#THERE WAS AN EPISODE THAT I WATCHED RELIGIOUSLY

[lordmartiya]

Last thing I watched was episode 2 of Bogus Skill, a Japanese fantasy where everyone gets to eat a fruit that give them a magical skill and then starts a job that uses it, with no more chances to change stuff because eating a second fruit is poisonous and serious backlash from the religious authorities if you try and work out of your skill. Unless I lucked out and got the Fruitmaster skill, that gives immunity to all fruit poison and allows to eat multiple fruits, I'd get stuck in some job for life or have to try and start a revolution.

Why didn't I watch Konosuba?! That's a weird world with an entire clan of superpowered chuni, to eat vegetables someone has to kill them first, various inventions left behind by a complete jackass with a magical invention talent (and the chuni clan are the most benign thing he left behind), various people isekai'd there by a useless goddess that gave her a cheat item or skill of their choice (the jackass above being one of them), said useless goddess after the latest isekai'd teen got angry at her and made her his cheat item, a royal family whose members can kill full grown dragons in early puberty, the useless goddess' cult of insane and hedonistic perverts that basically owns the main tourist destination and get really annoying trying to get you to join, and an active demon lord among other things, and it's still much better.

[leporellian]

‘the scary implications of the care bear stare’ PLEASE elaborate i need to know

THE CARE BEARS are an insane hodgepodge of christian allegories, which makes them fascinating to analyze- not in a 'your favorite childhood cartoon is actually super fucked up #childhoodruined!!!' way but in a way i genuinely find really entertaining/endearing

like the care bears are, Very Clearly, a form of guardian angels/saints, with elements from both the cultural belief of the former and the general behavior of the latter- the bears watch over individual children in certain situations, each bear has its own patronage for what it represents, the bears possess a level of omniscience, etc. Furthermore Care-A-Lot borrows very heavily from popular culture imagery of Heaven

Care Bears II: A New Generation plays with this further by having a whole Noah's Ark esque plot, a monotheistic God, Satan and a Faustian deal with him (his name is even 'Dark Heart' which could be read as a play on Lucifer's name meaning 'the bright one' and we first see him in the form of a serpent), etc, like they're really on the nose about it here

And since then Care Bears has sort of leaned on this bizarre Christian hodgepodge. Like fallen angels are a thing that can happen

So the Care Bears are (barely) secularlized guardian angels/saints who actually do things to help people. And in this light the Care Bear Stare becomes really fascinating

The Care Bear Stare works not by dealing physical damage but by toying with the mind. In one of the 80s cartoon episodes they define it as being done by the bear concentrating their energy and forcefully shooting it out of them. So what's going on here is essentially an angel aiming all its energy at you and then using it as a form of mindrape, preying on your reactions to either change your behavior or render you at the mercy of your own hatred. Insane stuff

The Care Bears can also use it on EACH OTHER and it seems to work so not even supernatural beings are immune to its power

I say all of this not because I think the Care Bears should be Dark and Fucked Up (that would be stupid, although i would be in favor of giving them 2000 anxiety disorders bc I imagine being a guardian angel would be stressful as hell) i just genuinely think this shit is fascinating. We dont have quasi-religious infighting angel cartoons like we used to man

[coraniaid]

I really like After Life (and, specifically, that scene of Buffy admitting to Spike she wasn't trapped in a hell dimension that I just reblogged). I think I would probably put it somewhere in my top five episodes of Season 6 (along with Dead Things, Bargaining and [somewhat lower down the list] Tabula Rasa and Doublemeat Palace).

And yet, as I've said before, I really don't like the way that some fans take it as canon that Buffy literally was in heaven (and that, in particular, something like the popular Christian notion of heaven exists in the Buffyverse despite everything else the show has ever said or will say about it; or that Buffy would go there by virtue of being a virtuous person despite her very explicitly not being at all religious ["note to self: religion, freaky" in Season 2, or telling Holden Webster in Season 7 that there was "nothing solid" to suggest God exists].

