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pinknightsinmymind · 1 year ago

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【 found family hc's 】

abby anderson x fem!reader & ellie williams x fem!reader

wc: 4.4k

song rec: house song by searows. i listened to this on loop the entire time i was writing.

content: established relationship, modern!au, fluff galore, hc's for both abs and els, christmas with abs!!!!, bbq with ellie and family, minor angst, but this is all fluff so sweet it rots your teeth, hc's AND long blurbs for abby and ellie, mentions of parent loss(in this modern!au abby's mother passed away), mentions of adoption(for ellie's hc's), and sarah is here!! she is ellie's older sister <33 also pls read a/n for more info

a/n: in which you are dating one of the girlies, meet their fathers, and detailing your journey into becoming part of the family. i kinda wrote this with the idea of what it’s like to not come from a healthy family in mind, but it’s also vague and written in a way where you’re able to interpret it and shape it to fit whatever you have in mind and relate it to what you know. the main theme here, though, is finding/making your own family and building a beautiful life despite your past. this is kinda just me hoping i’ll be able to do the same one day. i began writing this while really sad, but i’m posting this in much better spirits. this started with my sadness, but now it makes me feel hopeful. anyways, pls enjoy, and if you think you’ll need them, get your tissues ready. i love you all and you are all so beautiful and worthy of love and good things. and if any of you ever need anything, my inbox and dm's are open <333

GENERAL HEADCANONS — applies to both abby and ellie

It’s an uncomfortable conversation, but when your relationship with her started getting serious, you explained what your family/home life was like and that although you’d love to, your family probably wouldn’t want to foster a close relationship with either of you. You told her you understood if this was a dealbreaker and if it was something she couldn’t tolerate, but that wasn’t her reaction at all. Instead, you were met with complete understanding that almost left you sobbing. You were happy to have someone finally understand that family—and navigating it—hasn’t been easy for you and it was good to not have things out of your control held against you for once.

As your relationship progressed, she made it clear to you that she’d love to introduce you to her family and that they were excited to meet you. She promised that they’d accept you into open arms and that everything would go well, so there was nothing to worry about.

You were nervous, of course, unsure how any of it would unfold because you had never met her family before. You had heard so much about them and knew they must have been amazing people to have raised someone as great as your girlfriend, but you were still scared. What if they could see everything wrong with you with just one look? What if they thought you were too damaged and no good for their daughter? Or what if they just didn’t like you? It was all so worrisome, but your girlfriend assured you it would all be okay.

Meeting the rest of the family was one thing, but meeting their fathers was the scariest part.

ABBY ANDERSON

You met Abby's dad during Thanksgiving—typical and sappy, but just so Abby. Of course she’d bring someone home during the holidays. You had been dating her for almost a year now, so it was about time you met him. You knew that Abby's mother passed when she was very young, and you also knew it would just be the three of you together for the holiday. Jerry did everything to make any occasion happy for his daughter since he knew her life would be hard enough without a mother, and that included holidays. As a busy surgeon—the top one of your city’s hospital, no less—he’s lucky to get this day off, and although he can’t make a whole turkey on his own, he cooks many other dishes to make up for it. He goes all out making desserts as he likes baking more than cooking, and he’s the main reason Abby has such a sweet tooth.

Jerry is nothing but welcoming to you, telling you how he’s heard so much about you (which in turn makes Abby blush, thinking to herself, He wasn’t supposed to say that! but she still keeps her cool). He asks you all about yourself, if you’re in school and what for, what your plans for the future are, then jumps straight into his dad-threats. He tells you in a serious voice that you better take care of his daughter, then lets out a laugh and offers you a slice of pie.

It went well, and you even stayed the night at Abby's childhood home, sleeping in her big and well-furnished room.

“What do you think?” she asked.

“I think it went well,” you said. The two of you were huddled up underneath the covers in her old bed, and it’s comfier than you expected. Maybe it’s because Abby has you pulled close to her chest as her hand rubs comforting circles on your back, but it’s still heavenly. “I just can’t tell if he likes me or not.”

“Please, he likes you,” she assured you. You could feel her trailing her hand down your sides gently now. “Otherwise he wouldn’t have been in such a good mood today. Promise.” You let out a small sigh at her words. You didn’t want to argue with her about this, and you felt the only thing you could possibly do was hope she was right.

You did see Jerry a few times after that, but it was only when Abby invited you to go see him with her. He was always kind and welcoming, but you couldn’t shake the gnawing feeling in your chest that maybe he didn’t actually like you. What if he was faking all of it? You couldn’t think of any good reasons why he’d like you and accept you with open arms. It didn’t make sense to you because all you knew to expect from a parental figure was rejection. Maybe he just didn’t think you were good enough for his daughter. You didn’t tell Abby any of this, though, because you knew she’d be crushed to hear you don’t think her dad likes you. It’s also because she’ll just tell you for the millionth time he does, and you’d hate asking her for the same reassurance over and over again. In the case of her father’s acceptance, it would do nothing to quell your fears.

