#a storytelling masterpiece

[anathemafiction]

"I'll tell you why I spit on your forgiveness. Why I loathe your redemption. To reach a hand down to someone, they need to be BENEATH YOU! And I'm beneath NOBODY."

"My greatest heartbreak is that when I've collected every last mortal soul into my pit, I will only have eternity to punish them."

— Brennan Lee Mulligan as The Lord of Lies, ExU: Calamity

[vi-arcanes-left-biceps]

Spoilers for Arcane S2 Finale❗❗

So, i keep thinking about Arcane's last pieces of dialogue and though they sounded kinda funny when I watched the end at the first time (in a 'really? This took 27h to write?' way), the more I think about it, the more I like it.

I think it has a ton of layers to interpret and I'm still missing a few of them.

Please forgive my multiple tangents while I try to gather my thoughts.

First, how Caitlyn finds Vi: no bandages, a glass of alcohol in her hands.

No bandages means many things for Vi: she's vulnerable -both because of what she's going through and beacuse she can allow herself to be vulnerable for the first time in the show, with Caitlyn-, and her fight is over, she doesn't have to fight anymore (Re: Ep7 Powder saying Vi fights because she's scared of losing everyone, and she has lost everyone). (Everyone but Ekko and Caitlyn, who have repeatedly proven they can fend for themselves and are leaders on their own right, I'd love to say Vi is in a point where she's able not to feel responsible for them too, though this is something I'm not so sure about). Bandages were also an important part of her character design, of herself, so this gives a sensation that she's lost a part of her identity too. Who is she, if not the big sister, the protector, the brawler?

Alcohol is another small details that just says she's not okay. We've seen her drink herself senseless for, presumably, months, in Act II, to cope with all that happened in S1 and particularly S2 Act I: accepting the loss of her sister after the attack on the council, becoming an enforcer even though she was completely against it because she still feels responsible for ending Jinx, recognising her sister again for just a glimpse and gaining faith that Powder is still there (with the realisation that she almost killed her sister -not the monster she convinced herself jinx was, her sister) falling in love with Cait and seeing her become a completely different person out of grief.... So after everything that just happened in Act III, where she saw that many people die, either strangers or friends, and where she lost her sister and father AGAIN, of course she's considering getting back to drinking. So much happened to her in the span of few months that she's considering drowning the pain away again.

Caitlyn's question: "Are you still in this fight, Violet?"

The line delivery is incredibly soft and intimate, and Cait calling her Violet is the cherry on top. She's knows Vi is not okay. She's knows she's going through a lot right now.

Caitlyn's question seeing this is really, at least, three questions:

First and clearest is a check-in: "How are you?" "Will you be okay?" "Do you want to talk about this?"

Second is "Are you staying?" Vi could leave to be alone as she did at the beginning of Act II, could go with Ekko to Zaun... I can also see an "Are you staying with me?" After everything that happens, after the little time that they've had to be together and to solve the many things between them, her asking "Are you still in this fight" can mean both "hey, are you holding up" and "Are we still together in this?"

Third would be "So, are you up to face this, solving things between Piltover and Zaun?". I know some people have criticized the lack of resolution in the Zaun/Piltover conflict. I'd argue, as much as I'd love for the class conflict to be expanded, it is not the core of the series, and both the writers and the characters know that a conflict like this cannot be solved in such little time. The series was not going to solve it. What it does is solve it's main plot and character arcs, and leave a space for this theme to have the start of a resolution. Piltover an Zaun joined against Ambessa's army, and the ending gives us a glimpse of the will to change the relationship between topside and bottom (e.g. having Zaunites in the council). It's not a perfect ending nor it is a resolution for Zaun's class struggle -I'm pretty sure that was never the intent, though I would have liked for both cities' relationship to be more comented upon in this season-, it's the opportunity to advance towards a resolution. So Cait is asking Vi if she is willing to deal with that too. "Are you still in this fight?" can also have an implication to mean fighting to make things better. This also means fighting for them to be together.

