#HERES HOPING IT ENDS UP GOOD GUYS

[charmac]

Which episodes have the best Dennis and Mac ship moments?

I wouldn't necessarily say Mac and Dennis have "ship moments" that you can pick and label as the "best" (other than what would make sense as scenes for compilations/edits?) and I'll defer to @psymachine's answer to a question similar to this: don't watch this show for Macdennis moments/episodes.

I can pretty confidently say that Mac and Dennis (and the show) will be lost on whomever decides to go at it through the lens of "best ship moments". Because what is considered a good "ship moment" for something as fucked as their relationship?

Mac is canonically admittedly in love with Dennis, so it's not hard to pull a ton of "ship moments" from his relentless pursuit: you have attempted kissing, erotic dreams, baby trapping, sex doll Dennis, room trapping...all stellar attempts on Mac's side and all important aspects for their relationship (Gets Romantic being one of my favourite episodes), but those moments are almost all, in the most blatant way to put it, sexual harassment. Sexual harassment of Dennis that was essentially born and grown from Dennis' conditioning of Mac's sex life in the seasons before: making and recording sex tapes for him, teaching him the best way to get sex is through carefully orchestrated systems and schemes made up of lies and deceit, that getting off has very little to do with a second (willing) participant.

Barring their individual personalities and mental illnesses, what ends up coming from Mac heavily relies on what comes from Dennis years before, and what is eventually ongoing between both of them (reaching batshit levels of sex chicken) exists among and within that all. IMO, placing any specific "best" on a moment for them as a ship is almost impossible without reference to everything before it (and an actual understanding of it all).

That being all said, what I would call the best ship moments for the two of them are what's hidden between and underneath the hard punches of their back and forth, the subtleties that are continually ongoing (mostly the ones that lead you to understand that Dennis is in it, even when Mac is on the offensive), this shit that's impossible to pin out of context:

The way Dennis gets even stupider when he's wrapped up in an idea with Mac (Timeshare, for example) and the way he attempts to cut off his outbursts when dealing with Mac's own stupidity (see Frank Retires) (and Recession is great for both of these). The fact that Dennis will push past his own grievances for little reason other than to make Mac happy (Suburbs) and the fact that at the end of it all, he's always going to end up going home with Mac (Divorced.. mm). (For all of this in one shot: Inflates)

And for Mac, in more recent events with Dennis on the offensive, when his ever desperate vie for Dennis' attention and affection is pushed back on in favour of being the Mac Dennis truly wants. The Mac Dennis fell in love with decades ago.

[applestorms]

ok, well. if last time i talked about parallels between near & light, i guess it’s only fair that this time i talk about parallels between mello & misa. yap central on this blog lately.

the main thing that stands out the most about mello & misa, and the reason why i will forever Defend them and their place in the story, is that in my mind they both function in a similar way on a narrative level: namely, both of them are incredibly active wild-card characters that keep the action going and the story moving forward when the other main characters like light, L, & near start getting too passive.

notably, while i often see this trait praised in mello, usually in the context of a comparative criticism of near for his overly-abundant passivity, i have also seen it used as a criticism of misa's character, that she breaks up the status quo of DN too significantly and thereby makes the story feel less realistic. this last point in particular is an odd argument to make imo, as if anything misa's presence only increases the realism of DN by adding some extra luck/random chance into the story in a way that is ultimately still character-motivated and thus easier for the audience to go along with-- something DN in general is very good at, often introducing elements through pure chance but keeping them grounded in characters enough that you almost don't even notice.

take light meeting naomi misora, for example: the only reason he runs across her at all is because he offers to run an errand for his mom on a bored laundry day, literally stumbling across her right at the exact moment she is divulging important insights she is literally the only person capable of making about kira. yet this moment does not stand out as particularly aggravating or out of place in the story, as ultimately the only reason why light is able to get out of that situation is his own quick thinking and ability to calm himself while under immense pressure, squeezing his way out of a potentially run-ending situation he didn't even know existed moments prior.

