force in 7x04 with it popping up regularly throughout the episode.

I didn't include Athenas pink dressing gown or Bucks pink shorts in their sections because I actually wanted to talk about them here. The context the scenes they were in gave me the information I needed to figure out what I think the purpose of all the pink we've been seeing is.

Lets start with a quick recap of all the pink from the 3 previous episodes then we'll look at the pink from this episode as well as the fact I've already spotted some for 7x05 from the trailer

7x01

Athena's pale pink top in therapy with Frank

Sue at dispatch in a pink cardigan

Christophers pencil is pink when he's sat at his desk - when he reads the letter from Shannon

Marisol in her bright pink strappy top

Lola's Manzanillo outfit is bright pink and white

Norman has pink flowers on his Hawaiian shirt and he later wears a bright pink polo shirt when he's pretending Lola is still with him.

7x02

the woman who is teaching her daughter to drive

the pink roses on Hen's jacket (which I know I said play into the theme of family bonds etc but the pink has a second meaning)

7x03

The cruise ship family nearly all wear pink at various points (grandma and mom are the exceptions)

and now 7x04

We have Ashley C in hot pink at the Bachelor mansion

Athena in her dusty pink ddressing gown (and pyjama pants

The woman who shot her son is in pink

And then there are Bucks pink shorts!

All of these scenes with the pink are scenes about either naivety and or innocence

The pink on Athena is about her being naive about her relationship with Bobby - not recognising that she is nothing to fear about them spending time together.

Sues pink cardigan. Sue's line is about the civilians at risk from the fighter jet - she is representing their innocence

Christophers pink pencil - in that scene his behaviour might be naive (he's a child so of course it is) but it comes from a place of complicated feelings as he does begin to mature - he was the innocent party in the loss of Shannon and he is the one left to suffer.

Lola is naive on the ship about having an affair and thinking she could get away with it and that it wouldn't hurt Norman. She’s also innocent in the plot regarding the bitcoin (or whatever it was)

Norman is also both naive and innocent - not recognising the fact his wife is cheating, for selling up their entire life and he is innocent in the bitcoin plot.

The mother and daughter were innocent in the car crash.

the pink flowers on Hens jacket hint at her being innocent of any wrong doing (from a departmental perspective) at the car accident.

The cruise family are innocent - just in the wrong place at rhetorical wrong time and they are a representation of all the innocent people on the boat who end up in danger on that ship.

I think the Marisol top is an interesting one - it plays into Chris being naïve thinking he can date multiple girls without them finding out. But I also think it’s foreshadowing her naivety in general - I think we might either see her immaturity in some way (perhaps on a date with Eddie) which will prove terminal for her relationship with Eddie. Now we know about this date scene coming up this is possible but it could also end up being about the fact that she is likely going to be an innocent party caught in the crossfire of Eddie unrepressing himself (much in the same way Ana was back in s4/5.

Ashely C's pink dress is a representation of the innocence of trying to find love.

Athena's pink dressing gown is about her innocently and blindly/ naively being excited about Harrys return home to her.

The lady who shot her son is innocent in that her actions were brought about by something out of her control and so she can't truly be held responsible for them.

Then Bucks pink shorts are about his queer innocence and naivety about his feelings the fact that we see them in a scene where Tommy isn’t present, a scene that is meant to inform the audience that his behaviours is all about Eddie and not Tommy - that he’s naively not grasping that part of this internal confusion that he's experiencing.

To add to all of this, we have Marisol carrying a pink bag in the teaser for next week, to me if pink theory is correct then this is playing into the idea that Marisol is naively dating Eddie and that she's going to be an innocent caught up in whatever goes down in that scene (part of this arc) the use of lighter pink here specifically on a handbag is giving me babyish vibes as well (its screaming little girl playing at dress up!). As a quick aside - I am very amused that shes been dressed in a basic black top - she looks like wait staff!

And of course there is Eddies pink ensemble that is connected to either Chims bachelor party or the Madney Wedding. I have no idea what is going to happen in this scene(s) but whatever does go down - place your bets on Eddie being innocent (and or naive!) in whatever goes on - itll be fun to see if I'm right! 🤓

Right 7k later and that is me done for this meta!!! I am handing out the tea, coffee, cake and biscuits (all dietary requirements catered for!)🫖☕️🧁🍩🍪- you've earnt them if you've made it to the end of this monster! Hope you enjoyed reading. i'm off to revel in Bi Buck some more - I can't believe its happened I'm overcome!!! 🩷💜💙

Tagged peeps as always are below!

@theladyyavilee @mistmarauder @xxfiction-is-my-realityxx @bewilderedbuckley @spotsandsocks @bewitchedbewilderedbisexual @rogerzsteven @wanderingwomanwondering @oneawkwardcookie @leothill @copyninjabuckley @shammers86 @crazyfangirlallert @missmagooglie @katyobsesses @radiation-run @gayandbifiremenofmine @bi-moonlight @crazyaboutotps @princesschez75 @alliaskisthepossibilityoflove @sherlocking-out-loud @tommykinarddd @satashiiwrites @lover-of-mine

(if the tags don't work its because people have changed their url (very valid of you!) and I didn't know, so let me know if you want tagging in future in the comments so I can catch the new urls!