You hadn’t expected the holiday season to help erase these fears, but they did. After a late night of watching movies, Abby brought up visiting her father for Christmas with you by her side. She was excited as she told you all about her and her dad’s traditions: drinking hot coco, watching cheesy Christmas movies, stockings full of gifts, and the works. You couldn’t tell her no. Not when her face was beaming with excitement and she had a big smile across her face. You appreciated how much she wanted to include you—no, scratch that, cherished it—but deep down inside you felt out of place. You felt like an environment as soft and as warm as that was not a place where you belonged. It’s not what you knew, not what you were used to, but you put on a brave face for Abby.

You didn’t believe her when she told you how extensively Jerry decorated the house, but it was exactly as she said. As soon as you walked through the front door, you could smell the vanilla candles and the scent of pine mixed together. You were greeted not only by Jerry, but by the presence of mini-Santa statues and multi-colored nutcrackers. There was a big wreath on the outside of the front door, and an even bigger one hung around the family portrait of Abby and her father. The Christmas tree was huge, probably close to six feet tall, and by the smell of the fresh pine emanating from it, you knew it was real. The tree was decorated with gold and silver ornaments, bright lights, tinsel, and a giant star at the top. The fireplace had stockings lined up against the chimney with other statues, trinkets, and family photos lining the shelf. The tree casted a warm glow over the living room, and it just felt so cozy inside. It’s crazy to think that this is what Abby grew up with, that this is the kind of childhood she had, but at the same time you’re happy it was. It’s what she deserves.

It may be Christmas day, but it’s already 9 P.M., so Jerry suggests hot coco, sweets, and a cheesy movie. Abby, of course, agrees and picks out her favorite movie for you all to watch. You helped her pick it out, specifically choosing it because you’ve never seen it before and because you know she loves it. You all get a slice of Jerry’s homemade apple pie, and it’s so warm and gooey you’re sure you’ve never tasted anything like it before. You wonder where in the mix of being a surgeon he found the time to be so good at baking, but it’s still so endearing. You wonder how many times he practiced these recipes for Abby, and it’s so heartwarming. You hope you can one day offer her a home the same way Jerry has.

Jerry settles into his worn-out, leather recliner with his cup of hot chocolate while you and Abby occupy the couch. There’s a glass coffee table in front of it where your two mugs rest as the two of you are snug in a blanket you’re sharing together. You’re nestled into Abby’s side with her arm over your shoulder as you watch the movie together. It’s comfortable, and the warm, yellow lights make the moment that much more beautiful. They cast a glow on Abby, making her look sweeter than she already does. Her hair is down for once, and you’re lost in the tenderness of the moment. Occasionally the two of you move forward and grab your mugs for a sip, but besides that this wholeness has no interruptions. It’s like you can feel your doubts melting away, and you feel comforted, welcomed, by the warmth of this moment. It doesn’t seem to push you away anymore, but rather it’s something you feel compelled to be a part of now. Well, no, that’s not exactly right either. It’s like you are a part of it now, and it’s accepting your embrace rather than your rejection. You don’t feel the need to push it away anymore, to create excuse after excuse as to why you don’t deserve it, and it’s like you’re finally letting it make its home in your heart.

After the movie finished and you all had your fill of hot chocolate, you hear Jerry get up from his seat and mention that he wants to give out stockings. You don’t think much of it, watching the man as he walks up to the fireplace and grabs two of the stockings that were hanging. You hadn’t paid much attention to them earlier, but when he comes up to you and Abby, you realize you should’ve. One has Abby’s name stitched into it with blue and orange thread, and the other has your name threaded into it with your favorite colors. He gives Abby her stocking first, then holds the one with your name on it out towards you.

“Is that for me?” you asked.

“Sure is,” Abby answered. You glance over at her and she’s practically beaming. She seems so proud of herself.

“Abby helped me make it. She made sure it had your favorite colors and everything,” Jerry explained. You finally take the stocking from his hands, feeling the heft of the weight of whatever was inside.

“I bet she got mad if you suggested a color that wasn’t.” You crack a joke in the face of this moment, because if you think too hard, look at the stocking too long, you might start crying.

“Nearly tore my head off,” Jerry laughed. “But it’s so you know you’re part of the family now.” You nod your head, clenching your jaw as your gaze keeps shifting between the stocking and the floor.

“Thank you,” was all you could manage to say in reply. You’re sure you could burst into tears at any moment, but at the very least they’re happy ones.

ELLIE WILLIAMS

You were never as scared of anything as you were to meet Joel Miller. You had seen him in photos with him and Ellie, and he did not look like he played around. In fact, he looked like he’s never fucked around a day in his life. The man intimidated you, and you had never even met him before.

Ellie’s Uncle Tommy’s birthday was coming up, and you were invited to the family celebration that would include Uncle Tommy, Aunt Maria, Joel, Ellie’s older sister, Sarah, and now you.

You had met Joel in passing with a quick “hello” whenever you visited his and Ellie's house, but you had never formally met him, especially not the rest of the family, either. You had also never met Sarah as she lived in a different city and was older than you and Ellie, but you were excited to. She was a young teen when Ellie had been adopted, and you had heard so many stories from Ellie about what an amazing older sister she was, so that was at least one family member you weren’t scared of. Uncle Tommy and Aunt Maria, though? Maria was intimidating, and Tommy and Joel had both been in the military. Who wouldn’t be afraid?

