#I loved the lighting for the operation scene more than this edit can say

[frankensteincest]

DEAD RINGERS (1988)

[zhuoyichenpretty]

ep 24 commentary (brain fried edition)

my head is a little empty after ep 24 tbh!! brain is not braining after all the zyc hurt no comfort (-:

some scattered thoughts here and there, painstakingly corralled like cats out of my vacuous brain and into a list (spoilers):

ZYZ is really emo this episode poor dude like he is having a hard time keeping it together it seems. Every other word out of his mouth is depressing as shit, which is saying a lot considering how depressing he usually is already (': I kind of wanted this episode to pick his brain more, give him room to emote in the aftermath of all that. But it almost feels like the character refuses to be alone, like he might spiral if he has too much time to get in his own head. I'm still so curious to know, though, what he thinks about the state of their promise in light of how far ZYC went trying to save him. “He has us,” ZYZ said to WX. When the time comes, I wonder how he'll reconcile that with what he’s asked of ZYC.

PSJ and Ying Lei bonding! shenanigans! I did laugh thank you guys. Also, not that the team didn't operate separately before, but I really get a sense of how much ZYC held things together with how apparent his absence is. It's obvs heartwarming seeing how hard everyone is working to save him (PSJ especially for me bc I love their mutual tacit trust and respect and all the ways they're alike and different), but ultimately it's still so angsty (':

Kind of love the couple instances where ZYC has been referred to as fragile/weak/of delicate constitution (depending on how you wanna translate it) like that's a very interesting quality to assign to basically the tank of your team. Even if the comments are made facetiously, it just reminds me of how often we witness his mortality, and of course how everything about the styling, aesthetics, and content of the flashbacks to his childhood reinforce a characterization of vulnerability at the very heart of him. I saw someone mention how the Cloud Light Sword responded to ZYC's tears and to that vulnerability rather than brute strength, and I totally agree. I love how this "fragile" characterization plays into the whole fate weapon deal. ZYC's strength is (imo) unconventional, and it is his sensitivity, his compassion, and his deep capacity to feel that the sword acknowledges, resonates with, and empowers. Almost like it protects his tender heart rather than making it something he needs to overcome to get stronger.

One thing I will never get over is how incredibly they styled TJR as baby!Yichen, adult ZYC, and Bingyi. What do you mean this is all from one drama and not three separate productions. Insane. I'm out of my mind with how gorgeous every change in costuming is.

A tangential note is I've seen people mention (paraphrasing very much here) ZYZ's demon form being nicely subtle in its eerie inhumanity and tbh I have a similar feeling even just about human adult ZYC imo. Especially when his hair is down and he's got that thick eyeliner on and we get a close up of his contacts, if you told me from the start that he's half-demon half-human or something I'd believe it. Along the same vein, baby!Yichen reads completely human to me, and Bingyi of course completely demon. Something something the Cloud Light Sword bridges the gap something. This point is unintelligible and not narratively based but I had to make it because I've been thinking "wow ZYC elven" for days now.

Saw a tag about yuanyi getting us through some dark times but man they are PUTTING me through some dark times rn help?/

Been trying to put off talking about the baby Yichen scenes because wow I cried immediately. Well, no, I was like "yay! I love seeing baby Yichen!" and then they crushed me into demon dust lol. And then WX had to tell that absolutely precious story about when she got sick and ZYZ had to go like "actually ZYC was probably lonely as fuck" and yeah that's fine I didn't need my heart anyway.

Ending on this point so I can put a pretty screencap here: There is so much gravity to just the short scene of Bingyi removing his mask and dropping to his knees with that anguished and fatigued expression. TJR's acting is the gift that keeps on giving (me angst).

so sorry if anything here didn't make sense, i currently have the same thousand-mile-stare as Bingyi the more i think about how this all might end and how long I'm gonna have to wait to find out.

[kanerallels]

ooooh I'd love to read a sabezra/kanera/ghost crew in general christmas fic for "christmas memories"

Oh I had an immense amount of fun with this one! For @all-fandoms-christmas-festival day 5, enjoy the following!

(edit: there is also accompanying art of this by @accidental-spice that can be found here!)

Leaning against the frame of the door, Hera watched the scene in the living room unfold.

Life Day music was playing from a radio that Zeb was fiddling with. Rex and Kallus were playing holochess, while from the kitchen Hera could hear AP-5 haranguing Chopper about something.

At the far side of the room stood a Life Day tree, undecorated. Jacen was bouncing up and down next to it, his face lit up with excitement. Next to him was Sabine, who was supposed to be sorting through ornaments and lights. Instead, she was standing and grinning as she watched Ezra.

Ezra was halfway under the tree, fiddling with the stand and muttering to himself in a tone that clearly indicated that Hera didn’t want to understand what he was saying. As Hera looked on, the tree wobbled perilously to one side. “Wrong way,” Sabine said.

“Feel free to come down here and do this yourself,” Ezra said irritably.

“Oh, no, you’re doing great,” Sabine said, clearly holding back a laugh.

Hera held back one of her own. There was nothing like being with her family during Life Day. Even when there was chaos and annoyance and Force only knew what else, she loved this time of year.

It was all perfect right now, too. Snow covered the prairies of Lothal outside, the right music was playing. It was exactly the way it had been back in the precious few years she’d had with the whole crew, during the war against the Empire.

Anyone would think it was strange that she thought so fondly of such a dangerous time. But Hera treasured those Life Day memories, more than almost any others. Mainly because of who had been with them then.

She loved these Life Days too, though. Watching Jacen experience every tradition with joy and excitement filled her heart to the brim. 

A hand rested on her shoulder, and a familiar voice murmured, “Is Ezra about to take out the wall with that tree?”

Holding back a laugh, Hera glanced at Kanan, who’d just emerged from the kitchen. His dark hair, flecked with gray these days, was pulled back from his face, and he was still wearing the apron Ezra had bought him for his birthday years ago. “Hopefully not,” she told him. “But I wouldn’t bet on anything. It’s turning out to be a very precarious operation.”

“I can hear you!” Ezra called, but there was a laugh in his voice.

Kanan grinned. “Let me give you a hand, kid. Leave it to the professionals.”

“You mean the old people,” Ezra joked as Kanan knelt beside him.

“If I was old, you might respect me more,” Kanan grumbled.

As the two kept bickering good naturedly, Hera took a deep breath and released it, her heart full of joy. The memories of Life Day were good. But they were no replacement for the real thing.

[brittlebutch]

i know tim being patient zero for the operator is kind of super obvious but then sometimes i remember the entry where the operator shows up during alex's 5th birthday party or whatever and i bang on the walls like WHAT DOES IT MEANNNN WHY DID THEY ADD THAT

I LOVE that entry because I have my own little interpretation of that one :3 I think I’ve probably posted about it before but I like to talk SO

To me, that was definitely a video that TTA edited, not a video he found. Brian has been the one hammering in the “It’s all Alex’s fault” from the very beginning, but because he very rarely just outright Says things, the point of this video was to present that thesis statement, and not necessarily to provide proof/evidence of it.

Like, in every video the Operator actually appears in, it is a tangible, physical presence in the scene. Other characters can see and react to it, and it takes up space and is beholden to whatever lighting happens to be in the scene. Except for this video, when it appears as a presence only after the lights have gone out, in a space of the frame that is already occupied by people:

It’s not at the right height or distance in the frame to be actually present in the room, and the quality of the image doesn’t match the absence of light in the shot. Also none of the characters in the scene react to it, even though most people can see in the dark better than a camera can. So, to me, the Operator isn’t actually present with Alex at the party, it was edited in by Brian, specifically, to communicate his idea that Alex is the one to blame for everything that went wrong.

Brian doesn’t find out that Tim was the one with a tangible history with the Operator before the college years until around Entry #59/60. So at this point, it makes the most sense to him that Alex was the one who brought the Operator into the group to begin with. This video is the first time he actually presents that idea instead of just alluding to the idea that Alex was keeping secrets and hiding things. It’s basically just the nonverbal version of “DECAY” where Brian says “You caused this”, lol

(Your mileage on this interpretation may vary, of course, given that this birthday footage was donated to Marble Hornets, not shot by Troy and the gang, so if they wanted the Operator to be in the scene they would have had to edit it in no matter what. But I think they’re good enough editors that I think they could have framed it more consistently in the shot if they wanted it to seem like it was actually in the scene. So, to me, the fact that it does look so blatantly edited — especially since the staticky and stark black/white style is a very core totheark aesthetic — is a way to imply that it was a character editing the footage, and not anyone behind the scenes)

[usercelestial]

i have complicated feelings about where the word queerbait leads us in current time. we're a long way from where we started with tumblr's big queerbaits. there are a lot more shows with real queer rep now, queer characters are becoming more and more normalized. which means now, when we have a show full of queer characters, they're going to be subjected to some of the same bad writing or baiting that any straight character could. i don't keep up with the press or the marketing, so i can't say for sure what exactly nandermo was being presented as, but as the fandom's Big Ship i'm sure it was being pushed quite a bit. i don't think it's fair to call it queerbaiting when, historically, that's been used to say they're promising queerness and not delivering. the queerness of the show was present the whole time. i understand why people are upset, even if i've never approached the show with a nandermo lens, but i think it's hard to have a conversation when everyone seems to be operating with completely different ideas of what queerbaiting is.

i absolutely get this perspective, queerbaiting has a very long and complicated history. i think where I lie with nandermo is that the show recognizes the potential of the ship and understands it gets traction and marketing potential from it, a really egregious example of this is promoting the season with guillermo and nandor edited into The Bodyguard poster. personally i don't think it's that big of a deal, i figured they were playing it up for promotion and weren't planning on following through with it because the show isn't a romantic comedy, it's just comedy that has a theme of things never really changing but even if you didn't expect it to happen i understand why it's frustrating that ship was never taken seriously but was used as promotional material. i think paul simms comments about it being problematic and not wanting to pervert the relationship also contributed to people being pissed off because obviously the entire show is problematic if you want to get into semantics, najda literally hypnotized laszlo into sleeping with her and they have literally fucked on screen as bats, so people took those comments as very homophobic because obviously you let the man and the women get freak nasty and be in love (and allow for gay sex scenes of minor characters for laughs (not judgement)) but when it comes to the relationship between two male main characters, suddenly a romance plotline is perverted and problematic because of power dynamics. it feels a little like he just didn't want to commit to a permanent on screen relationship between them.

i think when it comes to nandermo, we need to purge the word queerbait from the discourse because you're right, no one can seem to settle on one solid definition. i think the arguments of "they were acknowledged by canon" + "the show has queer characters" are equally as reasonable as "relationships between two men don't seem to be taken as seriously as the ones between a man and a woman" + "the one relationship between two men is hinted at and joked about but is never pushed further" and to be honest, i think all of these opinions need to coexist because this show DOES have good queer rep, its fun and silly and light hearted, i enjoy the fact that we get nasty gay sex scenes occasionally and it's treated as a normal or even encouraged act, it's very unapologetic and real HOWEVER that doesn't mean it's immune to treating the queerness of these characters and the relationships they have as less than or using them as surface level marketing. we should always be pushing for more and better, even if we have what we asked for.

[waffles-for-brunch]

This project began as an indirect response to a few negative tweets in the days following the Valentine's Day Destiel wedding. During such time that “certain sources” chose to speak against the impromptu "wedding" and state that the direction of the show never included sexuality or romance. Since this argument has sparked a bit of discourse as to the validity of Dean Winchester and Castiel's relationship and sexualities, I began this edit as an exploration of observations throughout the entire 15 season run of the series. (That's not to say that Sam does not also have his own impactful romances throughout the show -he does have several notable ones- but in his case they are never debated upon or erased.)

There are three complete edits linked below. The differences are explained in their descriptions. (I also recommend downloading for best quality rather than simply watching in the browser, but it’s your choice)

BiDeanEdit: (Click here to download)

Runtime: 18:04:44

File Size: 10.0 GB (10,741,415,805 bytes)

Series long compilation edit (in sequence) of Dean Winchester and Castiel’s relationships and intended expressions of their sexualities (ie interest in both genders). This edit focuses on their relationship as it develops with one another, their other notable relationships (DeanxBenny, CasxMeg, DeanxLisa, etc), and the framework around their sexualities with small scenes of expression (ie Dean in ‘Playthings’ or ‘Everybody Hates Hitler’, or early seasons Dean & his transgressions with women, or Cas in ‘Caged Heat’)

BiDeanMLMEdit: (Click here to download)

Runtime: 14:40:57

File Size: 8.05 GB (8,649,798,685 bytes)

Series long compilation edit (in sequence) of Dean Winchester and Castiel’s relationships and intended expressions of their sexualities. This one is the same as the last but with only MLM content (Otherwise referred to as ‘only the gay parts’). We focus on this more repressed side of their sexuality and see these clues laid out altogether in one fluid edit (these examples are also available in the previous edit, however are just not aligned beside any heterosexual content). DeanxCrowley, DeanxBenny, DeanxLee, DeanxCas, etc. 

DestielOnlyEdit: (Click here to download)

Runtime: 13:08:49

File Size: 7.17 GB (7,709,560,696 bytes)

Series long compilation edit (in sequence) of only Destiel related content. The same as the above edit, just simplified even more to only focus on Dean and Cas’ relationship over the years. 

Keep reading below to find my full analysis of the complete edit regarding these guys sexualities, relationships, and the parallels we can draw. 

To understand why it is that so many queer fans of Supernatural and other similar shows read queerness in characters and their relationships, we should look at the hays code established in 1930. At this time this certain code was established to monitor what was allowed to be depicted outright on film. Within the margins of what was to be stifled, was homosexuality. As such, filmmakers had to plant “queer-coded” seeds into the writing and subtext so that queer audiences watching could interpret these characters and relationships in this manner without the words and actions stating so outright. (At this time homosexuality could be depicted on film as long as said gay character was either a villain, caricature, or met an untimely end- feeding into the blossoming of the kill-your-gays trope. But that’s another topic for a later time.) 

As film changed over the years and times became more accepting of lgbt characters portrayals on screen outside of simple coding, this did not make the code obsolete. Queer-coding and queer-baiting are often used in media in present day as a way to pull in viewership. Networks are able to garner the best of both worlds, in a sense. They can draw in heterosexual audiences that may not want to watch queer media, whilst also drawing in queer audiences by coding some characters and relationships just enough to pull those viewers in. This works simply because there is such a lack of queer representation in most media that we’ll take what we can get. 

This is where Supernatural comes in. There is a reason that Supernatural and thus “Destiel” is known by some as “The Great American Queerbait.” This twelve years long gay slow-burn between one overly masculine character and his awkward angel best friend did not begin with the intention of romance or baiting, as many of these things generally don’t. However, once fans realized the chemistry between these two particular actors and characters, it became something blatantly written into the show. Sometimes jokingly, other times as legitimate moments of emotional intimacy between two characters. So to say that the show’s direction never included sexuality or romance is, to put it bluntly, bullshit. Just because something is not written in clear and concise wording right in your face, does not mean that it is nonexistent and that the writers did not know what they were writing into the show. (Not even to mention the actual love confession in 15x18, but I digress). 

We know very well that queer content has been written subtextually into media for the better part of seventy years. It is a language in media just as much as lighting is a language, just as much as certain camera angles, color design in costumes or set decor, and music design are languages. All of these, outside of the simple words said on screen, make up our media and these characters and our shows. Tv is a world of color, not black and white.

[[ further readings on the above topics: X X X X X ]] 

I decided upon this full edit encompassing both the female and male aspects of Dean Winchester and Castiel’s relationships & sexualities because oftentimes when we’re looking into potentially queer characters we tend to focus on the same sex attraction and neglect the opposite sex attraction. Both are very important to acknowledge and compare, if at the very least to view where they may overcompensate, where toxic masculinity may come into play, compulsory heterosexuality, trauma responses, etc. Sometimes what a character doesn’t do is just as important to interpret as what they do do. 

For instance, Dean Winchester. If we are to operate under the assumption that he is bisexual, any repression we witness throughout the series as to his male attraction is likely to be a result of his difficult upbringing, similar to most queer identifying people with childhood trauma. His father is a marine, the picture of manliness in which Dean himself blatantly embodies in an effort to impress and make his father proud in any way he can. Dean is already unlikely to seek out activities in any aspect of life of which might make John look at him in a different light (ie, in an every day setting, even simply watching Finding Dory- this is not something S1 Dean would have admitted to liking, but we see Dean in later seasons standing up for himself and his appreciation for it). 

Is it perhaps for this reason that we see Dean as an overly blatant and flirty ladies man in season 1 when John is still alive, while this side of him steadily declines as the series continues? It even becomes established in season 3- in light of Dean’s fears surrounding going to Hell, he enters an attitude for coping that Sam recognizes- hypermasculinity, promiscuity, deflection. Heightening the idea that this caricature of himself that he embodies is a mask that he wears in order to cope with something else. He is donning the image he assumes others think he should fit into. Sam calls him out on this through the years, and eventually this becomes something we see in him less and less as he feels more comfortable simply being himself. 

If we take into account the time of which this first season is filmed, this is 2005, a time where gay jokes were still funny and an overcompensating character was a joke attached to it. We see Dean built up in these first couple of seasons through this lens of jokes about a hyper-masculine character being mistaken for gay, however instead of this building up the masculinity to encourage a raging heterosexual characterization, this overcompensation is exactly what inadvertently sows the seeds of queer-coding. To queer watchers this reads as a deeply repressed character with childhood trauma who overcompensates when faced with observations of gayness and uses hypermasculinity to counteract these accusations. 