[sokkastyles]

Thinking again about how Katara is portrayed in "Ember Island Players" and how a lot of her objections to the play have to do with how it portrays her as an overly emotional damsel who needs Aang to save her from her wretched existence, and the disrespect of her entire culture and people that is used to portray her as someone who needs a man to rescue her.

Which on one level you can interpret as Fire Nation propaganda, but it's also a meta commentary on the series itself, because Katara does rely on Aang as a savior figure and there are certain scenes that are specifically designed to damsel her so that Aang can be a hero.

It's interesting that the show chose to portray Katara watching herself in that position and specifically show that she doesn't like it, in the same episode that they have the real Aang act like them getting together is a foregone conclusion.

In contrast, although the play changes Katara's relationship to Zuko into something romantic and lurid, they do get one thing right about it.

And that's that Katara is the one making the choices.

Of course they also ramp up the sexuality in a way that is gross, especially considering the context of this being a FN play meant to disparage the other nations, but on a meta level it's also meant to make us, the audience, feel disgusted by a woman who makes overt sexual overtures.

I've seen people (who are anti zutara) say that the play is showing Katara as the colonized woman who falls for the colonizer, but that's not what's happening here. Zuko is not portrayed as dominant by the play, and it wouldn't make sense for the FN to portray him that way, either, since one of the purposes of the play is to portray him as a weak and ridiculous traitor who is ultimately defeated. So the joke, both in-story and the one Bryke want to make at a meta level, seems to be about Katara being more dominant than Zuko. In the play, Katara says that she felt attracted to Zuko from the moment he captured her, yet Zuko is shown shrinking from her overtures. And I just have to find it interesting that this is the joke the show wants to make in an episode where the major conflict is Aang making a pushy overture towards Katara and her rejecting it.

Zutarians frequently talk about how zutara focuses on Katara's agency. I have to agree, and I don't know what the conversations about this were at the time, but I do find it suspect that the show seems to recognize this, but decided to make fun of it at the same time. The episode posits the threat that Katara might choose someone other than Aang as a major conflict in the story, shows us a Katara who feels trapped by her role as Aang's damsel, and then makes fun of her for it and expects us to root for her and Aang to get together.

Meanwhile, we also see the real Katara and Zuko get closer in a way that feels real and organic, we see them exchange banter, we see Katara confident and able to best Zuko verbally but also able to comfort him over his fears about the play, which again focuses on her as the main actor in the relationship. Although Zuko and Katara do have that one scene of them moving away from each other in reaction to being portrayed as a couple by the play, overall their relationship remains unplagued by the insecurity that the play brings out in Katara and Aang, which seems to indicate that the problems in their relationship go beyond the play's parodies and that there is actually some truth there, that Katara really does feel like she has less choice in her relationship with Aang and that Aang seems to fear her choices.

It's really not hard to see why zutara becomes appealing in that context.

[caligvlasaqvarivm]

what do you think is the line between friends and moirails for trolls? I was never sure how to feel about it, it seems so nebulous. also any idea what's with feferi trying to invite kanaya and karkat into the horn pile with her and sollux? like based on the description of moirallegiance that sounds like... infidelity. but it didn't seem like the trolls reacted that way.

What it ultimately comes down to is the fact that Homestuck is a story, and furthermore, one pervaded by things like fate and destiny, which are real and exist within its universe, and therefore, the moirails for each of our trolls has already been decided by destiny (the author).

But also, in a less meta way, the confusion you're feeling likely stems from the fandom misconception that a moirallegiance is just an extra best-friendship, which it is NOT. The stated function of a moirallegiance is to calm each other the fuck down, in order to prevent them from hurting themselves or others. It's this pacifying effect, and not whether or not they hop into piles and talk about feelings, that defines a moirallegiance.

Trolls are a very angry and violent race. Some are more hot-tempered and dangerous than others, to the extent that if left to their own devices, they would present a serious threat to society, or even to themselves. Such trolls will have an instinctive pale attraction to a more even-tempered troll, who may become their MOIRAIL. The moirail is obliged to pacify the other, to function as the better half. The two partners in a strong pale relationship will serve to balance and complement each other's emotional profiles, and thus allow their other relationships to be more successful.

Piles of stuff and feelings jams in them are associated with moirallegiance, but are not "something you only do with your moirail" - like getting coffee or holding hands are associated with dating your matesprit/human romance partner, but not exclusive to them, and, in many cases, not a form of infidelity (although they can be). For what it's worth, Eridan does call Gamzee's horn pile in the middle of the room a "vvulgar display," like Gamzee's chucked porno mags everywhere:

ERIDAN: wwhat a fuckin vvulgar display this is ERIDAN: airin out all his dirty laundry like that puttin a big fuckin pile a horns in the middle of the room ERIDAN: at least i got the upright basic decency to hide my shitty wand pile somewwhere in the lab you wwont find it dont evven bother lookin KARKAT: WHY DO YOU ASSHOLES HAVE PILES OF THINGS, JUST STOP.

So what Feferi's doing with Sollux is less "hey, come cheat with me on Sollux," and more "hey, wanna third wheel our date?"

Moirallegiance is about the "instinctive pull" and the pacification of both partners. Also, moirallegiance is very much romantic. The comic uses the word "platonic," but I think what it means is "chaste" - moirallegiance is not involved in reproduction, so there is no requirement or social expectation for physical intimacy; however, if it weren't a form of romance, it wouldn't exactly be a type of troll romance, would it?

