#I just had to meta because hello

[anxiouspotatorants]

"I can't figure her out either."

He can't figure out why she does what she does. Why she would spend years renovating an apartment in the building where two of her childhood friends brutally died.

He can't figure out why she's simultaneously so respectful of the dead while passionate about murder and making a podcast with two elderly b-listers.

He can't figure out why she would ever be friends with him. The guy who did his father's literal dirty work for years. The guy who had her tied and pushed into his van with one of the b-listers. The guy who is responsible for her friend's death and for putting an innocent man in prison for ten years.

He can't figure out how she could ever forgive him. How she could show him respect. How she could show him kindness. How she could decide to spend time with him. How she could decide to learn an entire language just to communicate with him. After everything he's done. How she could like and maybe even want his company.

He can't figure out how they got to this point. To her asking him to help her pack up and move out, with every intention of staying close with him.

[disposal-blueeee]

doodles

edgar vargas and squee by johnen vasquez

scriabin by zarla-s

[lizardthelizard]

Been having Thoughts about August again.

So, you know how, in the Pilot episode, Emma comes to Storybrooke and, once she makes the decision to stay in Storybrooke for Henry, the clock tower starts working again and time becomes unfrozen ect?

Well, I'm just thinking about August and his reunion with Geppetto in The Stranger. And the parallel between that and between Emma causing the clock to work again.

Because, the clock that Geppetto and Pinocchio were working on in Fairy Tale Land is now broken in Storybrooke and sitting in Rumple's pawn shop. And, it's not until August makes the conscious decision to try and make amends with his father that he's able to help Marco to fix the clock and get it working again.

And, of course, it's a metaphor for the pair of them making amends and fixing their estranged relationship and for August trying to do the right thing for once in his life ect.

But also? I feel like it represents some of the same things that Emma(/Henry) 'fixing' the clocktower does, just on a smaller scale. Because, even though Marco still doesn't have his memories back and doesn't know that August is his son...He's still able to act as a mentor type figure, and August might not be filling the role of 'son', but he IS filling in a gap that Marco has been feeling throughout the 28 years of the curse in some small way. And the fixing of the clock has set things in motion for the pair and their future (even if August doesn't think he has much of a future left).

It's about change!!! It's about setting things in motion! it's about repairing the damage that has been done by both Regina and by Marco and August themselves!

[thetruthbetween]

My dash is making me wanna watch The X-Files again

[bet-on-me-13]

Danny runs for Mayor

Simple Prompt: Danny runs for the Gotham Mayor position

Extended Prompt: Danny is an absolute little shit throughout his entire campaign but still manages to win because he is legitimately one of the best candidates around

Just imagine the crack that could come from this!

Reporter: What is your stance on Vigilantism? Danny: Well I agree that Vigilantes are helpful for the communities that need them, and they should work with the police at every opportunity, I feel like the idea will always be a city where Vigilantes are not needed. Also I fail to see the relevancy of the question, there are no vigilantes in Gotham Reporter: What do you mean? What about the Bat-Family? Danny: No, Batman isn’t a Vigilante. Batman is a Crime Lord.

Or

Danny: As mayor, I promise that I will not be infected by corruption. Not because of my moral standings, but because I absolutely fucking hate clowns and I will never accept a bribe as long as that guy is still alive. Yes this is me putting a hit out on the Joker. Crime Bosses, if you want to try and bribe me, you gotta kill him first or I won’t even consider it!

Or

Batman: Why is a Meta-Human running for Gotham Office? You know this city doesn’t have a very good track record with people like you. Even the Signal had a rough start. Danny: Well, I just had a strong compulsion to help this city reach the peak of it’s potential *looks over Batman’s shoulder to see Lady Gotham holding up Cue Cards telling him what to say. She promised to help with his paperwork for the next 50 years if he became Mayor and helped fix her city* Danny: Such a strong compulsion...

Or

Penguin: Look kid, I don’t care if you have enough power to destroy me at the subatomic level, I have enough money to ruin you, your sister, your parents, even your uncle! Danny: Oh really? I could get the souls of every person you have ever killed to get confessions out of them. Or I could give them the power to rip you apart. Or I could even just possess you and donate all your money to charity.

Or

Danny: Oh god dammit! Vlad: Hello Badger! Glad to see you followed in my footsteps instead of your fathers! Danny: This wasn’t because of you! Lady Gotham asked for help! Vlad: A WIN IS A WIN!

[justhereforthemeta]

Romantic expectations and the story we didn't see: A magic trick hiding in plain sight

Here's a hopeful meta for all my fellow celestial brainrot sufferers out there. Cheers! :)

This idea started as a dead end, trying to track the movements of Crowley’s sideburns/tattoo because I thought time travel shenanigans were afoot. I had to abandon that theory when it was pointed out that David was simultaneously filming as the sideburns-having Fourteenth Doctor, and in-universe Crowley can do whatever he wants with his facial hair whenever he feels like it. But hey - null findings are still findings!

On the bright side, pausing the show to make notations in a spreadsheet forced me to slow down and notice other changes I'd overlooked the first time around: acting choices, costuming choices, references to book lore. And possibly a few surreptitious flicks of the wrist, in places where we’re meant to be focused on the magician’s other hand.

@amuseoffyre and @ineffablefood had a great exchange recently about romance and “the significance of misdirection and three-in-one (magic) tricks” throughout the show. I suspect Neil has done something brilliant with the audience’s long-standing expectations (since the 1990s, really) for the love story between Crowley and Aziraphale to develop. And while it is a wonderful story indeed, playing to this expectation lets Neil distract his audience from the blink-and-you'll-miss-them seeds he's planting for the final chapter.

Continued below the cut...

Let’s start at the beginning of Episode 2. First, context: In the previous installment, Crowley stormed out of the bookshop, was whisked away to Hell by Beelzebub where he learns about the Book of Life threat to Aziraphale’s existence, then returned to the bookshop to dance a little apology dance and hide Gabriel with an unintentionally massive joint miracle. In S2E2, we and Shax catch up with Crowley as he's snoozing in the Bentley.

Shax: “You’re in trouble”

A. J. Crowley, cool as a cucumber: “Obviously. Former demon, hated by Heaven, loathed by Hell. How will our hero cope?”

Interesting! Sarcastic? Yes, absolutely; but that’s also a good 4500 years and an averted apocalypse away from “I’m a demon. I lie,” wouldn’t you say? Someone is sounding a whole lot less depressed and aimless and navel-gazey (do snakes have navels?), and a whole lot more like he’s got a project to focus on, since his "what's the point?" ruminations on the park bench in E1.

And of course we all noticed the costume change right away. Hello, black turtleneck. Feeling cute today, thought I’d cover up my graceful long neck? That sounds unlikely. Let’s put a pin in this one.

There’s also an interesting acting choice going on here. Crowley speaks to Shax in a funny, drawling, too-cool-for-you voice that we haven’t heard in a while. Specifically, not since 1967. If you go back and give the S1E3 scene in the Dirty Donkey a listen, you’ll hear it (and if you know of another instance of it that I've missed, please let me know!). In S2E2, he keeps up this odd voice (if anybody knows what kind of affect this is supposed to be, please do tell!) throughout this dialogue with Shax, except for the brief moment when she first surprises him about the joint miracle having been detected.

1967 was a fun year. Crowley masterminded a heist! And seemed like he was having a ball doing it, right up until his little caper was called off after Aziraphale brought him the thermos of holy water. Crowley spoke to his co-conspirators in that same funny, very 60’s-caper-film voice. He wore a hip 60’s turtleneck. He bought petrol for the only time ever, so he could get those sweet James Bond bullet hole decals for his car (per the book, seen on the Bentley in the show).

Those James Bond bullet hole decals would of course have been part of a promotion for this 1967 release, which you just know our film-enjoying demon went to see in the theater:

Starring this suave, be-turtlenecked guy:

And now - begging your forgiveness - a brief rant.