It is through circumstances such as “Bugs” in S1 or “Playthings” in S2 that we first see these ‘jokes.’ The brothers are mistaken as a gay couple. Dean being the more “masculine’ of the two characters has a blatant reaction to these situations (Overcompensating), and Sam’s lack of a reaction is what solidifies his own straightness all the more. Neither brother is homophobic (this becomes established as time goes on) so why would either have a problem with this mistake? Sam wouldn’t care because he’s clearly not gay- in fact, he usually just laughs it off. Dean would care because he wonders what about him looks gay? Do other people see it too? Do they know? What’s wrong with him? 

We also see another blatant example of this type of freakout in season 8. “Everybody Hates Hitler.”

(Images: “Playthings” S2xE11)

(Image below: S8 “Everybody Hates Hilter”)

We frame these situations in early seasons around girl of the week scenarios and brief bar flirtations. Have to make it clear that our manly straight character looks as manly and straight as possible. Dean is also in his 20s, he’s more carefree/not as traumatized yet, and he is a sexual man so he does sleep around quite a bit. What is notable, however, is how much this drops off in later seasons. As time goes on Dean seeks out less and less the fleeting encounters of one night stands, in favor of genuine connections- even if he himself frequently doubts his own ability to ever have a settle-down type of relationship or life. Lisa is the only long-term female romantic relationship Dean ever has throughout the series run, and this tentatively begins in season 5 and ends in season 6. 

Dean and Lisa’s relationship is founded more in a dream of something that Dean wants to be rather than who he actually is. Although he loves her, their bond is made through trauma and their relationship overall is reminiscent of a soldier who returned home from war with heavy PTSD and begins to burden the family that he will come to realize he doesn’t quite fit within anymore. 

Outside of this, his closest relationships from thereon out are between Benny, and Castiel. 

Let’s start with Benny. Throughout season 8 Benny is framed as an ex and his relationship with Dean directly parallels Sam and Amelia’s. Both brothers must confront their relationships with their ‘significant others’ and decide whether to cut them off or proceed. Both brothers found these people under circumstances in which they did not get along with them at first but were pushed together. Another person comes in the middle of their relationship (Amelia’s husband for Sam, or Cas/Sam for Benny). The brothers each resent the other’s significant other or the circumstances surrounding the relationship. Sam hates Benny because he is a vampire and Sam does not understand why Dean continually trusts him (which is a circumstance inherently queer-coded in itself for comparability to an unaccepting family). Dean does not care for Amelia simply for the fact that Sam chose her over looking for him in purgatory.

Other instances we see parallels between Sam’s romances and Dean’s:

“Sex and Violence” S4 siren: Nick(Siren)/Dean parallel to Sam/Dr Lady

Season 4: Ruby/Sam and Cas/Dean teamup parallels

S1 Dean pulling Sam from the fire away from Jess vs S12 Sam pulling Dean away from Cas who may die approaching Lucifer to fight

Season 8: Dean/Benny vs Sam/Amelia. Dean and Benny, since they’re essentially going through a breakup, are directly paralleled to Sam and Amelia and their breakup. See “Larp and the Real Girl” for Charlie and Dean’s conversation about Sam’s recent breakup and Charlie picking up on the fact that Dean might also be going through one. 

1x05 vs 8x07: Sam seeing Jessica on the sidewalk as they drive down the street vs Dean seeing Cas on the side of the road as he drives down the street

S11: Perhaps this one can be interpreted loosely and not necessarily romantic (esp on Sam’s end), but “O’ Brother Where Art Thou” both brothers are drawn to forces they actively fight against being drawn to. SamxLucifer and DeanxAmara. 

S11: “Beyond the Mat” not a relationship but with crushes/infatuations. Dean with Gunner Lawless and Sam with Rio. 

S15: Cas telling Dean that “We Are” real. vs Eileen being unsure what’s real and Sam kissing her and saying “I know that was real.”

S15: “The Trap” Dean loses all hope following the death of their friends and primarily Cas. Sam loses hope after Eileen’s death. Directly paralleled in the episode. (We also see Sam lose Eileen in 15x18, where Dean also loses Cas)

Additional parallels between Dean/Cas with anyone else:

Season 9/10: Cain/Colette vs Dean/Cas. “She only asked for one thing. To stop.” vs Cas asking Dean to “Stop”. Both circumstances referring to the Mark of Cain.

S12 “Lily Sunder Has Some Regrets” Lily (human)/Isham (angel) vs Dean (human)/ Cas (angel)

Led Zeppelin: This music means something within John/Mary’s relationship, which Dean directly acknowledges in 12x01 with Mary. We find out Dean has gifted Cas a mixtape of his “Top 13 Zepp Traxx” in 12x19. (the implications of Dean having made a mixtape for Cas, being its own point in a different discussion)

When Lucifer contacts a person to try and get them to open up to him, he uses their dead lover as a ploy. SamxJess, NickxSarah, VincexJen, DeanxCas - 15x19 when Lucifer calls Dean using Cas’ voice. 

The parallels of unreciprocated love/infatuation. DeanxCrowley and CasxHannah. Dean likes Crowley but clearly not the way that Crowley likes Dean. Cas likes Hannah like a friend or sister, but she keeps putting the moves on him for awhile and he appears deeply uncomfortable and has to shoot her down more than once. 

Parallels between Dean’s own relationships:

Dean in “Let it Bleed” torturing demons to find the location of Lisa and Ben vs Dean in Purgatory torturing monsters to find the location of Cas “The angel”

“The Rapture” opens in Dean’s dream which Cas visits and says he’s in trouble and gives Dean an address to go to immediately. “The Song Remains The Same” opens in Dean’s dream which Anna visits and says she’s in trouble and gives Dean an address to go to immediately. 

S6 Dean dodging calls from Lisa vs S12 Dean dodging Cas at the beginning of “Lily Sunder Has Some Regrets” (notable also how Sam treats both circumstances the same)

S11: “Into the Mystic” 11x11 Mildred tells Dean the key to living a long and happy life is to follow your heart. Later in the season “All in the Family” 11x21 When Casifer is still captured by Amara, she puts her hand to Cas’ heart and is able to connect with Dean to contact him. Hinting at the link between Cas and Dean’s “hearts.” 

Not necessarily a parallel but an observation. 7x01 when Cas is loaded up on God juice, and Dean has given up but Sam hasn’t and wants to talk to ‘the guy’, Dean says, “He’s not a guy, he’s God.” But in 11x18 Dean refuses to give up on Cas and let him continue to be possessed. Sam keeps speaking about Cas like he’s just a vessel and Dean says, “It? It’s not an it, Sam. It’s Cas.” Mostly this shows the development of their relationship and Dean’s willingness to continue to fight for him. 

Dean’s dream world with Pamela in S14, she says to Dean “How come you only want what you can’t have?” and in S15 during Cas’ confession scene he says to Dean, “The one thing I want, is something I know I can’t have.”

Before we delve into Dean and Castiel specifically, let’s explore a few more things regarding Dean. 

Let’s start with Cassie. This is Dean’s first romantic relationship we see on the show, and is arguably his first love. What is notable about her is her characterization and Dean in relation to her. We haven’t seen him in a relationship before, and thus this is the baseline to which we can draw how he is in this type of vulnerable state.

We see here that he is drawn to strong individuals. Cassie is a very strong willed character and can hold her own. She has a boldness about her. Dean appreciates that. We see similar in his next framed love interest: Jo Harvelle. Jo is another strong character, and though Dean sees her more as someone he needs to protect because she doesn’t have as much experience under her belt, he respects her intellect and strong will all the same. They connect through a love for hunting and mutual daddy issues. Personally, this is a relationship I view more as a little sister dynamic in a similar vein to Dean and Charlie, however this pairing is still worth noting because as it was written it was intended to potentially flourish into a romantic relationship. This did not pan out, though the seeds are still there. 

Next up is Anna. Again daddy issues are a solid connection these two hold, and while this relationship is more of a one-night-stand than anything else, there are still important points to be taken from this encounter. The first is just how much Dean cares. We don’t see very many sex scenes with Dean throughout the series, but of the ones we do see, it is apparent that he is a gentle and tender man. He cares. About even a single night with a woman. (Cassie, Anna, Lydia ’The Slice Girls”) This is a contrast to Dean’s general persona of the masculine straight promiscuous lady’s man. He has all the bravado of a man who ‘loves em and leaves em’, but in reality that is not who he is. This is another example of the faces Dean wears in front of certain people (and what he thinks they expect of him), and the person he is once he lets that mask fall. 

It may be important to note as well that Anna, (it is rumored) was originally meant to be more to Dean than this simple one night stand and connection. She was intended to become a romantic interest but, as it turned out, Dean and Cas had more chemistry so the arc that Anna was meant to follow was instead given to Castiel. 

It is another year until the apocalypse comes along, Sam dies, and Dean falls back into Lisa’s lap. While Lisa is another strong-willed woman who rolls with the punches, her lifestyle deviates from Dean’s usual romantic interests simply because of her offering of a normal life outside of everything he’s usually known. A life with her is dipping his toe into a life he could have had if he didn’t hold the weight of the world on his shoulders and hunt the things that go bump in the night.

This is Dean’s last “official” relationship of the series. After putting Lisa and Ben in danger by being someone that he cares about, Dean accepts that he’s simply not a guy that can have a normal life or a normal family. He cares about people and they get hurt. This is a weight he holds on his shoulders for the remainder of the show. He loves someone, or more accurately, they love him, and they’ll get hurt. End of story. It doesn’t help that immediately following this, Castiel “dies” too. 

Maybe it’s Lisa, maybe it’s Cas. Maybe it’s a combination of the two at this point in time, but Dean is never again the same when it comes to relationships after these events at the end of season 6. He becomes more cautious, tries to keep people an arm’s length away, and we even begin to see less and less promiscuity and flirting with miscellaneous women from this point on. 

Let’s talk about Castiel.

Although Dean has had various queer-coded moments throughout the beginning of the series and up to Castiel’s entrance in season 4, his minimal relationships up to this point have all been with women. Simply exploring the evolution of this relationship from Dean’s side of the picture, Dean doesn’t start to truly warm up to Castiel until perhaps the end of season 4. He begins the season unsure of the angel, perhaps even a bit afraid of him, before the two garner a sort of mutual respect as Dean begins to see that there’s more to him than simply an agent of heaven.

They’re friends in season 5. The quirky, strange angel that doesn’t understand social cues, stands too close, stares too much, and says things like “we’re making it up as we go” and “tonight you’re my little bitch.” He’s a far cry from the ethereal entity that showed up in Bobby’s kitchen just a year ago and threatened to toss Dean back into Hell. What really turns the curve, however, is “The End.” 

5 years in the future in the midst of an apocalyptic war, Cas is still around. He’s human and he’s stuck by Dean’s side through it all, even though this Dean is just a shadow of his former self. Then again, so is this Cas. But still, they stuck together. Dean isn’t used to that. He has very few people that have stuck by him for this many years. Could probably count them all on one hand at this point. Bobby and Sam at the top of the list. Everyone else either dies or leaves. And in this future, Bobby and Sam are dead, but Cas is still there.  

Dean has abandonment issues. His mother died when he was four, his dad was in and out emotionally and physically his entire upbringing, Sam left for Stanford the first chance he got. He’s got strings of dead friends and lost relationships surely in tow for years at this point, and half the time Dean has become accustomed to pushing people away before they have a chance to push him away first. (Ie Cassie, Lisa, often even Sam too at times). Cas won’t make these issues any better during their run together, but up to this point Cas hasn’t let him down. The simple fact that in this one future universe Cas had stuck by him, I’m sure that makes a big difference to Dean and actually may be imperative for their relationship going forward and the trust that forms between them. 

Something that becomes a large part of their relationship is Cas and Dean’s ability to have conversations with just their eyes. This is a shorthand that Dean is known to have with Sam on occasion, especially during times of combat. It takes a certain amount of intimacy and knowledge of the other person to be able to have a shorthand like this. The first instance we see this between them is quite possibly “It’s the Great Pumpkin, Sam Winchester,” when Dean convinces Cas that they can save the town. We see it again in the ‘beautiful room’ when Cas slams Dean up against the wall and Dean seems to understand what’s happening. Another instance, “The Song Remains the Same.” In a way, it’s a locking of eyes that just seems to say “trust me,” and they do. 

Sam wonders if Anna may be right. If killing him and scattering the pieces will stop this whole Lucifer vessel business. Sam asks Cas, Cas looks to Dean, they share a look, and Cas shuts Sam down. In all likelihood that plan could have worked, but Cas wouldn’t do that Dean. He wouldn’t do it to Sam either but at this point he’ll do anything at all for Dean. 

If we take a moment to consider Dean and Cas’ relationship here, it is unlike any of Dean’s previous ones. Dean never has this same kind of shorthand with any of his other relationships, save for possibly Benny to a certain extent. Cas is an odd guy, and Dean frequently describes him as such, but he finds it endearing (if “Free to be You and Me” is any indication this early in their relationship). The previous women in his life all had the same thing in common, that they’re strong willed, brave, and don’t put up with Dean’s shit when he’s being a shit. Cas does fit all this criteria, but he’s also someone that Dean has a hard time reading. Cas is so literal sometimes that Dean can’t tell what’s literal, what’s deadpan, and what’s just Cas’ personality as an angel. But at the end of the day, simply put, he likes him and he trusts him. Getting Dean Winchester’s full trust as quickly as Cas gets it is an anomaly all on its own. 

Dean’s female relationships are fairly surface level. They’re easy and fairly uncomplicated. Boy likes girl, girl likes boy. Girl gets mad at boy, relationship ends. Easy. Expected. His relationship with Cas isn’t easy. But the big endgame relationships seldom are. There’s blood, loss of trust, rebuilding, and there’s a pull that at the end of the day always brings them back to one another no matter how incredibly messy things get.  

And boy do things get messy. If we touch back into the end of season 6 where things end with Lisa and blow up with Cas, Dean is at an all time low in the relationship department. 

Dean takes Cas’ betrayal hard. Breakups are one thing. Leaving Lisa was expected. It was bound to happen eventually. Dean always knew that somewhere inside. He mourns leaving them, but knows it’s for the best. But with Cas’ betrayal at working with Crowley, he’s devastated all over again. 

Dean never expects his relationships to last forever, but again there’s a choice few people in his life he lets take up space on the list of those who might stick around. Bobby, Sam, Cas. I don’t think Lisa was ever on this list, as much as Dean wishes he could tell himself she and Ben were. But they weren’t. That relationship was a ticking time bomb. And when they nearly die because of his life and the creatures surrounding him every day, that’s the end of it.

Fast forward, season 7 is a time of mourning. He’s lost Lisa and Ben, he gets Cas back for all of 30 minutes before losing him all over again and never being able to repair that relationship. But he keeps the trenchcoat. Fishes it out of the lake, bundles it up, and keeps it in the back of every single car that he and Sam drive that year. 

Dean doesn’t keep mementos. Not of Cassie, not of Jo, Not of Anna, or even Lisa and Ben. No pictures, no items, just memories. You know what he does keep? He keeps his dad’s leather jacket, Bobby’s flask, pictures of he and Sam and his mom. Is keeping the trenchcoat in the back of the car for a year similar to those familial keepsakes? Maybe. But it’s also more than that. It’s covered in blood and lake water, and I’m sure Dean would explain it away that Cas was family and that’s why he kept the coat. Probably even believes that too. 

Then we have purgatory. 

Dean prays to Cas every night. He could get out of that place just on his own, but he stays there for months in full combat just to look for the angel and get him out with him.

“First we find the angel”

“Cas, we’re gettin’ out of here. We’re going home.”

“Cas, buddy, I need you.”

“Let me bottom line it for you. I’m not leaving here without you. Understand?”

“Cas, we’re gonna shove your ass back through the eye of that needle if it kills all three of us.”

“It’s gonna work. Nobody gets left behind.”

When we meet Benny, Dean’s only other primary male pairing of consequence, he is not trusted. This team-up is one of strategy and a mutual goal only- at least at first. Dean and Benny fight well side by side, but the trust only runs so far. That is, until during one particular fight with leviathans in which Cas nearly bites it, Benny saves the angel’s life. This is the main turning point for Dean’s entire trust in Benny from here on out. 

“Benny has never let me down.” Dean says later to Sam. And he never did. He saved Cas, got Dean out of purgatory, and then later on he gets himself sent back to purgatory just so he can help Dean’s brother get out of there. 

Dean and Benny’s relationship was “pure” in purgatory. They didn’t have to worry as much about the fact that Benny was a vampire and Dean was a hunter, they were just brothers in arms who earned one another’s trust, respect and love. There’s no way you let a man kill you and send you to purgatory to save his brother if you don’t love him. 

 Their relationship once they broke out of purgatory is where things began to sour, not because of anything either of them did to the other, but more the space they let grow. Regular Earth was different from purgatory and these men had to go back to their roles and say sayonara. “What happened in purgatory stayed in purgatory” and all that. Benny was a vampire and Dean was a hunter. That kind of thing mattered here despite the fact that they did care for one another. 

Dean and Benny’s tumultuous relationship in relation to the people in Dean’s life could be reminiscent of a queer experience in itself. A lack of acceptance from Sam, Bobby, Martin- Dean’s family. Not because of who Benny was, but what he was. Pair this with the already established fact that Amelia and Sam were a direct parallel to Dean and Benny, Season 8 has been one of the most blatantly queer-coded seasons as of yet. 