Failed moirallegiances do not have this calming effect: Kanaya doesn't stop (or even really attempt to stop) Vriska from doing her Vriska bullshit at all, and in fact Vriska gets MORE agitated when talking to her:

AG: Ok, so you're spying on me. Kind of creepy! Man, m8y8e you should get a l8fe. AG: Or you know, if you're so h8gh 8nd might8 an8 th8nk you're so gr8at, m8y88 you c8uld oh I d8n't kn8w........ AG: TRY AND ST8P ME FROM DO8NG B8D THINGS????????

The same can be seen with Feferi and Eridan:

CC: Is t)(ere a lucky lady you are waxing scarlet for? CC: OR LUCKY F-ELLOW??? 38O CA: uh CC: Tell me! CC: Don't pretend you're all -EMBARRASS-ED SUDD-ENLY!!! CA: ok fef CA: this is NONE OF YOUR DAMN BUSINESS

And with Karkat and Gamzee:

KARKAT: DON'T YOU START WITH ME KARKAT: DO. NOT. START WITH ME. KARKAT: I WILL GET YOU IN A HEADLOCK SO TIGHT IT WILL BE A MIRACLE IF PEOPLE DON'T MISTAKE OUR TUSSLE FOR AN ILL CONCEIVED VENTRILOQUIST ACT. KARKAT: I WILL SHOOSH YOU AGAIN, SO HELP ME GOD. I WILL SHOOSH YOUR CLOWN ASS TO SHANGRI-BULLSHIT-LA AND BACK, AND FILL YOUR EAR WITH MY WHITE HOT PALEBRO SPITTLE. KARKAT: I AM FULL AND FUCKING WELL PREPARED TO GET CONCILIATORY WITH YOU AGAIN IF YOU SO MUCH AS PASS GAS MURDEROUSLY, DO YOU UNDERSTAND? KARKAT: IS THAT WHAT YOU WANT??? DO I NEED TO CALM YOUR FAYGO-STICKY TENTSQUATTING SHIT DOWN AGAIN???? GAMZEE: naw brother, i was just about to all say for you to try and get your settle down on, maybe. GAMZEE: :o(

And what makes Equius and Nepeta so successful is that Nepeta keeps Equius's tendency towards fury in check, while Equius keeps Nepeta out of harmful situations (although he's maybe doing a bit too much of that and could afford to step back):

EQUIUS: D --> As such, he is prone to being more violent and unpredictable than any of us EQUIUS: D --> Not everyone has been as lucky as I in the domain of moirallegiance

AT: iT'S PROBABLY FOR THE BEST, AT: tHAT YOU LISTEN TO HIM, AC: :33 < i dont know AC: :33 < you think so? AT: wELL, AT: iF YOU DIDN'T LISTEN TO HIM BEFORE, AT: yOU MIGHT HAVE PLAYED GAMES WITH US BEFORE, AT: aND SOMETHING BAD MIGHT HAVE HAPPENED TO YOU,

And Feferi and Sollux work because Sollux is prone to excessive self-loathing, which, mixed with his mage powers of prophesying/invoking the future, make for a cocktail of potential harm to himself and others. Talking with her keeps his head above the water (heh) and forcibly prevents him from wallowing in self-loathing:

SOLLUX: anyway, yeah, now that aa ii2 gone forever ii feel more depre22ed and u2ele22 than u2ual, and ii wa2 already pretty cod damn u2ele22 two begiin wiith, let'2 face iit. FEFERI: But I )(ave it on good aut)(ority t)(at s)(e is fine! FEFERI: Everyt)(ing is going to go swimmingly, YOU'LL S-E-E. 38) SOLLUX: you are 2o riidiiculou2ly optiimii2tiic iit'2 kiind of 2iickeniing, why do you even put up wiith me? SOLLUX: iif you weren't 2o great ii would thiink you were a fuckiing iidiiot for liikiing me. SOLLUX: 2o, ii gue22 thank2 for liikiing me?

But even though these moirallegiances are ultimately doomed, there is some amount of pacification going on, making it difficult for the trolls to tell in the moment whether or not their pale relationship is true (Karkat does manage to stop Gamzee from murdering people, for example, but fails to address his religious beliefs and underlying trauma, whereas Gamzee can't calm Karkat down at all, so they end up drifting apart after the initial Major Problem has been settled).

The fact that it's a blurry line even for trolls is explicitly stated:

It's often ambiguous especially among young trolls whether a bond formed between an acquaintance is true moirallegence, or the usual variety of platonic involvement. Furthermore, romantic intentions of a more flushed nature can often be mistaken for paler leanings, much to the frustration of the suitor.

So this is kind of by design - part of adolescence, keeping in line with Homestuck's coming-of-age themes, is the messy romance. If it were easy to piece together, it wouldn't be true to life.

HOWEVER, that all being said, special notice does have to be taken of the way moirallegiance - moreso than even the other three quadrants - has an air of DESTINY about it. Trolls believe that every troll has one destined partner for every quadrant:

But if there was one theme to be hammered through his thick skull, it would be the trolls' cultural preoccupation with romantic destiny. Yes, the romantic landscape is rife with false starts and miscues and infidelities, red and black. But every troll believes strongly that each quadrant holds one and only one true pairing for them, and it is just a matter of time before the grid is filled with auspicious matchups through the mysterious channels of TROLL SERENDIPITY. In short, their belief is that for each quadrant there exists a pair or triad of trolls somewhere in the cosmos that were…

MADE FOR EACH OTHER.