I really like the metaphorical reading of this part of Season 6, in which The Gift ended with Buffy making an (ultimately unsuccessful) suicide attempt, and in which she resents her friends for not letting her die, and in which she considers her life in Sunnydale to be a (metaphorical) hell which she compares unfavourably to some nebulous feeling of being 'complete' and 'finished' which she experienced after The Gift. But I just don't think the show is better if you start adding things like a literal heaven to the world's lore. something that nobody had ever even suggested as existing before this season. (I kind of loathe the whole concept of The Powers That Be on Angel for much the same reason; it just doesn't feel like it belongs in the setting the show had previously established).

The thing is, I think Buffy's speech in After Life works just as well -- arguably, even better -- if you don't assume she's right about actually being in heaven. I mean, we know she's wrong to have thought that "everyone [she] cared about was all right". We've just watched Bargaining, after all. Not only is everyone in Sunnydale in very real physical danger without a Slayer to protect them, all of Buffy's surviving friends and her kid sister and her Watcher are all manifestly miserable without her. Plus they'd still have had to deal with the Trio and (almost certainly) Willow's growing reliance on magic [even without the big resurrection spell, are you seriously suggesting Willow wouldn't keep using magic more and more if she lived on a Hellmouth with no Slayer?]. And all the money problems Buffy will find out about later would still have been an issue without her coming back to life! Were they going to send the Buffybot to work a second job to pay the bills? Were they going to send Dawn? And that's not even mentioning Angel, or asking about the people Buffy loved who have already died [are they in heaven too?]. I actually think it's more accurate to say that nobody Buffy cares about was all right while she was gone.

But After Life works because, to Buffy, none of that is relevant in the moment. She convinced herself that the people she loved would be better off without her when she jumped in The Gift, and now -- freshly emerged from her own grave, having been cheated by her best friends of her one chance to quit being The Slayer, told that she can't just pass on the impossibly hard task of living in the world to her sister -- of course she's going to keep believing it. Of course she's going to try to believe it for as long as she can. Because the alternative is admitting that she herself is still needed, and that she can't give up on the world just yet. And she really, really doesn't want to have to do that. Arguably she won't do it until Grave at the end of the season.

The important part of After Life isn't that Buffy thinks she was in heaven; it's that she's convinced the world around her is hell.

[justaz]

merlin slipping up early on around arthur and trying to assuage his fears by assuring that the gods would look out for them and arthur pauses before asking “the gods?” and they have a awkward lil conversation where merlin is like “yeah i worship the gods of the old religion” and arthurs like “why?” and merlin goes “well why do you worship the god of the new religion? we just believe in them” and arthur takes in this new information and is eventually like “yeah. sure. i guess its not illegal in essetir is it?” anyways thats it. it doesnt get brought up again until later on

when arthur + the knights and merlin and in that shrine and the knights aren’t taking it seriously and merlin goes “in the time of the old religion, they built shrines like this to appease restless spirits. we shouldn’t be here” and the knights brush it off but arthur knows merlin truly believes in it all so he redirects the knights away and later on its him and merlin at the well and arthur is there to calm merlin after he sees the visions from the raid. merlin’s crying and pleading with arthur to leave, that they shouldn’t be here. arthur agrees and goes to leave when merlin calls out to him. arthur stops but doesn’t turn. merlin wraps his arms around his middle.

“you were here”

arthur doesn’t say anything more and walks away

[vidavalor]

<<I looked up the etymology>>

*blush* You can't say these things to me when we're in public. 😂

<<And so our loops connect again with "Every Day.">>

Very true! The focus on mornings in S2 in the "Everyday" of S2 was also interesting to me. The first few episodes all begin with like "here we are again with Aziraphale trying to deal with his same daily round of these weird, lonely mornings" and The Final 15 is like welcome to the worst Friday morning that has ever existed lol. I guess my point is that the cycle of time is a thing during the week we're watching with things around everyday and the same daily round, etc. and that also shows us Aziraphale's diary.

Dawn is difficult for him because new days are micro-versions of the new dawn he feels stuck in trying to figure out how to start. He faces them alone because part of that new dawn would be figuring out how to make it so he can breakfast with that one, particular demon without them getting killed.