Then, Vi's answer: "I am the dirt underneath your fingernails, Cupcake. Nothing's gonna clean me out".

Now, I like this because it sums up to Vi saying "I'm not going anywhere" but the line itself and the delivery gives it a few more layers of meaning.

First of all, Vi is clearly not okay. She's very emotionaly scarred and considering an unhealthy coping mechanism. She looks incredibly sad. And she's deflecting with humour to the question because she's probably not ready to talk about it. So her delivery here, plus the strange joke/comparison and calling Caitlyn "Cupcake" (which she's only done when she's teasing her in a flirty or funny way or deflecting the conversation by doing so) is telling Caitlyn that she's not okay right now, but that she isn't going to leave. "

I interpret "Nothing's gonna clean me out" as her basically saying "I'm tough, I'll get through this" to Caitlyn's "How are you?" and saying "You're not getting rid of me" to Caitlyn's "Are you going to stay?"

Furthermore, calling herself "The dirt underneath your fingernails" has an obvious implication about her being a Zaunite and Caitlyn being from Pilotover. I've seen some people saying this is insulting to Vi's character and to Zaun's storyline.... I don't think so at all. Yeah, I can get to see a layer of self-depreciating humor, but for me this is Vi using her humour as well to reinforce herself and her identity as a Zaunite (which arguably she left aside/lost sight of during Act I) while also teasing Caitlyn for being a topsider. I like to interpret this as Vi saying "Yeah, Piltie, I'm sticking with you and I will keep bothering you". The tone and calling Cait "Cupcake" reinforces this as a tease as well. Reinstating her identity as a Zaunite also gives insight on Vi's position on the Zaun-Piltover new relationship: yes, she's willing to help out manage this, always from the position of a kid from the Lanes.

Zaun and Piltover are also stuck together after the ending - they've fought together against a common enemy and that has also forced Piltover's elite to sit and listen to Zaun's demands. For sure Piltover's aristocracy still has to get their heads out of their asses but this is how I like to read the phrase in regards to Zaun-Piltover, layered upon what Vi is saying: I am the dirt underneath you = I (Zaun's state and problems) am a consequence of your (Piltover's) actions and I am not going anywhere. (You will have to listen).

Anyways, lots of rambling and I'll still be missing stuff!

Another thing is, native spanish speakers as I am use the phrase "Nail and flesh" to say that two people are inseparable, and this has enough similarity to that for it to feel like Vi is also saying they are inseparable. So yeah

[ashartstuff]

Shoutout to Luca (2021) for being the only movie to ever exist

[captaindamianos]

Inktober Day 3 - Path making decisions about the future

[simplydannie]

This is why DreamWorks was always one of my favorites! I actually started watching DreamWorks movies before Disney!

The exploration they do with their world building and story telling! You don’t have to be a person of faith (even though I am lol) to admire the beauty and music of the Prince of Egypt. Over 20 years later and this movie is still a friggin masterpiece! The animation , the story, the music!

This one is my top favorite DreamWorks film ❤️

[marcmorrigan]

According to the artist, when it was suggested that a smile might benefit the look of the finished portrait, Attaché Nohell reportedly replied, "I thought the purpose of this was to be honest."

Super fun commission of @waterloggedsoliloquy's OC Sicely Nohell (they/them) and their terrible, horrible, no good, very bad lusus figure Commanding Officer.

[bucksboobs]

Like I said BuckTommy season 8 power couple but it would be great if Eddie has his feelings realization towards the beginning of the season and the midseason finale is him telling Buck and Buck just pauses. Looks at Eddie with tears in his big blue eyes and says “Eddie. It’s too late.” Because Buck is so so close to being in love with Tommy and he wants that to happen and moving on from Eddie was the hardest thing he’s ever had to do and he had to come back from the dead once. Eddie can’t just throw himself down as an obstacle right as Buck is about to cross the finish line and finally have a relationship that will last. It’s not fair to Buck. It’s not fair to Eddie. And we get left of that gut punch of a scene until the back half of season 8.