So there's already a setup in this comic, which is so rife with prophecy and foreshadowing, that every troll is eventually going to end up with their true love/true hate - but even out of the four quadrants, moirallegiance is given special weight: first of all, it is the only quadrant that is literally translated as "soul mates":

This quadrant presides over MOIRALLEGIENCE, the other conciliatory relationship. A reasonable human translation would be the concept of a soul mate, but in a more platonic sense, and with a more specific social purpose.

And second, it's called "mysterious" or "magical," even in direct comparison to black/red:

CG: AND ALL THE NUANCES OF PITY MANIFEST AS VARIOUS OTHER KINDS OF FEELINGS LIKE WHATEVER CHEMICAL REACTIONS TRIGGER MATING FONDESS OR THE MYSTERIOUS FORCES THAT ARE BEHIND MOIRALLEGIANCE.

You then proceed to have the rest of this conversation we already read, bugging and fussing and meddling through the special and magical union one can only describe as being in moirallegiance with another. At least, you guess that's how you would describe it. Maybe. Troll romance sure is confusing!

And we can't forget:

Such trolls will have an instinctive pale attraction to a more even-tempered troll

Which lends to the idea that there's a biological compulsion towards needing a moirail, same as how there's a biological draw towards finding reproductive partner(s).

But this is why I always tend to use "destined for" when discussing moirail pairs, and also why I focus specifically on which individuals calm other individuals the fuck down - like how Gamzee says he "feel[s] so at chill with" Tavros, or how Karkat goes from completely losing his shit to "yeah, so that's it i guess" after talking to Eridan.

[moongothic]

Rereading Dressrosa for the first time in quite a few years, after having become a Crocodad Truther specifically, was a really interesting experience, mainly due to the relationship between Kyros and Rebecca and Luffy's very strong feelings about those two in particular

Starting with the latter point; watching Luffy get really passionate about making sure Rebecca reunited with her father, instead of the two never seeing each other again as Kyros had planned, was just really facinating to me.

Now there ARE layers to this; Luffy saw first hand how much Rebecca and Kyros love each. Even if he didn't know or understand all the details, he knew these two were family forced to live apart due to Doflamingo's rule and that, even though Rebecca didn't know Mr Soldier was her father all those years, he still looked after her and did all he could to protect her. Luffy understands how much they matter to each other. Luffy also gets that Kyros was trying to make a sacrifice out of self-loathing; Kyros saw himself as a bloodstained monster who did not deserve to be by his daughter's side, thus his insistence on them going their separate ways. But not only is that "sacrifice out of loathing" not a thing One Piece rewards within the narrative*, but Luffy emotionally understands what Kyros was trying to do was stupid as hell. *(See; Robin trying to save the crew in the CP9 Saga, Sanji trying to offer his head to Kuma to spare everyone else (because he saw himself as the "least worthy", compared to Zoro who believed he was the only one who could actually tank Kuma and survive), Sanji again during Whole Cake Island, etc)

Adding to that, in what I feel also harkens back to Alabasta (vaguely important since Dressrosa in many ways is a reflection of Alabasta); Vivi made her decision to stay in her home because that's what she wanted deep in her heart, because she loved her country. Just the same way, dethroning Doflamingo, getting revenge for her mother and reuniting with her extended family were all fine achievements. But all Rebecca wanted deep in her heart was to stay with Mr Soldier (regardless if he was her father or not). That's what mattered the most to her.

How could Luffy even think about leaving without making sure Rebecca was able decide on her own if she wanted to stay with her father, instead of him making that decision for her, not because it was truly "for the best", but out of Kyros' own guilt and self-loathing.

All of that to say; Luffy becoming so emotionally involved in Rebecca and Kyros' father-daughter relationship is perfectly normal and on-brand for him, it's not strange at all.

...At the same time. I could not help but to wonder if those two's relationship could somehow reflect Luffy's relationship with his estranged parent(s), and more importantly, kind of debunk the fandom idea of Luffy as someone who 100% does not care if people are related or not and has ZERO interest in Dragon etc