Which brings us to “Goodbye Stranger.” It is established early on this season that Dean feels that there’s something wrong with Cas, something off about him. The fact that they don’t know how he popped out of purgatory is just one part of it. It’s in the way he acts, how spacey he is, the fact that he doesn’t answer Dean’s prayers. “I always come when you call.” Cas once said. And he did. Until now.

This is another aspect of their relationship which is simply there and not spoken about much- similar to their staring and eye communication thing they do. Dean started their relationship unable to read all of Cas’ quirks very well and unsure of the guy. Now, he��s fluent in the language of Cas. He knows by tone of voice, by shiftiness, by his expressions- when something is up. Maybe he started paying more attention after the whole Rafael situation until he could read Cas like the back of his hand, or maybe he just started paying attention just to pay attention. 

He’s known something is wrong for months while Cas has been under Naomi’s control. Just the same as years later, he knows something is up when Lucifer is taking a ride in Cas’ body. And he knows in 12x15 just by the way Cas speaks on the phone that something is off with him. 

They come upon the angel tablet in the crypt, and Dean does fight back when Cas starts in on him, but he spends even more energy trying to get Cas to come back to him and fight whatever force has him under control. He never once stopped to think that this was just Cas. “This isn’t you! Fight this!” Dean would repeat over and over as Cas beats him nearly to death. 

There was a moment he certainly thought that Cas would kill him, and it seemed like he was more bothered by the fact that it was Cas that would do it more so than the thought of dying. 

Cas breaks through the mind control, heals Dean. Then he leaves. So, again, Cas leaves. He keeps doing that to Dean. I stated before that Dean’s abandonment issues come into play in this relationship, but unlike at the beginning where Dean saw a future that Cas stays in, this Cas keeps coming and going. This makes it difficult for Dean to trust him fully, to rely on him. But the fact of the matter is that he does still trust him completely, and that’s what bothers Dean. 

When Cas does come back again, collapsed and bloody in the middle of the street, Dean puts up a wall. He’s hurt and he’s tired. He doesn’t want to trust him as much as he does and he definitely doesn’t want him to keep coming and going without a thought. (What’s interesting to note here, though, is Dean’s change in character as this occurs through the years. Because while here he may simply give Cas the cold shoulder and not talk much about his hurt in this situation, we see later on in 12x19 after Dean has been fretting for days about where Cas has gone off to, and Cas finally does return, he voices his side of things. “With everything that’s going on, you can’t just go dark like that. We didn’t know what happened to you. We were worried, that’s not okay.”)

Naomi hits the nail on the head when she visits Dean after Castiel disappears and she notices Dean still hasn’t warded the boat against angels. It is moments like these that we realize just how much everyone else around these two also notice their chemistry and their deep devotion to one another, always seeming to fall back to one another. 

“I think you have me confused with the other angel. You know, the one in the dirty trenchcoat who’s in love with you.” - Balthazar S6

“The stench of that impala is all over your overcoat, angel.” - Crowley S6

“Castiel? Oh, he’s not here. See, he has this weakness. He likes you.” -Uriel S4

(to Dean) “Go ask him, he was your boyfriend first.” - Meg S7

“I have tiptoed through all your little tulips. Your memories, your little feelings, yes. I know what you hate. I know who you love, what you fear.” - The Empty S13

“And then after a rousing speech, his true weakness is revealed. He’s in love... with humanity.” - Metatron S9

“I’m sorry, did you just say that you lost a Winchester? Because, one, that’s... interesting. And, two, how is it that you lost Dean? I thought the two of you were joined at the... you know, everything.” - Kipling S14

“And for what again? Oh, that’s right, to save Dean Winchester. That was your goal, right? I mean, you drape yourself in the flag of heaven, but ultimately, it was about saving one human, right? Well, guess what? He’s dead, too.” - Metatron S9

“Don’t lose it all over one man.” - Hannah S9

“The very touch of you corrupts. When Castiel first laid a hand on you in Hell he was lost!” - Hester S7

“Oh, sweet. Almost anything. Castiel? He’s dead. All the way dead. Because of you.” - Miriam S13

“And then you’d kill the angel, Castiel. Now that one, that I suspect would hurt something awful.” - Cain S10

“He should know this- Lucifer, his favorite, isn’t doing so well. Say nothing of the vessel, your friend Castiel.” - Amara S11

“I’m gonna cure you of your human weakness, the same way I cured my own. By cutting it out.” - Isham S12

Bonus: Dean to Sam about Garth’s baby Castiel- Dean: “This Cas keeps looking at me weird.” Sam: “So kinda like the real Cas.”

It is time and again that opposing forces recognize the relationship between Dean and Castiel, and it’s commented on and used against them frequently.

As we move forward to the angels falling and human Castiel, this season opens up with dean in the hospital with a very ill Sam. The first thing he does before contacting anyone else is pray to Castiel. There’s a moment in 9x03 where Castiel walks into a church and speaks with a woman there. He expresses his lack of faith and she says, “I guess that’s why we pray. You need something stronger than yourself.” Dean never prayed until he started praying to Cas. He prayed to Cas during the apocalypse, in purgatory, when Sam was sick during the trials, now in this hospital. Dean might not have faith in God, but he does in Cas. 

Castiel is human, and while Dean tears apart the grid trying to find him while angels are on Cas’ ass, he still watches him die, then has to kick him from the safety of the bunker the very same day. Up until this point, Cas has been a genuine part of their family regardless of their squabbles over the past months, but kicking him from the bunker damages that. Once the reasoning comes to light, however, Cas is forgiving immediately. He’d forgiven Dean even before that. That’s one thing about Cas that Dean never seems to get over either. Dean can get angry and take things out on him, kick him from the bunker, make stupid decisions and nearly kill himself, holler at him, blame him, but Cas comes back every time. He forgives him every time. It’s already overwhelming when Sam does this, but the ease at which Castiel consistently forgives Dean is a lot. 

Dean gets the Mark of Cain. It’s a means to an end, he says. When he becomes a demon as a result, this is when his relationship with Crowley is deepened. This relationship is an interesting one because it’s essentially an unrequited example. Dean likes Crowley, and when he’s a demon he has a good time, but Crowley’s feelings appear to go much deeper- even if he tries not to show it. 

 It is very possible that Dean and Crowley’s relationship is a formation more as a result of a joke than anything else- where the writers are concerned. But whether that was the intention or not, this is a relationship that continues to affect Crowley’s actions towards Dean for the rest of the series. He doesn’t let Dean kill innocents as he’s a demon, he saves Castiel from certain death as his grace drains, he gives Sam the information to find Dean so he can be cured, and he aids in getting the mark removed from Dean even as Sam attempts to kill him in the process. In return, Dean gives Crowley the benefit of the doubt more often, and they share a sort of mutual respect. What differs here, however, from Dean’s relationships with Benny or Castiel, is Dean’s actions. It is clear that Dean doesn’t feel as deeply as Crowley does, so this is an interesting relationship to compare side by side with the others. 

Not only this, but DeanxCrowley in these first few episodes can be seen as a parallel with CasxHannah. Two unreciprocated relationships which do not last long in this particular phase, but do result in a friendship within these pairings as time goes on. 

Still with the Mark of Cain, Dean and Cain have a few things in common. Cain had said that his wife, Colette, before she died had asked him to stop. Stop the killing. It’s several months after that that Dean is going off the rails and Cas, behind Dean as he’s walking away, asks Dean to stop. He nearly kills Cas then, almost fulfilling Cain’s words just weeks earlier: “And then you’ll kill the angel, Castiel. And that, I suspect, would hurt something awful.” This is a direct romantic parallel written into the show. 

When the darkness is released, Amara and Dean are immediately drawn to one another through some sort of connection as a remnant of the mark. This relationship is another interesting one, because it ties in to true desire and consent. Dean is drawn to her, yes, and she is sold as a sort of potential love interest this season, but Dean himself doesn’t want anything to do with her. He’s hypnotized when he’s around her, but as soon as he’s away this energy dissipates. 

So in light of this storyline let’s talk about consent and the sexualization of Dean Winchester for a second, shall we?

Dean is an often highly sexualized individual. He plays along more in his younger days, but the older he gets the more frustrated he becomes with the whole situation. I’m sure there are more but here are some tentative examples (This is also something that happens to Sam a decent amount as well.): 

Wendy at the psych ward in “Sam, Interrupted” kisses Dean

Pamela touching Dean’s inner thigh in “Lazarus Rising” 

Ezra in “Time After Time” kisses Dean without consent

Gets turned into a vampire because he’s “pretty”

Pamela in “Dark Side of the Moon” kisses Dean

Almost becomes a vessel for Sandy’s mate in “The Thing” because she “enjoys looking at his face”

Amara kisses Dean in “O’ Brother Where Art Thou”

Mildred gropes Dean’s leg in “Into the Mystic” and continually makes advances even tho he’s uncomfortable. 

Random girl slaps Dean’s ass in “The Last Call”

Ellie in S8 wants to sleep with Dean and even kisses him randomly

Meg kisses Dean as he’s being held against his will in “Sympathy for the Devil”

Granted, there aren’t a plethora of examples, but it’s still a lot and it is interesting to see how often Dean has been sexualized for someone else’s pleasure. It is bound to work into his characterization as well, and his sense of self-worth. He’s often described as the pretty one of the brothers, and seeing as he is the more promiscuous of the two, it is assumed that he welcomes all of or most of the attention that comes his way.

It is for this reason in particular that the situation with Amara is bothersome to me. Not only is Dean taken advantage of physically, but his mind is essentially hypnotized whenever she is near, not giving him total control over his actions or desires. Amara is in part meant to be sold as a romantic interest, but throughout the season Dean continually expresses his discontent. He’s even ashamed to admit these feelings to Sam and Cas, even though he knows it isn’t his fault he still feels responsible. (Which, if we think about it, this is could be a queer allegory too. The lack of choice, feeling shame, etc.)

What is notable, however, is the day that they attempt to capture Lucifer and speak to Cas to get him to expel Lucifer from his body. Amara makes a surprise appearance and captures Lucifer/Cas herself. Dean yells to Cas. This catches Amara’s attention and appears to confuse her, and even Lucifer, seeing as when Dean is around her he’s meant to have eyes for just her because of their “bond”. His link to Castiel appears to be stronger, however.  

Amara uses this connection between Cas and Dean when she wishes to contact Dean, simply by placing her hand over Castiel’s heart. She says to Dean, “If you should cross paths, if (god) should reach out to you, he should know this - Lucifer, his favorite, isn’t doing so well. Say nothing of the vessel, your friend Castiel.”

If we backtrack a moment, Dean finding out that Castiel is possessed in the first place is a very emotional time for Dean. He doesn’t want to accept that Cas would make such a decision, put himself in that kind of danger, and choose to leave once again. Sam, the arguably more rational thinker at this current time, tries to rationalize that Cas may not come back willingly since he chose to let Lucifer in. “Not possible.” Dean says. It’s simply not possible that Cas doesn’t want to come back to them. It’s not something he can accept. 

The next several episodes are begun with Dean either losing sleep trying to figure out what to do about Cas, or simply moping about. Sam has to comfort him each time. This is notable behavior as well, because Dean isn’t often one to wear his heart on his sleeve this frequently. Certainly he has his moments, but much of the time when he’s distressed he simply buries it all down and puts up a front. He doesn’t do that here. In fact, once they do begin to put together a plan with Crowley, Sam thinks they should still utilize Lucifer in the fight against Amara but thinks it’s foolish to move him into a new vessel. 

((I actually counted up the mopey Dean scenes- between finding out Cas is possessed, to getting Cas back.))

There are four convos with Sam (multiple episodes) where Sam has to comfort Dean and say something along the lines of “we’ll get him back.” (Just as an aside, I don’t think there has ever been a scene in the series where Dean comforted Sam about Cas, it’s always Sam having to comfort a freaking out Dean)

Then, of course, there’s the scene where Dean comforts a victim and she says “I watched the man I love die. There’s no normal after that.” 

There’s the “It’s not an ‘it,’ Sam. It’s Cas.” scene. 

There’s Dean trying to get through to Cas when they capture Lucifer. 

There’s the Dean yelling “Cas?” to Casifer when Amara is in the room. 

There’s two more scenes where Sam comforts Dean again. 

There’s “The Chitters” episode with the gay hunter couple. (This isn’t a direct relation, but more of an honorable mention because it seems abstractly relevant)

Amara connecting to Dean through Cas’ heart.

Dean freaking out about making it to Cas in time and again talking to Sam about it.

Dean asking “what about Cas?” as they’re planning the attack with God against Amara.

Someone has said once that you can tell that Dean is in love with Cas because Sam isn’t. It’s in moments like this that this becomes readily apparent. Yes, Sam cares about Cas, of course. But it’s just different than the way that Dean cares about Cas. When Dean cares about certain people, this love weaves into the very fabric of his being and he just feels it so completely and overwhelmingly, he can’t simply not fight for it. 

“Dean, it’s a strong vessel, it’s held Cas for years, and we know what he’s been through.” Sam says.

“It? It’s not an ‘it,’ Sam. It’s Cas.”

Dean appears almost shocked that these words would pass through Sam’s mouth. He’s confused that Sam wouldn’t fight for Cas just as much as Dean would. The type of love they each have for the angel is just different. Visually, action-wise, reaction-wise. This conversation in “Hell’s Angel” highlights that. 

You know what else highlights it? The fact that when they do trap Lucifer, it’s only Dean who gets through to Cas and talks to him to get him to come back and expel Lucifer. It’s Cas only seeking Dean’s forgiveness in S7 when putting the souls back in Purgatory. It’s Dean in S6 being the only one to defend Cas in “The Man Who Would Be King.” It’s Dean later in that same episode being the one to get through to Cas in the circle of holy fire. It’s “I did it, all of it, for you.” It’s Dean carrying around that trenchcoat for a year and mourning when Sam doesn’t. It’s Bobby checking in on Dean mourning Cas, but doesn’t check in with Sam about it. It’s Sam pulling Dean out of the apocalypse world in season 12 as Dean screams for Cas and physically fights against Sam to get to Cas. It’s Sam seeing Cas dead on the ground minutes later, but still able to walk away while Dean is frozen in place, frozen in shock. It’s Dean being the only one to wrap up Cas’ dead body. It’s Sam always having to reassure Dean that Cas is probably fine, whenever he goes missing for a little while. It’s Dean hardly able to function in S13 with this encompassing grief over Cas’ death and yelling “It got him dead! Now you might be able to forget about that, but I can’t.” It’s S15 when Rowena tells Dean and Cas to fix their quarrel before it’s too late, and later Dean in purgatory not sure of it is too late as he’s praying for Cas to be okay and crying against a tree. 

Sam’s reactions are important to take into account. Sam cares, yes, but Cas isn’t as wholly encompassing in his life as he is in Dean’s. If anything else is to prove that, it’s the way that Dean grieves (I mean, if you were to put Sam in Dean’s place in 15x09 in Purgatory and their fight, there’s no way that Sam would react this extremely). 

There are three different points to highlight Dean’s grief. The first is season 7 with the trenchcoat, which we’ve already talked about. The second is when Cas is possessed by Lucifer, which we have covered as well. The most damning, however, is Dean’s season 13 grief arc following Cas’ death. Dean also loses his mother during this time and a few other friends, but considering how he reacts when Cas comes back, a great amount of this grief has to do with Cas. Dean completely loses hope and faith in anything at all during this time. He hates Jack for giving Cas false hope and getting him killed. He doesn’t believe in their mission anymore. He doesn’t believe anything matters at all. “Right now, I don’t believe in a damn thing.” Dean admits to Sam. When Cas comes back from the dead, however, he pulls a complete 180. He has hope again. He has faith. And all of it begins with Cas.

Lastly, Dean never hooks up with anyone again after Castiel’s final resurrection. We can go through an outline of the steady decline of Dean’s hookups and relations outside of Cas as the decade goes, but during this three year window specifically, Dean’s only pairing is Cas. Sure, he might flirt with someone every now and again, but this never goes anywhere. (Arguably the person he flirts with the most in any episode in these final three seasons is Daphne, but idk if that even counts much considering she is a cartoon.)  And as Pamela says once in Rocky’s bar: “Besides, you don’t want me. You just like to flirt. I’m psychic so I kinda know.” And that was just in Dean’s head anyways so it’s probably even more true than had Pamela actually said it herself. 

When Jack comes in the picture in season 13, and Castiel comes back from the dead, this makeshift little family is formed. All three men act as father figures to this half-angel kid at different capacities, and amongst this dynamic another is formed a bit further between Dean and Cas. They’ve already been acting a bit as an old married couple in recent years (Lily Sunder Has Some Regrets, anyone?) but this co-parenting scenario they’ve found themselves in has solidified this dynamic all the more as they collaborate on the issues that arise with Jack. In “Lebanon” when John Winchester comes back for a brief period, John even says to Dean that he’d hoped he would get a family someday and get out of hunting and such. Dean replies, “I have a family.” Sam, Cas, and Jack are his family. Cas has been family for a long time, but here and now Dean just isn’t looking for anything else or anything normal. He’s happy with himself and the people he’s surrounded by. He’s not looking for anything else or anyone else. 

For a change of perspective, let’s check out Castiel’s relationships over the years.

Unlike Dean, Castiel’s queerness and interest in Dean has been officially canonized. We can speculate all we want on the legitimacy of Dean’s love for Cas, but we can speak in certainties about Castiel. Castiel is in love with Dean Winchester. Speculation can come in when we consider, just how long has this love existed for him? Let’s start from the beginning.