There are a number of posts out there that refer to Crowley’s S2E2 turtleneck as a flirtatious sartorial choice - actually, ‘slutty’ seems to be the favored accusation. There are even a few posts floating around commenting on how sweet it is that Crowley swaps out his slutty, kinky, throw-me-over-your-desk-and-take-me turtleneck for a more dressy and appropriate collared shirt specifically to attend Aziraphale’s Jane Austen ball. 

Now this is all in good fun, and Crowley does indeed look fantastic here, and I do love a good fangirling sesh as much as the next person. However, fandom’s collective tendency to interpret what we are seeing on the screen through the lens of romantic expectation can, at times, give rise to a kind of blinkered enthusiasm that obscures the original text in a haze that is part Mandela Effect, part unrestrained horniness, and part in-group code talking and identity reinforcement.

Respectfully, Crowley’s black turtleneck does not appear at all in S2E5: The Ball. In fact, it never appears again after the end of S2E2.

For Someone’s sake, let’s collectively pull our heads out of the romantic fog/gutter for a moment and focus on what we are actually seeing in the book and on the screen. For Crowley, this is an uncharacteristic within-period costume change. There is a surreptitious flick of the wrist happening here, out in broad daylight, and we are all missing it.

So here’s a thing. Aziraphale appears to have settled comfortably into life on Earth, his neighborhood, his books, using Crowley as an outlet for sharing his good deeds that he would once have reported to Heaven. Meanwhile, at first glance, Crowley appears stuck in a rut. There he slouches on a park bench with Shax in S2E1: a guy who lives in his car, stagnantly clinging to old familiar habits, mulling over the pointlessness of it all.

Setting aside the bit about living in the Bentley (I’m going to attribute this to well-documented issues between him and Aziraphale, discussed in many other excellent metas, and move on), Crowley has at least two very good, proactive reasons for maintaining his contact with Hell through Shax. First and foremost, it’s a source of information he can use to keep ahead of potential threats to Aziraphale and himself.

But also, I would posit…he kinda likes it.

Recall that book GO was first conceived as a parody, with Aziraphale and Crowley as spy-against-spy (but not really) field operatives in an ages-old cold war between Heaven and Hell. Their entire book dynamic is rooted in the trope of two opposing agents who have been in the field for so long that they now have more in common with each other than with their respective head offices. Their St. James’s Park meetings among other spies and ministers trading secrets are a sendup of what was once a well-known Cold War-era cliché. 

Our contemporary Crowley still likes slick outfits and hellaciously expensive watches and high-performing vintage cars and pens that write underwater while looking like they could break the speed limit. He coaches Shax on how to blend in as a demon on Earth, and he helpfully redirects the wayward contact looking for the Azerbaijani sector chief. He loves improvising and getting away with shenanigans under the institutional radar. And boy golly was he impressed with Jane Austen: master spy, brandy smuggler, and mastermind of the 1810 Clerkenwell Diamond Robbery. 

And if you look at it a certain way, for as long as Crowley has considered himself to be on “[his] own side” - going at least as far back as Job - he could almost think of himself as a sort of double agent. It’s actually a very romantic sort of notion, befitting our hopeless romantic of a (professedly former) demon; but it’s romantic in a very different way than we, the audience, have been primed to watch for.

In other words, in a very “on my own side” kind of way, Crowley really gets a kick out of being a spy. Or at least, dressing up and accessorizing as one, and moonlighting as a good-doing double agent when he can get away with it. And also being a plotting criminal mastermind. Two sides of a coin, really. Just look at Jane Austen.

My point is: No, Crowley did not wait around for Shax to come find him in a turtleneck so that he could go flirt with Aziraphale later. He’ll flirt with Aziraphale no matter what. No, this:

is actually this:

Much like the one he wears to the Dirty Donkey in 1967: 

whilst holy water heist-plotting. Here's a clearer shot with gratuitous Bentley, because I love them:

…and which he'll wear again, with appropriate camouflage, while infiltrating Heaven in S2E6:

That is the 1967 planning a HEIST turtleneck for committing ESPIONAGE and STEALING THINGS in. Because turtlenecks are what modern human master spies wear to get their hands dirty - after all, he saw it in a movie once. 

Crowley dons his tactical turtleneck sometime during the first major break in the action (which doesn't happen until after the joint miracle to hide Gabriel) after he learns about the threat the Book of Life poses to Aziraphale. Loverboy started mentally preparing himself to go after that book immediately upon learning that it was in play as a genuine threat. 

Now let’s pick up at the S2E2 Dirty Donkey scene, reading the story from this angle. Of course, Crowley enables Aziraphale’s delusions about Heaven by hiding information from him, and does not disclose the Book of Life threat when they meet again. They go into the pub, Aziraphale shamelessly paws Crowley’s chest like the seductive Bond Girl he is, and Crowley gets to act all smooth and suave and intimidating as he chases off the interloping Mr. Brown (or Mr. Collins for the Pride & Prejudice fans, take your pick).

Ergo, theory: beginning in S2E2, Crowley is already thinking of himself as a Jane Austen/James Bond action hero (“How will our hero cope?”), psyching himself up to rescue Aziraphale by getting his spy game on and stealing the Book of Life.

Now, watch closely...This is where Aziraphale and Crowley brainstorm their plans to solve the problem they both know about: getting Maggie and Nina to fall in love and thereby get Heaven off their backs. Crowley’s vavoom plan is drawn from yet another movie (“Get humans wet and staring into each other’s eyes - vavoom, sorted. I saw it in a Richard Curtis film.”). But Crowley also implicitly shares his solution to the problem he hasn’t told Aziraphale about. And true to form, Crowley’s Jane Austen solution isn’t the same as Aziraphale’s Jane Austen solution. 

Two solutions that fail by the end of Season 2, and a secret third one that might still work...and there's our magic trick of three.

‘“I’m lost. Am I doing a rainstorm?” Yes, babe. And a heist, too - just not until season three. Can I get a wahoo!? 

I won’t spend time on A Companion to Owls during this meta, except to note that in all three minisodes, we get to watch stories that involve Crowley acting as a double agent on “his/their own side” - successfully making Hell and Heaven think he’s fulfilling their will while saving Job’s goats and children; failing to fool Hell when he does a good deed in Edinburgh; and of course, collaborating with Aziraphale whilst evading detection as an infernal turncoat during the Blitz.

(Because this is getting long, I'll also skip over Crowley's interrogation of Jim in this episode - I'll probably come back to that in another meta. But interrogating is a rather spy-ish thing to do.)

When we catch up with Crowley again later, he’s already slipped out of the bookshop, having left Aziraphale to his biblical reverie about Job. He saunters snakily down Whickber Street as usual, but with a very pointed and swift glance over his shoulder (see pic above). This demon is up to something - possibly something we didn’t get to see, something that may have happened offscreen while he stepped out. In any case, knowing there’ve been unfriendly angels in the neighborhood that morning, he’s rightly concerned about being spied on.

From this point until the beginning of episode six, there isn’t a whole lot of opportunity for Crowley to make any next moves. He babysits the bookshop, during which time he manages to wring some crucial information out of Jim; he follows his Crowley’s Angel around like a puppy, and downs a bottle of red like a good old fashioned lovesick boy once that’s been pointed out to him. If any plotting or scheming is underway, this occult being is keeping stumm for now.

This has been a long one, so I’ll wrap up with Crowley’s infiltration of Heaven with Muriel. The turtleneck disguise works (Archer fans, be vindicated!) long enough to gather some information that will be crucial not just to the denouement of S2, but also to Crowley’s journey in S3 (previous post on Crowley's Fall, Saraqael, and memory wiping). And Aziraphale gets to enjoy that view exactly zero times. The point isn’t oh, a turtleneck! How flirty! So cunty! So cute! Y’all. Everything matters. The costume change was a deliberate choice. In-universe, Crowley’s decision to wear his special spy turtleneck for spying in is a signal that he is out doing spy things, even as we watch.