Like I have discussed this before but I've been meta posting for so long on here I'll repeat myself just a lil; I feel like it's less "Luffy doesn't care Dragon is his father" and more "Luffy doesn't know HOW to feel about Dragon". We don't know what Garp told Luffy about his parent(s), presumably and based on the conversation post-Enies Lobby it just seems like Garp never mentioned ANYTHING to Luffy? Like he didn't even tell Luffy a white lie about why his parents weren't there for him? We simply do not know. But what we do know is these three things: 1. Luffy hates being alone, even more than "being hurt". Being alone is his worst fear 2. Although Garp was responsible for raising Luffy, he wasn't always there, meaning other townspeople and Shanks' crew alike were equally "responsible" for looking after Luffy. 3. Meaning Luffy was essentially an orphan. Fans will joke about Luffy's surprise at him having a father being because he's stupid, an asexy and doesn't know where babies come from, and while I may not be fully able to debunk that conceptually. Like. It's just as possible that because Luffy was raised like an orphan, he might have assumed that either his parents were dead or had abandoned him because they didn't want him. And I'm going to argue that if that's what Luffy always assumed was what happened, yeah, it'd contribute to his fear of being alone. It'd explain why he'd be surprised to find out he actually does have a father out there somewhere. And yeah, Luffy might not know how to feel about Dragon if that's the case. Should he hate Dragon because he wasn't ever there for him (from Luffy's POV)? Why wasn't Dragon there for him? Did he really not want Luffy, or did he have some reason for leaving Luffy? What is he like anyways, is he nice or cool or a dickbag?? Should Luffy even care about any of that stuff??? All of that to say; I don't think Luffy is completely disinterested in Dragon, I think he doesn't know how to feel or think about Dragon, and it's not relevant to Luffy right now anyways because Dragon's like, out there somewhere while Luffy is on his journey. Where as, if Luffy were to meet Dragon, get to know what he's like, why he wasn't there for Luffy and most importantly, how he feels about his only son (does he care about Luffy and his wellbeing? Is he a Kyros or a Kaidou?)- yeah, I think then Luffy COULD learn to be interested in Dragon and care about him Not out of obligation (because of their blood) but out of Luffy's own will, out of Luffy's acknowledgement of Dragon's love for him

And yeah, then we get to add the ever-delightful layer of Crocodad Trutherism to this mess.

You know how my personal theory goes; that Crocodile's been trying to find a way to overthrow and nuke the WG (potentially with an Ancient Weapon) to make sure his long lost child would be able to live freely and do whatever the hell he wanted without having to fear the WG would ever target him because he has Evil Revolutionary Leader Blood coursing through his veins. That's what makes the most sense to me as Crocodile's ultimate motivation. To protect his child, no matter the cost, even if he had to become the devil himself.

And hey, what was the story between Kyros and Rebecca again? Kyros trying to overthrow a corrupt government (a fallen Tenryuubito to boot) to protect his child so she could live freely without having a target on her back?

I don't need to explain how One Piece does have repeating themes and motifs, surely. (Also there's something to be said about fathers in One Piece who would go to hell and back for their daughters, Kuma being another example, but that's a whole different essay. But Oda's Girl-Dad Agenda is showing)

But yeah, what's even more interesting here is how Kyros believed he didn't deserve to have a reunion with Rebecca. He commited a murder decades ago, and although everyone else seems to have forgiven him for that crime, Kyros himself still thinks of himself as a horrible murderer with bloodstained hands. Not helped by how Kyros thought him teaching Rebecca self-defence skills was a failure on his part as a father (instead of him doing all he could in the horrible situation they were stuck in; teaching Rebecca how to defend herself was absolutely justified, and Kyros shouldn't have blamed himself for anything there).

Kyros didn't think he deserved to be with his daughter because he wasn't a good father, because was a monster. And Kyros could not believe anything other than that until Rebecca essentially forgave him, by explicitly telling him she wanted them to stay side-by-side. That she wanted him, and no one fucking else, as her father.

And I once again repeat myself just a little as I ask; how would Luffy feel if he found out Crocodile was his father? How would Luffy feel if he found out the reason Crocodile was going to destroy Vivi's country was because he was trying to protect his son from the WG? And that son was Luffy himself? How would Luffy feel that the asshole who stabbed him through the gut, mummified him and poisoned him was his very own family? Who also saved Luffy's life the second he learned of their blood connection? How would Luffy feel in that situation, if he found out Crocodile cares about Luffy, and wants him to be okay? And how does Crocodile feel? After stabbing Luffy through the gut, mummifying him and poisoning the brat, does Crocodile feel like he has any right to call himself Luffy's parent, let alone father? He knows Luffy rightfully hates him for all the horrible things he has done, how could Luffy ever accept him?

The past is in the past and it can't be changed. But you always have the choise, the free will, to change yourself and become a better person. You can choose to do better things, to help others and be kinder. You can have a second chance.

Robin was given a second chance. Hacchi was given one too. Kyros was given that chance to become better. So why not Crocodile?

[wistfulnightingale]

Finding Forgiveness (or, Text Barrages and Apology Dances)

Mini Meta-Musing #8

Forgiveness after a disagreement or an argument is such a simple yet complicated thing. In even the closest, most intimate relationships, it requires a great deal of trust and love. The person who caused the hurt must surrender some of their pride for the sake the loved one. They must also trust that it is safe to do so. The person who was hurt must be willing to let go of their anger or resentment, and open themselves up to the relationship again.

In the first episode of Season 2 of Good Omens, we are presented with two relationships in conflict. One uses words and words and more words... but there is no listening, no trust. The other settles the conflict with very few words at all. With a dance, in fact. Yet the trust and love there is deep and obvious.

The first is Nina and her partner Lindsay. Lindsay has assumed that Nina broke her trust by not calling when she was locked in the coffee shop with her phone out. Sure, the situation sounds a bit implausible... but Lindsay sends a barrage of accusatory texts before she knows any of the facts. As the days go by, we learn that not only is Lindsay controlling, but she also has no faith in her partner. She dumps words and accusations and guilt trips, never believing or listening or trusting, until finally breaking up with Nina in a resentment-filled text message.

After seeing that first deluge of text messages when Crowley restores power to the coffee shop, we are immediately shown a far different way to resolve conflict. The next scene is Crowley's melodramatic return to the bookshop. Aziraphale and Crowley have a lasting, deeply rooted relationship. Although some argue that they don't communicate enough, especially in this resolution, I propose that they have found a lovely and mature way to resolve serious conflicts.