Right off the bat when we meet Castiel, he’s a semi-emotionless soldier of heaven who works under strict orders and doesn’t have much free-will. Dean begins to change this. We can see even in their first couple encounters that Castiel is interested in Dean- in what he has to say, intrigue in the fact that Dean talks back to the angels (despite that these angels are unkillable beings and could smite him on the spot), the fact that he’s snarky and brave and questions everything. Where Uriel finds Dean annoying and blasphemous, Castiel finds the back-talk fascinating. Dean’s words impact Cas, and it’s not long before he starts to have doubts about Heaven. Following these orders blindly and unquestioningly starts to seem foolish when Dean puts things in a different perspective. 

Even after Cas undergoes what some have funnily dubbed “conversion therapy” in “The Rapture” (when Cas had finally decided on going against Heaven and to help Dean stop the apocalypse) it’s still not enough to stop him completely. A bit more time with Dean and he’s convinced yet again to help this one human man stop the apocalypse with his brother. He even dies for him and this new mission of his. 

Castiel throughout this first season is interesting because we see firsthand his struggle to understand beginning to feel emotions and accept thinking for himself. “For the first time, I feel...” He says to Anna. He wants her to tell him what to do. He wants orders because that’s all he knows, and he doesn’t understand why suddenly he cares. It hurts him to send Dean in to torture Alastair. It hurts him even later when in the beautiful room Dean dismisses him with a “What do you care, you’re already dead. We’re done.” 

It’s possible that in these first several months, or even these first couple seasons, that Castiel follows Dean around and does as he asks because he’s allotted Dean as the new being he serves. Because serving is what he knows. But it’s also through this that he begins caring more and more. He learns more how to express certain emotions, he learns more about humanity, he learns more about what is important in life and what is worth fighting for. As Cas will admit himself 12 years later, “Ever since we met, ever since I pulled you out of Hell... Knowing you has changed me. Because you cared, I cared. I cared about you. I cared about Sam. I cared about Jack... I cared about the whole world because of you.”

We start to see sprinkles of this especially throughout season 5 as Cas begins to come to terms with caring and adopting Dean’s mindset to care. Consider Sam for a moment. He and Cas don’t necessarily get along a lot and mostly just tolerate one another in these early days. However, as we see in “Abandon All Hope” when Castiel is captured by Lucifer, Cas gets visually upset at the concept of Lucifer taking Sam as his vessel. “You are not taking Sam Winchester. I won’t let you.” 

Sam and Cas don’t have much of a relationship at this point, but Cas cares because Dean does. In “The Song Remains the Same” not long later, he even refers to Sam as his friend.

By the time S6 rolls around Castiel is in the midst of a civil war in heaven entirely because he has adopted the Winchester’s all encompassing mindset on the importance of free-will. Castiel is making his own choices, and he does everything he can to protect the Winchesters from harm as he does so. He decides not to seek out Dean’s help while he’s raking leaves because Dean had already sacrificed too much in Castiel’s eyes. He raises Sam from perdition because he feels it the right thing to do. He re-sinks the Titanic to keep the boys from being killed by Fate. 

Personally, I think Castiel has been slowly falling in love with Dean this entire time, he’s just not aware what this feeling is. But this becomes even more plausible to me when we get Castiel’s perspective in “The Man Who Would Be King.” Cas cares what Bobby and Sam think of him, sure, but all he focuses on is Dean. Dean’s happiness and ensuring he not sacrifice more. Dean’s loyalty even as Cas seems to be guilty. Dean’s words when they capture Cas in holy fire. 

The problem is, their relationship this season is also rocky. Cas seems to think that he’s merely a tool at the Winchester’s disposal and not much else. But he doesn’t mind because he cares about them so much, so what do his feelings matter? He sees himself as their protector. Their guardian angel. A role he’s fine with filling regardless of how they feel in return. 

But when things get bad, Dean says to him “Next to Sam, you and Bobby are the closest things I have to family. You are like a brother to me. So if I’m asking you not to do something... You’ve gotta trust me, man.” and Cas seems genuinely surprised at this admission. Emotional, even. 

As time goes on, Castiel’s actions nearly primarily revolve around Dean

After Cas realizes his error and is sending the purgatory souls back to their place, he tells Dean repeatedly that he’ll find some way to redeem himself to him. That’s the most important thing to him then. 

When Cas smites the demons outside of the mental hospital in 7x17, all of his flashes of memories coming back were memories of Dean. 

Partially to aid Sam and partially to redeem himself to Dean, Cas takes on Sam’s Hell brain in the asylum and goes crazy.

Cas runs in purgatory to keep the leviathans away from Dean. 

Cas breaks out of Naomi’s mind control/brainwashing because of his feelings for Dean.

Let’s talk about that final bullet point for a moment. The Naomi chapter is damning in “Goodbye Stranger.” It isn’t copies of both Sam and Dean that Naomi trains Castiel to kill hundreds upon hundreds of times. No, it’s ONLY clones of Dean. 

“What broke the connection?” Dean will ask after Castiel heals him in the crypt and takes control back over his mind. “I don’t know.” Cas will say. It wasn’t the angel tablet. That may have unwound the last of Naomi’s control over him, yes, but he’d dropped that angel blade before that. It was Dean that broke that connection. Even if this remains unsaid, it doesn’t make it any less true. Maybe Castiel starts to have an understanding of what his feelings are and what they mean here, but he won’t be truly sure until he soon becomes human. 

Before we get there, though, we’ll take a brief pause to explore Cas’ heterosexual explorations and connections. 

First is Meg. Cas’ relationship with Meg is born of sexual exploration more than anything else at its conception. He’d just been watching porn in his downtime and when Meg kisses him, he goes with it enthusiastically. Later, he seems to have a certain infatuation with her in his “crazy” state, and seems to trust her perhaps simply because she had been watching over him in the institution. 

This is interesting because in his “crazy” state, Cas is a lot more raw and unfiltered and optimistic than he ever has been before. He compliments her, is concerned with her safety, and trusts her. On the contrary, with Dean, Cas is a lot more hesitant and even fearful when talking about certain subjects with him because of his past failings. He tries to keep the peace without directly getting involved because his direct involvement in the past had failed them all so spectacularly. 

He and Meg continue to have a sort of connection whenever they cross paths until her demise the next season, and he still holds a respect for her years later, continuing to use her nickname for him “Clarence” as an alias at various times. 

When Castiel becomes human in S9, he’s a bit lost and overwhelmed. April takes him in for the night. Although this is a short-lived romance considering she tortures and kills him the next day, for a brief enough time Cas starts to become acquainted with human romance and sexual desire. He loses his virginity to her. It is estimated by some that this is merely sexual experimentation on the part of a very confused newly human Cas, and others have used this to say that Cas is not gay but pan or bi. The conclusion in any regard, in my opinion, is purely up to the viewer. 

If I’m to offer my opinion, however, seeing as he has shown interest in both sexes, though remains unlabeled, I consider him simply an unlabeled queer person. Sexual identity and orientation has never seemed to matter much to Castiel, so I don’t see why it should matter to me. He loves who he loves, simple as that. 

When we get to Hannah, she provides an interesting foil to Castiel for a time, and an emphasizing expression on just how much he’s changed since his introduction to Earth and the Winchesters. Where Castiel has been open to a plethora of new emotions and experiences through the years which have made him a bit more human than angel at times, Hannah is still new to humanity and the range and movement of emotions that come with it. Just how little she seems to understand proves how much Castiel has grown and does understand by comparison. 

As such, he seems to pick up on the fact that Hannah has an attachment to him that appears to be forming into a romantic or sexual interest. He gently turns her down multiple times, not expressing interest in her behavior although he does respect her greatly as a person. Though this relationship isn’t considered romantic from Castiel’s perspective, its unrequited nature again is a good parallel to Dean and Crowley’s relationship at this same time. Angel x Angel and Demon x Demon. Both one sided.

Now, let’s get back to Dean. 

Up to the point that Castiel turns human, for however brief a time, he finally gets a look behind the curtain of human emotion. Now, we all know that Cas is in love with Dean already here- and probably has been for some time. Years, even- but it’s my personal belief that during this time turning human is when he actually realizes it and understands where these emotions come from.

Maybe it’s the heartbreak of Dean kicking him from the bunker, maybe it’s seeing Dean again when he shows up in line at the Gas n Sip, or maybe it’s somewhere in between when he sees two people on the street looking at each other and realizes “oh, that’s love. I know what that is. I felt that, too.” And every moment from then on he realizes what that feeling was in his chest when he looked at Dean for a little too long, or why it hurt so much to see the pain in Dean’s eyes at something Cas had done, or why hearing Dean’s prayers to him just felt different than they did with Sam’s. Why everything that he’d done since he rebelled from heaven was in the name of doing the right thing, muddled alongside doing the right thing for Dean. Caring because of Dean. Caring for Dean.

It’s during this time when he realizes what these feelings are, that he also must come to terms with the fact that they’re unreciprocated (or as he believes, anyway). This is for two reasons. The first, he still believes at this time that Dean kicked him from the bunker just because. And the second, if there’s anything that Cas took to heart from Dean’s example as strongly as the concept of free-will, it’s self-loathing. He doesn’t see himself worthy of love. Dean doesn’t see himself worthy of love either. They’re both messy piles of self-loathing that breeds into a blindness to the depth of care they hold for one another.   

Now that we’re on the topic of self-loathing, this leads into Castiel and his decision to become Lucifer’s vessel in season 11. Much like Dean, Cas has a consistent issue with seeing his own personal self-worth, so when the opportunity comes along to “be of service to the fight” and become Lucifer’s vessel, he takes it on easily. He considers himself expendable, and he won’t see just how much Dean struggles with this fact while he’s possessed. In fact, Cas never knows just how much Dean struggles with his absence at all, which is just one of the many divides between the two of them that could easily be resolved with communication, if either were ever good at that. 

Once Lucifer is shoved from Cas’ body, however, Dean makes a point to let Cas know just how important he is in his life. He’s said Cas was family before, but that was before the falling out at the end of season 6. Dean makes it clear that he and Sam both consider Cas family, once again, during a ride in Baby. “You’re our brother, Cas. I want you to know that.” 

Now, here, simultaneous heartbreak and love occur. Because while Cas is likely very much in love with Dean here, and very much aware of it, to hear that Dean simply thinks of him as a brother must ache a bit. However, we’re also talking about Dean Winchester, and for him to call someone a brother is an immense depth of love, probably the most the man is even capable of. Dean never says the words “I love you” to anyone, so this is about the closest anyone could get. Cas knows this, he’s well-versed in the ways of Dean Winchester by now. So, while it aches, his heart is also full. 

Comparable to:

“We need you, Cas. I need you.” 8x17

“We’re gonna shove your ass back through the eye of that needle if it kills all three of us.” 8x05

“Don’t make me lose you, too.” 7x23

“Don’t do anything stupid” 

The entire purgatory confession/apology prayer in 15x09

Cas returns this love just hours later, offering to go with Dean to die taking out Amara.

If we jump forward to the divorce arc of season 14-15, we can hit upon the next great heartbreak of Castiel’s sad little love life. While the Winchester brothers, Castiel, and Jack have all become a family unit, Castiel never wants to lose that. But two things happen. First, Cas’ deal with The Empty is made, and somewhere along the line, silently, he becomes aware that allowing himself to be happy, and that happiness, somehow involves Dean. The second thing that happens is Jack kills Mary Winchester, and Dean says Castiel is dead to him. 

So, The Empty won’t take him, but his family is broken apart. Castiel never gives up on a single family member, though. That’s the thing about Cas. The same way he consistently forgives Dean for all his behaviors over the years, he never loses faith in anyone in this family. And when they come to reunite, he’s happy simply in appreciating any and all time they have together, however brief.

Then, in true Castiel fashion, he sacrifices himself for Dean Winchester in 15x18. 

Their relationship has always left things unsaid, but I don’t think there’s ever been a question on whether Dean loves Cas or Cas loves Dean even if they don’t talk about it. You can’t look at Cas and Dean’s faces seeing each other again for the first time in weeks at the end of “The Last Call” and say that there wasn’t love and heartbreak there. On some level I think that Cas knew that Dean loved him back, but Dean was so buried in trauma at that point that it might take him years more to realize what he actually felt and what he needed. But Cas is such a selfless lover that he was absolutely 100% fine with just being around Dean for the rest of his life, even if he never got a chance to tell him how much he genuinely cared for him, and never got that reciprocation back. Castiel’s love for Dean is so pure and selfless it’s overwhelming to even consider, but for someone like Dean it would be a hundred times harder to accept or even fathom someone caring about him as much as Cas does. 

So Castiel never pushes Dean further, never suggests, barely even touches him. The only liberties Cas takes are small touches to heal him (even though he doesn’t need to touch a person to heal them), a few small hugs through the years, just sharing comfortable space inside the impala, small moments watching Dean’s favorite movies with him, or sharing a moment over beers in the kitchen. And Cas’ happiness was in telling Dean how much he loved him likely because then maybe Dean would actually see how much he was worth. Cas wanted Dean to know how much he loved him and how he viewed him, because Dean deserved to love himself and was worthy of it. 

The five types of love languages are as follows:

Words of affirmation

Physical touch

Gift giving

Acts of Service

Quality Time

One of the reasons Dean and Cas miss the mark with one another so often could simply come down to love languages. A lot of the time, what a person needs in love language is often what they also give. I don’t think this is the case where these two are concerned, though. They’re both so sacrificial that it’s difficult for them to accept this in return, even though this is what they each offer to the other and anyone else around them. 

Both Cas and Dean’s giving love language is “acts of service” which translates into sacrificial actions much of the time, though it can also be more domestic than that as well. It’s Dean grabbing an extra beer for Cas or making food, or it’s Cas healing Dean without any prompting, Cas loading up on pie and beer at the Gas n Sip when Dean’s mad at him. 

What they each need, however, is different. Dean needs “quality time.” He needs his people close, he needs them to answer calls, and he needs to know where they are. This clearly ties in to his abandonment issues, and it hurts his relationship with Cas significantly when the angel just keeps leaving, or disappears without answering his phone for days at a time. And when he dies, obviously. He always comes back, though. And half the time when he’s gone it’s because he’s trying to get a win for Dean against whatever issue the team is facing at the time. 

What Cas needs, best I can tell, is “words of affirmation.” Cas has a consistent problem with thinking that he’s worth less than he is, and is less important to the people around him than he is. Dean obviously has this issue, too, but with Cas it’s somehow infinitely worse, if that’s even possible. Frequently, what he needs to get him going in low points is a few words from Dean or encouragement in general. To name a few:

“Maybe to fix it.” 7x17

“I’d rather have you, cursed or not.” 7x23, Cas then goes with Dean to find and kill Dick Roman

“I’m not leaving here without you.” S8 in purgatory when Cas wanted Dean to leave him behind but Dean was having none of it.

“You’re our brother, Cas.” 11x23, after Cas was possessed by Lucifer and thought he was expendable. 

Over time, Dean does get a bit more vocal with Cas about issues he’s having or just with encouraging words as well. Cas, too, sticks around a lot more. They’re not perfect but they do begin to grow and work with one another in these later years to give one another what they need most to see how much the other is loved. 

In conclusion, there is a significant amount of romance and sexuality written into this show, and simply interpreted as well. And that’s the thing, when a queer person says that they interpreted a certain piece of media as queer, it’s not up to someone else to say that they can’t, or shouldn’t, or that they’re interpreting something wrong. That’s the thing about media, it can have so many different interpretations and meanings to so many different people. 

It’s my personal interpretation to see the queerness embedded in the text here. Maybe it’s not there for another person, and that’s cool too, just don’t tell me how I should see it. The fact is that it was written into the show to be interpreted, and interpret is what we did. 

I’d love to hear any feedback that others may have regarding this. Any other theories, different interpretations, things I may have missed. I hope you enjoy the edits, and the endings I put together for them. We all need a little bit of happiness after that ending, so I hope it leaves you with a lighter heart. :)

Much love,

Taylor

[ava-candide]

Poldark’s Aidan Turner on playing Leonardo da Vinci

The newly married heart-throb actor learnt to paint left-handed for his new role, and he’s still daubing now, he tells Ed Potton

Aidan Turner takes on the role of Renaissance polymath Leonardo

I’m trying to work out where Aidan Turner is Zooming from. Is it London, where he moved to in 2017 after his Ross Poldark became the drooled-over king of Sunday-night television? Dublin, where he grew up, trained as an actor and returned to spend the first lockdown with his parents? Or Rome, where he shot his new series, Leonardo, in which he plays a young Leonardo da Vinci?

“None of the above!” Turner says. “I’m in Toronto.” The enigmatic charm, feline eyes and gleaming locks that he deployed so mercilessly in Poldark, The Hobbit films and Being Human are all there. “My missus is working here,” he explains, and so is he. That’s the American actress Caitlin FitzGerald, his partner of three years, whom he met when they starred in the 2018 film The Man Who Killed Hitler and Then the Bigfoot. At first I assume the “missus” is laddish affectation but it turns out that it’s official: Turner and FitzGerald, both 37, got married in secret in Italy in August after filming finished on Leonardo. You can almost hear the sighs of disappointment ripple around the world.