“Everything’s gonna be okay,” Ellie reassured you. You were both standing in front of Tommy and Maria’s front door, nervous as could be. Ellie held your hand in hers as she rubbed her thumb across your skin. “They’ll love you, promise.” Ellie reached up with her free hand and knocked on the door. A second passed in silence between the two of you before the door opened, and you were met face-to-face with Maria. She had short graying hair and a freckled face that reminded you of Ellie’s, and as soon as her eyes landed on the two of you, her lips turned upwards into a wide smile.

“Ellie, is this [Y/N]?” she asked. Ellie smiled shyly as she nodded her head.

“Yes, this is her,” she answered.

“Well, it’s nice to meet you,” Maria said politely. She was just all smiles, and she was much warmer compared to the scary image of her you created in your head. To be fair, she did seem really intimidating from her pictures, but she was nothing of the sort.

“Nice to meet you, too,” you managed to reply. You were still nervous, feeling like you were choking on the anxious butterflies dancing around your stomach.

“And she’s polite,” Maria prodded. She smiled even bigger as she pulled the door open for the two of you. “Anyways, come in. Joel and Tommy are in the back with the grill set up already, so just follow me.” Ellie walked through the doorway, pulling you with her towards the back of the house. Maria led you through the house’s front hallway into the living den furnished with couches and countless photos and decor hanging on the blue walls, then turned left into the kitchen. Sitting at the table was an older woman at least in her 30’s scrolling through her phone, but her eyes perked up as soon as she saw you all enter the kitchen. Almost immediately an excited smile spread across her face.

“Sarah!” Ellie greeted. The woman jumped up from her seat and gave Ellie a tight hug.

“Ellie, is this her?” she asked. Her eyes kept moving back and forth between the two of you.

“Yes, this is her,” Ellie answered.

“Wow, I’m so happy to meet you!” Sarah cheered. She came over to you and gave you a hug, something you hadn’t expected, but you returned it the best you could. As soon as Sarah pulled away from the hug, she was talking again. The way she carried herself was so confident and firm, and she held great amounts of eye contact while speaking—something you were struggling with at the moment. “Ellie has told me so much! She never stops talking about you!” She had a sweet, Texan accent when she spoke like Joel, while Ellie only had a slight one in comparison.

“Sarah!” Ellie groaned.

“What?” she asked coyly. “Was I not supposed to say that?” The answer was yes, and she knew that, but how could she resist teasing her little sister? Ellie just rolled her eyes.

“Come on, y’all, they’re waiting for us outside,” Maria announced. She nodded her head in the direction of the door behind the kitchen table, and you found yourself taking a deep breath. The door was glass, so you could see the wooden porch outside and the green grass, but no sign of Joel or Tommy—you know, just the two men who terrified you the most.

“Oh, yeah, I was gonna help Dad with the grill,” Sarah sighed.

“You? Helping with the grill?” Ellie teased.

“Hmm, more like standing there and talking to him,” she said.

“That sounds more like what you meant,” Ellie responded.

“Yeah, see y’all out there.” Sarah got up from her seat and was the first to open the back door, the hot air and smell of grilled meat wafting in as soon as she did. Maria followed her soon after, and you knew you and Ellie should follow suit, but you found yourself stuck, unsure what to do.

“Hey, you okay?” Ellie asked. The sound of the door closing shut hung in the air, and you knew you’d have to open it again soon.

“Yeah, just… nervous,” you explained.

“Everything will be alright, promise. I’m gonna be here the whole time, and we’re gonna be eating, too. That won’t be too bad, now, will it?” she asked.

“No, I guess not,” you replied.

“And you’ve got me right next to you. Don’t forget that.” Ellie gave you a sheepish smile, and you did your best to return it despite the queasiness in your stomach.

The barbeque went well, and it wasn’t as bad as you thought it would be. In fact, you felt well-received by Tommy as Maria and Sarah helped encourage him to hold conversation with you. The two women did a lot to help conversation flow and welcome you as much as possible, but the one person you felt like you weren’t getting through to was Joel. He was just so… quiet. It’s as if he was always on guard, always analyzing the situation, but what did you expect from a guy who used to be in the military? That seems to be the exact kind of disposition he’d have. He only really gave small replies in single words here and there, maybe an autobiographical question for you, then he’d retreat back to his silence. It was honestly unnerving, and as much as you did your best to immerse yourself in the conversation, in Ellie’s little jokes, Tommy’s laughter, Joel intimidated you more than anyone else ever had before. Why was he so quiet? Did he see something wrong with you? Did he not think you were fit to be his daughter’s girlfriend? Was he waiting for you to make a mistake? Was he planning how to tell Ellie that he didn’t think the two of you were a good match? All the possibilities were endless, and every single one terrified you to no end.