[superbellsubways]

everyone watch The Prince of Egypt neow

[novorehere]

“Those girls found it… the thing that they cherish. And that’s why they’re strong.”

[thepersonalwords]

A masterpiece does not unfurl its wings immediately. It takes time. It will fly when it is ready.

A.D. Posey

[soubidou]

If I had a penny every time Luis Carazo played a broken character reaching out and talking (negotiating) to a cosmic/horror/evil deity that ended up ripping open a rift between realities with its own two hands to try and come out of it on a Critical Role short season with a 6h30 long finale I'd only have 2 BUT IT'S WEIRD (EXHILARATING) THAT IT HAPPENED TWICE

[the-labyrinth-of-me]

Alan enters Zane’s room, hoping he’d find the manuscript there. But all he finds is another artist who looks exactly like him, who left his markings and traces everywhere. Ahti keeps reciting his poems, The Old Gods of Asgard use them in their songs, Hartman has one carved into the sundial at the Cauldron Lake Lodge. Zane’s spirit is everywhere. There’s a legendary movie, the „lost film“ that Ilmo and the Cult of the Word are after, and while the Cult of the Tree copies the murders of Alan’s books, the Cult of the Word (who is their leader? Scratch? Zane? Wake? All of them?) copies the ritual of Yötön Yö, the ritual that was once performed by Thomas Zane himself. It drove him into madness. He had to kill the woman he once loved, and still does. But he forgot about it. He’s on another mission now: he leads Alan on. He contacts him over the phone, tries to feed him information. About Parliament Tower, Caldera Street Station, the cinema, the hotel, about Scratch and Alice. But never too much at once. Just plain and simple steps, one after another. Alan is Zane’s biggest chance to get out. He guides Alan to the murder sites. And to his room. But he doesn’t have anything more to offer, at least nothing Alan’s interested in. The only thing he can offer is the truth.

The truth about Alan.

He tries, but Alan either refuses or is unable to understand. Zane’s too far gone, too far down the spiral to explain it better.

Alan, at one point, realised that his constant changes of Return continued to kill people by the dozen. He couldn’t change it to stay consistent with the genre. But he felt bad about it. Simultaneously, Zane found himself stuck. That was unacceptable. He guided Alan to his room, and he knew exactly who he was. That Alan had anger issues, problems with addiction. What Zane needed was Scratch. Scratch didn’t care about casualties. Scratch embraced the horror, the terror. It aligned with Zane’s movie Yötön Yö. Zane was aware of the spiral. He knew the rumors about Alan Wake. Of course he did. It’s all from him, part of the plan. Zane knew how to awaken Alan’s dark side. He made Alan drunk, high, and Alan got unhinged, lost control. Scratch took over. He promised to write. He promised Zane would leave together with him. But Zane underestimated Scratch and his cruelty. Scratch left Zane behind, betrayed him. Zane needed another plan. He knew that Alan would loop back to him.

Zane let everything happen again, but this time made a film, the true companion piece to Return. Alan drunk, high, out of it. Talking rubbish, throwing up, dancing. Scratch. Zane needed to confront Alan about Scratch. He needed Alan to defeat Scratch another time. He planned to confront Alan about this on his next loop, but the Dark Presence interfered. It made Alan forget. The Film confused him more than anything else. Another visit to room 665 was needed .

And Alan came. But Zane couldn’t risk that Scratch would take over again. He tied Alan to a chair. But Alan made progress. Gained power. He managed to fight back, changed places with Zane who was now sitting tied up in the chair. Zane was in shock. His plan failed another time. And many times after. But he needed to guide Alan to the next murder site in the cinema. He cut out the part of the film that wasn’t strictly necessary. He cut out the bit in which Alan, with his back against the wall because Zane had seemingly betrayed him, got angry. They fought. Alan lost trust in Zane and hit him across the face. Zane spat blood. But he didn’t give up. He couldn’t. Scratch was almost back. Alan almost lost control again. A sacrifice was needed. The story demanded a price to be paid. And Zane would pay it.