Everytime I watch this scene, and see how intensely difficult it is for Crowley to accept doing this, I'm actually a little in awe. Crowley HATES DOING THIS DANCE!!! But as much as he hates humbling himself like this, he Loves Aziraphale MORE. It is far more important to him to fix their conflict quickly, be back on good terms, and help his Angel solve this Gabriel problem. Although his face looks fierce and his tone is irritated, his eyes never leave Azi's. I think they look a bit imploring. The apology is in his golden eyes.

" 'Kay?" is not just, "Are we okay now?" It's also a trust, a gift. "You understand how much I care about you, right? I really do accept how stubborn and thoughtless I was earlier, and you see that I'm very sorry, even though it's hard for me to say the words, yeh?"

Aziraphale is of course, deep down, just a bit of a bastard, so he does take a bit of a comeuppance in his "Very nice." Many of us read a bit more in that look... Crowley looks very elegant in that deep bow! Nonetheless, Azi is happy to be reconnected with his demon, and he eagerly engages with Crowley's brainstorming about their "tiny miracle."

They don't need to verbally process what the fight was about. They've had this fight before, in varying contexts, and they'll surely have it again. But they're working on it, each of them. They know each other's faults, and they love and forgive each other anyway.

I love these moments (in the above photo) after Jimbriel toddles down the stairs. Crowley has just scolded Jimbriel to stay inside. Meanwhile, behind him, Aziraphale steps in closer with an idea. Without even looking back, Crowley steps backwards into that familiar spot where he will be perfectly paired and facing his angel once he turns towards him. Like magnets. Like a couple who is completely synchronized, as long as they are open and trusting each other.

And the familiar excited exchange of ideas begins again!

Oh yes indeed... This is definitely An Old Married Couple (I wrote a meta on it!). They know how to communicate, how to trust each other, and how to forgive. At least as well as many of us do...!

And, although we don't really NEED to see it here, I'm including a gif of Crowley's Apology Dance. It's beautiful, it's graceful... Aw, heck, we all just LIKE to see it again!

[luna-rainbow]

RE: People giving Bucky a hard time over his "I'm invisble, I'm turning into you.." line being "selfish" That whole scene is Bucky displaying behaviour consistent with depression or traumatic stress. He's drinking by himself in an isolated area, isolating himself from social situations by not sitting with the ohers - he doesn't initiate the convo with Steve and he's apparently smoking. Although a lot of people did that then we didn't see any sign of him smoking before? Not that I recall anyway. And I don't believe he was jealous of a woman paying attention to Steve instead of him or "taking" Steve from him. Bucky's a true friend (I'm not a shipper full stop): and true friends aren't possessive nor do they take issue with you spending time with others or flirting with the same person as them.

I think Bucky was simply testing himself. He wanted to see if he could still muster the confidence and charm to convince a lady to dance with him which he'd probably never had any problems doing before. Its the first time he initiates a conversation the entire scene.

When it didn't work was when he knew there was something wrong. I don't think it was just the super-soldier serum. It's interesting that after that Steve is really the only person he interacts/talks to having been very sociable and outgoing before. Some people have also noted that his tone of voice chances as well, he seems to speak less often, more softly and his tone is quieter. So maybe "I'm turning into you" is actually a kind of role-reversal. Bucky is now the quiet, less confident, introverted one and the one who has been victimized (and is about to be again by HYDRA). Kind of interesting as well that the serum now means Steve is taller than him too.

Poor Bucky. Cut him a break and give that man a hug. And a cookie. A cookie can't hurt.

Hey nonnie, I'm not sure who's been giving Bucky a hard time over the "I'm invisible" speech but I'm glad I haven't seen it XD

I had a meta a while ago about that particular line. It's not a fixed headcanon by any means, I was just running with the flow of Bucky's thoughts to see how he might have ended up in that moment.

And yeah, I agree, I think he was in a very vulnerable place at that time. Not just what he went through during imprisonment, but he's also traumatised by what he's seen so far in the war, and now someone who matters very much to him is in danger (Steve) and he can't do anything about it. I'm basing my projections on what Sebastian had said about Bucky in the "let's hear it for Captain America" scene -- that no, he wasn't jealous of Steve in that moment, he was just horrified he wouldn't be able to protect him anymore. He's torn between admiring Steve for the courage, and the very realistic fears of seeing Steve come to harm, but he also knows Steve too well to talk him out of it. So he's not in the best headspace in that moment.

I do want to gently disagree in that jealousy in a friendship doesn't make it less pure or less good, it's simply a very human response to what is at its heart a fear of abandonment. Even if you logically understand that you need to let your friend have other relationships, you can still feel jealous if that eats up time you'd normally have with your friend, and apprehensive about what else you might lose. It's what you do with those emotions that defines your morality. This is why a lot of fans say that Bucky has had a villain origin story but has come out the other end a hero -- he's gone through an arc of loss and fear and jealousy, but come out the other side still staunchly Steve's friend, and that's a heroic arc.

As always I think Sebastian did a fantastic job with Bucky. The change in Bucky pre-war and post-war is considerable.