Despite the anxiety eating you up from the inside, you did your best to maintain your composure. You answered whatever questions Ellie’s family had for you, laughed at the jokes like you should have, all while trying to keep the crushing fear at bay. Ellie seemed to sense it somewhat, because at multiple points throughout the dinner she’d grab your hand under the table or rub your thigh comfortingly. When the night started slowing down, the sun sinking lower and lower, Tommy and Maria declared the end of the dinner and started clearing the table. Joel and Sarah disappeared into the house, carrying trash and whatever else they could back inside. Ellie leaned in close to your ear in order to speak.

“How are you feeling?” she whispered.

“I’m doing okay,” you answered. “Not as nervous as before, but still a little.”

“Did you enjoy yourself, though?”

“I did,” you replied.

“Joel and Tommy are good at barbecuing, huh?”

You laughed a little at her prodding. “Yeah, they are.”

“Look, we’re gonna get you some extra family points, yeah? Let’s offer to help Maria clean up. How does that sound?”

“Sounds good to me,” you said. This time you were the one to offer Ellie a little smile, one she was happy to see on your face after such a long day.

“Perfect.” She stood up from her chair and brushed off her jeans. “Hey, Maria, let me and [Y/N] help you clean up a bit,” she announced.

“Well, aren’t you sweet?” Maria asked.

“The sweetest,” Ellie joked. You were next to stand up from the table, picking up both your plate and Ellie’s while she gathered the left behind cups. Tommy had already retreated inside with the large dishes of food, leaving you with just Maria and Ellie. It was quiet besides the clanking of the dishes as all three of you walked inside. Ellie walked behind you as you reentered the house, slotting dishes in the sink and discarding whatever trash she had. Ellie came up behind you, her back pressing into yours for a second when Maria disappeared into the living room where everyone else presumably was.

“How far do we wanna take these points?” she whispered.

“Well, what are you thinking?” you asked her.

“I say we wash the dishes,” she suggested, and you could just imagine the stupid, little grin on her face. “It’ll make them like me more, too.”

“You’re such a dork,” you said as the laugh spilled out your lips. You turned around to look at her, and there was a goofy grin on her face just like you expected. Her hands ventured to rest on your waist, placing a kiss on your forehead.

“Whatever. Come on, let’s just do it.”

“Okay, you hate doing the dishes, so I’m starting to wonder what this is really about.”

“I… may or may not have promised Maria I’d do the dishes, and she’ll kill me if I don’t.”

“This is why you watch the promises you make,” you said.

“Moving along,” she said in a rushed manner, “are you gonna help me or not?”

“Yeah, because I need you alive.”

You and Ellie slotted yourselves side by side as you were forced to wash the dishes on account of your girlfriend’s promises. She was stuck washing while you dried the dishes. At one point Joel had wandered through the kitchen, muttering a small greeting to you both before disappearing outside. He left the back door open somewhat, but you said nothing, figuring he would be coming back inside soon. Despite the small interruption, Ellie, of course, couldn’t help being a little shit and splashing you with water every once in a while.

“You got my shirt wet!” you’d scold her.

“I’m sorry, baby,” she’d say all fakely. She pulled you into a hug, but once you separated, she splashed you with water again. After washing the dishes and Ellie cleaned the kitchen up a bit, you could tell she was tired and ready to go home.

“You look tired,” you commented to her.

“Yeah, I’m… all tuckered out. You ready to go home?”

“If you are, yeah.”

“Okay, let me find my… Where are my keys?” she asked. She patted at her pockets, looking for any sign of them, only to come back empty. “I think I left them outside.”

“I can go get them for you,” you offered.

“Oh, good idea. You get my keys and I say bye to everyone for us. Perfect.”

“Alright, I’ll go find them for you. Be right back.” You gave Ellie a quick kiss on the cheek before wandering outside through the back door. As soon as you stepped outside, your eyes landed on Joel sitting on one of the chairs with a mug in his hand. You had forgotten he was even out here in the first place, and you hadn’t expected or planned for this interaction with him. You took a deep, calming breath. You needed to act normal.

“Hello, Joel,” you spoke up. He turned to look at you, then returned his gaze to his mug. It was dark outside, and the porch light may have been on, but it was a dim, yellow light. Not at all helpful as your eyes scoured the ground for Ellie’s keys.

“Hello.” It was quiet as you wandered to the table, looking across the top of it for Ellie’s keys. Still no sign of them. You pulled the chairs out, and you didn’t find them on the seats either. You sighed as you pulled out your phone and turned on your flashlight. “What are you lookin’ for?” Joel asked.

“Um, Ellie’s keys. She can’t find them.” You squatted down to the floor, shining the light around the wooden porch as you continued your search.

“Oh, you two gettin’ ready to leave?” he asked. You turned your phone to the right, and something silver glinted back at you. The keys. Thank God. You grabbed onto them and got back up from the ground.

“Yeah, she said she was tired and ready to go home.”

Joel let out a small chuckle. “That sounds like her,” he remarked.

“It very much is her,” you replied.

“I heard her splashin’ you with water in there.”

“She can’t help herself,” you said. “She apologized, then she did it again.”

“Does that… make you mad?” he asked.

“No, not at all.” You were wondering what he was getting at with the question.