Turner won’t say any more — he is famously guarded about his personal life — but he looks insanely happy in the couple’s rented apartment. FitzGerald — whose grandfather Desmond was a CIA agent and organised several plots to assassinate Fidel Castro — is shooting a series, Station Eleven, in Toronto while her husband works on another project that he’s not allowed to talk about. In their downtime they’ve been watching I’ll Be Gone in the Dark, an HBO documentary series about the Golden State Killer, and, on a lighter note, Ottolenghi and the Cakes of Versailles. They share the apartment with Charlie, an ebullient Norfolk terrier that Turner has to eject from the room halfway through our interview when he starts yapping. “I’m surprised he behaved for so long,” he says

Eight-part series Leonardo has been criticised for warping history

Like many of his fellow thesps, Turner has been doing a great deal of lockdown painting. “We have a roof garden here and the light has been really good,” he says. “I probably shouldn’t be saying this because I don’t know if the landlord knows. It’s not messy work anyway!” Unlike some of his peers — I’m looking at you, Pierce Brosnan — he has yet to unleash his daubings on the world. How would he describe his style? “I struggle to say abstract, but I haven’t quite figured out what it is yet.” Did it help with playing Leonardo? “I don’t know. If you saw my paintings, you’d assume very much not,” Turner says. He has a studied line in self-effacement, honed after years of “sexiest man on TV” questions.

Leonardo premiered in Italy last month and was watched by seven million, many of them doubtless keen to see Turner brooding in a succession of smocks. The eight-part series has been criticised for warping history, having the artist accused of murder and featuring an apparently fictional muse, Caterina da Cremona, played by Matilda De Angelis from The Undoing. Luca Bernabei, the chief executive of Lux Vide who produced the series, defended it stoutly. “Matilda De Angelis’s character did exist. She was a model Leonardo asked to paint,” he said. “We have been really careful in our research. But this is not a documentary, we are not historians and this is not a university history lecture.”

And if the history pedants are spluttering, the art pedants should be happier — the series goes to considerable lengths to make the painting look authentic. Each episode is themed around a different masterpiece, from the portrait of Ginevra de’ Benci to The Last Supper to the Mona Lisa, and the candlelit cinematography is often sumptuous. Turner’s research included a private view of a Leonardo exhibition. “I spent some time alone with the actual paintings, which was brilliant,” he says. “They’re just like high-definition photographs. I couldn’t wrap my head around the fact that a human had done this.”

Aidan Turner attended an artist’s boot camp before filming started

The series opens in Florence in the 1460s, with Leonardo a pupil of Verrocchio, played by the veteran Italian actor Giancarlo Giannini. Before the shoot Turner and his co-stars went on an artists’ boot camp (brush camp?) supervised by professionals. He says the hardest part was learning to paint, as Leonardo did, with his left hand. He compares it to learning to ride a horse for Poldark, which he pretended he knew how to do before going on a crash course when he got the part.

Brushwork was the same, he says. “I realised I had to get good quite quickly and look like I knew what I was doing with my left hand, which is more difficult than you would think. It’s keeping it steady — you find it just moves around a lot. Leonardo was very slow and precise — I think I got it down. After a few weeks you start picking up the brush with your left hand, it becomes natural.”

Leonardo was a vegetarian, Turner tells me, “and apparently later in life opened some sort of vegetarian restaurant”. He was also gay, something that, despite reports, the series does not shy away from. Was this Turner’s first time kissing a man on screen? He laughs. “Of all the things I was expecting you to ask next, that wasn’t one of them! In a lot of ways it was just another love scene. The fact that the gender was different — that was never a thing. No, it felt right. It didn’t feel any different at all. But yeah, to answer your question, that was the first time, which I’d never really thought of until now.”

What did feel weird, he says, were the Covid protocols. “Suddenly people are wearing masks and shields and hazmat suits. We had a big sanitisation machine as we walked in that would spray us. You take off the mask when you shoot the scene and it’s a bit strange for a second. Then you realise it’s the first time you’ve seen your co-star’s face that day. It’s not conducive to a very creative environment, for sure. But we made it work and nobody got sick.”

Turner spends a chunk of the first episode painting De Angelis, and both actors know what it’s like to be ogled. She has been asked endlessly about her naked locker-room sequence in The Undoing, just as he has been reminded of his shirtless scything scene in Poldark. Before that there was his lusted-after vampire in Being Human and his sexy dwarf in The Hobbit — branded a “dwilf” in some quarters — although that “definitely wasn’t the intention”, he says. “I think I just had less prosthetics on my face. My make-up call was 20 minutes and everyone else was sitting in the chair in the morning for three and a half hours. It wasn’t good to be around the other dwarfs in the mornings, that’s for sure.

“I get why people are interested,” he says of the ogling. “It’s just when it keeps coming up.”

We move on. According to a recent survey Cornwall has overtaken London as the most desirable place to live in Britain. Does he think Poldark played a part in that? He laughs. “Maybe we nudged a few people in the right direction. I think people forgot how beautiful that side of the world is. One of the first reviews of Poldark we read was like: ‘We can’t believe that this is our country, it looks like the south of France.’”

Could Poldark return, and would Turner be in it? If they stuck to the chronology of Winston Graham’s books they would have to leap ahead a few years. Maybe he could play an aged-up Ross Poldark in latex and fake paunch? “I don’t know if I’d be keen on the ageing-up thing,” he says. “It never really works. I don’t know whether they need to be too strict with that gap anyway. There’s the possibility someday, maybe. I enjoyed working with everybody on Poldark, from the writers right down to all the cast and crew. It really is like a family. So I’d be open to chat about it. But not for a while.”

Before that he will appear as the apostle Andrew in The Last Planet, the forthcoming biblical epic from Terrence Malick, revered creator of The Thin Red Line and The Tree of Life. Well, he doesn’t know for sure if he will appear. Actors of the calibre of Rachel Weisz, Mickey Rourke and Jessica Chastain have seen their performances in Malick films vanish during editing.

“You want what’s best for the film. And if you don’t fit into it, you don’t fit into it,” Turner says in the tone of hair-shirt devotion that actors tend to use when talking about Malick. With a cast including Ben Kingsley and Mark Rylance as Satan, the movie is meant to tell the story of Jesus through a series of parables. Turner doesn’t really have a clue, though.

“You don’t necessarily know what you’re signing up to. You’re signing up to Terrence Malick,” he says. The director has “a great way of working. Everything is around ‘where is the sun’ at this particular time. That’s our natural light and it’s all we use. So things happen fast. There’s no trailers, hair, make-up, we’re just all together. You don’t know from day to day what you’ll be doing. It’s quite renegade stuff. That’s the way I always wanted to work.”

It’s closer to the immediacy of the theatre, which is where Turner started out. The son of an electrician, Pearse, and an accountant, Eileen, he represented Ireland at ballroom dancing before falling into acting. After studying at the Gaiety School of Acting in Dublin he acted in plays for five years and in 2018 he returned to the stage to rave reviews in Martin McDonagh’s The Lieutenant of Inishmore in the West End. Rave being the operative word — his performance was bracingly unhinged. “I can’t wait to get back to the theatre,” he says. “That’s what we’re looking at probably next.”

Turner’s character in The Lieutenant of Inishmore was an Irish freedom fighter, but he is reluctant to talk about the prospect of Irish reunification (“So I don’t get shot when I get home,” he told one interviewer). Culture is safer ground, and his native country is going through a purple patch with Sally Rooney in literature, Fontaines DC in music and the likes of McDonagh, Jessie Buckley and Denise Gough in drama. “It tends to happen in waves,” Turner says. “Coming out of drama school, Colin Farrell was such a big thing. When these actors really make it you can feel some of their light begin to shine on the industry back home.”

Like Farrell, Turner is an international star, although it has mainly been in period roles: Poldark, Leonardo, Andrew and his breakout turn as the 19th-century poet Dante Gabriel Rossetti in the 2009 series Desperate Romantics. It must be something about the hair.

That could be about to change, though. Toronto often stands in for New York, which suggests that his current mystery project has a contemporary setting. Does he yearn to act in jeans? “Yeah, you’re right,” he says with a laugh. “After Leonardo, I think tights and knee-length boots are out for a while.” Many would beg him to reconsider.

[captain-ross-poldark]

Poldark’s Aidan Turner on playing Leonardo da Vinci

Ed Potton

Friday 2 April 2021

Aidan Turner takes on the role of Renaissance polymath LeonardoJUSTIN SUTCLIFFE/EYEVIN

I’m trying to work out where Aidan Turner is Zooming from. Is it London, where he moved to in 2017 after his Ross Poldark became the drooled-over king of Sunday-night television? Dublin, where he grew up, trained as an actor and returned to spend the first lockdown with his parents? Or Rome, where he shot his new series, Leonardo, in which he plays a young Leonardo da Vinci?

“None of the above!” Turner says. “I’m in Toronto.” The enigmatic charm, feline eyes and gleaming locks that he deployed so mercilessly in Poldark, The Hobbit films and Being Human are all there. “My missus is working here,” he explains, and so is he. That’s the American actress Caitlin FitzGerald, his partner of three years, whom he met when they starred in the 2018 film The Man Who Killed Hitler and Then the Bigfoot. At first I assume the “missus” is laddish affectation but it turns out that it’s official: Turner and FitzGerald, both 37, got married in secret in Italy in August after filming finished on Leonardo. You can almost hear the sighs of disappointment ripple around the world.

Turner won’t say any more — he is famously guarded about his personal life — but he looks insanely happy in the couple’s rented apartment. FitzGerald — whose grandfather Desmond was a CIA agent and organised several plots to assassinate Fidel Castro — is shooting a series, Station Eleven, in Toronto while her husband works on another project that he’s not allowed to talk about. In their downtime they’ve been watching I’ll Be Gone in the Dark, an HBO documentary series about the Golden State Killer, and, on a lighter note, Ottolenghi and the Cakes of Versailles. They share the apartment with Charlie, an ebullient Norfolk terrier that Turner has to eject from the room halfway through our interview when he starts yapping. “I’m surprised he behaved for so long,” he says.

Eight-part series Leonardo has been criticised for warping historyPA

Like many of his fellow thesps, Turner has been doing a great deal of lockdown painting. “We have a roof garden here and the light has been really good,” he says. “I probably shouldn’t be saying this because I don’t know if the landlord knows. It’s not messy work anyway!” Unlike some of his peers — I’m looking at you, Pierce Brosnan — he has yet to unleash his daubings on the world. How would he describe his style? “I struggle to say abstract, but I haven’t quite figured out what it is yet.” Did it help with playing Leonardo? “I don’t know. If you saw my paintings, you’d assume very much not,” Turner says. He has a studied line in self-effacement, honed after years of “sexiest man on TV” questions.

Leonardo premiered in Italy last month and was watched by seven million, many of them doubtless keen to see Turner brooding in a succession of smocks. The eight-part series has been criticised for warping history, having the artist accused of murder and featuring an apparently fictional muse, Caterina da Cremona, played by Matilda De Angelis from The Undoing. Luca Bernabei, the chief executive of Lux Vide who produced the series, defended it stoutly. “Matilda De Angelis’s character did exist. She was a model Leonardo asked to paint,” he said. “We have been really careful in our research. But this is not a documentary, we are not historians and this is not a university history lecture.”

And if the history pedants are spluttering, the art pedants should be happier — the series goes to considerable lengths to make the painting look authentic. Each episode is themed around a different masterpiece, from the portrait of Ginevra de’ Benci to The Last Supper to the Mona Lisa, and the candlelit cinematography is often sumptuous. Turner’s research included a private view of a Leonardo exhibition. “I spent some time alone with the actual paintings, which was brilliant,” he says. “They’re just like high-definition photographs. I couldn’t wrap my head around the fact that a human had done this.”

Aidan Turner attended an artist’s boot camp before filming startedVITTORIA FENATI MORACE

The series opens in Florence in the 1460s, with Leonardo a pupil of Verrocchio, played by the veteran Italian actor Giancarlo Giannini. Before the shoot Turner and his co-stars went on an artists’ boot camp (brush camp?) supervised by professionals. He says the hardest part was learning to paint, as Leonardo did, with his left hand. He compares it to learning to ride a horse for Poldark, which he pretended he knew how to do before going on a crash course when he got the part.

Brushwork was the same, he says. “I realised I had to get good quite quickly and look like I knew what I was doing with my left hand, which is more difficult than you would think. It’s keeping it steady — you find it just moves around a lot. Leonardo was very slow and precise — I think I got it down. After a few weeks you start picking up the brush with your left hand, it becomes natural.”

Leonardo was a vegetarian, Turner tells me, “and apparently later in life opened some sort of vegetarian restaurant”. He was also gay, something that, despite reports, the series does not shy away from. Was this Turner’s first time kissing a man on screen? He laughs. “Of all the things I was expecting you to ask next, that wasn’t one of them! In a lot of ways it was just another love scene. The fact that the gender was different — that was never a thing. No, it felt right. It didn’t feel any different at all. But yeah, to answer your question, that was the first time, which I’d never really thought of until now.”

What did feel weird, he says, were the Covid protocols. “Suddenly people are wearing masks and shields and hazmat suits. We had a big sanitisation machine as we walked in that would spray us. You take off the mask when you shoot the scene and it’s a bit strange for a second. Then you realise it’s the first time you’ve seen your co-star’s face that day. It’s not conducive to a very creative environment, for sure. But we made it work and nobody got sick.”

With his wife, the American actress Caitlin FitzGeraldREX FEATURES

Turner spends a chunk of the first episode painting De Angelis, and both actors know what it’s like to be ogled. She has been asked endlessly about her naked locker-room sequence in The Undoing, just as he has been reminded of his shirtless scything scene in Poldark. Before that there was his lusted-after vampire in Being Human and his sexy dwarf in The Hobbit — branded a “dwilf” in some quarters — although that “definitely wasn’t the intention”, he says. “I think I just had less prosthetics on my face. My make-up call was 20 minutes and everyone else was sitting in the chair in the morning for three and a half hours. It wasn’t good to be around the other dwarfs in the mornings, that’s for sure.

“I get why people are interested,” he says of the ogling. “It’s just when it keeps coming up.”

We move on. According to a recent survey Cornwall has overtaken London as the most desirable place to live in Britain. Does he think Poldark played a part in that? He laughs. “Maybe we nudged a few people in the right direction. I think people forgot how beautiful that side of the world is. One of the first reviews of Poldark we read was like: ‘We can’t believe that this is our country, it looks like the south of France.’”

Could Poldark return, and would Turner be in it? If they stuck to the chronology of Winston Graham’s books they would have to leap ahead a few years. Maybe he could play an aged-up Ross Poldark in latex and fake paunch? “I don’t know if I’d be keen on the ageing-up thing,” he says. “It never really works. I don’t know whether they need to be too strict with that gap anyway. There’s the possibility someday, maybe. I enjoyed working with everybody on Poldark, from the writers right down to all the cast and crew. It really is like a family. So I’d be open to chat about it. But not for a while.”

Turner with Eleanor Tomlinson in PoldarkMIKE HOGAN

Before that he will appear as the apostle Andrew in The Last Planet, the forthcoming biblical epic from Terrence Malick, revered creator ofThe Thin Red Line and The Tree of Life. Well, he doesn’t know for sure if he will appear. Actors of the calibre of Rachel Weisz, Mickey Rourke and Jessica Chastain have seen their performances in Malick films vanish during editing.

“You want what’s best for the film. And if you don’t fit into it, you don’t fit into it,” Turner says in the tone of hair-shirt devotion that actors tend to use when talking about Malick. With a cast including Ben Kingsley and Mark Rylance as Satan, the movie is meant to tell the story of Jesus through a series of parables. Turner doesn’t really have a clue, though.

“You don’t necessarily know what you’re signing up to. You’re signing up to Terrence Malick,” he says. The director has “a great way of working. Everything is around ‘where is the sun’ at this particular time. That’s our natural light and it’s all we use. So things happen fast. There’s no trailers, hair, make-up, we’re just all together. You don’t know from day to day what you’ll be doing. It’s quite renegade stuff. That’s the way I always wanted to work.”

It’s closer to the immediacy of the theatre, which is where Turner started out. The son of an electrician, Pearse, and an accountant, Eileen, he represented Ireland at ballroom dancing before falling into acting. After studying at the Gaiety School of Acting in Dublin he acted in plays for five years and in 2018 he returned to the stage to rave reviews in Martin McDonagh’s The Lieutenant of Inishmore in the West End. Rave being the operative word — his performance was bracingly unhinged. “I can’t wait to get back to the theatre,” he says. “That’s what we’re looking at probably next.”

Turner’s character in The Lieutenant of Inishmore was an Irish freedom fighter, but he is reluctant to talk about the prospect of Irish reunification (“So I don’t get shot when I get home,” he told one interviewer). Culture is safer ground, and his native country is going through a purple patch with Sally Rooney in literature, Fontaines DC in music and the likes of McDonagh, Jessie Buckley and Denise Gough in drama. “It tends to happen in waves,” Turner says. “Coming out of drama school, Colin Farrell was such a big thing. When these actors really make it you can feel some of their light begin to shine on the industry back home.”

Like Farrell, Turner is an international star, although it has mainly been in period roles: Poldark, Leonardo, Andrew and his breakout turn as the 19th-century poet Dante Gabriel Rossetti in the 2009 series Desperate Romantics. It must be something about the hair.

That could be about to change, though. Toronto often stands in for New York, which suggests that his current mystery project has a contemporary setting. Does he yearn to act in jeans? “Yeah, you’re right,” he says with a laugh. “After Leonardo, I think tights and knee-length boots are out for a while.” Many would beg him to reconsider.

All episodes of Leonardo will be on Amazon from April 16

https://www.thetimes.co.uk/article/poldarks-aidan-turner-on-playing-leonardo-da-vinci-wnmqhxqxr

[lonelier-version-of-you]

Anyway it’s S20E14 time, which means the arrival of Queen Abigail Tate :)

Edit 1: Ooh, I’d forgotten this was a Joe Ainsworth one!

Also, remember when stuff that happened in Holby actually had consequences for the hospital? In late Holby, Ric would’ve been right back to normal the minute he arrived at work, despite just having spent months in prison.