His voice is lower and coarser, his mannerisms are much more "schooled" rather than boyish, it screams less bravado and more of a quiet assurance, and that frown never lifts from his brows. But yeah, a lot of that is battle-hardened professionalism, but I think a lot of that is also Sebastian factoring in Bucky's mental health. And his eyes are on Steve a lot more even when they're not conversing -- shipping angle aside, Steve is his commanding officer, and my other thought is that...his eyes are always on Steve because the danger to Steve is much higher now, and he's always made it his personal mission to make sure Steve's going to be okay.

(I mean there's also a lot we can say, or has been said, about that particular scene in terms of male writers writing female love interest badly, but that's an entirely different topic)

[rey-jake-therapist]

Ok, here am I again posting another TROP/Haladriel meta... Feel free to mute me if you can't take it anymore, these are gonna be two long weeks as there are still two episodes left...

We're having a lot of discussions about what we'll get to see in Episode 8 (maybe even a bit in episode 7??), and it's really great and exciting to speculate about what will happen when our two love birds mortal enemies finally meet again.

It seems to be the general consensus that Sauron will try again to convince her to be his queen. Now I may be the dissonant voice, but I personnally don't think it will be that straightforward.

Charlie said several times that Sauron was pissed that Galadriel rejected him, but that it wasn't the end of the world, for him. Meaning: he totally believes he can make it without her.

To the Nerdist, he said :

"Speaking of your old screenmate, Sauron asked Galadriel to be his queenOpens in a new tab at the end of season one of The Rings of Power. How much, if at all, does he still want that by this point? And does he think it’s a possibility? Vickers: I think he probably does think it’s still a possibility because he has this hubris and this self-love. He thinks he’s really cool, and he thinks, “Well, she rejected me once, but next time I come back for her, she won’t reject me again because I’ll be so powerful she won’t be able to.” But I don’t think he necessarily wants that. I think his initial proposal to her was to join him, and they could be king and queen of Middle-earth, but really, he would’ve been king, and she would’ve been his righthand woman. Any kind of dreams he has involve her being number two and him being number one."

(I would love to see him try to submit Galadriel to his will, btw. I mean, c'mon man)

To Collider, he said,

"His getting rejected definitely leaves him with this sour taste in his mouth, and he goes away thinking, “I can make this right.” Whatever that means to him. That's one of his throughlines in terms of his motivation or goals for this second season is how much he's driven and how much this relationship gives him a sense of purpose."

And to Schön:

That connection will endure as long as the show endures because although they might not be together in proximity when we pick it up, he’s pissed off that she has turned his pitch down [laughter]. That drives him to think, I can make her join me, or I’ll make her pay for this.

Here, there's also an interview he gave for Total Films, where he reveals that there's a "huge amount of urgency in each of them trying to obtain what they want in that situation": https://x.com/totalfilm/status/1830244276539654595

I'm sure I've read an interview where Charlie said that Sauron would probably want to taunt Galadriel with what they could have done together had she said yes. Edit : found it! Interview for TV Insider.

Second to his lust for more rings is Sauron’s desire to get the Elven rings back. “While he didn’t directly touch them, which is a big thing this season, [Galadriel] has this ring that he put all this effort into, and he wants that back,” Vickers admits. Sauron “covets” these jewels, “and particularly hers,” he explains, “because he knows what they represented when he was making them.” Sauron feels “taunted” and “pissed off” that Galadriel rejected him. That makes getting her ring back personal, but Vickers insists that “he’s past ruling with her.” That won’t stop him from showing her “what could have been, what you could have had,” Vickers teases.

Of course Charlie can't give much away. But so far, it matches with what we saw in season 2 : he's in Eregion, forging his rings of power with Celebrimbor, he's visibly happy (just kidding, the man looks exhausted and depressed), but sometimes he can't help but think of Galadriel.

I love how the experience is completely different for him, from it is for Galadriel: while she had a bittersweet flashback of her and Halbrand in the Southlands, he gets lost in the contemplation of Mirdania's hair because she reminds her of Galadriel, and manifests images in his mind palace that also remind him of her (there are several posts about all this on Tumblr, including one of mine... I won't enter into the details again).

It would be very OOC of Sauron to display an outright nostalgia for the time he spent with Galadriel as Halbrand, imho, even if it was only for the audience to see. He's not supposed to be sad and nostalgic, but pissed at her for rejecting him, and determined to move on and to obtain what he wants without her in the picture. He's probably annoyed af to see his thoughts shifting towards Galadriel while he's in the middle of something very important. He's in his "the fuck with her" phase of the breakup, which pretty much matches what Charlie said. In his hubris, he believes that once he has his rings, he will be so powerful that Galadriel will have no other choice than joining him. She hurt his pride, so now he wants to relish the sight of her submission to him.

Regarding the mind palace scene, precisely the one where the guy tells the Galadriel look alike he wrote a poem : it probably remained unnoticed by most viewers, but I think it's very significant that this scene arrived at THIS moment. Let me explain:

To convince Celebrimbor, Sauron first assures him that when the story of this age is written, the Silmarils will be "no more than a whisper". Of course it's meant to motivate Celebrimbor who always wanted to create something that would be remembered, like the Silmarils. But it can be interpreted as a personal goal for Sauron as well :

1) Morgoth found the Silmarils so beautiful that for weeks, "he could do nothing but stare into their depth".