“You and her seem to get along well,” he pointed out.

“I think so, too,” you said, hoping you were choosing your words well.

“I can tell she really loves you, you know,” Joel said. He took a sip out of his drink, then glanced at you. “And you seem really good for her, too.” The words hit you right in the heart. You knew from what Ellie told you that Joel wasn’t a man of many words, but these were just enough. They seemed to give you the kind of confirmation you were looking for, that maybe you could put down the anxiety plaguing your mind.

“I’m glad you think so,” you said. You glanced at the mug in his hands again. Was that steam? “Can I ask what you’re drinking?”

“It’s coffee.”

“This late?” you asked.

“The girls always tell me that,” he said, and you saw the smallest glimpse of a smile ghosting his lips. You figured by “the girls,” he must have been referring to Sarah and Ellie, and that small detail stuck out to you. Despite how scary he was, deep down inside he was just a dad. A girl-dad, at that.

“Ellie always tells me how much she hates coffee.”

“She never lets that go. I tell her she has underdeveloped tastebuds to make her mad.”

“That’s perfect for getting under her skin,” you replied.

“That’s why I say it. Anyways, she’s probably lookin’ for you by now, or me, maybe.”

“Probably,” you responded. “After I find her, she’ll probably come tell you bye before we leave. I’m gonna do that now.”

“You go do that,” he said. “And you better take good care of her, by the way.” You smiled a little bit. Had you heard him say that earlier, you probably would have shit your pants, but now you were comforted by the dad-threat.

“I will,” you said confidently.

“Or I will… do something. I don’t know, I’ll figure it out.”

“I take your word for it,” you replied. You turned around to walk back inside, keys in hand, a new kind of pep in your step as you looked for Ellie.

#abby anderson #abby anderson headcanons #abby anderson x reader #abby anderson x you #abby anderson x y/n #abby anderson fluff #abby anderson x reader fluff #ellie williams #ellie williams headcanons #ellie williams x reader #ellie williams x you #ellie williams x y/n #ellie williams fluff #ellie williams x reader fluff #tlou x reader

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ivyial · 1 year ago

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okay time for some delulu gojohime analysis that's a bit of a reach.

so earlier today, i was rewatching a compilation of gojo and utahime's scenes from season 1 and it rang a bell (also, i just want to say, mappa gotta have gojohime shippers on the team cause some of the s2 gjhm elements weren't in the manga). ANYWAY.

so in episode 14 (the beginning of the tokyo-kyoto goodwill event arc), utahime is introduced (and i'm not gonna say that her literal second sentence onscreen ever is inquiring after gojo, but i am going to say that). then gojo comes in with gifts for the kyoto students - some charms from a tribe. this is how the panel goes in the manga:

nothing specific about those charms/souvenirs. gojo also explicitly mentions that they're for the kyoto kids - nothing for the staff.

now here's how it goes in the anime:

unfortunately i don't have the japanese script for this scene or the exact intended meaning, so i'll have to use the english translation :')

in the anime, there are two changes to gojo's dialogue:

the tribal charms are specifically protective. whether they work or not, they were made with the intention of protecting the user in mind

"the kyoto kids" becomes "everyone from kyoto" (including staff, technically)

now assuming that these changes are correct, it makes the scene way more relevant to gojohime.

as we know, gojo thinks utahime is weak. he says it to her multiple times and it's pretty much his go-to insult for her. we also know that gojo is loaded with cash, so spending a few more bucks isn't an issue. and yet... he didn't get her one of those. this is one amazing opportunity for gojo to make fun of utahime, by giving her one of those charms and implying that she needs it because she can't defend herself. but for some reason, he didn't take it.

there are a few ways to interpret that:

gojo is a decent enough guy to not embarrass her in public in front of other people. although, this isn't true, since he does do it in front of other people all the time: see season 2, episode 1, when he calls her weak in front of mei mei and geto. so maybe he just doesn't want to embarrass her in front of her students. again, not exactly true, since he puts her on the spot later in the goodwill event arc:

pretty 'eh' to ask her to give a speech unprepared in front of all of the students, especially since she ends up performing very poorly. maybe he draws the line at calling her weak in front of her students, because he understands that they look up to her.

2. gojo didn't give her a protective charm because despite calling her weak all the time, he doesn't fully believe that and he knows she can defend herself. it is vaguely reminiscent of their recent shared scene in the manga, in which *spoilers for the current arc* utahime's cursed technique is revealed and she acts as an amplifier for gojo's. he definitely trusts her enough to team up with her, just like he did to find the traitor at the kyoto school.

3. utahime doesn't need protection, because he is there. for this interpretation, i'm drawing a parallel between this scene and this post explaining how utahime is metaphorically always under gojo's eye. even without that detail, there's his whole spiel in 2x01 where he dramatically announces "i'm here to save you, utahime". it's worth noting that he pretty much came round to help her out because he knew she was in danger (i think? someone correct me if i'm wrong please).

one thing's for sure though, it's that gojo doesn't truly believe that utahime is too weak to be a sorcerer. is she weaker than him? sure, but that doesn't make her incompetent. and if she needs to be protected, he's more than happy to do it for her.