Edit 2: Abigail saying she could ask Henrik for advice on being CEO. DON’T, Abigail.

Edit 3: JASON’S HERE, SEND HELP. Also argh Serena going “why don’t we leave Mr. Griffin here to do what he does best??” Jason’s not a child, Serena, even if the writers think he is.

Edit 4: Extremely funny how obsessed these writers were with the word “sapphic” solely to avoid having to decide if Serena was a lesbian or bi.

Edit 5: Fantastic little bit of dialogue. Roxanna, regarding a patient’s risky surgery: “A risk only an addict would take.” The patient: “What does that make John Gaskell?”

Edit 6: Fun fact: you don’t need a risky surgery to have your sense of joy and happiness destroyed, you just need to watch the last 4 years of Holby.

Edit 7: JOHNRIK

Edit 8: I love Johnrik flirting. Also - Henrik wearing pinkish-purple and John wearing blue. Love that.

Edit 9: John talking about “knowing when to stop” like he’s ever been able to do that in his life.

Edit 10: Abi and Fletch was the most forced het romance.

Edit 11: John being baffled by the patient calling Rox “Foxy Roxy”. I tell you he’s gay.

Edit 12: Very early-Henrik esque behaviour from John regarding pushing the patient to have the operation.

Also I’d forgotten what the fuck Abi did to the CEO office. Guy Henry hated it too, actually - the reason they didn’t stick with the green paint was because Guy demanded they change back to a more subtle design once Henrik returned to being CEO.

Edit 13: I checked the interview, it sounds like he actually meant he didn’t like the design of the CEO office around the time he first came back for his second stint (so in 2015). Whatever. The 2018 design still sucks.

Edit 14: Anyway I swear I’m about to start screaming at this patient’s ableist mum lmao.

Edit 15: Serena very hypocritically trying to confront the ableist lady in question lmaooo.

Edit 16: The John and Rox relationship was really fascinating. Do wish so much of the storyline hadn’t been spent on repetitive arguments between the two of them though lol.

Edit 17: “You said ‘thank you Henrik’. What did you mean?” “Let’s focus on the task at hand.” I’d forgotten entirely about this scene! Probably because this one is another episode I haven’t seen since 2018.

Edit 18: John being crazy (affectionate) on main in this episode.

Edit 19: HENRIK

Edit 20: “John, if I hadn’t been there... would you have carried on?” :’))

Edit 21: Abi deserved better than the forced Fletch romance.

Edit 22: Ah, the archetypical Holby “patient makes their injury worse in the middle of an emotional outburst” scene.

Edit 23: The first of several Frankenstein comparisons with Gaskell.

Edit 24: When John says they could try the surgery again, the patient says “So he can still get the headline?”. John bows his head and doesn’t respond.

Edit 25: This whole scene with Ric wondering whether he still fits in at the hospital and considering leaving is really, really sad in light of Hugh Quarshie leaving the show because of how much it changed.

Edit 26: Love John inviting Rox onto the trial because Henrik suggested it.

Edit 27: This patient’s mum is driving me mad.

Edit 28: I had COMPLETELY FORGOTTEN this John and Abi scene existed.

Also lol. Abi saying to John “if you screw up, we all go down”. Actually he screwed up majorly and there was no aftermath to it.

[poirott]

This is the 2nd part of the "Riddle of the Spinx" interview with Death on the Nile cinematographer Haris Zambarloukos for British Cinematographer November 2020 issue (part 1 transcribed here). The full interview has now been released on the British Cinematographer website. I've included some of the text below!

In Part 2 Zambarloukos talks about shooting with the cast on location in Egypt and doing a particularly complex single shot of them on set, how they did the opening b&w sequence of young Poirot as a soldier, and built sets of Abu Simbel and the pyramids, the use of realtime footage projected on LED screens to make the studio sets look more realistic, what part of the Murder on the Orient Express set they recycled for Nile, etc.

Q: This was shot like Murder on the Orient Express at Longcross Studios with plates filmed on location in Egypt. Was it ever a possibility to shoot entirely on location?

Haris Zambarloukos: The issue is that 1934 Egypt barely exists today. For example, in the 1960s they moved the Abu Simbel temple 300 metres away so that the Aswan Dam wouldn't flood it. So, we built the entire four-storey high Abu Simbel at Longcross, complete with banks of water. The same with Giza and the Sphinx. In the 1930s the Nile went up to the feet of the Sphinx. Now all you see is the concrete expanse of Cairo.

Secondly, it's difficult to shoot complex shoots on a river while floating, taking all the cast down there and scheduling them, on top of ensuring everyone's safety on such a high-profile project.

Our whole design and research went into creating a set. We wanted to build a life-size boat inside and out; not to break it down into small sets but to shoot it as if we were on a boat. That’s a huge undertaking. Jim Clay built an amazing set to scale for the Karnak. It was so big we needed to build a temporary sound stage around it. We also wanted to use some real daylight when we got great sunlight in Longcross and use a little bit of water to basically film the boats carrying guests to the Karnak.

We recycled the railway from Orient and built the boat on that so we could wheel it in from outdoors to indoors. We built a very elaborate lighting rig that you could pull back and see the entire boat in one shot. You could step onto the boat and walk through all the rooms which were all lit for an analogue film f-stop. It was complicated and took most of our planning but I personally don't think you can tell the difference when we cut - even from a shot filmed outside in real sunlight juxtaposed with one in apparent sunlight on our sound stage. It's seamless because we took such great care and a detailed approach to our rig and construction.

In Orient you created some stylish direct overheads of the train carriage. You've told us of the Steadicam dance sequence in Nile. Were there other stylistic flourishes?

Inside the sound stage we went twice round the Karnak with the entire cast all choreographed for this one great reveal of a murder. It was really hard work to do. I understand why it was cut in the edit although they have kept a lot of other single long takes and there are lots of places where you see the whole cast in a single shot.

However difficult you might think setting up a long single is in terms of lighting and operating, it is equally, if not more difficult, to block a scene with multiple actors, keep the audience engaged and choreograph it in a way that is exciting and at the same time reveals things gradually. There's a lot of pressure on a lot of people in shots like that. Everyone's got to be on top of their game. Because we're all so interdependent, it's a domino effect in that the further you go in the take, the bigger the responsibility is for not getting it wrong whether that's the operator, focus puller, the actor saying the final line, the gaffer lighting a corner at just the right time. We always get excited about those shots but also very nervous.

You augmented the studio work with plates photographed on location in Egypt. Tell us about that.

We filmed on the Nile from a boat with a 14 8K Red camera array. We had a 360-degree bubble on top of the boat and two three-camera arrays pointing forwards and backwards as we travelled up and down. We specifically chose areas where modernity wasn’t present (or where it was, we removed it in post) and we also shot plates from the point of view of passengers onboard the Karnak.

VFX supervisor George Murphy edited the footage and stitched the plates together into an essentially very, very advanced virtual reality rig in which I could pan my camera. We did that before principal photography, so we never had to guess a month or so later what to put there. That’s a big help. Most shoots do their plate photography afterwards. It meant I could pretty much place the camera on any deck of the Karnak for any scene and know what the background would be.

As with Orient, did you play back footage realtime on LED screens outside the boat set?

I'd love to have done it live but on Orient we were only dealing with one wagon's windows at a time. It was still the biggest LED set-up ever done to that point, but the Karnak set is 20 time bigger than that. There aren't enough LED screens available – plus it would have been prohibitively expensive.

Instead, I went for a much larger version of a technique I'd used on Mamma Mia which was to hang back projection screens all around the boat – 200m in circumference, 15m high. We used Arri SkyPanels at a distance to create a sky or a part of the background. It could also be converted into a blue screen when we needed to. It meant that if I had a shot looking above the horizon line into the sky then it could be done in camera.

How confident were you of retaining colour and contrast from set to post?

I took stills on the recce and we used those to the create colours with this back projection for our skies. I take prints (not digital stills) so there is no misinterpretation. A still is a piece of paper that you can see. Once something is emailed across and seen by someone watching on another screen the information can get lost.

At the same time there were a lot more checks and balances put in place. We had a projector at Longcross and I watched dailies with (dailies colourist) Sam Spurgeon every lunchtime. With Kodak and Digital Orchard we have a very quick process to convert analogue filmmaking into digital by the next morning. Film is processed at night, they scan at 4am and by mid-morning those digital images are transferred to our dailies suite at Longcross. At lunch we’d watch it digitally projected, having been processed, scanned and graded at 2K.

I check that first and give notes to Sam and those get transferred onto our dailies which is what Ken, the editorial team, VFX and studio team sees. That's a major check. It's me with someone in a room, rather than me talking over the phone which is a big difference. I have a very good relationship with Goldcrest and (DI colourist) Rob Pizzey who also sees things along the way. I supervise the grade at the end. So, there's no need for anyone to interpret anything. It’s a collaboration in which we all look at the same images.

Did you shoot black and white for the opening scene or convert?

We shot colour for a couple of reasons. Although Kodak could manufacture BW 65, there is no lab in the world to processes it. Plus, there’s a certain skill to grading BW using colour negative and the added benefits are that that you can place a grey tone to a colour. For example, you could take red and decide it will look a very dark grey or a light grey, so you get very detailed tones. Ultimately, I get much more control in the DI this way. They were very monochromatic battlefield sets and costumes so it was quite limited in this case. The Germans wore grey and the Belgians wore dark blue and it’s a dark sooty gas-filled battlefield but you could manipulate the blue in the sky a little bit more and certainly manipulate the intensity of people’s eyes - especially if they had blue eyes (which Branagh does).

How did you handle sound sync?

To do sound sync work on Orient we used sound cameras that are twice as heavy as high-speed cameras, so I wanted to develop soundproof housing (blimp) for our camera on Nile. I took the problem to Stuart Heath at BGI Supplies at Longcross. They've made all sorts of props for us before, from Cinderella’s carriage to the furniture on Nile. I told him that I needed it really quickly. All my other attempts had failed. Stuart suggested using a material that they soundproof the interior of helicopters with. He brought a draper in who basically measured the camera as if making a dinner suit for it and quickly made a couple of versions for us. It was very effective and really opened up the Steadicam possibility for us. All from just wandering onto a workshop on the lot and asking a friend if he had any ideas about how to achieve something. In the old days that’s what everyone did – the answer was somewhere on the lot.

Finally, after six films and 14 years working with Ken Branagh, could you tell us what makes your relationship tick?

It is a fantastic friendship. To begin with you must be able to maintain a professional friendship with any cast and crew which is all about doing your very best and understanding where you have common aesthetics and shared thoughts about humanity. Ask what kind of world you want this to be, because that will come through in your filmmaking.

As you say, I've spent years working in close proximity to Ken and we have a mutual affection and admiration for each other otherwise we wouldn't be doing it for so long. He is relentless in pursuit of perfection and in his advancement of storytelling and is inspiring to work with. It means you have to be as relentless in your area of craft.

I think we both like making the same kinds of films. I'm a Greek Cypriot who grew up with Greek myth and tragedy. Ken's love of Shakespeare is legendary. You can easily see the lineage between Aeschylus (the ancient Greek creator of tragedy) that goes all the way to Shakespeare. Perhaps that appreciation for the human condition in its best and worst forms is the tie that binds.

Photo credit: Rob Youngson

Source: britishcinematographer.co.uk - February 4 2021

[mochiikook]

my everything| jjk

⇢ pairing: jungkook x reader 

⇢ genre: angst 

⇢ word count: 2.6K 

⇢ warnings: cursing, blood 

⇢ summary: Jungkook is an emt and during his shift he gets a call about a serious car wreck and when he arrives at the scene, he notices a familiar car. Your car.

⇢ A/N: i’d like to thank grey’s anatomy for preparing me for this ask, enjoy!

© mochiikook. please do not repost, modify, edit or translate.

The loud buzzing and shifting next to you had stirred you out of your sleep. You groaned and reached over to pull your fiancé closer to you. “Don't go” you mumbled into his back, he turned around to face you and grabbed your chin to make you look at him. “I have to, my love.” You pout as you hold onto him a little tighter. He stifles a laugh before saying, “y/n, baby, I’m going to be late and if I’m late I’ll get fired and if I’m fired how am I going to pay for our wedding.” You pout before answering, “I’ll pay for it, all of it. Just stay here with me.” You feel Jungkook shake in laughter as he replies, “I would never let you do that baby.” He kisses your forehead as you loosen your grip on him and he slips out of your grip. “I’ll be back before you know it, love.” Your hand grips the sheets on his side of the bed as you fall back into your slumber.

The buzzing of an alarm woke you up, your alarm. With a groan, you reached up to feel for your phone on the nightstand. Tapping the phone blindly as you try to turn off the blaring noise before finally lifting your head up out of the pillow you stuffed it in and turned it off. With a sigh, you got up and headed to the bathroom to do your daily routine as you got ready for the interview you had that was willing to pay you big time. You didn't mention this to Jungkook, fearing that you might not get the job you didn't want to get his hopes up. Nothing breaks your heart more than to see a sad Jungkook. Although he would try to hide it, you see past his facade as if he was transparent.

You zipped up your pantsuit and put on your blazer as you checked yourself out in the mirror, the white blouse going well with your navy blazer and pants. Before leaving the house you gave yourself a pep talk. “You can do this y/n, you’re perfectly qualified for this job, nobody is more skilled in this position than you are. You have tons of experience, god, please bring it up. Don't stutter and don't get lost in your words, take your time and breathe before you answer their questions. Got it? Good. Now let’s go kick some ass and get rich.” You let out a breath before leaving the apartment, your heels clicking as you made your way to the elevator and down to the garage where your car awaits.

Unlocking your car, you step in and turn it on. Before you start driving out of the garage you connect your phone to the bluetooth and play your songs to hype you up for the stressing interview. You had worked so hard to get here and you knew you could do it, but sometimes the nerves just ate you up inside. Starting the car, you backed up out of your parking spot and made your way onto the streets.

Blasting your music, your favorite song to pick you up came on and you instantly sang with it as you maneuvered your way onto the highway.

(song: Rose Golden by Kid Cudi)

“Since I was young, been grooving to my own drum

ain't that many teachers, showed me my potential

felt like a failure mama said you know better

Future in my hands God, She had a plan

stronger than I know soon I’d understand

The power I possess, the story of the chosen”

“WOAH, jeez buddy watch where you're going!” you screamed to the car that just cut you off but was so close to crashing into you. As the exit got closer you switched your lanes carefully however the truck that was in the next lane did not see you as it changed lanes. It made contact with your car and before you had any time to react your car flipped over at the impact, skidding a couple hundred feet on the pavement. Your windows shattered and the glass shards cut into your skin.

It seemed as if time stopped, you couldn't hear anything except for a ringing which you assumed was because of the impact. Cars stopped next to you and a man crouched down next to your, now shattered, window. He was saying something but you couldn’t hear anything. You tried to speak but nothing came out except for a weak, “h-help.” Everything was pounding, lifting your hand you touched your head but soon pulled away as you felt a gooey substance. Blood.

JUNGKOOK’S POV

Sitting around at the fire department, Jungkook kept a conversation with his fellow paramedics.

“I should have called in sick today, it’s so slow.” I groaned to Dave, who was basically my mentor now. “Hey hey hey kid, never say that. Whenever someone says that-” He was soon cut off by a blaring alarm. “MEDICAL EMERGENCY TRUCKS NUMBER 49, 51, 70 RESPOND TO HIGHWAY 7 ACCIDENT MULTIPLE CAR PILE UP” Quickly getting up as the alarm sounded they hopped into their truck and left to the given location provided by dispatch. “Never say that again kid, something will always happen” Dave finishes. I nodded, “Noted.”

Pulling up to the scene, I see a familiar colored car in the middle of it all. “No.” I mutter under my breath. Dave turns to look at me, “C’mon kid we need to save lives.” I couldn't do anything. I was frozen, I prayed to God it's not who I think it is. My stomach churned as we stepped closer to the car. My heart dropped, Dave noticed me stop walking and turned to look at me. “What the hell is the matter with you.” I couldn’t even answer, all I saw was the hand. The hand that was lying on the pavement. Lifeless. Before I knew what I was doing I was running. It's like I didn't have control of my body. Something took over me and I found myself kneeled next to the driver's side where I saw the love of my life struggling to breathe “Y/N Y/N CAN YOU HEAR ME!” I feel Dave rush next to me, “Kid you need to step aside.” He put his hand on my shoulder to get me up but I shrugged it off, holding onto y/n’s hand tighter. With my other hand, I felt around for a pulse. Yes, yes yes god she was still alive, but barely. “I’m not leaving her, I can’t.” Dave sighed before waving down the firefighters to get their help in taking the car door out so we can get her out safely. “Kid, you need to let go of her so they can get through.” I shook my head and something fell on my hand. Water? I reached up to my eyes. I was crying. No, I was sobbing and I didn't even realize.

Before I could do anything, I was ripped away from her. “LET GO OF ME, SHE NEEDS ME, I NEED TO BE NEXT TO HER! LET GO!” I scream as they dragged me away from her. I watched from afar, not being able to do anything. I was useless. I’m doing nothing but sobbing over the love of my life. Once they put her on the gurney, I ripped myself out of the grip the 2 firefighters held me in. I ran to her side and took her hand. “Baby? Baby? Can you hear me? Y/n, honey look at me, stay awake baby. Stay awake, okay?”