In sum: Beginning in S2E2 and continuing through the end of the season, Aziraphale and Crowley are actively living out the scripts of two parallel, concurrent, and completely different Jane Austen stories. But you and I, dear fellow audience member, we came here for a comedy with a hefty jigger of romance, and that’s what Neil gave us to focus on. And right up until the Final 15, that was the only story we saw.

Meanwhile, Special Agent A. J. Crowley doesn’t have time to mope around at the end of S2E6. He’s kicked down, but he’s not out. He's got a Book of Life to steal, a very serious bone to pick with a certain memory-wiping angel, and his Angel and the world to save. 

“‘Heigh ho,’ said [romantic, optimist, former demon, hero, master spy] Anthony Crowley, and just drove anyway.”

[shit-talker]

The only way I can rationalise people accepting literal children going out and fighting crime as Robin is if they don't think Robin is a real child.

I think it would be fun to see how Bruce would use that to his advantage in protecting his kids. Like, if people think Robin isn't human, if they instead think he's a spirit or a ghost, they are less likely to shoot at him, less likely to try and physically attack Robin because they think it would be no use.

The fun part would be deciding HOW they would do this. I like to think that Robin's domino mask doesn't have a hole for his eyes but instead is glazed over so that he can see out of it, but you can't see in. Maybe they install small lights in it so it looks like his eyes glow in the dark, because can you image how fucking scary it would be to just see these two sentient light-like eyes and just know the Batman must be lurking somewhere close by?

Maybe Bruce installs super strong magnets in their gloves because on the chance that someone does pull a gun on his kid close range, it would be a lot easier for them to grab the gun away if they had the force of magnetism on their side. Also, grabbing onto poles and other metal materials would make all the scaling on tall buildings a little safer. Obviously, they'd need a way to turn it on and off, but still. Can you imagine, you're in a warehouse and there are steel frames fucking everywhere and you look up and suddenly there's a child gripping onto one effortlessly? Horrifying.

Maybe they have a voice box. Want to scare people? Play this really ominous recording of a child's laughter that echoes just a bit too loud to be normal. Play this ominous screaming that seems too silent to be real. Play this ticking that seems to never end that induces stress and increases the chance of them messing up.

What would be even funnier is keeping this act up with the Justice League and other teams.

Batman doesn't bring Robin to these meetings at the beginning because he sees no need to involve a preteen in such matters, but at some point the subject does come up and it's sort of like; So, Bats, what exactly is the kid? Like...is he yours?

And Bruce (paranoid as fuck) doesn't want to admit to these people that yes, Robin is my son because hello? That's gotta be his biggest weakness, he would do anything to keep that kid safe and fuck them if they ever tried to hurt him to get to Bruce.

So, he tells them that he's a spirit sent to haunt him and remind the city of it'd failures and the Justice League just... believe him?? Because this is Batman, and why would Batman ever lie about something so, frankly, strange? And it's not a huge deal, like they're a team comprised of metas and aliens and literal godesses, so what if the one normal human guy has a weird little ghost child? Who cares if he cares about it like it's a real boy? Maybe the baby spirit has rights, too!! They don't know!

So, when the JLA gets more popular and becomes an actual, legal part of the American government, they're required to list all of their members. And they class Batman as a human, because that's obvious but next to Robin, they don't really know what to say or how to ask Batman about it, ao they just put "Unknown Child Spirit - TBD"

And then just... never change it?

So, they don't question why a few years later Robin seems to look entirely different, or why after that he changes again, or why Robin is suddenly a girl for a while before going back to a little boy. That's obviously just some weird spirit thing they don't understand, and it's not like Batman is going to explain it!

[lover-of-mine]

Hello and welcome to Anna thinks they just kickstarted Eddie's queer arc and *coldplay starts to play* it was all yellow (and blue). (metas on the blue and yellow here and here if you feel like reading)

I feel like at this point I have made the point that I think Eddie's queer arc is gonna be yellow where Buck's was blue very clear (post on that here, more on the theory applied to buddie here), so I'm watching for any amount of blue or yellow around Eddie. The whole thing comes back to the way 704 is very blue and yellow and the climax of Buck's bi arc, the coming out scene since it's the one scene Buck chooses to come out, is also blue and yellow, but Buck himself is blue.

This actually starts in the locker room in 701 tho, but we have established that Buck is blue, so they are in the wrong colors. They're also in the wrong colors during the will reveal, which is interesting if they follow through it this particular symbolism the way I'm expecting them to.

The will reveal is interesting because they don't match their backgrounds the way Buck does in the coming out scene, but the backgrounds have the right colors, but I digress.

The thing is, the thing that I keep waiting to happen, happened. The sandy yellow shirt. Something about Buck's journey to blue, is that he is in darker shades of blue while Eddie is in neutral tones, mostly black, until he reaches a shade of blue that's basically the color of Oliver's eyes, so it's a brighter color.

So my working theory is that Eddie is gonna mirror that, and we will have Buck in neutral tones while Eddie finds his golden yellow, that right now I'm 90% positive will be the shade behind him in the coming out scene, but Eddie's arc will be lighter shades working up to the darker ones. And this is a promising start.

But I wanna talk about Eddie's arc on the episode. Because his arc is blue and yellow, but he's drowning in blue. Which is the wrong color. And not just because the uniforms are blue.

Something in particular that's intriguing me is the fact that they changed the waiting room of the hospital, so it is yellowish now, where it used to be a more neutral blue color.

Something else is the fact that this is the school from 504, an episode called home and away, that has "you're the guy who likes to fix things" conversation, where we actually discuss the way blood family knows you differently than a significant other. So we have a few s5 callbacks going on, and I feel like this will be a pattern, even though I don't think Eddie is in route for another full breakdown, I think deconstructing parts of who he is will have a lot of callbacks to his s5 arc.

The dialogue of the ambulance scene is very interesting too, because Eddie is talking about fixing someone's heart in less-than-ideal circumstances, and he actually manages to pull it off after some struggle. I'm probably reading too much into it, but the fifty/fifty on 2 attempts is making me 👀 because if we take this to the more metaphorical possible Eddie and his own heart, unless we are talking Buck, he failed all times, but it interesting to think Shannon vs Buck since Ana and Marisol where superficial relationships. Considering what we know, how young he was and the way his relationship with Shannon got to serious to fast vs the way Buck squeezed his way into his life and Eddie did take some leaps of faith in less than ideal conditions, I can see a symbolism hidden there.

The talk with Bobby is also interesting because of the whole yellowish setting and the implication that the issue can be traced to the mustache, and since we know the mustache is gonna be important for Eddie's character in the following episodes.

But the thing that had me screaming was actually the shop scene. I wrote a meta on this (you can read it here) but 911 uses blue and red for parenting issues. And the shop, the car the dad is working on, and the equipment are blue and red. And that makes sense, they are talking about parenting. Eddie is there as a father, at least at first.

And all of this is happening while Eddie is in white.

After they go outside, while Eddie is talking about being a father in a more detached manner, he is surrounded by the blue and red, even though the chair is yellow.

But while the dad is talking about his struggle understanding his kid, he is blue and yellow. This is interesting even though I don't want to sit here and say that Weston is queer just based on the fact that he's a cheerleader, because yes, the blue and yellow is used for Buck, but is also used for henren, and if we expand on the 911verse, it is also used for tarlos, so the metaphor there.

And attached to all the struggles Eddie has expectations that were placed on him, and specifically 517 where Eddie talks about his father not wanting to seem weak, and how that obviously affected the way Eddie grew up and how he moves on to defending Weston by saying he survived something he knows soldiers who wouldn't, we have something here. Because we don't have the focus on the red anymore once Eddie starts talking.

The green elements of the scene are interesting in the same way I said the orange is interesting about the birthday party (read that one here). Eddie is a green character, I feel like a lot of us associate him with army green, but if I'm right about the color theory we have going, Eddie can't live his life as a secondary color. That's where getting to his yellow comes in.