He made Alan angry on purpose. Alan drew his gun, pointed it at Zane. Zane carefully tried to show him the truth again, about Scratch. But he had to be vague about it, so the Dark Presence wouldn’t be able to interfere. Alan would get it eventually on his way to ascension.

Alan shot Zane, many many times, loop after loop after loop. Zane knew he’d be back until Alan would travel upwards on the spiral. He knew he would have to die countless times, by the hands of his other self. It was the dark sacrifice he chose to make. He was both dead and alive. Dead because the story of Initiation demanded it. Alive because it was just one of his many versions who died. There was always another Tom Zane on the spiral. He knew about it. He told Alan about it when he was drunk, before Scratch showed up. Countless times. Until Alan would remember it.

Zane hid the movie ticket in his shirt pocket, to give Alan access to the final murder site. He had been trying to help Alan all along, as best as he could, but without interfering with the story. Without selling them both out to the Dark Presence. It was necessary that Alan would kill himself in the Writer’s Room again and again. Until he got the story right. Until he got the ending right. And to make sure that Scratch wouldn’t leave without him. He had to make these sacrifices , had to make Alan make these constant changes, until the story was just right. He had to sacrifice himself for the greater good, same as Alice. He didn’t know if it all would work out the way he hoped, but he couldn’t afford to not try it. He spiraled downwards while Alan ascended, continued to lose himself, pieces of who he once was, while Alan gained completion. They needed to be in perfect balance to slay the demon that was Scratch.

[beginnerblueglass]

The Christian Themes in My Chemical Romance's The Black Parade

Let me start by saying that as a Christian, I believe that God is the Creator of all things, including creativity, art, imagination, and storytelling. He is the God of those things, and His signature is on every part of the universe. The story of who God is - His nature and character - and His plans and purposes for His creation can be summed up in the word "gospel," or "good news." The gospel is not just something that is true or contains truth; it is the underlying Truth over, in, and behind all of reality.

I believe that any artist (regardless of what they believe) who spends enough time genuinely and honestly aiming for truth to put in their art, will eventually, intentionally or unintentionally, hit God.

Do I believe that Gerard Way and friends were trying to tell a story about Jesus? No, probably not. But they were trying to tell a story about life and death, sin and forgiveness, heaven and hell, and many other things that fall within the Bible's purview. The Truth comes out when we let it.

Believe it or not, The Black Parade is full of the gospel. If one were to hear me say this and then just listen to a few songs in isolation, one might think I was crazy, or possibly a heretic. BUT HEAR ME OUT OKAY

The story of the Patient, a man dying of cancer, as he reckons with his life, death, sins, and possibility of redemption.

The End.

We open with a very Shakespearean introduction to the story we are about to hear. It is clearly describing a funeral, and we are told that our narrator "expects we won't cry" at this "tragic affair." The Patient seems indifferent towards his own tragedy until the breakdown, where he screams,

"Save me! Get me the hell out of here! I'm too young to die!"

Dead!

The song opens with a declaration of the Patient's root problem:

"If your heart stops beating" "Then your heart can't take this" "Found a complication in your heart, so long"

His heart is the thing that is sick, the thing that is killing him. His physically failing heart makes a stinging metaphor for the condition of his spiritual heart.

"The heart is deceitful above all things, and desperately sick; who can understand it? 'I the LORD search the heart and test the mind, to give to every man according to his ways, according to the fruit of his deeds'" Jeremiah 17:9.

The Patient is confronted with the question,

"If you get to heaven, I'll be here waiting babe, did you get what you deserved?"

Basically, "If you got to heaven, I'd be wondering if that was the right call."

It's fascinating to hear the Patient vacillate between longing for death and being terrified of death. This song reveals that he's suicidal, and seems to welcome the end.

"Wouldn't it be grand? It ain't exactly what you planned, and wouldn't it be great if we were dead?"