#gojo satoru #iori utahime #gojohime #gouta #jujutsu kaisen #jjk #jjk meta

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bunnylovesani · 10 months ago

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Confused as to how you can criticise me for giving you a panic attack and anxiety by trying to privately talk to you but then making a public post saying ‘fuck you’ and encouraging people to send hate.

Ava has written about fratboy!Anakin and ceo!Anakin even though she wasn’t the first to come out with these ideas. But has she given credit to the original authors? No and she shouldn’t be expected to because these are SUCH COMMON FANFIC TROPES, as is the idea of a stalker. They do not belong to anyone. To say you’ve created an au requires some character and world building that makes it niche and different to the other ones out there.

If you had written about Anakin as a dyslexic redneck astronaut then that would be uniquely specific and an original idea that shouldn’t be used without permission. The mere idea of a stalker doesn’t cut it- especially since our ones have completely different plots and personalities. You did not CREATE stalker Anakin, he’s been around for years on the internet.

It goes without saying that I condemn plagiarism and claiming other’s hard work as your own. If I saw real examples of that I would call it out and support the affected authors. But sharing commonly played out and overused ideas is not plagiarism. I’ve been reading psycho/obsessive/stalker fics for various fandoms since I was a teenager.

James Kelly is a literal mechanic so of course the plot was going to have something to do with cars, not to mention the fact that my dream car is a Sakura pink Porsche 911 Gt3. My reader has always been a self insert pink-loving girly girl so it felt natural to include that. The type of car is also mentioned literally once.

I will however say that I hear and understand that point of criticism more than the others and I apologise if I subconsciously took inspo from her illicit affairs series. I can assure you it was not on my mind when I wrote my fic but I can see that the detail of the car is reflected in both our writing. But the car is where the similarities end. A billion books and stories in the world have harmless overlaps.

While we’re on the topic of plagiarism: I’ve seen people on here write fics where it’s clear as day that they took inspiration from my work. Never once have I minded because I understand that as long as my direct words and hyperspecific details aren’t lifted, I don’t lay claim to general / vague ideas. I have a degree in literature so I’ve studied the legality and boundaries surrounding plagiarism and ‘inspiration borrowing’ - which is why I decided to take a stand rather than take the easy route and pacify you. I wanted to make a point that you do not own such a vague idea or trope and every publishing house in the world would agree with me there.

Beyond the concept of internet etiquette which half the time is just pandering to entitlement, you don’t have a leg to stand on. If you want to become a published author, start acting like one.

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antialiasis · 8 days ago

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The Good, the Bad and the Ugly: all of my thoughts (part 2)

Once again, this is me watching my way through The Good, the Bad and the Ugly (1966) and commenting on everything that comes to mind as I go. Where we last left off in part 1, Blondie and Tuco had just each learned half of the secret to a the location of a cache of Confederate gold, forcing two men in a thoroughly adversarial relationship to collaborate. This time, we get to see the two of them begin to bond, in the most delightful, complicated, bonkers sort of way.

The checkpoint

Another Extended Cut scene. Sad Hill Media's blog post on the Extended Cut scenes suggests the only conceivable purpose of this scene is to establish Tuco wants to go to the San Antonio monastery and that it's entirely needless because we can just figure he knew it was nearby. I do think there's a little more to it than that: this checkpoint is presumably why Tuco and Blondie actually dress up in Confederate uniforms, which is otherwise a pretty random thing for them to do (and is an important plot point a couple scenes later); it's where Tuco presumably gets the idea of actually pretending to be Bill Carson (without this scene, he's just using Carson's eyepatch randomly when they get to the monastery for unclear reasons); and more specifically it establishes that Tuco knew the monastery existed but was kind of surprised to learn they were in the vicinity of it, which adds some context to why Tuco hasn't visited his brother before in those nine years -- he hasn't been in the area before, just vaguely knew of it being near Apache Canyon. But it is undeniably a very functional sort of scene with not a lot else going on, other than Tuco's amusing assertion that "If I were a Yankee you wouldn't have time to ask me that!" to a whole encampment of Confederate soldiers, as if he'd have just taken them all out single-handedly.

Speaking of dressing up in Confederate uniforms, either Blondie was conscious enough at some point to change into the uniform or Tuco dressed his unconscious self in it to sell that he's a dying soldier to these guys. I suspect the latter.

The monastery

Tuco asks for his brother right at the start, but unknown to Tuco he's already gone to visit their dying father. Big, painful dramatic irony there on a rewatch.

Once again, we have wounded soldiers, many with lost limbs, filling up the monastery -- and once again it is a mere backdrop to our protagonists.

Tuco of course acts like Blondie is a very dear friend, like a brother to him, specifically when the monks are within earshot and then immediately drops it when they aren't. What a guy.

(He asks frantically if Blondie has said anything -- mainly thinking of if he said anything about the name on the grave, of course, but also, Blondie could theoretically tell them any number of things about Tuco that might get him kicked out of there.)