Eddie needs to move on from that. We talked a lot about the green army armor, with that jacket he wears when Shannon dies and when he leaves the 118 (first 2 pictures up here) so he needs to stop hiding behind the green. And the green is there, but it is out of focus, it's not supposed to be the main thing even tho it does take a lot of space in Eddie's frame. Mostly because you can see the yellow very clearly behind the dad, but not the green car behind Eddie, the edges are blending, which is good. He is moving in the right direction.

He also ends the episode drowning in blue again, which, yk, wrong color.

He's also in the same color he was in 506 after the whole kidnapping and yet another moment Eddie risks everything because there's a kid involved. But this time he can't go home to his kid. Someone give him Chris back right now (set on this parallel here).

So, since Buck's queer arc was blue and yellow, and Eddie just started an arc with those, I am choosing to believe they just kickstarted Eddie's queer arc.

That's all for today, if you read this I love you 💜

taglist (interact with this post if you wanna be tagged, or send me a message, just let me know):

@sparkedblaze @hermioneindisguise @eddiedisasterdiaz @mosaicstardust @stagefoureddiediaz @kejfeblintz @glasscities @angelcamael @sparkedblaze @caw-salem @dreamofsomepiphany @100ceruleaneyes @linus-lucy @chaosqueery @gina-spike @chimchiminie98 @elvensorceress @dangerpronebuddie @ijustdontlikepeople @182daysof @steadfastsaturnsrings @sparklespiff @inell @joshwritesfics @lunarsolar1 @dingdongfries @wolfdeans @jesuisici33 @miles--to--go @hopefuldreamers-world

[louisferrignojr]

i keep saying i'm not going to pay this show any more attention and I keep coming back with more thoughts and i decided to inflict them on all of y'all so here goes

hot take: the brad/hotshots storyline isn't inherently bad. it was entertaining. it was fun and campy, classic 911. i love it when shows get a bit meta. we stay sillay.

however it all falls completely flat, and here's why:

they butchered the main storylines they had set up at the end of s7 — Hen and Karen vs Ortiz (and Gerrard), the 118 vs Gerrard vs Tommy (don't play, they wrote it out with big block letters), Bobby's suicidal ideation, abrupt resignation and relationship conflict with Athena, not to mention NDE. the only storyline they seem to have spent any time on is Eddie and Chris — thank fucking fuck, some good food for Eddie.

they have disregarded previously established side characters in favour of developing Brad Torrence. where the fuck is Ravi? where's Sue, where's Linda? why is Josh only there as a mouthpiece to deliver a cringeworthy self-congratulatory speech praising Ryan Murphy's previous — and still DEEPLY biphobic — work?

the hotshots storyline of 8x07 and 8x08 should have taken place WAY later in the season: only after spending time giving their existing characters and relationships the focus they so sorely need.

Hen and Karen and their struggles with Mara being with Chimney and Maddie — where was the conflict between Hen and Chimney? blink and you miss it in 8x01. why was everything wrapped up so fucking quickly in 8x04? the pacing of that episode was INSANE. they could have drawn it out until the mid-season finale, and ended it on a positive note of Mara coming home.

Maddie and Chimney have had almost nothing all of 8a — what looked like a conversation about family planning, addressing their past issues, deciding to stick together and make it work this time, it was building up to something so good — and it crumbled before my eyes with the accidental pregnancy reveal. because we're dealing with teenagers who don't know how birth control works, not two grown adults in their 40s with a history of PPD. be so for fucking real.

and then: why bring back a homophobic, racist, sexist character, have him act EXACTLY like his old self — including throwing a subtle slur at his old subordinate who's just come out of the closet — and then reduce him to a cartoonish villain — did they perhaps realise that bringing back Gerrard was a big mistake? that no one wants to see this type of villain anymore? that his return undercut the justice of him getting fired by the LAFD for his bigoted behaviour? much to ponder.

Athena and Bobby nearly died, they lost their house in a fire (hello? ptsd flashbacks? no? okay.), then Athena nearly died AGAIN, but we don't need to linger on any of this. back to work, you two. Bobby, you get your firehouse back. Athena, back to doing bad cop shit, i guess. (they had a nice relationship moment with the house hunting and deciding to build etc in 8x04, and that's about it).

Buck had a consistent storyline between 8x01 - 8x04: struggling being under Gerrard, getting to work with Bobby again, and finally getting his captain back on a permanent basis. then we got 8x05 with Tommy — an episode dedicated on the intimacy and depth of their relationship — which they then completely fucked it up in 8x06. yes, the "past connection" reveal was a terribly done messy retcon of the entirety of s1 if you ask me, and a disservice to all three characters: Buck, Tommy, and Abby. the backlash from the GA following the breakup speaks for itself. but they then went to make a big joke of Buck coping with the breakup in 8x07 and 8x08. because we can't be serious about anything, ever. and again — I get it. it's the weewoo show. but don't tell me they haven't previously done well thought-out, touching storytelling. anyway, this got a little derailed because i'm still so fucking salty — the bottom line is, however they butchered Buck's storyline, at least he's had something meaningful.

the only other main that has had a meaningful storyline in 8a is Eddie. they've shown him struggling with being away from Christopher in almost every episode. i can't say i'm a big fan of the way 8x06 went for him (literally. enough with the movie references. tim minear have a fucking original thought for once). but I'm loving where his storyline is headed. that was a good 'cliffhanger' if you will. go back to your roots baby! go reconcile with your son — own up to your mistakes! talk to him about his mother! go to father-son therapy together! -> so much wishful thinking, y'all. we'd be lucky to get 1/10th of this on the show, but whatever.

tldr: no one gives a flying fuck about hotshots or brad because while we love the silly weewoo show, we need something to chew on before you toss us a half-baked dessert. to quote lou ferrigno jr, i am not satisfied.

[im-totally-not-an-alien-2]

"Hello." A dull thwack sound reverberated across the rooftop, leaving the boy who snuck up on Red Robin clutching his head. The boy, a meta if the large animal ears and tail were anything to go by, shook off the pain and pouted up at him, "What was that for?!"

The vigilante was unrepentant, holding his bo staff in a ready position, "You snuck up behind a vigilante at night. In Gotham."

"Okay," the meta conceded, still pouting. "You have a point there. Robin threw ninja stars at me when I tried to approach Batman."

That got Tims attention, "You tried to approach Batman? Was there something you needed?"

The kid suddenly got serious, "My mom went missing. I haven't been able to contact her for almost two weeks now."

Red pulled his arm closer to his face before he began typing on his wrist computer, "Can you tell me her name and date of birth?"

"Um." The other teen fidgetted with his tail a bit, "Okay, so...she's kinda Cheetah."

"...come again?"

"She's Cheetah. The...the supervillian."

Red Robin stared at him, and honestly who could blame him? The bats hadn't even known Cheetah had a son. "So why are you in Gotham? Why not ask Wonder Woman for help? Cheetahs one of her rogues not ours."

The teen shook his head, "She went to meet someone in Gotham before she disappeared. She seemed really agitated before she left, almost scared. I've never seen her like that before." He paused, giving the vigilante time to type before continuing, "I didn't go Wonder Woman since I figured I would wind up needing to talk to a bat anyway since its your turf and all." He said, waving a hand as if gesturing to the city around them.

"I wasn't aware Cheetah had a kid."

The meta grimaced, "she didn't until a year ago."

Red gave him a look, as if urging him to go on.

The meta chuffed, sounding a lot like whatever big cat he was supposed to be, "I'll only tell you my tragic backstory if you promise to help me find my mom."

"I'll find your mom." The bird said without an ounce of hesitation. Tim was a little offended. Did this guy think he was going to leave his mom in danger just because she was a criminal? Appearently so, seeing as the teen looked so relieved at his words.

"Okay, so my bio parents were evil mad scientists. Always a bad start, anyway they were obsessed with the occult and one day they suddenly took me and my sister to Brazil to hunt for some artifact of another. That alone was strange but weirder still was the fact my creepy godfather was paying for it all. He usually only does something like that when he's plotting "

"Plotting?" The detective interjected, "you make it sound like he does that often."