2) Fëanor admired Galadriel's hair so much it gave him the idea of imprisoning and blending the light of the Trees, and three times requested a tress of hers (she always said 'no').

The two people he loved/admired but hurt him the most are connected to the Silmarils in a way, so he could see the creation of something "more precious" as a personal challenge. After he promises Celebrimbor that his rings of power will be "deemed the most precious creations in all Middle-Earth", and Celebrimbor returns to his workshop, his attention is caught by the sight of a couple. The man (whose face remains unseen, because he's a just a self-insert) tells the Galadriel look alike :

"I've written a poem, but I fear your beauty still overshadows anything I could possibly write."

Of course we joked about Sauron's pathetic attempt at poetry (it's terrible lol), but imho there was a deeper meaning to this scene. I think it was his subconscious manifesting what he already knows deep inside of him : that without Galadriel's light, there will ALWAYS be something missing. That what he told Celebrimbor was a lie, no matter how much Sauron wants it to be the truth. The Rings of power are his poem, but Galadriel's beauty/light will always overshadow it.

Hence why it's pretty much granted that he will try to "get Galadriel back". He'll show her how powerful he is now that he has the Nine rings, and his proposal will probably not be as charming as it was the first time. I think we should prepare ourselves to a lot of gaslighting and threatening from his part (he's still pissed off, guys). He'll surely tell her that Eregion is burning because she refused him, that kind of thing. He will definitely use her memories of Halbrand (it's pretty much confirmed by the presence of Halbrand's theme within The Temptation music, and maybe Galadriel's vision of Halbrand enters that scheme too), but will it be to show her what they could have had if she had said yes the first time, or what they could still be? It remains to be seen.

We probably shouldn't forget that in his mind, it happens like this: "she joins me, or I'm making pay for it".... It should be pretty intense.

Then we've got what Charlotte Brändström revealed about Sauron (bless her heart) :

"I think Sauron even really loves Galadriel and you will see that at the very end”

There are already several threads discussing how Sauron will show his love for Galadriel... Will he spare her? Save her in one way or another? Heal her because she's hurt? Prove her in some way that what he said he felt as Halbrand was real? Something entirely different? Anyway, it will be something that can't be confused with manipulation.

There, I said my piece. Why isn't it next Thursday yet?

[max1461]

only tangentially related but sometimes I wonder if survivorship bias makes us view modern art as less than older art, that time and cultural memory acts as a natural bullshit filter, that actually people were just as vapid and pretentious back then, but none of the vapid and pretentious work had enough cultural value stick around to be examined now

I think it's partly this, but it's partly something else.

This is probably gonna piss a lot of people off, but I think in a particular sense, contemporary art is just... straightforwardly more advanced than older art. I know, I know, but hear me out: I don't mean that as a value judgement. What I mean is like...

Ok, take math as an example. Math started out talking about things that everybody's heard of: triangles, circles, whole numbers. But as those concepts were better understood, they got abstracted more and more. Symmetries of shapes where abstracted to symmetry groups, numbers abstracted to rings and fields, eventually it was all abstracted to category theory, and so on. And now if you look at major research topics in modern math, things like e.g. the Langlands program, as a non-expert, it often looks like a bunch of fucking nonsense about bullshit objects that don't have anything to do with the real world! But even though I don't understand the Langlands program itself, I know enough math to understand why all the levels of abstraction that I have understood are meaningful and valuable, and I can see why going even further would be too. And math is useful enough that the results often speak for themselves.

So I think contemporary art is much like this. If you read contemporary art theory, you will immediately see that it is all very meta. Art used to be made about very concrete things—people and nice looking vistas and so on—that anyone could understand. And then theorists came along and built up frameworks for thinking about art, because they wanted to understand why that art worked, why it was powerful and emotive. And then new, avant-garde artist came along and made art about the frameworks, pushing at their edge-cases or exploring their unintuitive implications. And then new frameworks were built up to understand that art, rinse and repeat. This account is, as I understand it, a little bit ahistorical—the building and the pushing of frameworks was often simultaneous and often not clearly articulated. Although, frankly, the same could be said for the history of math. But in retrospect I think a pretty undeniable picture emerges.

So, to put it bluntly, I think one of the reasons so much contemporary art looks vapid is that it isn't for you. It's about things you've never heard of, in the same way that category theory is about spaces and morphisms, and explaining that to someone who's never heard of groups or topological spaces is basically impossible. And I think there are some differences—art is obviously, you know, totally vibes based in a way that math isn't. If a big wire sculpture with styrofoam cups on it or whatever doesn't speak to you then it doesn't speak to you, no one can defend it on "objective" grounds. And art isn't useful in the way that math is, so it doesn't demonstrate its validity to people who don't get it in any way. But what I wish people understood is that there are people, who know a bunch of art theory and art history, who that wire sculpture with styrofoam cups on it does speak to. It makes them go "oh, I love how it plays off of X and contrasts with Y" etc. etc. And that isn't going to happen for you because, like, you don't know what X or Y even are! But that doesn't make it valueless, it just makes it insular. Which, you know, contemporary art really is! I think there are a lot of contemporary artists who claim to not be doing what I just described, who claim to be making art "for everybody", but I think if you read their artist statements and stuff it often becomes pretty clear that this is not the case. And this is a valid criticism of contemporary art! But "vapid" is mostly not.

Pretentious, definitely. It's pretentious as fuck.