Diary and journal do seem to be quite a bit interconnected with some overlapping roots and connected words tied to daily/the dawn/daybreak, etc.. The PIE root dyeu is it a bit more the sky and heaven than technically God-- I know that, in some minds, those are the same things, but I think there might be a difference in meaning with relation to Good Omens. There's a disconnect between the awesome Voice of God who has been chatting with us and the evilness of the Heaven we've been watching.

There's also plenty of blasphemous wordplay throughout where characters are referring to those they love in different ways using terminology related to God or religious figures. With Crowley and Aziraphale, it's obviously deliciously dirty but, in the more general and innocent and direct paralleling plotline with the kids in S1, it's also just using the most famous palindrome word in the English language:

Dog, backwards, is God. The kid's gonna be alright. 😉

The ties between sky and heaven and the word diary does make Aziraphale choosing that word to call his record of his life on Earth a lot of fun. I've found that the words sky and heaven overlap in their etymologies as well because the sky is basically space but, as we know, space has always been where people thought the angels and the gods and such lived. It's something that makes me smile about Aziraphale writing in Demon's Guide that Baraqiel (Crowley) is the "Angel of The Sky."

It's true on a few levels. It's dry, since Crowley's a fallen angel who, like the other demons, was originally an angel of Heaven. It's also a nod to sky being space-- Crowley as the angel who made the stars. And the sky being an ancient way to refer to heaven... and heaven then becoming human figurative language for paradise? It then also seems to make it something of a C&A version of Gabriel's 'Beezlebub is my Heaven' moment. 😊

So, Aziraphale arrived in Edinburgh with a briefcase we never see him open and a hat that reads, among other things, "PRESS 66" on it, right?

And we might think that these are just Aziraphale's journalist cosplaying accessories but I think there are some hints that there's a bit more going on here than we might think-- all of it very relevant to The Finale.

We think that Aziraphale's arrival in Edinburgh is the first time that we see these things but, in true Good Omens form, the hat and briefcase are both actually glimpsed in a prior scene... rather significantly placed in that earlier scene, even.

Here they are, sitting together, the hat atop the briefcase, both in front of Jimbriel's once Fly-containing box, beside/behind the memory-wiped Muriel, in the scene below:

So, as Muriel is sitting there, not remembering Aziraphale, and as Aziraphale is sitting there, remembering Muriel and thinking all the things about the fact that they don't remember him at all? In the shot between them is the box into which Jim put his memory and brought it to Crowley and Aziraphale for safe keeping. In front of that box? Is Aziraphale's press hat and briefcase, seemingly drawing some connections between the journalist accessories and the memory plots in S2. Hmm...

What this scene also shows is that Aziraphale didn't just magic this stuff up as props when he arrived in Scotland. Even though we didn't see them in the car on the way up, they were there on the passenger seat for him to retrieve upon his arrival. He brought them with him from the shop. He packed them overnight and they were there, all ready to go, prior to Muriel's arrival, which coincided with Crowley coming over and moving the plants out of the car because Aziraphale planned to take it to Scotland. Why does this matter?

Because it might signal that there's more to the briefcase and the hat with its press credentials than we might initially suspect.

I think it would be safe to say that Aziraphale, by this point in the story, would be concerned that his memories were in danger.

He knows he's always been on a collision course with falling and this is all escalating pretty quickly in S2 in the two days prior to Aziraphale packing this press stuff and taking the car. Gabriel was The Supreme Archangel and he couldn't remember who he was and the archangels had shown up to threaten them and say that they're going to be spying on him even more closely, sending another angel to bug them the next day... the memory-wiped Muriel being quite an interesting choice, as that's sending quite a threatening message. Aziraphale also had roped Maggie and Nina into this and he knew he was likely going to have a confrontation with Heaven and Hell coming.

One of the first things he'd be concerned about would be his memories, right? and it's here where we can mention what we later learn about what Heaven can and cannot do regarding those memories... things that are new to us but that Aziraphale likely would have already known and factored into his plan, as we'll see.