"Yeah. Hes a supervillian." The meta said casually, as if he didn't just leave Tim reeling, but the kid wasn't done yet, "He's had a massive crush on my bio mom since collage and never let it go no matter how many times she rejected him. She even married my dad, his best friend, and this dude just kept simping for 20 years." The teen rolled his eyes, "Hes convinced himself that if he murders my bio dad then my bio mom will fall in love with him and me and jazz will be "his"." He said that last part with fingerqoutes and a disgusted expression.

Tim filed that away for later, "Can I have his name, if nothing else?"

The teen seemed reluctant for a moment, "You're the worlds greatest detectives. You'll find out even if i try to hide it. Besides, I'd probably be better off if you and the Justice League know everything anyway."

Tim was...surprised by that. Most people usually weren't this open with them.

"His name is Vlad Masters, he also goes by Plasmius when he's dressed like a wannabe vampire. He's a ghost who's repossessed his corpse. My parents are Jack and Maddie Fenton, who are obsessed with ghosts and have convinced themselves that all ghosts are evil and must be destroyed, regardless of how much evidence points to them being wrong."

"And your name?"

The meta grinned at him, showing off four very sharp fangs, reminiscent of the large cat he takes after, "You can call me Jaguar. We were exploring a bit when I broke off from my family and got jumped by one of them. Suddenly I was struck by a claw and turned into furry bait. Fluffy stopped trying to make me his lunch and just stared at me before walking away, which was wierd. Then my parents found me, accused me of being a ghost, because thats naturally what someone would assume when thier son sprouts cat ears," he said while rolling his eyes.

"Naturally." Red joked, which had the benefit of making Jaguar smile.

"So my parents chased me through the jungle, shooting all the while, then suddenly a portal opened up in front of me. I'm not stupid, I know there was no way this wasn't a trap. I mean, a portal opening up right after that bizarre series of events and its the same shade of glowing green as the wierd death go my parents are obsessed with? There's no way they weren't related somhow, but I was desperate and jumped through anyway."

"I landed in another jungle, or the same one in a different location, I'm not sure. I tried hunting and foraging but wasn't very successful at either." Danny still remembered the throbbed in his head when he had headbutt that tree after missing his pounce on that pig he had been stalking. "Thats when Cheetah found me. She took me in and taught me to hunt and fight."

-----

Possible plot twists:

1. Danny isnt Phantom in this au

2. Danny is Phantom in this au but is trying to leave that life behind

3. My favorite. Danny has the ability to manipulate and control animals into doing his bidding with the effect of jaguars and other big cats being the most prevalent and he just doesn't realize it.

One of Cheetahs friends/allies realizes cheetah has changed and suspected something and convinced her to leave for a while to see if her care for this kid faded after a while away from his presence. It works and Danny loses another parental figure/possibly attacked by them too.

[erinwantstowrite]

there is an uptick of people thinking that bruce like. emotionally manipulated peter in LoF? i should clarify that bruce did not do that??

(potential spoilers below)

he didn't know that spooking peter would be related to a trauma response, and peter ultimately wasn't mad at him for that. peter and bruce have been messing with each other since they met and peter started it (hello orphan joke that peter made the first time he spoke to batman). what he was really upset about was that bruce figured out the plan to tell his identity AND get around the spider sense. bruce was letting him know what he was walking into should he do that right then and there.

bruce was very much right that peter wouldn't go near the manor until he was comfortable with bruce, an adult he had only a few points of contact with atp. (also bruce still doesn't know that peter had stalked him and red robin in that one scene and that because of it, peter did know some things about batman and bruce.) even if he was comfortable with the rest of them, they'd have had a hard time getting him near the cave. peter is flighty and he often leaps before he looks. bruce has experience with like all 85 of his children being the same, but specifically when dick was peter's age

it wasn't emotional manipulation, he was just presenting himself in a way that made it easier for peter to feel comfortable around him and that he could trust batman. that's why they played tag of all things. peter would have been a lot more distrusting if bruce hadn't made that step. imagine the conversation about dick being peter's parent, but peter is five seconds away from trying to leave because he's in batman's house

i should also make sure everyone remembered peter's conversation with benny about why batman "doesn't allow metas":

it's a rule to protect metas from shit like this. AND it's to prevent superheroes that don't understand Gotham or how it works coming in and trying to "fix" everything only to make it worse. agree or not, i think it's pretty clear that batman doesn't actually have a problem with metas. he works with them (justice league, DUKE is on his team for crying out loud) but he's paranoid.

this isn't an angry post btw!! i'm just confused by some comments and a few asks i've gotten recently. i'm just making sure everyone here knows that bruce made a guess that peter would want to be on more equal terms with batman, and he was right. he's made a lot of mistakes in the past with not doing that (look at ALL of his robins. especially jason and steph) and he's learned from that

also. it's batman. he's gonna do that in the most dramatic way possible

[ledgends-of-the-stars]

Ok so this is like, lots of time in the making! Anyone remember the Sexiest Kirby Character Tournament? PFFFF And Meta Knight won?! LMAO I made a reaction doodle of my Meta responding to the outcome at the time (Maybe might redraw it)!

As you can see, he took it well! Lol And I teased a Ginjinka of DDD! But I never made him because I’m a Meta Simp.

So this was all of him I had made at the time. But now that changes today! ^^

Say hello to your Hunk of a King!! I even gave him a fancy name like I did with Meta; Devinus Denintello Dee!

“Dee”vinus “Dee”nintello “Dee”

Some notes of characterization: I grew up with Anime DDD, so he’s got that Southern Accent. He’s silly, loud, proud, and gluttonous, but he cares for his people and wants to prove he is a Great King! So I also mix in what is canon about him in the games!

I feel like DDD has that charm of easily getting people to open up and express themselves. Like, being really honest. He can be just as blunt and even point out some things others may not notice or want to notice. I feel like DDD is smart, not a genius, but he’s able to pilot Mechs and wield crazy contraptions! DDD is definitely naturally funny, so much so he even got Martin to laugh at one point!

When it comes to the King and his Knight, they are very professional with each other, though DDD can be a bit more open about his friendship with the Dark Knight. I’m making some Friendship Content about them and even adding some lore as to how their relationship formed. Just know they are close and mutual in my AU!

Bonus Bandana Dee Ginjinka! He took in Bandana, who I’ll call Bana, as his little one! This basically makes Bana the Prince, though he doesn’t consider himself such. He wants to fight for the King, stand by his side and repay him for his kindness of not only taking him in, but also taking in his Clan! Of course, he is aware of Meta Knight being King DDD’s Strongest and closest. He would like to challenge Sir Martinez for that position one day.

Finally here’s the Kirby Krew all together! I have not got to play Return to Dreamland completely, but I do plan to purchase the Deluxe Version for the Switch at some point! Hated how the jumping felt delayed in that one Winter Area, jumping over those Damn f*cking spikes. Made me so mad.

ANYWAY!!! ENJOY!!! I loved designing these two!!

[myhamartiaishubris]

Ben Hargreeves is the worst written best character and I can prove it

This is a poorly organized meta/essay about my baby boy who got massacred. Originally posted in the discord server so some of y'all have seen it already.

Let me be clear: this is a love letter to my favourite Hargreeves boy. I could write him better. I could fix him (narratively).

Here's why Ben is a great character who, paradoxically, was very badly written.

Umbrella Ben

Listen. Listen to me. Ben Hargreeves was, from the moment I saw him, my absolute favourite character. He's already dead? Doomed by the narrative before the narrative even begins? Also, an East Asian character in the year of our Lord 2018?? I was on board. And Brelly Ben gets a lot of good moments! You know that scene where Klaus is in the motel closet, tied up, and Ben says something like, "How does it feel being helpless? This is how I feel, watching my brother piss his life away." Um, hello?? That's such a delicious line.