But again, the breakdown reveals his deeper feelings:

"If life ain't just a joke, then why am I dead?"

What is the purpose of a life that ends with death? How can this be the way it's supposed to be? Well, here's the thing. Humans were not originally created to die; death is a consequence of sin. Our eternal soul recoils from the idea of being removed from our body and the earth, and it is indeed unnatural. These are questions that everyone should ask themselves at some point in their life: What is death? Why do we die? How is this a part of the plan?

God is a professional redeemer, and He in fact used death itself to break death's choke-hold on us, forgiving us of our sins (the cause of death) thanks to the sacrificial death of Jesus on the cross. The believer can now say, "O death, where is your victory? O death, where is your sting?" (1 Cor. 15:55). I listened to this album for the first time when I was 15, and while I believed in God, I hadn't given Him my life yet; I didn't really understand Christianity. These questions filled me with dread, and I avoided MCR for years because they freaked me out. In the meantime, I put my faith in Christ, and my questions surrounding death and afterlife began to be resolved. When I revisited the Black Parade, I was so pumped to be confronted with these existential conundrums, and able to answer them with confidence! I am not perfect, but I am God's work in progress. Death and darkness still scare me sometimes, but the deep dread the Patient struggles with and tries to cover up with a rash longing for a quick death, "a pistol by the hand," are not my struggles, praise God. Okay okay okay, I'll get back to the actual story.

This is How I Disappear

The Patient feels himself slipping away, and is at once afraid and relieved to be alone. Relieved, because,

"I'm just a ghost, so I can't hurt you anymore"

He describes himself or his situation as "unforgivable," and alludes to some deep dark secret sins that he is terrified to reveal.

"There's things that I have done you never should ever know"

He also expresses more uncertainty about his chances of heaven, and seems to know that his destination is a bit more south.

"Tell me if it's so that all the good girls go to heaven" "You want to see how far down I can sink?

Welcome to the Black Parade

A recollection of the time his father asked him,

"Son, when you grow up will you be the saviour of the broken, the beaten, and the damned?"

The Patient's father can act as a stand-in for God, who calls us to be imitators of Christ, the Saviour. We are called to feed the hungry, give water to the thirsty, clothe the naked, aid the sick, visit the prisoner, lift up the broken, welcome the stranger, be family to the lonely, and share the good news of salvation with the sinner, the damned.

The Patient is swept away by the Black Parade, who are kind of like the ferryman - the parademen I guess. They are leading him to his destination in the afterlife. It seems that on the way they are also showing him a replay of scenes from his life, which will prove to be his trial of sorts, the evidence for why he is going where he is going. He is caught up in the optimism of childhood and honouring his father's legacy, but still declares his perceived inability to live up to what was asked of him,

"I'm just a man, I'm not a hero, I'm just a boy who had to sing this song. I'm just a man, I'm not a hero, and I don't care."

To him, these are the actions of a hero, not a flawed mere mortal.

I think it's interesting that he has mentioned heaven multiple times, but has seemed afraid to do any more than allude to hell, but those seem to be the two options. He received a call, a mission from his father, and commission (a Great Commission?) from his Maker. How did he do?

I Don't Love You

The first vignette the Patient is greeted with is a past scene between him and an ex-girlfriend. There are a lot of references to being "beaten" in this song. How well did the Patient do in fulfilling his calling to be a saviour of the beaten? Not well apparently.

"Sometimes I cry so hard from pleading, so sick and tired of all the needless beatings, but baby when they knock you down and out is where you oughta stay."

I'm not sure about the voicing of this song. Is it all him? All her? Do they go back and forth? I don't know, but it still paints a powerful picture of a painful breakup, an ugly part of the Patient's history.

Also I want to highlight this line, since it comes up later,

"Maybe when you get back I'll be off to find another way."

The Sharpest Lives

The next piece of evidence in the Patient's trial: a life that he squandered away in joyless hedonism that benefitted no one, not even himself.