Her eyes shifted to look into mine. I hated seeing her like this, I should have been in her place. I’d do anything to take away her pain. Her mouth moved but I couldn't hear what she was saying, “Baby what? What are you trying to say? Don't speak right now, love. You need to save your energy.” I said as I walked with the gurney. We loaded it onto the ambulance and I sat next to her as we left for the hospital. Not wanting to let go of her hand. I couldn’t and I won't. She’s in a critical condition and Dave did everything he could to keep her stable while we waited to reach the hospital. My leg bouncing up and down wanting this ride to go faster. It had to go faster. I can't lose her. Not now, not ever.

We arrived at the nearest hospital, and thank god. What felt like an hour was actually just 5 minutes. Still, not fast enough. We pulled the gurney out, or rather they did, my hand never left hers as I kept up with the doctors who were rushing her to the nearest operating room. “Sir we’re going to need you to let go now.” How could they possibly tell me to do that? “Sir! She’s in critical condition if you want her to heal, you're going to have to let go.” I nodded and kissed her forehead, “I love you baby, please don’t leave me, stay strong for me.” I let go of her hand and the doctors rushed her into the operating room. The nurses showed me to the waiting room. “How long do you think it’ll take?” I asked one of the nurses. “I don't know honey, but if I had to guess, it would take a couple hours.” I nodded before sitting down in one of the chairs.

Sitting in the waiting room just made me wonder if I’ll ever get to hold her again. No. Jungkook don't think about that. She’s going to be fine. She’s going to come out of the operating room alive and I’ll get to hold her in my arms again and we’ll forget this ever happened and we’ll get married and have 2 -no- 3 children and she’ll be a great mom and we’ll be happy. Right?

My leg kept bobbing up and down and I had stayed in this chair for 5 hours, how long would this take? My other coworkers had left a couple of hours ago, but Dave stayed. “Why don't you try and get some sleep, kid.” He said as he rubbed my back with support. “I can’t,” I responded as I stared at the wall like it was my enemy. “You can't or you won't?” He rebutted, I turned to look at him, silently answering his question. “Alright, I’ll go get you some coffee then.”

As soon as he came back with the coffee, a doctor emerged out of where she was. I stood up faster than light and went to him. “Well?” I questioned the man that had his hands in my fiancée. “It was touch and go for a while, but she’ll be okay.” I let out a breath I didn't even know I was holding. “Oh thank god, thank you thank you thank you.” I chanted as I broke down in tears while I hugged the doctor that just saved her. He patted my back gently and I let go. “She’s still under anesthesia but she should be awake soon.” He finished off his report. “Can I see her?” I asked, he nodded and told me to follow him. I looked to Dave who smiled and handed me the coffee cup, “You're going to need it, I know you're not going to sleep until you see her eyes open.” I took the cup and gave him a hug, “Thank you for staying with me, you should go home and rest.” He patted my back and nodded. “Call me if anything happens.” I nodded and let go and went to follow the doctor. I walked next to him and asked for his name since I hadn't asked. “My name is Namjoon Kim.” I nodded, “Thank you, again, for saving her Dr. Kim.” He smiled and opened the door that led to her room and there she was, lying in the bed that was surely uncomfortable. Tears sprung to my eyes as I pulled a chair out to sit next to her. Wires attached to her and her head bandaged. I took her hand and Dr. Kim closed the door and left me with her. “You scared me, baby. So bad. I thought I was going to lose you.” I brought her hand up to kiss the back of it before letting it rest on the bed as I put my other hand on top tracing soft shapes. I let my head rest on the mattress and let out a sigh and before I knew it my eyes closed and I dozed off.

Y/N’S POV

I felt the sun’s rays on my face and something warm on my hand. Ugh, owww why does everything hurt? What happened? All I remember was driving to my interview and then- oh. The accident. Fuck. I pried my eyes open slowly and was blinded by the lights. Jeez, do they have to be that bright? Once I fully opened my eyes, I looked to my hand where I felt the warmth. Jungkook. That has to be an uncomfortable position, he's going to strain his neck. How long has he been like that? I squeezed his hand in hopes of waking him up but to no avail. I should have known he wouldn't wake up to that, he's such a heavy sleeper. I went to move my arms and fuck it hurt like a bitch but I can't let it stay still, I need to have mobility, I need to regain my strength. I lifted my free arm and ran it through his hair, gently tugging on it to wake him up. “Jungkook. Jungkook wake up, baby wake up.” My throat felt hoarse as I spoke and I felt him stirring underneath my fingers and he lifted his head. It took him a few seconds to realize before scrambling to lock me in a tight hug “Y/N YOU'RE AWAKE!” I hissed in pain and he instantly let go. “Shit, sorry sorry, are you okay? Should I call Dr. Kim? I should call Dr. Kim to let him know you're awake.” He rambled as he pressed a button that alerted the nurses, I think? “Just shut up and kiss me.” His eyes widened in shock at my tone but complied with my request and his lips met mine. The kiss was passionate, sure we had others like this, but this felt different. I could feel all of his emotions, the fear, the sadness, and the blame that he was putting onto himself.

We parted and a doctor walked in, which I assumed to be the one he was talking about, Dr. Kim. “Hello Y/N, I’m Dr. Kim glad you’re back.” He said with a smile as he sat down on the stool next to the monitors. “I need to draw blood for some tests and you need to stay here for a couple of days while we monitor your condition and then you should be good to go.” He said as he prepped my arm for the needle. I nodded and let him do his thing and turned my attention back to Jungkook who was already looking at me. I smiled and squeezed his hand to reassure him that I’m okay. “Thank you for staying with me.” I told him. “What, are you kidding? I’d never leave you.” He responded and my heart beat a little faster at his words. My eyes couldn't leave his, I didn't even realize Dr. Kim had left. I just stayed focused on him. My everything.

[coldwind-shiningstars]

ok ok prompts!!! so, I would be Delighted by some more qinxiyao family fic (deleted scenes or things you might have wanted to include in the big bang fic but didn't get to?), or, alternately, anything in the modern tcgf au? anything at all; they're all so excellent <3

both of these are such excellent prompts I started working on both of them, but the modern au got finished first! I’ll probably both a) do a lot of edits on this and b) do the qinxiyao family fic in a week or so, but here this is for now. Also, for those not in James and my brains, this is a very small part of a very large AU! Small note, all characters appearing in this fic are trans; however, He Xuan is still very much an egg and so they are referred to throughout the fic as “he/him,” although SQX at least is aware of this and wondering when to bring it up with her. She is, however, unaware that “Ming Yi” is a stolen identity and He Xuan is actually the eco-terrorist who’s been blowing up her brother’s fish hatcheries. It’s a long story. 

If Xie Lian was being honest, he didn't much like the internet. It was so bright and everything moved too fast. People used a bewildering array of slang and images. It was surprisingly difficult to avoid spending hours reading upsetting news stories. People spent days arguing about pornography. 

Also, his phone didn't really connect to WiFi very well. Even by the loosest definitions of the word, he hardly counted as a netizen.

People were usually shocked when he told them this, though, because Xie Lian's best friend was one of China's most popular beauty influencers.

Xie Lian's face appeared on her Weibo with some regularity. She talked about him often. He'd gone viral three separate times on Douyin, entirely accidentally. 

What Shi Qingxuan was most famous for, however, was makeup tutorials. He had never actually appeared in one of these, but, since there were very few people in the world capable of saying no to a very determined Shi Qingxuan, this was about to change. He was used to being in her charmingly decorated little apartment but not quite used to becoming a decorated thing himself. He'd even put on one of the outfits Hua Cheng had designed and sewn for him, based on some of his old dance costumes and a few frantic weeks of historical research, and kept swishing the skirts around his legs.

Shi Qingxuan started setting up, chattering away to Xie Lian as she did. "You need anything before we start? Bathroom, water, a snack? I edit my videos pretty heavily, so we can always take a break, but it’s good to be comfy." 

"No, I'm fine," Xie Lian said, and then had to close his eyes when she clicked on the ring light.

He fiddled with the makeup compacts laid out on the table.

Shi Qingxuan adjusted her light, scootched Xie Lian’s chair a little to the left and a little back, and then fiddled with the camera. It was quite the involved operation, Xie Lian thought; he knew a lot went into making videos, but he hadn’t realized it took this much effort before the camera was even on. Shi Qingxuan had done his makeup before, of course, but mostly just for fun, or something she could take a picture of and post on Weibo. It had been so long since he'd been filmed.

He watched Shi Qingxuan press record on her camera and then sit back and flash it a smile, putting on her Influencer Face. She squeezed his hand under the table.

“Hi everyone, welcome to Feng Shi!” she said, chirpy. “I’m Shi Qingxuan, and today we’re doing xianxia makeup with my good friend, Xie Lian. Now, for this look, we’re going to need…”

When Xie Lian was little, the makeup artists for his dance troupe had known he took about twice as long as anyone else did to get his makeup done. He was the darling of the company, though, so this was tolerated with fondness.

He didn't like the way the foundation felt on his face when it dried. His eyes watered when they put on eyeliner. He liked to spin his chair from side to side. 

He'd had much worse things on his face than paint since then, and had learned how to be still.

Shi Qingxuan patted his hand cheerfully as she pulled out the setting powder. 

"You're always one of my favorite models," she said. "You're so photogenic and so patient!"

"Thank you," Xie Lian said, and held still while she brushed it in his face.

Ruoye, probably noticing the warmth, slithered out of Xie Lian's robes and curled up on top of his head so she could get the full blast of heat from the ring light. She flickered out her tongue to scent Shi Qingxuan when she leaned in with a liquid eyeliner pen.

Shi Qingxuan made little kissy sounds at her, which only confirmed Xie Lian's certainty that he had good taste in friends. Most people were startled by Ruoye originally, but how they responded to her after Xie Lian introduced them was a good litmus test.

Ruoye settled in, and Xie Lian reached up a finger to stroke her scales. 

He was feeling good, content and warm, happy to sit still. Then the apartment door clicked open, and Xie Lian stiffened.

"Ming-xiong? Is that you?" Shi Qingxuan called.

Ming Yi mumbled something back and shuffled into the room, buried deep in his black hoodie. As always, Xie Lian's first thought upon seeing him was wondering how he could see through all that hair.

The hoodie had a fish skeleton painted on it that he recognized instantly as one of Hua Cheng's drawings; it made Xie Lian smile, thinking of how insistent San Lang was that they absolutely weren't friends, no way, there was no particular reason he would make custom hoodies for Ming Yi. The fish were a coincidence. He’d even made Ming Yi custom salmon breakup boots while proclaiming it meant nothing. 

Xie Lian, wearing an elaborate hanfu Hua Cheng had designed, sewn, and embroidered himself, even making him a period-appropriate duduo to flatten his chest, absolutely did not buy any of these excuses. Hua Cheng covered people he cared about with his art. 

Ming Yi grunted a greeting and wandered off, probably to raid the fridge. Shi Qingxuan winked at Xie Lian.

“I’ll edit most of this out,” she said, conspiratorial, “But my viewers love Ming-xiong. Especially when he’s out of focus in the background. They’ve made memes. I haven’t told them anything about him. It’s good to keep a little mystery! It keeps people watching.”

Xie Lian, having no real idea what she was talking about, smiled and suppressed his instinct to nod. Shi Qingxuan began painting a flower on his forehead with red pigment.

Finally, Shi Qingxuan gently removed Ruoye from Xie Lian’s head and shoulders and settled a wig cap over his hair, then the wig she’d pre-prepared. A few bobby pins, a few tucks, and then she stepped back, grinning.

“Ta-dah! How do you like it, taizi dianxia?”

“It’s beautiful,” Xie Lian said, honestly.

“We’ll end the video here, I think,” she said, “But I’ll get some posed photos of you to edit in here if that’s alright. Oh, tilt your head back and forth a little? Good. Smile at the camera!”

Shi Qingxuan fluttered her fingers at the camera in a wave; Xie Lian waved too, a few seconds later. As she leaned forward to click off the camera he straightened his legs out to try and loosen them up. His knees made terrible crunching sounds as they stretched. 

“You can take a little break if you want,” Shi Qingxuan said. “I’ll set up the area where we’ll take photos, but I’ll try to make it quick. You’re a darling for sitting through all this, you know?"

She was already bustling around again. She seemed to have an endless fountain of energy; Xie Lian found it admirable. He laid flat on his back on her bed, careful to not get makeup on her sheets or wrinkle his clothes. Ming Yi sat next to him, eating shrimp chips. He put a few directly into Xie Lian's mouth, feeding him like a little bird, and Xie Lian felt warm. Like Hua Cheng, it could be hard to know when Ming Yi liked you, but there were ways to tell.

He let Shi Qingxuan pose him until she was satisfied with the numbers of pictures she’d taken, trying very hard not to feel like the chuunibyou teenager he’d once been. He felt himself mostly immune to embarrassment at this point, but he supposed there were always exceptions.

Eventually, they cleaned up, although Xie Lian had promised Hua Cheng to show off the full look, so he didn’t get changed or clean his face. 

“I’ll buy dinner,” Shi Qingxuan said. “We deserve it. You too, Ming-xiong!”

She herded them both out of the apartment and down the street to a small noodles stall. They all ordered (in He Xuan’s case, three bowls) and Xie Lian was fumbling for his phone when he heard Shi Qingxuan cheerfully tell the clerk to put it all on the same ticket. She tapped her phone to pay for it all before Xie Lian could protest.

A few people asked Xie Lian for pictures as they ate. He posed obligingly, hoping he hadn't spilled any sauce on his clothes while eating. When he was done, he packed up his leftovers, let Shi Qingxuan nag him into calling a Didi instead of trying to walk home, and bid both her and Ming Yi farewell. Ruoye, who had spent most of the time they were eating in Xie Lian's backpack, made a brief appearance too like she wanted to say goodbye as well.

Xie Lian clicked his own apartment door closed quietly and tiptoed over to slide his leftovers into the refrigerator. Down the hall, a light shone out from underneath Hua Cheng's studio door.

There was an old picture of the two of them on the fridge; it was them in a hospital pediatric ward group room. Xie Lian, age fifteen, was beaming at the camera, his "FIGHT! JUVENILE SLE" shirt a bright red and his pants an immaculate white. Next to him, Hua Cheng, his right eye patched with patterned tape, bald and tiny, stared up at him with devotion. 

Ruoye bonked her head gently on the freezer door. Xie Lian pulled out one of her mice and slid her gently into her tank before giving her the treat; she was swallowing the mouse as he left the kitchen.

Hua Cheng turned to him as Xie Lian opened the door to his studio. His eye got wide, and his face looked like it did sometimes when he looked at Xie Lian, like he was seeing something holy. He slid his headphones off his ears.

Xie Lian did a little twirl for him, letting him see the way the fabric moved, and then tilted his face up for a kiss when Hua Cheng came over to him.

“Gege, you look beautiful,” he said.

“San Lang,” said Xie Lian. “It’s all you and Qingxuan. I’ll get her to send you the pictures later.”

Hua Cheng kissed the top of his head. He was dressed down, in a soft shirt and pants, not wearing his prosthetic eye. Xie Lian leaned his head into Hua Cheng’s chest.

“Gege seems tired,” Hua Cheng said. “Would you like to get ready for bed? Do you need dinner or your medicine? I can help you take all that off.”

“San Lang, you’re working,” Xie Lian said. “I already ate, so I think I’d like to sleep. But you don’t have to help.”

"Gege is more important than commissions," Hua Cheng said, and Xie Lian let him bundle him off to bed.

post about prompts! 

[dmsden]

Monster of the Month - Gold Dragon

Hullo, Gentle Readers. We come, at last, to December, and a dragon to help you keep warm. The last dragon of our Year of the Dragon is the gold dragon, one of the goodliest of good dragons, and an absolute nightmare if they become your enemy. Thanks as always go to Scott “ArtMutt” Fabianek for the wonderful picture. I think this big guy is my favorite of the year.

I have to pause and say that I love what gold dragons have evolved into.  I wasn’t wild about the wingless creature of 1st and 2nd edition. I absolutely understand that the idea was to go for a classic Asian dragon, but it seemed very out of place. When they picked up their ray-like wings in 3rd edition, I liked them much better. I also love using them in my campaigns, often as Merlin-like characters who manipulate events behind the scenes to help humanoid races benefit from their wisdom without out and out controlling them.

The lawful good gold dragon is the most powerful of the metallic dragons, second only to mighty Bahamut himself. They are as physically powerful as the Tarrasque, blessed with intelligence and wisdom and immense charisma. They are amphibious, meaning you’re as likely to find one dwelling in a palace beneath the sea as anywhere else. In fact, they prefer to keep their lairs in hidden and remote places, because they like to be able to operate without causing locals concern. One thing we’ve never talked about is the terror that even a good dragon is likely to engender in people who aren’t familiar. And terrified people are more likely to react with violence than to pause and listen when a dragon says it’s friendly. This makes the good dragons’ ability to shapechange into humanoids to go among them make a lot more sense. Evil dragons might revel in the fear they cause, but good ones would want to avoid doing so...except when they meet evildoers.

Gold dragons enjoy the normal suite of draconic attacks, including legendary resistances and actions when they reach adulthood. One imagines that they might use their Frightful Presence to disperse a rowdy crowd, rather than to make people flee from them just for the pleasure of it. Like most good dragons, they can change their shape into a humanoid or beast. I could see a good dragon assuming the form of a beast in order to measure the hearts of those it encounters. Someone cruel to animals might bear further investigation to see if they are evil, while someone kind might deserve help or a reward. Likewise, as a humanoid, they might be able to learn far more than they could coming through in draconic form. I’ve often had gold dragons in the form of old sages, surprisingly insightful children, beggars, and other folk in need. 