Hints are given to this all season via Gabriel but it really becomes overt in this scene here:

This scene proves that Gabriel's memories aren't just in The Fly in S2-- they're also still in his mind. His memories are shown to be in two places at once. Gabriel's memories-- ones even directly related to the trauma he underwent-- actually began to come back before The Fly, in this scene. Gabriel felt safe and like he was talking with someone who could understand in this scene with Crowley so the memories began to come back for him.

The point here is that this scene shows that, when Gabriel "took his memories out" and put them into The Fly, what he was really doing was basically backing them up. He "uploaded" his memories into The Fly for safekeeping so he could retrieve them later, as a way to keep it so that they wouldn't be erased forever, but those same memories are still also on the "hard drive" of his mind. They were just mostly inaccessible to him for almost all of S2 because of trauma.

Before you say well, Gabriel might be a special case because he took his own memories out to avoid Heaven attacking him? Consider that Crowley didn't have a chance to do that-- but he tells Gabriel he knows how Gabriel feels.

Crowley has had the same experiences with his own memories. He's been able to bring some back at different times, without a lot of context, but a lot remains blocked. Crowley saying that he's been able to retrieve some memories means that those memories are still there in his mind, just very painful and difficult to access.

The idea might be that their memory loss is actually trauma-blocking. If Crowley's situation has the same effect as Gabriel's, it suggests that Heaven can't actually take people's memories-- they can only block them.

This would then be suggesting, as a lot in S2 did, that Gabriel didn't develop retrograde amnesia from taking his memories out-- he developed amnesia from the trauma he underwent.

When he felt safe enough to confront some of that trauma, the memories started to come back to him a bit.

What does this have to do with Aziraphale's briefcase, you ask?

It is connected because Gabriel's memory loss being from the trauma of Heaven trying to kill him, not from putting his memories into The Fly, proves that an angel could take his out their memories and not get amnesia from doing so.

Gabriel's story is showing that they could take out their memories whenever they want and still retain those memories also in their minds and be perfectly fine.

It's showing that Aziraphale could have backed up his memories in S2 without experiencing memory loss-- and the press hat and the briefcase are tied to just how he might have done that.

Aziraphale might have taken one look at Gabriel and his memory situation and the archangels circling the shop and thought that it would be a good idea to backup his memories and store them somewhere safe for if this all went pear-shaped.

What's interesting is that then, in a parallel shot to Aziraphale arriving in Edinburgh, we have this later scene when Aziraphale returns to London... note what's missing:

We see him park by the suit shop-- but no suitcase/briefcase this time. No hat. He's also taken off the raincoat. We never see them again for the rest of the season but we see a whole bunch of scenes that hint at where they are and why Aziraphale has left them in that location.

In this moment, we spend a strange amount of time on watching Aziraphale get out of the car and look around, hands-free, pat The Bentley, go for a little walk for a moment...

He talks to Nina, he goes back to the bookshop and greets Crowley and gets an armful of plants. The Bentley is largely the focus of the scene with Nina as well and its moving up in a scene that involves Nina and her bicycle-- another "mad 'American' woman on a bicycle", in parallel to Anathema in S1-- recalls Aziraphale miracling a bike rack onto the boot of The Bentley to transport Anathema's bike back to Jasmine Cottage. The key to getting Anathema and her bike safely home to her cottage was the bike rack Aziraphale made happen; the key to getting him and Crowley safely to the South Downs Cottage might be what Aziraphale stashed in the trunk of the car on his trip.

Here's where we can see that scenes before and around this involving Shax and Crowley show us pretty emphatically where the briefcase and the press hat are not located in the car...

They can't be on the passenger seat as they were on the way to Edinburgh because Shax wouldn't have been able to sit there when she got into the car on the drive back from Edinburgh. They also can't be in the backseat because the scene adjacent to Aziraphale's return to London is he and Crowley loading the plants back into the backseat. Crowley would have handed him his things if they were back there.

So, we have all of these shots of Aziraphale's return that are, among other things, emphasizing that the hat, the raincoat, and the briefcase are all not things he's taking out of The Bentley's trunk upon his return, even if they are his belongings and he brought them with him from the bookshop. He's intentionally leaving them all in the Crowley's car.