Meanwhile, even though nobody's looking (he checks!), Tuco gets down on his knees to pray. Totally sincere in his religion, praying that God will let this man live so Tuco can have his $200,000. I love this fascinating plot-irrelevant character trait.

Once the priest has told him Blondie will recover, he's thinking for a bit about next steps before he goes into the room. Everything would be easiest if he could just get Blondie to tell him what the name on the grave was, and then he can just kill him, or at least ditch him -- he's not too keen on actually having to haul Blondie around to find the treasure, after all.

Tuco starts off by telling Blondie, "The old father tells me you'll be up and around in a few days!" and then this hilarious thing of "You were very lucky to have me so close when it happened!" Ah, yes, when "it happened", this mysterious thing that caused Blondie to nearly die in the desert, how lucky that Tuco just happened to be there. Clearly this is going to work on Blondie himself. (Maybe Tuco could be banking on the possibility Blondie might not have a clear memory of the whole thing, but honestly it's perfectly in character to do this nonsense either way, because Tuco is Tuco.)

He goes on with this approach about how they're all alone in the world and have only got each other, suggesting he doesn't have any family. This is of course a blatant lie, as we'll learn in a bit -- Tuco believes he still has both parents and a brother, even if he hasn't seen them in a long time -- but right now it seems convenient to pretend he has absolutely nothing and no one, in case it will help him earn Blondie's sympathy and trust, so all alone in the world it is.

But then he changes tack again! Come to think of it, maybe it'd be easier to convince him to tell if he thought he was dying. So nah, now he's sad, devastated, that Blondie's dying and it's all his fault. :'((( (He looks around first to make sure none of the monks are around to contradict this, but he already contradicted it when he himself told Blondie just earlier that he'd be up and around in a few days. Tuco just does not keep track of his lies, at all.)

Love the shot where he's looking through his fingers, trying to gauge if this is working at all, and then turns it into wiping the definitely real tears from his eyes. He's trying so hard.

In Blondie's place, he would tell about the gold! (He would not tell about the gold.)

If he gets his hands on the $200,000, he'll always honor Blondie's memory! (He will not.)

Oh, Tuco, totally buying it when Blondie beckons him closer only to get coffee in his face because of course. The combination of absolute unrepentant lying and swindling and naïveté is so endearing, in a terrible way.

Blondie is so smug about "I'll sleep better knowing my good friend is by my side to protect me" while Tuco is pointing a gun at him (upside-down) and it's great. Tuco having him at gunpoint is simply not a threat anymore, because Tuco now wants him to live more than anything! He will protect him! Just in his best interests that Blondie survives!

(And the funny thing is Blondie can probably entirely legitimately sleep a little better with someone else actively invested in his survival than he normally does as a lone wolf drifter, even though the guy actively invested in his survival now also happens to hate his guts. We see him later being a very light sleeper who keeps his hand on his gun, suggesting he's kind of used to expecting someone might attempt to kill him in his sleep; Tuco would never let anyone kill him in his sleep, not while he's the only one who knows the name on the grave.)

Notably, Blondie isn't angry in this scene, as much as he has every right to be when Tuco's being an absolutely shameless little shit about trying to manipulate him, after a lengthy bout of straight-up torture. Instead, Blondie seems more amused by his utter ridiculousness, now that Tuco is harmless and in fact warpedly helpful to him. He's enjoying every minute of the reversal of fortunes here, and in the process Tuco's Tuco-ness has just become kind of entertaining. This is an important little development for how their relationship evolves from here.

After the non-obvious timeskip, Tuco's fetching water for Blondie, grumbling all the while about if I get that name from you I'll give you water, and calls him a dirty skunk, kicking his foot -- notably, not keeping up the pretense of being his friend even a little bit unless the monks are around anymore. Presumably, in the time we skipped over, they've had some talks about how they'll proceed -- Blondie naturally not even considering telling Tuco the name but agreeing to accompany him so they can find the treasure together, Tuco reluctantly figuring yeah, fine, they'll do that, but he doesn't have to be happy about it. He feels free to be an ass to Blondie, even though he can't lose him, because Blondie also needs him to get the money, and at least to Tuco it's unthinkable he would just skip out on $200,000, so it probably has not crossed his mind at all that Blondie could just decide once again to ditch him if he got fed up with him.

Most of the analyses I've read on this movie emphasize that all three main characters are motivated by greed in their pursuit of the gold. But Blondie has never actually felt all that invested in the gold per se to me. Throughout the movie he's mostly being pulled along on this treasure quest by either Tuco or Angel Eyes; I don't think he ever even mentions the gold in any context that's not about how it's something the others desire, and he doesn't take much of any active action to facilitate finding it, other than being along for the ride as the quiet inevitable kingmaker. Instead, whenever it's actually Blondie's choices driving what's happening (which isn't too often, mind; he spends a lot of time quietly going along with the others and biding his time), his motivations are distinctly about something else, as far as I can tell. My overall read on him is that his chief priority is his own survival, and while the treasure hunt has his interest piqued it's almost more for the interesting puzzle of how he's going to come out on top at the end of this than out of desire for the money, though the money certainly doesn't hurt. I think I read something somewhere about the never-produced sequel proposal involving Blondie having given his share of the gold to the monastery, and honestly, I don't know if that's true or if I'm remembering right what I read, but that checks out to me.