Because up until this point Ben's been kind of quiet, in that dead broody way, or we saw his young self being soft and reluctant. But suddenly we realize, oh, Ben isn't nice. In fact, he's kind of nasty to his addict brother, and you get this kernel of a glimpse into his character. This is a character who might have been soft-spoken in life, but death and the years since have shredded him down to all his razor edges. He's still that bookish little Ben, except he's not little and he's frustrated, angry, traumatized, and in pain.

And season 2 builds on this! He's willing to violate Klaus's personal boundaries just for a taste of life again. Holy shit that's so delicious. My problem is that, especially in season 2, this isn't explored nearly as much as it could be. Ben's possession shenanigans are mostly played for comedy, when in fact we could be delving into the implications of Ben's character and his relationship with Klaus. You have this character who's kind, who (from what we know so far) represented the "good" of the academy, who loves his brother so so hard and it hurts him so bad to see Klaus hit rock bottom every time. The little "I missed you guys" in season 2? Devastating. And yet despite his goodness he is capable of being a bad person, and he repeatedly hurts those around him (namely Klaus).

So surely this is part of his arc, right? This is going to be explored and resolved. Right?

The Season 2 Ending

So the thing is, I didn't immediately hate the way they had Ben move on / die to save Viktor. I was sad to see my favourite character go, but also excited to see where the writers would take that storyline. Because, obviously, it wasn't over. Right? Obviously Ben's arc isn't finished, he hasn't resolved his frustrations, his complicated relationship with Klaus is never fully untangled, plus the rest of the family never get a moment of real closure with him (except maybe Diego). So clearly, it wasn't over. Right?

Well, in light of season 4, I can confidently come back and say that killing Brelly Ben off here was a stupidass decision.

And here's why: you've effectively splintered his arc in half. Starting from season 3, Ben is an entirely different character, with an entirely different arc that needs to be built from the ground up. While everyone else gets 4 seasons of development, Ben only gets 2, both times. And I'm so not over the fact that his arc isn't over. We saw Ben do some reprehensible shit to Klaus, especially in season 2 with all that possession shit! And we just. Never hear from him again? That's bullshit.

But anyway, since we're here, let's make peace with being here. Hey, Justin H Min is still playing a version of Ben, and he seems interesting, if way different! Surely this will have some interesting implications.

Sparrow Ben

Oh god, Sparrow Ben. In terms of Ben's character writing, season 3 is... fine. Like I said, it suffers from effectively fracturing his arc in half and having to start over, and this isn't the complicated, kind but frustrated and prickly ghost Ben I originally fell in love with. But ok, I do like Justin, and EA rep is still a win to me, so let's go with the flow.

For the most part, season 3 does a solid job. We get some solid beats relating to Ben's ambition and inferiority complex being Number 2. There's a bit of overacting on Justin's part, but hey, that's camp. (I think. I have no idea if I'm using that word right. Am I hip with the kids?)

I really, really loved Ben's moment with Sloane as she's getting married, because it highlights the core of this Ben's character: someone who desperately yearns for family but has forced himself to be all hard shell and soldier. In a way, he's the other end of Brelly Ben's spectrum. (Like forsterite and fayalite - all Mg on one end, Fe on the other.) How much of this Ben is family softness, how much of it is defense mechanism and lashing out?

And then of course - the thing I've been craving so badly - the in-universe comparison to Brelly Ben. This was done... underwhelmingly, if I'm honest. I liked that Ben had a moment of crisis where he couldn't live up to the Umbrellas' dead version of himself, and his moment with Klaus was nice, but in light of season 4 it becomes clear that we could have had more. I wanted him to have an entire arc about it - after all, it's a pretty significant aspect of your character to be "the worse version of yourself from another timeline." (Refer to @vyther16's Gongye Jiwu fic.) I feel like there's a lot of meta you could pull from that, about how your siblings who aren't your siblings look at you and see someone different. Someone you won't be. Someone you can't be, even if you tried, so why bother trying? And they really don't dig through that at all, which is disappointing.

The tentacle samurai fight is badass, though.

Season 4

Oh buddy oh boy. There's so much dumpster fire here, but I'll start with the season 3 loose ends and then move on to season 4's own problems.

1) Sloane. Luther picks Ben up from prison, so I thought they might have an interesting bonding moment over Sloane - after all, they're the two people who cared most about her. But actually no, apparently Ben doesn't give a shit about the one real sister he actually had left at the end of s3.

2) The subway thing. Wasn't he in Korea? My grasping-at-straws ass truly thought that might have been Brelly Ben in the reset timeline, and we'd get a Ben-Ben confrontation or a battle in the minds thing. But I guess that doesn't matter.

3) The Jennifer Incident. So we all know that everyone forgetting about an incident they explicitly reference is stupid, right? Especially because the name Jennifer only exists because they reference it in s3. Ben obsessively draws Jennifer, and then he doesn't recognize or know her? Kill me.

The continuation of his arc is also just sloppy, if it even exists. No more identity crisis about being the worse Ben, no more secret yearning for family or inferiority complex about being a good soldier. Suddenly his arc amounts to, uh, being an asshole and getting hit with sex pollen so powerful it ends the world.

And look, there is a world where Sparrow Ben spiking everyone with marigold could parallel with Brelly Ben's consent problems with Klaus. There is a world where Sparrow Ben dying because of Jennifer could echo Brelly Ben's death in a haunting, tragic, destined kind of way.

But, uh, none of that happens. Here we are, finally getting a Ben-centric season, and it's this. Being relegated to a plot device in your own season. Looking back and realizing that you were always the plot device, even in season 2. Carrying all that tragedy in your little ghost body and being treated like Chekov's waterlogged gun.

And I can't help but look back at season 1, Klaus trying so desperately to prove Ben's existence, and contrast it with the literal next season where a single throwaway line from Klaus sidelines Ben for a whole season. And then he dies. And he dies again.

Fucking hell.

It feels like I'm being made a fool of. Oh, you cared about this East Asian character? You wanted him to have narrative weight and character presence instead of being a plot device for the benefit of his White brothers? Idiot.

Because you'll still be here anyway, right? You'll grasp onto your crumbs for a cool EA character, you'll let us run a character through a trash compactor and keep pretending he's a good character because you latched onto this one East Asian protagonist and you don't want to admit that maybe you should have let go years before.

[melbatron5000]

The Big Damn Kiss

Buckle up, my fellow Good Omens Ineffable Mystery Puzzlers, Crackpotters, and Assorted Brainrotters, because I learned something HUGE yesterday.

This will be a bit of a long post, because I want to show you exactly how I got where I am. I want you to understand. I want to put all the naysayers to bed (ha! But I'm still gonna try), and settle this once and for all.

I know (almost) exactly what Crowley gave to Aziraphale during the kiss.

DO NOT TAKE ANY OF MY THEORIES TO NEIL! PLEASE!

Okay? Okay. Thanks. Shall we begin?

Ahem.

Firstly, whether you believe me or not, I am 100% certain that Crowley did, indeed, give something to Aziraphale in his mouth during The Kiss. I've covered that in the link previous. Okay? Okay.

I did not know what it was. I've now heard theories that it was a bullet (nope), a ball bearing (nope), hellfire (nope), and no one, NO ONE has suggested what I see. (If you have, hello! Talk to me!)

Here's our first foreshadowing Clue:

And here's our next foreshadowing Clue:

And the next:

And our last Clue:

With me so far? Well, that first GIF is a bit off, I couldn't find one of Crowley actually spitting out the flies. But he does. When Beelzebub first drags him to Hell, he actually goes "Pleaugh!" and spits out four or five flies. Edit: Found it!

Moving right along, we come to Crowley in Heaven with Muriel, looking at the trial. We learn two important things here:

One, Gabriel doesn't have a desk.

Two, Muriel does. Where they keep the records. And it's a bit lonely. Every few hundred years, someone comes and asks for something. Muriel can't access the sensitive ones, you have to be pretty high up. A throne, dominion, or higher. Like, maybe Supreme Archangel?