Aziraphale definitely did not leave his memories in a briefcase in The Resurrectionist Pub, even though that's the last place we saw the briefcase. How do we know that?

Because let's say that we're right here and Aziraphale did put his memories into the briefcase... either into something else that he then locked into the briefcase or just into the briefcase itself. What's the one problem with this?

He locked them in there for safekeeping, right? So...

He can't just leave the briefcase for Crowley-- he also needs to leave the key to the briefcase, yes? He needs to leave the combination somewhere... but he also has to hide that combination key. The briefcase wouldn't be very safe if just anyone could figure out how to open it, right? It needs to be something only Crowley can understand.

This is why Aziraphale is not a private detective in Edinburgh but a journalist because the key is in the hat.

How does one open the locked briefcase?

Press 66. 😉

The briefcase and the hat go together because the briefcase cannot be opened without the press credentials in the hat which, in very Good Omens and Crowley & Aziraphale form, look like they're one thing but are really another when you consider alternate meanings of words. Aziraphale knows that only Crowley would see Aziraphale's hat atop that briefcase and the 'Press 66' and work out that it's how to open the briefcase.

It would also be very Good Omens to nod to famous film Macguffins and then make them actually important in Good Omens' story. While a "what's in the briefcase?" thing here is very Pulp Fiction, the film that inspired the briefcase in Pulp Fiction is 1955's atomic noir Kiss Me Deadly, which is being referenced all over the place in S2.

The scene where Aziraphale picks Shax up from the side of the road is a homage to Kiss Me Deadly's opening scene, Gabriel's memory issues and his "I am in The Fly" note is similar to part of the central mystery of that film, and Kiss Me Deadly is the origin of the popularization of the word vavoom/va-va-voom.

Like basically every other film referenced in Good Omens, it's also known for innovative use when it comes to language-- particularly, coded cinematic language, in this case. Like North by Northwest, which is referenced in both parts of 1941 so far, Kiss Me Deadly found innovative ways to get around the Hays Code to tell its story. References to The Maltese Falcon in the story are also likely in relation to that story using etymology-based language to queer code aspects of its story, in a similar way to Good Omens, but also that The Maltese Falcon itself is a bit of a MacGuffin. In Good Omens, though, it seems like they're actually winking at those by making Macguffin-alluding things actually important parts of the story.

Anyway, the biggest fan theory about what's in the briefcase in Pulp Fiction is based around the combination to the briefcase being 666 in the film and the idea is that it's Marcellus Wallace's soul, which he sold to the devil. Famously, the audience never sees what's inside the briefcase. We might be saying here that the combination to Aziraphale's briefcase being 66 may be nodding to Pulp Fiction's briefcase a bit and hinting at the Satan in The Final 15 ideas. 66 is also tied to Route 66 and rock 'n roll in America, Buddy Holly, and the paralleling Gabriel & Beez flashback, maybe especially hinting at memory-related things happening with the briefcase.

I won't spoil you on what's in the briefcase in Kiss Me Deadly but let's just say that it goes along with Good Omens pretty well thematically... in a much, much darker way. The film being very bleak noir makes it very different in tone from Good Omens but the fact that the briefcase is actually is relevant to the story in the end of that film might also hint that Aziraphale's disappeared briefcase might wind up being important in The Finale, too.

Adding to this theory is also that another briefcase in The Bentley's trunk/boot was also something shown earlier in S2-- on a very significant night in Crowley & Aziraphale's history:

When Aziraphale is in Edinburgh, we see him intentionally hamming up his newspaper man persona and, in doing so, he takes the briefcase into The Resurrectionist Pub, right? Bit of foreshadowing there as to what will happen to Aziraphale and what will need to happen to bring him back?