"I said in my heart, "Come now, I will test you with pleasure; enjoy yourself." But behold, this also was vanity. I said of laughter, "It is mad," and of pleasure, 'What use is it?'" Ecclesiastes 2:1-2

Also the reference to the sun, a common motif in Ecclesiastes, in which all the affairs of man occur "under the sun."

"A light to burn all the empires, so that the sun is ashamed to rise"

House of Wolves

Now this song is not about the Patient's relationship with God (that comes later), but with religion. The sad thing is that we are all liable to fail in being a saviour for those around us. The Patient was burned by religious experiences.

There's a mix of the church's failures and the Patient's misunderstanding of Christian doctrines. He perceived two-facedness in the church's back-to-back statements that he was "an angel," beloved of God, and also "a bad man." This is just the biblical doctrine of sin; we are at once God's immensely precious children for whom He would literally die, and vile sinners who commit atrocities against God and the people around us on the regular, and need the forgiveness Christ offers in order to be acceptable. However, the church's treatment of him proved hypocrisy, misrepresentation of God's heart for the lost, and a lack of Christ's love on their part. When he was a damned sinner in need of a saviour, the church spit on him, kicked him when he was down, told him that he would never find a home with them, and threw him to the dogs.

The Patient ended up doubling down on his sin, purposefully identifying with it, and treating the things of God with sarcasm and contempt. He gleefully acknowledges his sin, spelling it out ten times, and his certainty of going to hell, but without a hint of repentance.

"Well I said hey, hallelujah, I'm gonna, come on sing the praise, and let the Spirit come on through you, we've got innocence for days. Well I think I'm gonna burn in hell"

Mama

Whoo boy, what a song. Scared the bejeebers out of me when I was young. Now it just makes me think of the Screwtape Letters.

So the Patient has been deposited at his destination and is writing a letter to his mother, opening with the chilling statement,

"Mama, we all go to hell"

The "we all" he's speaking of are either his fellow soldiers or his fellow sinners as a whole. See, this is when we find out that, perhaps in an effort to follow his father's wish that he be a hero who fights for the broken, the Patient became a soldier and fought in a war. This also further reveals his penchant for running towards death, possibly seeking a heroic, "glorious" death. This caused a breach in his relationship with his mother, whom he is now either warning about the terrors of hell, or celebrating her eventual journey there herself, or both. It reminds me of the parable of the rich man and Lazarus in Luke 16.

We learn a little more about his deep dark secrets, finding out that they were done with his gun in the war. He still keeps the details to himself though. And of course,

"So raise your glass high for tomorrow we die," "If the dead are not raised, 'Let us eat and drink, for tomorrow we die.'" 1 Corinthians 15:32.

The song is full of weeping, wailing, and teeth gritting screams, calling to mind Jesus' description of hell,

"(They will) be thrown into the outer darkness. In that place there will be weeping and gnashing of teeth" Matthew 8:12.

Sleep

It was all a dream, a nightmare, a vision. He's not dead, but still laying in his hospital bed, soon to die. Only now he knows what is awaiting him, and has to decide what he will do with this brief second chance.

Let me just leave this here:

"Some say, 'Now suffer all the children,' and walk away a saviour, or a madman and polluted from gutter institutions." "But Jesus called them unto him, and said, 'Suffer little children to come unto me, and forbid them not: for of such is the kingdom of God.'" Luke 18:16 KJV "Either this man was, and is, the Son of God, or else a madman or something worse." - CS Lewis, Mere Christianity

A Bible verse and a CS Lewis reference?? As far as I can tell, this is the only reference to Jesus in any MCR song, and isn't it interesting? I gasped the first time I noticed this lyric.

After being brought to face his utter failures at being the saviour he was called to be, and the severe consequences of his sin, the Patient is now contemplating the nature and character of the Saviour. No one can be a truly effective saviour on their own, not unless they have been saved by the Saving One. The question of whether Jesus really is the Son of God is the most important question anyone can ask.