I imagine gold dragons being disguised as humanoids as being a sort of a play on the Greek myth of Philemon and Baucis. In that tale, a pair of peasants arrive in a town, and everyone turns them away. Only the elderly Philemon and Baucis show proper hospitality. They bring them in and treat them as honored guests, not knowing that they are Zeus and Hermes in disguise. As repayment, they turn the couple’s home into an ornate temple, while the rest of the town is wiped out by a flood for failing to observe the accepted customs of hospitality.

A gold dragon has two breath weapons. For sheer damage, they have a flame breath as large as a red dragon’s, though not quite as damaging. Their other breath is a weakening breath, which can cause disadvantage on Strength-based attacks, checks, and saving throws. This is interesting, because it suggests a strategy when red and gold dragons clash. Since both are immune to the other’s fire breath, the gold dragon gets a slight advantage, as it’s weakening breath could potentially greatly reduce the red dragon’s ability to hit it in combat. The weakening breath is also useful when facing a group of adventurers that the gold dragon doesn’t necessarily want to kill. 

The area around a gold dragon’s lair becomes quite a pretty place. I love the idea that gems begin to sparkle and shed light within a mile, suggesting that something incredible is nearby. The opalescent mists that warn non-evil creatures of nearby evil are neat, too. And it would certainly be interesting to wake up from a dream of speaking with a gold dragon, only to later find that you really had been. And, of course, to battle a gold dragon in its lair is to battle a creature surrounded by echoes of its own foresight and wisdom. It can simply give itself advantage on pretty much every roll it might need to make, or it can banish someone away to a dream realm. These ideas are so flavorful, and I love them.

In my campaigns, gold dragons usually appear as wise, sagacious creatures who do their best to guide mortals with advice, rather than fear or demands. Most often, people don’t know they’re gold dragons for a long time, if ever. If anything, I often have to come up with reasons why gold dragons don’t solve every problem for everyone, and these reasons often involve ancient oaths, prophecies, and the like. For example, all chromatic and metallic dragons in my campaign swore a binding oath long ago not to interfere with the path of the Tarrasque. It has been hinted that the gem dragons may not have sworn such an oath, but they are incredibly rare, as well as being neutral, so they would tend not to interfere unless it directly affected their interests.

If you have an evil party, making a gold dragon the “Big Good Guy” at the end of a campaign would be easy enough. But it’s worth remembering that good people can have competing interests. A good dragon may decide to directly take control of an area in order to better protect and guide the people who live there as a benevolent dictator. This could very easily bring them into conflict with a gorup of PCs.

I hope you’ve enjoyed this last look at dragons for 2020. We’re going to be back to varying up the monsters for 2021, and I’ve already started putting together some good ones that I can’t wait to get Scott to draw! 

[hinerdsitscat]

So Let's Talk About Star Wars: Into the Dark

I yelled a bit about The Light of the Jedi so now I guess it’s time to unleash all of my thoughts about the next book in the High Republic series.

I liked Into the Dark more than I liked LotJ, partially because I just really like Claudia Gray’s writing (writer of the most iconic scene in the new canon novels, in which Leia shows up to a party in her most Obviously Sinister outfit after the big public scandal about Vader being her father in Bloodline),��but also because Charles Soule had to put a lot of energy into introducing the entire High Republic universe over the course of the first book, whereas CG could just get down to business. I also think the slightly pared-down number of characters and plotlines in ItD helped a lot: I spent a lot of LotJ not knowing which characters I should get invested in, because the first third of the book kept introducing characters and then immediately killing them off.

So let’s talk characters because DAMN they are delightful:

Reath Silas, You Fucking Nerd

No, really, the number of times I yelled “oh my god Reath you FUCKING NERD” out loud while reading this book was well into the double digits.

This precious city boy who just wants to read a book and be left alone, to the extent that they unofficially gave him his own desk in the Archives. Bless.

Also, just the sheer innocence of this child thinking that all the adults around him have everything figured out

But also: “I understand prosthetic arms are more advanced than prosthetic legs. More comfortable too.” and then CUTS OFF SOMEONE’S ARM (I had to edit this post like a week after the fact because I can’t believe I forgot about this scene)

The absolute lack of danger sense on this child, I stg... Meeting the scary genocidal plants? "OH MY GOD YOU'RE SENTIENT PLANTS CAN I ASK A FEW QUESTIONS?" Face to face with a Nihil soldier holding a blaster? "I REALLY WANT TO TALK PHILOSOPHY WITH YOU!" Having Cohmac dump a Massively Worrying Bit Of Heresy in his lap? "OH HELL YES, WE'RE GONNA TALK PHILOSOPHY, BEST DAY EVER!"

Speaking of Cohmac...

Cohmac Vitus, A Parade's Worth of Red Flags

Hoo boy...

This guy is the walking embodiment of Every Problem That Is Going To Bite The Jedi Order In The Ass When Anakin Skywalker Comes Along: trauma, repressed emotions, questions that Jedi dogma can't sufficiently answer, got an unexpected Padawan but can barely take care of himself... like, the only thing he's missing is a forbidden romance (Avar and Elzar seem to have that plotline covered, I think/hope...)

None of that is a criticism, by the way: I'm 100% over here with popcorn screaming "YES, FUCK THIS GUY UP"

Everything's going to hell and people are about to attack one another? FLOAT IN MIDAIR BECAUSE WHO'S GONNA MESS WITH THE GUY WHO CAN FUCKING FLY

Orla Jareni, Heading Off to the Jedi Order's Version of Hampshire College

Her plotline felt very much like something from SWTOR, but that might just be because I started playing the Jedi Consular storyline, like, yesterday?

I really liked her flashback plotline because, like with Cohmac, this was another example of "I really wish the Order had addressed this issue before Anakin came along..." Namely, that she spent the flashback mission trying to ignore her instincts in favor of what she was told, and it naturally led to a catastrophe. I got a lot of shades of "I keep having dreams about my mother dying! Eh, it's probably nothing..." so anyway, I spent a lot of Orla's plotline silently yelling.

Also THANK YOU CLAUDIA GRAY for this amazing new addition to canon: "Orla had recently declared herself a Wayseeker--a Jedi who would operate independently of the dictates of the Jedi Council. Some Jedi, from time to time, found themselves drawn to a period of solitary action, whether that meant meditation on a mountaintop, helping revolutionaries on a tyrant-ruled world, or even, in one legendary instance, becoming a minor singing sensation on Alderaan." I HAVE ABOUT HALF A DOZEN FIC IDEAS NOW, MOSTLY AROUND OBI-WAN BECOMING A TEEN HEARTTHROB POP IDOL.

Dez Rydan, the Cool Kid?

This guy gave me serious Ganner Rhysode vibes and so I was not in any way surprised when he got the absolute shit kicked out of him, because he basically had Doom written all over him. I was, however, surprised that he survived?

The Barash Vow was really interesting, and I was actually relieved that the Jedi Order had something close to rehabilitation, even if it was just "meditate a lot."

Leox Gyasi, aka "Master Yoda on (Medicinal) Spice"

There's a canonically asexual character in the GFFA!!!

Which would make him...

...wait for it...

...

...

...an ACE PILOT

(ducks)

Anyway, Leox is played by Tim Rozon-as-Doc-Holliday-in-Wynonna-Earp and you cannot take that mental casting away from me.

Affie Hollow, You Sweet Summer Child

Yeah, that about sums it up, though I love that she really did think she could change her Bird Mafia Mom.

I also really hope that this isn't the last we'll see of her.

She suffers through Reath's explanation of what Jedi are and then asks what is quickly becoming The Question of the High Republic series: "So do Jedi have sex or not?"

Geode: Stone Groot

I just want to say how ELATED I am that there was NO EXPLANATION for what Geode's deal was other than: he's a Vintian, from Vint rock person. That's it.

[regeek]

WandaVision speculation: post episode 5

@flavoracle​ has been posting some interesting theories and discussions about WandaVision that I’ve responded too, so now that ep 5 is out I thought I’d discuss what it means for his theories and some thoughts of my own. I’m going to separate this into two parts, with anything involving my knowledge of the comics under the read more. Some of it ight end up being spoilers and it’s generally a but more “inside baseball” than some MCU fans might be interested.

So first here’s my thoughts on where some of flavoracle’s theories stand:

“I believe that S.W.O.R.D. had possession of Vision’s body after the events of Infinity War, and for five years they were using it and studying it to try and create more sentient weapons. And when Wanda came back and found out, she was PISSED.So Wanda breaks into S.W.O.R.D. and breaks Vision’s body out, using her powers to do so undetected.“

This was basically confirmed this week. We see Wanda broke into SWORD and took Vision’s corpse. We don’t know for sure what SWORD was doing with it and Wanda wasn’t angry, per se, but SWORD director Hayward is clearly hiding something. His attempts to belittle and ultimately assassinate Wanda are borderline unhinged, and there’s a clear difference in perspective between him and the rest of the task force. 

One of the biggest questions asked by this episode is how cognizant Wanda is of her control over Westvew. The answer seems to be that she consciously knows exactly what she is doing. What’s more, Vision, Agnes, and the twins are now aware of it too. However, it’s still kind of ambiguous how long Wanda has been conscious of this, and the details of how this started are still under wraps. So it’s possible Wanda discovered something with SWORD we haven’t seen yet and she doesn’t remember. 

On the topic of Wanda’s memories, one of the most interesting scenes in the episode was Agnes asking Wanda is she wanted to do “another take.” Agnes seems to be aware of Wanda’s ability to “edit” reality, something Wanda herself still doesn’t seem to understand. it’s possible that some outside force is really editing the show but it seems like Wanda is erasing her own memory every time she does it. We also see some other limits to Wanda’s control, namely that Vision and the twins are truly able to operate independently. 

The other big theory flavoracle put forward is pretty bold: “I predict that the aerospace engineer will be Reed Richards, and we’re going to see that engineer, Monica, Darcy, and Agent Wu become the MCU version of the Fantastic Four. I think the reason why Monica’s scans came back blank are because she’s already experiencing mild effects of her powers as the new Invisible Woman.”

I love this theory though I don’t think it will pan out, for a couple of reasons. I’m going to list some reasons in terms of MCU stuff and in the comics section I think I can disprove it. I will say I’m almost certain the aerospace engineer is Reed Richards. I can’t think of another person it could be and the fact that they don’t give a name means its someone important. (Sidenote: no further details on the missing person this episode, but I still think this is the most underrated mystery on the show.) However, I do not think we’ll be getting much more than a a name drop for Reed. I expect it to be something like Dr. Strange’s mention in CA:TWS. My logic for this is that WandaVision is already doing so much to set up stuff for the Young Avengers, Doctor Strange, Spider-Man, and X-Men in the MCU for them to try and fit in Fantastic Four stuff. So far Marvel has played the Fantastic Four’s involvement in the MCU pretty close to the vest and I think they’re going to keep doing that. The X-men stuff is a LOT to drop on us as it is and Marvel’s generally been pretty good about not cramming to many setups into each project. 

On the topic of X-men stuff, let’s talk about that “recasting.” The way I see it there’s two ways to take it: either the Evan Peters version of Pietro is literally the incarnation of the character from the Fox X-men movies, and that those stories are all now canon in the MCU, or this is a fun reference and this is just a new recreation of Pietro to fit Wanda’s fracturing reality. I could really see it going both ways. I’m hesitant to think Marvel wants to canonize all of the X-men films, as there’s a lot of baggage there. The series ended on kind of a wimper, they had to retcon their own timeline, Bryan Singer controversies, etc. I currently think that we’ll get some sort of multiverse explanation (setting up stuff for Doctor Strange and Spider-Man) but not too much. Perhaps this version of Pietro will be based on an “echo” from across the Multiverse or something. 

Comic Stuff:

The best argument against Monica and Jimmy Woo being the new Fantastic Four is that they’re both already preexisting comic characters Marvel likely has different plans for. Monica Rambeau is a superhero with light-based powers. That’s why her scan came out weird: she’s literally made of solid light. Throughout her comic career she’s been known as Photon, Spectrum, and Captain Marvel. She’s been on several superhero teams like the Avengers (she was even the team leader at one point) and the Ultimates. However, what I’m most interested in was her time as leader of the most gloriously weird team in all of comics, Nextwave.

Jimmy Woo is a SHIELD agent who led his own team called Agents of Atlas. The current incarnation of Agents of Atlas has an all Asian-American roster, so I doubt that’s going to be what they call the theoretical Woo-Darcy spinoff. However, the upcoming Shang Chi movie would be the first step to setting up an Agents of Atlas show or movie. 

I fully expect both Monica and Jimmy Woo to show up in future MCU projects, os that’s why I really doubt they’re the new Fantastic Four. If Monica is going to be the new Invisible Woman, why give her the name of another superhero? I fully expect Monica to turn up in Captain Marvel 2 and possibly anything featuring the Avengers. I will say that between Monica’s presence and the comedic combination of Darcy and Woo it’s not entirely impossible all three are headed ot a Nextwave show, though I really doubt Disney is willing to let the mainstream MCU go quite that weird yet. However, the fact that the cards are even on the table is mind-blowing. 

I’ll also add in this section that it looks pretty likely we’re going to see a “reverse House of M” scenario. Some people have been theorizing that the presence of mutants in the MCU will be explained by Wanda creating them here, in a twist on the ending of House of M where she got rid of all the mutants. Given Wanda’s characterization on the show matching House of M and the “recast” this looks pretty likely. 

Another thing I’m surprised more people aren’t talking about: Tommy and Billy’s ability to “age” themselves was one of the freakiest things in episode 5, and given what we know about Billy in the comics opens up some interesting implications. Assuming the twins work the same way they did in the comics Billy inherits the same powers Wanda has, so he has as much control over Westview as she does. Presumably the “aging up” is actually just Billy’s power manifesting, and Tommy is just along for the ride. Also: given how much the Fox version of Quicksilver has in common with Tommy I’m very interested to see how those two get along.

Lastly, the name of the dog, “Sparky, comes form the 2016 Vision comic. 

There’s a non-zero chance that if SWORD was working on recreating Vision, that might be getting Vision’s “family” from that comic.

It’s been rumored that some version of Vision will join the MCU Young Avengers. I’ve been assuming this will be the “Victor” incarnation from the original comic run but it would actually be really cool if they give us Viv Vision.

[lonelier-version-of-you]

Rewatching S20E05 “One Day at a Time”. Paul McGann reciting poetry is classic.

Edit 1: Sfsfsfsfsf love this exchange between Meena and Nicky. “Does it look like I’ve slept more than 3 hours?” “Almost.”

Also, them wondering whether Henrik would be there for the big operation Gaskell was doing. I miss when characters discussed other things going on in the hospital.

Edit 2: I ADORE the top Roxanna is wearing in this episode. Gorgeous. I want one for myself.

Edit 3: Nicky and Sacha’s little dynamic was really cute.

Edit 4: Awww @ the patient saying she likes Sacha’s shirt.

Also, oh hey this is the one with that dude from Eastenders in it!

Edit 5: Ways to make yourself sad: watch this episode with the lens of John thinking Henrik had killed himself. (He’s genuinely surprised when he hears in the following ep that Henrik has been in contact with Serena... given their history the implications about what John thought when Henrik disappeared are pretty clear.)

Edit 6: I’m gay but John looks pretty great in this ep.

Edit 7: Meena being relatable. “I’m the queen of sulking, not you!”

Edit 8: John: “Theatre is a great calmer.” I think Henrik would agree.

Edit 9: OOH. John and Roxanna talking about Henrik.

Edit 10: I know John’s evil and all that but you have to admit he can do a pretty great motivating speech.

Edit 11: “Whose left, Dr. Chowdhury? Yours or mine?” An iconic moment.

Edit 12: “Between you and me, I’m not actually sleeping.” Fletch :( He really should have left after this storyline.

Edit 13: John reciting more poetry. Quoting lines about his “heart aching”. Again, keep in mind he thinks Henrik’s offed himself.

Edit 14: Donna encouraging Nicky is really cute.

Edit 15: I do miss the Jac/Frieda homoeroticism era.

Edit 16: The scene where John’s patient rejects the operation and explains her reasons is really fascinating.

Also lol I think this is the first appearance of Gaskell dragging out the word “very” for no identifiable reason. “I will do my verrry best for you, if you let me.” I swear he does it a few more times too. John you melodramatic little bastard.

Also I’d forgotten Nicky speaks some Romanian!

Edit 17: More interesting dialogue from John, given the context: “I focus merely on what’s in front of me.”

Also Jac and Frieda watching Gaskell’s op!! You’d never have gotten a scene like that by the time the show ended. I feel like series 20 is the final series the show actually felt like it was all set in one hospital.

Edit 18: Meena: “Theatre lighting is so harsh. This could have done with a filter.” Meena really predicted the stupid blue filter that they shoved over every single episode of Holby for nearly a year after the COVID hiatus.

Edit 19: More Jac/Frieda flirting!

Edit 20: Ah, the “Dominic’s daddy bear” joke. Iconic.

Edit 21: Again! “Nurse Di Lucca and Dr. Chowdhury will take verrry good care of you over the next few days.”

Edit 22: Oh hey, Darla’s here.

Edit 23: Essie and Meena gossiping about what they think Gaskell does outside of work. Interestingly Essie suggests he “listens to the sounds of the sea”, bringing in the water theme for I think the first time in this storyline. (You all know what I think John actually does outside of work though, and it’s “listening to My Chemical Romance”.)

Also, Frieda asking Jac out for a drink! Jac turns her down, but still.

Edit 24: Essie finding Sacha praying in the garden is still such a lovely scene.

Edit 25: John reciting The Tyger again, now over Lana’s comatose body.