Yes, we don't see the briefcase again after this scene but I doubt he left it in the pub because it would be useless to Crowley without the hat, on which Aziraphale has hidden the briefcase combination hidden in plain sight. Aziraphale was seen wearing the hat in one scene set after we last saw the briefcase, proving that both of them and the raincoat are in the trunk of The Bentley:

Aziraphale wore this whole get up to Edinburgh so that, if anyone was watching him, they'd think he was Muriel-like cosplaying a newspaper man. I mean... we know the trench coat is a little Columbo-esque, but why wouldn't he just be a private detective and not a journalist, if the goal was just to play a role to help solve the Gabriel mystery? Because he had to be a old movie-esque journalist so he could have the word press there in the credentials, only for its other meaning for the briefcase combination.

Aziraphale definitely had a whole other list of motivations for being the one to go to Edinburgh. He wanted Crowley to rest in the shop and to talk to Gabriel, he wanted to be the one to go tackle the mystery, and he wanted to work on his 1827 issues by going to the graveyard again... but we might find we can add to that list that he also realized it would be a good opportunity to hide his memories in a briefcase in The Bentley with actions that are right there, in plain sight of anyone who is watching-- including us 😉-- but might not be deemed suspicious.

Parallel-wise, the briefcase and The Bentley are the matchbox and the moving box and PRESS 66 is Aziraphale's equivalent to I AM IN THE FLY... all before Aziraphale and Crowley actually figured out what Gabriel and Beez did to protect Gabriel.

He's pressing on the press hat he's leaving for Mr. Six Shots of Espresso... 😂 The press card is in his hat, like a feather... Crowley's "it'd be a real feather in your cap wing" joke from the foreshadowing "I'll be damned"/"It's not so bad when you get used to it" scene in 1.01...

That demon doesn't know it yet but he's driving around with Aziraphale in the trunk because Aziraphale figured out how to get around the worst case scenario. He knew he was on a collision course with falling and he found a way to potentially dodge the memory loss by stashing his memories for Crowley in The Bentley.

His enthusiasm in Edinburgh is him barely able to contain his amusement at getting one over on anyone watching him who think they know what they're seeing but don't realize what he's actually up to.

No wonder why he was walking on air when he got back to London-- it was mission accomplished. He'd managed to leave Crowley the ability to bring him back, tucked away in the safest spot possible.

The bookseller who, like the others, is a metaphorical book/paper, left their out for Heaven and Hell trying to kill him for Crowley's safekeeping in a briefcase... the thing people use for...

...paperwork. 😂

But wait... there's one other big question, though, yes?

Why didn't Aziraphale tell Crowley this?

There absolutely was enough time and opportunity to tell Crowley he'd backed up his memories and left them in The Bentley's trunk.

The fact that this didn't come up seems wild, right, because they both know that Crowley has been having a steady anxiety attack about Heaven and Hell circling all week. We would think that, if Aziraphale had figured out this plan to circumvent that threat, the first thing he would have done would be to tell Crowley about it, yes?

Except... while I wrote this meta from the perspective of what the end result of Aziraphale's actions with the briefcase might be in The Finale, I don't actually think that was Aziraphale's own motivation for doing what he did.

Aziraphale didn't take out his memories and leave them in the briefcase in The Bentley for Crowley as a backup plan for them to elude a form of death for Aziraphale.

He left them there for Crowley to find and have after Aziraphale was already gone. Why else would Crowley need the combination on the credentials on the hat, right?

If Aziraphale had intended on his memories in the briefcase being a plan to save himself, he would have told Crowley about it so that Crowley would know. Instead, though, it's something of a suicide note. He left them for Crowley to find and have in the future.

I think The Bentley was even warning of this suicide ideation and showing concern upon the return to London for Aziraphale over what he had put in its trunk. The car is worried. [I love Good Omens-- when else am I going to type a sentence like that? 😂]

Aziraphale first parked it in front of Battye [madness] & Palm [to take]. It's a shop reflective of a lot of that depression and suicide ideation happening in Aziraphale's story and leading to his fall that I looked at in The Devil Takes The Hindmost.

The Bentley then drives itself-- and all Aziraphale's Aziraphaleness in the briefcase-- up a few feet. What is The Bentley then aligning Aziraphale with?

Death.

The car parked itself in front of the Give Me Death half of Give Me Coffee or Give Me Death...