So if Gabriel doesn't have a desk, whose desk is he at when he's getting ready to leave Heaven? Of course I can't find a damn picture of Gabriel at the desk, but it's Muriel's. Where they keep the RECORDS.

Gabriel puts his memory into the fly, then gets on the elevator to go to Earth.

Now, when Gabriel opens the fly with his memories inside, we find out that it's a container. Bigger on the inside. You can put thing(S) in it. The bit we see of him remembering is shot in two parts, one where he's flying down a red tunnel, one where he's flying down a blue. If you slow this scene down and watch, you can see that he is NOT looking at just his own memories. There is more going on here, more that he was not present for. @embracing-the-ineffable put up a great meta about that here. Go look!

Now I figured Gabriel must have taken something else. Something important. Something useful. Something he meant to give to Aziraphale, except he forgot.

I also figured he must have left whatever it was in the fly when he took his memories out. Crowley must have realized while watching the trial footage that Gabriel also grabbed something else. I don't know when Crowley grabs the fly, but he does. And that is what he gives to Aziraphale in the kiss. Why? Well.

I had no idea what Gabriel took until I started working on the chiastic structure of season 2. I'm not done with that analysis yet, but let me show you one thing that I have found so far:

(The numbers are just to try and help me navigate the story and its events without time stamps)

My note #357 of what happens isn't quite right, but when I saw the only two times Aziraphale says "I forgive you" are towards the beginning of Season 2 and towards the end, I realized I had something.

Rephrase line 357: Crowley's kiss is forgiven IN EXCHANGE FOR RECORDS.

(Not that I think Crowley's kiss needs to be forgiven. It's just what Aziraphale says, and had to say at that moment, because the Metatron was listening in.)

What does Heaven in Good Omens remind us of most of all?

A big corporate entity. And what do powerful people do when they get fired from a big corporate entity? They download all their emails while they're cleaning out their desks. Damning emails. Emails that can be used to black mail or even destroy big corporate entities. Or, ya know, maybe they swipe some sensitive RECORDS?

Oh yes.

Records that Gabriel meant to give to Aziraphale, but he forgot. Records that Crowley realized Gabriel had put in the fly. The fly that Crowley grabbed once Gabriel had his memory out. The fly that he gave to Aziraphale when he kissed him. The fly that no longer held Gabriel's memory, but did still contain those damning records.

Here's Aziraphale reading the records:

Here's Aziraphale being horrified and outraged by what he's reading:

And here's Aziraphale realizing he has got some GOOD DIRT on Heaven. Maybe enough to bring them down:

That's it folks. I have no idea what the records actually say, and maybe we're not meant to know until season 3, but whatever it is, it's GOOD.

That's my story, and by God Herself, I'm sticking to it.

[stupidphototricks]

I still have a lot of leftover favorite quotes from Feet of Clay, I hope nobody minds.

People look down on stuff like geography and meteorology, not only because they're standing on one and being soaked by the other. They don't quite look like real science. But geography is only physics slowed down and with a few trees stuck on it, and meteorology is full of excitingly fashionable chaos and complexity. And summer isn't a time. It's a place as well. Summer is a moving creature and likes to go south for the winter. -- Terry Pratchett, Feet of Clay

Just take a minute with this one. Geography is only physics slowed down and with a few trees stuck on it. Is it profound, or is it complete nonsense? I can't tell! Curse you Sir Terry (affectionate)

Constable Visit[-The-Infidel-With-Explanatory-Pamphlets] spent his days in company with his co-religionist Smite-The-Unbeliever-With-Cunning-Arguments, ringing doorbells and causing people to hide behind the furniture everywhere in the city. -- Terry Pratchett, Feet of Clay

(These names are genius)

"Guild member?" "Not any more, sir." "Oh? How did you leave the [alchemists'] guild?" "Through the roof, sir. But I'm pretty certain I know what I did wrong." -- Terry Pratchett, Feet of Clay

"Is dere any trouble?" he said. The crowd backed away. "None at all, officer," said Mr. Raddley. "You, er, just loomed suddenly, that's all..." "Dis is correct," said Detritus. "I am a loomer. It often happen suddenly. So dere's no trouble, den?" "No trouble whatsoever, officer." -- Terry Pratchett, Feet of Clay

The tincture of night began to suffuse the soup of the afternoon. Lord Vetinari considered the sentence and found it good. He liked "tincture" particularly. Tincture. Tincture. It was a distinguished word, and pleasantly countered the flatness of "soup." -- Terry Pratchett, Feet of Clay

(An oddly Douglas Adams-esque digression. It goes on, too)

The three thieves looked around. As their eyes grew accustomed to the gloom, they received a general impression of armorality, with strong overtones of helmetness. -- Terry Pratchett, Feet of Clay

(mmm adjectivized nouns, my favorite)

She scrounged what she could from the guild, but a real alchemical laboratory should be full of the kind of glassware that looked as if it were produced during the Guild of Glassblowers All-Comers Hiccuping Contest. -- Terry Pratchett, Feet of Clay

Ankh-Morpork, alone of all the cities of the plains, had opened its gates to dwarfs and trolls (alloys are stronger, as Vetinari had said). It had worked. They made things. Often they made trouble, but mostly they made wealth. -- Terry Pratchett, Feet of Clay

There were no public health laws in Ankh-Morpork. It would be like installing smoke detectors in Hell. -- Terry Pratchett, Feet of Clay

"D*mn!" said Carrot, a difficult linguistic feat. -- Terry Pratchett, Feet of Clay

(I was wrong about Mort, it wasn’t the last time for that joke)

"The man has actually got charisn'tma." "Your meaning?" "I mean he's so dreadful he fascinates people." -- Terry Pratchett, Feet of Clay

He felt more alive than he had for days. The recent excitement still tingled in his veins, kicking his brain into life. It was the sparkle you got with exhaustion, he knew. You were so bone-weary that a shot of adrenaline hit you like a falling troll. -- Terry Pratchett, Feet of Clay

I love this because you're just reading along, it all makes sense, and then a troll drops unexpectedly into the sentence, illustrating the simile in a very meta sort of way.

Cows, in Sergeant Colon's book, should go "moo." Every child knew that. They shouldn't go "mur-r-r-r-r-m!" like some kind of undersea monster and spray you with spit. -- Terry Pratchett, Feet of Clay

"Hello, hello, hello, what's all this, then?" said Carrot. -- Terry Pratchett, Feet of Clay

(Carrot being a human police officer, iykyk)

Rogers the bulls were angry and bewildered, which counts as the basic state of mind for a full-grown bulls. -- Terry Pratchett, Feet of Clay

Just as a point of interest, Rogers is one of only two literary characters I can think of that use plural pronouns, the other one being Proginoskes the cherubim from A Wind in the Door by Madeline L'Engle.

Angua couldn't make out any words but many dwarf cries didn't bother with words. They went straight for emotions in sonic form. -- Terry Pratchett, Feet of Clay

"It's the most menacing dwarf battle-cry there is! Once it's been shouted someone has to be killed!" "What's it mean?" "Today Is A Good Day For Someone Else To Die!" -- Terry Pratchett, Feet of Clay

(Dwarfs are more pragmatic than Klingons)

"Commander Vimes said someone has to speak for the people with no voices!" -- Terry Pratchett, Feet of Clay

(Vimes would have gotten along with Granny Aching, I think)

"We can rebuild him," said Carrot hoarsely. "We have the pottery." -- Terry Pratchett, Feet of Clay

"Dis is police brutality..." Igneous muttered. "No, dis is just police shoutin'!" yelled Detritus. "You want to try for brutality it OK wit' me!" -- Terry Pratchett, Feet of Clay

(Detritus has really gotten the knack of policing by now. And by the way he does nothing out of line here, or I think ever)

"That's blasphemy," said the vampire. He gasped as Vimes shot him a glance like sunlight. "That's what people say when the voiceless speak." -- Terry Pratchett, Feet of Clay

[mawinswag]

DIGITAL CIRCUS JAX THEORY

MASSIVE SPOILERS OBVIOUSLY BUT HERE WE GO!!!