(not a fan of that big joel video, if you couldn't tell. lmao.)

point is, mello & misa both fulfill about the same narrative function in the story by being so aggressive in their actions, catching the others off guard even if their plans aren't as well thought out or careful as they could otherwise be. they're both incredibly passionate, dedicated characters as well, tough enough to take the hit when it inevitably comes, and in my opinion neither of them are nearly as stupid as the other MCs like to make them out to be. to some degree, i think both of them are aware of the fact that they can't win at the Mind Game Cold War Bullshit the others are inclined to get involved in, so they instead choose to carve out their own place in the story through sheer perseverance alone.

which, speaking of passion: one of the most interesting parallels i think you can make between mello & misa is the ways in which they idolize their respective heroes, misa's obviously being light while mello's is L. allow me to elaborate.

as this post points out, DN has some very interesting use of its religious imagery & theming, and in particular its use of christian/catholic gothic imagery in its story and especially its art. however, as op notes, a lot of this is quite superficial, ascribing to an aesthetic of "kitschy Catholicism," that was characteristic of a lot of early 2000s japanese goth style. yet, while i admit that a more serious consideration of religious elements in the art & story could add some interesting flavor to the story, i also think that, regardless of intention, the superficiality of DN's religious elements works really well in the context of this particular story. as i stated in my tags on that post: light is a superficial god. he is a fake, a scam, some idiot human that stumbled across the powers of a real shinigami and got his head up his ass about it. and a lot of the arcs of other characters in DN is about their reaction to light's claims-- whether they choose to follow him (e.g. misa, mikami), follow somebody else (e.g. mello), or follow nobody at all (e.g. near, also kinda soichiro?), and the implications that has for their lives and personalities.

this is all to say that while you can, on a surface level, connect misa & mello pretty easily as the two aggressive, fashionable blondes of the series, i also think that these somewhat superficial traits betray a greater connection between the two of them. if we understand the christian/catholic elements of misa & mello's fashion as a demonstration of their connection to not just a higher power but a lie, a superficial deity simply reflecting the sunlight of powers greater than himself, then i think we have great insight into another key element of both their characters.

do not forget: in the world of DN, heaven & hell do not exist. at least in the context of death itself, the realm & lore of the shinigami reign supreme, a point which the DN musical makes even more overt: "Isn't it a laugh? / Isn't it a shame? / Thinking there is someone in heaven to blame?" and "Going through the motions / as if there will be a reward / Oh, while we stay eternally bored!" (BEST SONGGG.) everyone is destined for the same fate of MU, the same void of nothingness awaits all. no reward, no punishment, no greater deity looking down upon us than the bored, slothful shinigami, lazing about in their realm and picking people off only when necessary (for the most part).

misa & mello are thus dedicating themselves to false idols, and we can see the negative effects this has on them in almost every facet of their character-- particularly for mello, who is perhaps more self-aware and has more of a mixed emotional outlook on his idol, but maybe even to a more extreme degree for misa. i keep going back to this idea of equating boredom with depression in DN, but where light/L/near are all "bored" in a very quiet, passive, stewing-in-bed late at night kinda way, misa & mello are characteristically a lot more aggressive and intense about it-- while neither of them are super overtly suicidal, necessarily, their actions still betray a distinct lack of care for their own safety or lives, expressing the same thematic sentiment as the others. even if they still don't straight up say it, through their actions they're a lot louder about not liking themselves, and seem to take the problems they see in the world more personally, shouldering the blame as a failure within themselves instead of projecting it outward like the others: e.g. light taking his unhappiness at the emptiness of his life at the start of the story & placing the blame on the world for "going to shit" & humanity's moral failings, versus misa being willing to literally & figuratively give up her life for KIRA the second he demands it, whether that be in the form of shinigami eyes or killing her own friends w/o second thought-- all because he was the only thing to bring justice to her own parents' deaths, an almost undoubtedly traumatizing/horrible experience for her considering how much value she places on KIRA/light afterwards.

to clarify, this is not to say that all of these characters are actually and literally depressed and/or suicidal, though you could certainly make that argument for some/all of them-- this is just one way that i think you could interpret their roles in the plot, and their thematic attachment to the story. even if DN isn't all that interested in considering the True Moral Answer to ethics/the justice system/human society/etc, it definitely takes at least some interest in the emotional viewpoints of characters in relation to those concepts, so i think this is a fair enough approach to take. or to say this another way, it's less about justifying the claim that "the world is shit," and more about trying to understand the emotional motivation & experience of feeling like the world is shit, if that makes sense.