But the Patient is stubborn, and weak. He repeats again and again that he's "not sorry for what he did," and he doesn't feel bad. He has completed step one: realizing the weight and enormity of his sin, knowing that he deserves hell. Now he's wrestling with step two: repenting from his sins and realizing that Jesus is bigger, and able to save the worst of sinners and forgive the worst sins, and He wants to save and forgive. It's like the Patient knows and is afraid of that, and refuses to repent, feeling like he's "unforgivable" and undeserving.

"Don't you breathe for me, undeserving of your sympathy"

He decides that he will sleep for the rest of his short life, avoiding the heartrending business of redemption. However, he can't stop the visions of the awful things that he's seen.

Cancer

The Patient's decision to avoid repentance affects the few remaining relationships that he has. He is preparing for that funeral from the beginning of the album, soaking in the agony and despair, lamenting that he will never marry, refusing to resolve his relationships.

Disenchanted

Alone now, the Patient quietly thinks over some good memories, and about the wasted potential of his life. Childhood, and the beginning of his life, was good. He was not without hope at one point, but can only be disappointed with how his life turned out. He is, in fact, sorry and feels bad about what he did and didn't do, but what now?

"I hate the ending myself, but it started with an alright scene,"

Everything he tried to find meaning in turned out to be worthless in the end.

"Vanity of vanities! All is vanity. What does a man gain by all the toil at which he toils under the sun?" Ecclesiastes 1:3. "You're just a sad song with nothing to say about a lifelong wait for a hospital stay"

But at the end there's a glaring question and challenge, one that demands an answer (and calls back to I Don't Love You):

"So go, go away, just go, run away. But where did you run to? And where did you hide to find another way?" "Jesus said to the twelve, 'Do you want to go away as well?' Simon Peter answered Him, 'Lord, to whom shall we go? You have the words of eternal life.'" John 6:67-68.

Famous Last Words

"Where's your heart?"

Here's the answer, the end. He reaches out and grasps the forgiveness offered to him and chooses life, for however long he has, even if he'll be alone.

"Honey if you stay you'll be forgiven, nothing you can stay can stop me going home."

Honestly, can there be a better ending? The Patient chooses life, eternal life, chooses love ("so demanding," but worth it all), he accepts forgiveness, claims it, acknowledges his weakness ("I'm so weak!"), claims his home in God's kingdom. He never thought he'd be here saying these words, but stranger things have happened. Throughout his life he has variously feared death, been suicidal, risked his life on the battlefield, killed, been indifferent towards death, been resigned to death, and been in despair of death. Now though, he is finally awake (no more sleeping) and unafraid. Now he knows that death isn’t the end. His true home awaits. *Insert Gandalf quote*

"End? No, the journey doesn't end here. Death is just another path, one that we all must take. The grey rain-curtain of this world rolls back, and all turns to silver glass, and then you see it (...) White shores, and beyond, a far green country under a swift sunrise."

Home.

[ciderjacks]

hey if u guys r sad about ofmd and want another show with gay people to watch you should consider watching Deadloch. It’s really good it’s really really good uh it might get a second season if the creators decide to do that.

if you watch good omens you’ll be able to watch Deadloch they’re on the same service. Uhhhh One of the actors from ofmd is there shes one half of the main duo (the other half is played by Kate Box who’s an amazing actor and Dulcie is now one of my fav characters ever) gets to wear an open Hawaiian shirt for like 3 of the 8 episodes which is a bonus. It’s extremely gay and it’s fun and beautifully written and no queer characters die and it’s satisfying and funny and Please watch it I’m begging you please watch itPLEASE

[radiantmists]

call me an idiot but i do not get what grand purpose the corinthian serves as a nightmare like. what deep fear does he illustrate? does humanity need reminding that hot men may carve out your eyes and eat them?

[unionizedwizard]

man. i just had the single most emotionally scarring dream ever. and this is coming from someone who only ever has nightmares and awful stress dreams. what the fuck