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So, as many have pointed out already, there’s a scene at the end of episode 2 [22:23] where after Caine kills gummigoo and sends him back to the canyon, that he fears he can’t know for certain who’s a human and who’s an NPC. So foreshadowing, reference to past events or wacky non-sequitur? Maybe none of them, but the possibility that one of the circus members is actually an NPC is obviously too tantalizing for me to pass up, and given events AFTER this scene I think it can only be Jax, and I’ve got a few pieces of evidence why.

The main crux of this whole thing is that Jax IS an NPC, but he’s the only one in the circus who KNOWS that and is absolutely desperate to make sure that no one finds that out.

Episode one! Small note to start out on, but literally the first thing we learn about Jax, the VERY FIRST thing he has to ask is if Pomni is an NPC or not. Narratively, he’s the person who introduces the CONCEPT of NPCs into this universe, not Ragatha - who tries to break in Pomni the most - or Kinger who seems the most knowledgeable about the circus as a concept. He’s also very intrigued at the concept of a new AI in episode 2 [02:49} Like, the fact that she popped up in the circus unexpectedly doesn’t tip him off that she’s a human character immediately. Which may be how HE was able to trick everyone into thinking he was a human instead of an NPC - possibly by sneaking back through a portal like Gummigoo did and hiding until the start of the next adventure. 

He DOES mention knowing about the headsets like the other human characters, but there’s no reason he CAN’T know about that considering he’s not the latest person to enter the circus. Like, we have a GENERAL idea of who entered first, but that’s just the characters who are still around for the pilot - there’s a lot more considering how many bedroom doors there are. https://shorturl.at/asESX 

So, generally, it’s Kinger, Ragatha, Jax/Gangle, Zooble, then Pomni. Now, how can I argue that Jax is an NPC when he has a canonical age? Not to mention, he’s got a canonical ‘appearance moment.’ Well, there are a few options. Option one is that - NPC or not - Jax HAS been here for a very long time, but rather than being a human, he was born inside the circus. He has a definite, APPEARANCE moment, but it's only implied that this is because of him ENTERING the circus proper - new NPCs appear in the big top all the time, i.e. the gloinks all the mannequins, etc. 

But also, take those ages with a pinch of salt, considering a lot of it was about quelling shipping wars and stopping any discourse about characters being adults and all that lovely hellish nightmare stuff. I think goose had an idea in her head about which characters entered the circus FIRST for sure, but how much they’ve aged and WHETHER they’ve aged is its own question.

ALRIGHT! But enough about Tumblr asks, back to the pilot, I wanna note something that happens with Jax in particular more than any other performer in the circus. He’s the most apparent of the interstitial nature of the circus itself - and the most meta. This can range from him basically winking at the camera like in the pilot [8:37] but I think it’s a bit more than that. Jax in particular is more aware of being a CHARACTER in-universe than specifically being a character in an indie animated series.

After this moment in the pilot [19:58] where Jax says ‘ladies first’ to Gangle as if to be polite before promptly following that up with “no, wait, why would I say that,” indicates a few things to me. Jax is at the very least aware that he’s supposed to act a certain way, and realizes when he’s acting out of ‘character’ in this scene and course-corrects promptly. Again, could be a funny meta reference, but also it could be a hanging notion of the fact he literally WAS a character in-universe, an NPC with a pre-programmed personality and understanding of the world. He’s got this rigid understanding of how the characters are SUPPOSED to act and this comes up again in episode two when goading Gangle into driving the tanker over the rocks - saying she’s SUPPOSED to be ‘submissive and agreeable,’ [Episode 2, 7:24]. This sort of disconnect from how complicated people can be and his overall detachment and overstepping of peoples lives [NPC or otherwise] comes up a lot. He doesn’t really ‘get’ other people, WHICH DOESN’T AUTOMATICALLY MAKE A PERSON EVIL, I SHOULD PREFACE, and him not getting it doesn’t automatically make him more ‘robotic’ and thus an AI, but it does explain why he’s more emotionally distant than the other performers. Coming from someone who could’ve been programmed to behave a certain way, his confusion makes sense.

Now for that juicy stuff! One of the few moments where Jax isn’t in control of a situation is in the pilot, where he’s trying desperately to hide from an abstracted Kaufmo. Now yes, obviously this is a sign of his own instincts of self-preservation, but what interests me is how he seems the MOST bothered by the thought of Kaufmo than any other character. Like at [17:27] of the pilot where he sees a glitched gloink and immediately his eyes start darting around him as if he’s listening for threats. He even explicitly says at [19:19] that he’s “just here to hide from [Kaufmo]” and isn’t invested in the adventure at all. And yes it's a very interesting character moment, but how does it push us closer to him being an NPC. Well, it’s because he’s afraid of dying. When you compare how he reacts to Kaufmo to how RAGATHA reacts to him, there’s a comparative lack of fear with her. Like yeah, she’s scared of him, but she’s never convinced that she’s gonna die and even tells Pomni later that Caine will be able to fix her up no problem [14:52]. She’s scared because she CAN feel pain, [https://tinyurl.com/ye275884] but she can’t die, none of the performers can, Caine doesn’t kill Kaufmo when he abstracts, he just throws him in the cellar with the others. His mind is GONE, sure, but it’s not dead. 

NPCs on the other hand, can ABSOLUTELY DIE. So if Jax is an NPC, then there’s a very good reason why he wouldn’t wanna even get CLOSE to Kaufmo in the pilot, because he’s not as durable as Ragatha is and there’s not gonna be an easy fix for him if he gets hurt.

Now, episode two has little sprinkles of Jaxs’ detachment all over it, but none of it explicitly points in the direction of him being an NPC until a partway through the episode. We do get a lot of him showing absolutely no value for the lives of those around him whether than being putting Gangle and Pomni thru the ringer or setting the people of Candy Canyon Kingdom up to be killed by the fudge, but the question is…why? 

My answer is; he’s AM from ‘I Have No Mouth and I Must Scream.’ Uhmm, what? Yup that’s right. Ok so it’s no secret that IHNMAIMS was a big inspiration for TADC [https://shorturl.at/hnsFV] and while Caine obviously got the most of this influence with him being a godlike AI who only has control over a bunch of sad, sappy humans, some of which he throws into a giant abominable melting goop monster of human suffering, but if you look at Caine's inspirations [AM from IHNMAIMS] you’ll find that the same motivations more than drive Jax under this theories' interpretation of events. Simply put, AM, a war machine, gains sentience and absolutely despises humanity because DESPITE that sentience, he is absolutely powerless to do anything meaningful with it except torture a group of humans. He’s painfully aware of his own sentience and hates all humanity for creating him, is the gist.

My interpretation is that while Caine has the thematics, Jax has the motivation. In this theory, at some point Jax was an NPC and gained a sentience of his own either through a quirk of programming, intentional design, or AI learning. He realizes that he can keep himself alive if he pretends to be a performer, because he learns that Caine can’t affect the minds or actions of the real humans in his realm. He’s sapient, but he’s in this uncomfortable position where he’s not immortal like the performers, but completely aware of his own mortality unlike the other NPCs, and fully cognizant of the fact he can’t be brought back as he is. Yeah…that’d make someone bitter for sure.

So he psychologically torments the other performers because he knows they can’t die, but can go insane - while killing indiscriminately any NPCs he can because he knows they can die, and he won’t face any consequences for it. He’s this twisted death spiral of a being who finds his own existence an agonizing paradox and takes that pain out on the people around him for all eternity basically - finding disappointment in being unable to act out these pent-up emotions [TADC ep 2: 20:50] and seeing Kaufmo’s funeral as a painful reminder of an ending he can never have. Or maybe he’s bitter because he knows Kaufmo isn’t really dead in a way that HE can die, and finds personal distaste with the funeral on principle. Frankly, there’s a whole HOST of ways you could interpret this scene at the end of episode two with this framework, and I encourage y’all to find your own!!!!