... until Aziraphale told it to go back to where he parked it. Then, The Bentley backed up a few feet to Battye & Palm and all the madness that is the rest of the season. The car was foreshadowing the end, parking itself right along where it would be parked the last time we'd see it in S2.

The trunk is aligned with Give Me Death in The Final 15...

...fulfilling the foreshadowing of the end of S1.

[riveluart]

RIP Akira Toriyama

My cousin, younger brother, and I grew up watching dbz, and I'm sure my relationship with my art wouldn't be the same without having experienced his work back then

[carefulfears]

how many of you would get mad at me if i said that mulder fucking another woman while wearing scully’s crucifix necklace is one of the most romantic things to ever happen….like, gothically and punitively so….it’s like….well, it’s like…it’s like “aw boohoo he has to get laid because he’s so sad his partner is gone” but like for a person who never allows themself any indulgence or respite or attention, who therefore only has sex as penance. only in blood. and it’s like…yes, it’s self-harm, in many ways, but in many ways it is also confession. crucifixion, as a laying down of sin. bless me father, for i can’t save them, and i miss them anyway. crucifixion as being watched over…when he asked maggie, “why did she wear this?” and maggie answered, “because i gave it to her.”

[feelingtheaster99]

I have had Bobby Dawn for approximately two minutes and I would already like to return him, please and thank you

[cloudcountry]

.,.,.,,. cilan from pokemon

Guys, I wanna know. Reblog this post and tell me who your first fictional crush was. Like, the one who instantly stole your heart. Do they still have your heart to this day?

[topless-oncology]

btw i grew up gay in poland so whenever chase gets bitchy around religion I look like this

[buddiesmutslut]

I’m being so ffr rn, if the show runners definitively show that Buddie is not going to happen?

I’m probably not going to be watching anymore.

I mean it when I say that they’re literally the sole reason I watched this show in the first place. I saw a billion TikTok edits of them & was like “Idek these characters I need to watch this show and see what’s going on over there.”

And like, it’s a fun show, I’m not saying it isn’t, but first responder shows are a dime a dozen. There are other shows that have queer characters and found family and wild adventures. Granted, they don’t have Buck & his bi arc, but I’d still read fanfics to get my Evan Buckley fix lol.

I don’t need them right now, I’m so down for the slow burn, will-they-won’t-they & the pining & the yearning & the build up and the GOOD foundation. I want to see Eddie figuring himself out and dealing with his repression and figuring out he’s queer (& Demi, pls God. I hope if I just say it enough, I can will it into existence somehow) before anything happens with the two of them, but if they take definitive steps to have one of them like, marry someone else or something, I think I’m gonna head out. Find me on ao3 for the rest of my days lol.

[uncreative-cryptid]

the tension between you, and i, in this empty church building, and the flesh angel in the corner of the room, at midnight, on an island you cant run from and a location where no one will hear you scream.

so anyways i may have met god and

[lilcathsmith]

Crime Show Meme - CSI insp [10/10 episodes]

"...as much as this is our universe, surrounded by science every day, I still like to think there's room for a spiritual side." - Ghosts of the Past (Season 13 Episode 21, 8th May 2013)

[sobeksewerrat]

*incomprehensible autistic screeching in the background*

[sskk-manifesto]

And so the big sskk shortage begins (no sskk for the next 15 episodes) (and the sskk episode coming after kind of sucks)

[emily-loml]

Saw a post about continuity errors in criminal minds and it made me think of Penelope and the two that annoy me the mosttt

Derek not knowing her name when she's first working in the bau even though he was there when she was first hired ??? To further that Spencer with his eidetic memory also didn't remember her name?? Which led to Derek calling her baby girl for the first time

WHERE THE FUCK DOES HER LAST NAME COME FROM !!?? Earlier seasons she says it's from her foster family who took her in. She even says it to Luke when he goes "so Garcia that come from the long line of white blonde Garcia's I don't know?" And she retorts with "actually it's from the very nice family who took me in after my parents died when I was a teenager"

BUT THEN LATER ON IN AN EPISODE ABOUT HER PARENTS they tell us that Garcia is her stepdads name like which one is it!!???