that being said...speaking more on the whole "not liking themselves," thing: even if she doesn't say it aloud often, if ever, i think that misa is deeply aware of the fact that she was not supposed to live this long, that her existence at all is a pure stroke of luck that let her live on past her destined date. she dedicates herself to light so fully, not even necessarily expecting reciprocation (though she at least reserves herself the possibility of such), because being a disciple to her god at least gives her life some kind of purpose. similarly, i think mello is also aware of just how out of reach the one thing he wants is, how his desperation in and of itself is ironically the one thing keeping him from surpassing near and truly being #1. it's important to note that pre-time skip misa & post-skip mello are almost exactly the same age, around 20 years old at the time of their main arcs. they're immature, and in the case of mello especially, are lashing out at the world in whatever way they can because they know they don't quite fit into it in the way that they want to or should. regardless of the intent behind it, mello & misa both still make the conscious decision to kill with the DN-- perhaps in a way that still keeps their humanity, at least following near's logic, but it's a decision to end a human life either way.

anyways, going back to my previous point, this "worshiping of false idols," idea has some interesting implications-- for misa & mello yes, but also for L and the ways in which he contrasts again light, as under this logic mello's treatment kind of inherently gives L a similar status as a sort of false god/idol. which-- actually makes a lot of sense? or at the very least, viewing wammy's house as a kind of mystery cult a la the eleusinian mysteries is a neat approach to take. L & light's mutual alienation from humanity fits them both filling a false god status, anyway. also there's another thread of analysis you could follow here where near is instead fit into the role of the person mello is fixated on which AAAAAAAAA has interesting implications but jesus fucking christ, this post is long. some thoughts for another time, i suppose.

[cranberryculprit]

Mable hanets anyeon

[doodleodds]

Happy Valentines, Akira. Happy Valentines, Asshole.

If you can’t read what Akechi’s secondary inner-dialogue says cause I obscured it too much behind his regular dialogue, here’s a transcription in panel order: Hello, you fucking- Ah- Hello, Akira! Fuck off, why should I tell you- Just a soda- there’s a new flavor.

I don’t want your shitty gift. Oh- haha! You’re so sweet.

I hope I choke. They’re lovely, thank you.

Like hell. Likewise. There’s no way it’s just a coincidence. Still though, it’s a funny coincidence.

[ninja-knox-ur-sox-off]

Greetings I play cookie run

[mazojo]

Did you know that you have rights? The constitution says you do and so do I

[variksel]

i know i talk a LOT about glenn and nick respectively and together on here but goddamnit i just relistened to the episode where they glenn meets nicholas after prison and i cant get how tragic it is out of my head. spending almost twenty years in prison to protect your son from harm, from having to most likely face being orphaned. spending all that time trying to escape with only him in your mind because he is all you have left after your wife died years ago and when you finally meet him again he looks at you with disgust and the son you once loved so much is effectively dead and buried. hes got a new dad who you KNOW, factually and objectively because it was ordered by a court, did a better job raising him than you did with your son. you did try but eventually you ended up repeating the patterns your own parents left in your life and thats not good enough. your son ends up in an objectively better position without you, without needing you anymore despite everything you did for him, and you can do nothing but accept all of that

"glenns not stupid, he knows morgans death affected nick. he doesnt want him to have to go through it again" and (ron): "your son.. sucks now" (glenn, grabbing him from the collar): "you say that shit to me one more time." and "this is the first time ive seen- [the sunlight]"

[yansurnummu]

just had to do a quick scribble of my durge because he always looks .4 seconds away from bursting into tears and I love him. I like to think that his charisma stat comes solely from his sad wet puppy eyes

[moe-broey]

Sketch I accidentally put too close between other doodles

[stromer]

[front-facing-pokemon]

[theworldisabrokenbonebutitishome]

Kang Yo Han is the walking embodiment of I'm Not Okay (I Promise) and relates to Three Cheers For Sweet Revenge far more than is healthy. In this essay I will-

[meadowlarkx]

people online who are themselves fans creatively adapting and innovating with their source material are getting so comfortable making posts like "fandom generally is sooo crazy when they make their blorbos kiss" "fanon is shitty (and whatever i hate counts as it)" and i'm getting 🛌🛌🛌 about it. what fandom. who in it. which fanons? i like meta discussions about the text/characterization/etc, but what's the point of looking down your nose at fans and fandom generally? i saw you at the devil's sacrament!

[melverie]

Aaaaaaahhhhhhhh today I've been constantly experiencing the urge to un-private today-in-the-devildom & start writing for it again

[teafiend]

[mummer]

"sara snow" as if that could have ever been a real name. get real. That is a drag name