At any rate, what I'm saying is I think Blondie is not so invested in the gold that he has to stick with Tuco for it, the way Tuco has to stick with Blondie; Blondie has all the leverage and is enjoying it, and he almost certainly did give some thought to whether he should just try to get out of there if he gets the chance. But ditching Tuco would inevitably mean Tuco just comes to track him back down again, even more fiercely, after already finding him once -- and Blondie is almost certainly already sketching out a plan for when they've reached the cemetery. Tuco is probably planning to try to kill him as soon as he shows him the grave, after all, and Blondie is going to have to make sure he's fully in control of the situation before he reveals anything. And then he's going to make Tuco put his head in a noose.

Tuco mentions the wounded are just pouring into the monastery so they'd better get the hell out of here -- that war sure is still intensifying in the background, and the main characters still want no part of it!

Blondie silently hands Tuco his still-lit cigar here just as Tuco's been insulting him; Tuco just drops it on the floor and steps on it, not keen on sharing. Again, we see how Blondie, when he has this leverage, is completely unruffled by Tuco's toothless hostility, and in fact is just having fun being friendly in an ironic sort of way in return, knowing this annoys Tuco. This is a very fun little contrast to a little later, when Blondie gives him a cigar with a more genuine sense of sympathy, and Tuco actually accepts it. I didn't actually even notice this bit for the longest time, but yes, good.

When Tuco learns Pablo is back, he just tells Blondie that This is something I have to look into, not wanting to tell him anything about his family -- though of course, it wouldn't be hard to guess that "Father Ramirez" is related to Tuco Ramirez. And while Blondie probably does muse on how he could just go out and grab the wagon that's already ready to go (though he would probably ultimately dismiss that either way as discussed above), he must be curious -- and also realize that understanding more about how Tuco ticks might be useful later.

This whole sequence is quite funny, showing off a lot of Tuco being Tuco, while we get a good look at the fundamentally changed dynamic between Tuco and Blondie now that Tuco needs Blondie alive. So far, it looks like Blondie having great fun rubbing in the leverage that he has, completely and unshakably confident that Tuco won't touch him now, while once Tuco understands he's not about to convince Blondie to give up the name, he's nakedly hostile -- but Blondie just finds his hostility amusing now that it doesn't actually represent a threat. We don't spend a whole lot of time on this stage of the dynamic, but it's still pretty important that this is where it has resolved to at this point.

Tuco and Pablo

Tuco is initially obviously wary and nervous about approaching Pablo but then puts on a cheerful smile before he says anything. He probably knows Pablo might not be super happy to see him, but he's going to live in his best world and doggedly pretend this is a normal cheerful family reunion.

Initially the smile falters when Pablo turns around without acknowledging him, but he forces it back up again. "Don't you recognize me? It's me, Tuco!" Surely it's just because he didn't recognize him with the eyepatch, right?

He goes in for a hug. Pablo folds his arms. Tuco decides this is totally just because maybe that's not appropriate with a monk - "I don't know the right thing!" he says before getting down on his knees and kissing the knot of his rope instead. It is Definitely Not that Pablo just does not want to hug him, nope.

Pablo's fed-up eyeroll on "I wonder if my brother remembers his brother" is very good. I can't believe these actors were each speaking a language the other didn't understand and just waiting for the other to pause to say their next line (Eli Wallach brings this up specifically as a really tough scene because of this). Talk about acting with a handicap. I take every hat off for how well they absolutely pulled it off -- this is honestly one of the best scenes in the movie.

"Did I do wrong?" he asks, like he's almost considering whether maybe Pablo thinks it was wrong of him to come here, but then nah, it doesn't matter! He's very happy!

"You have seen me, Tuco." Ouch. Implied, so goodbye. Tuco chooses not to take it that way!

All in all, Tuco's face for this whole thing is great, the genuine awkward reactions always dissolving into undaunted cheerful smiles as he keeps going, insistently trying to make this interaction normal. Eli Wallach is so good.

Pablo just stares him up and down after "I'm very glad I came!" "Oh, my uniform! It's a long story!" Yup, definitely just wondering about the uniform.

Tuco's trying so, so hard to bring back some long-lost brotherly dynamic that they used to have, sometime. "Let's talk about you, it's more important! You look well! A little thin, perhaps, but you were always thin, eh, Pablito?"

And then he asks about their parents. "Only now do you think of them." Pablo's so cold about it -- even though really Tuco hasn't mentioned them until now because he's been trying so hard to connect with Pablo! This is probably part of why Pablo's been so cold for this whole conversation; it's got to sting extra hard for him that Tuco's there playing up this cheerfulness when both their parents are now dead and he wasn't there.

Tuco is still trying hard to salvage this and be cheerful about it after Pablo tells him it's been nine years and it aches. Nine years! How time flies, ha-ha!

Instead Pablo tells him their mother's been dead for a long time, and also Tuco only just missed the death of his father, who had specifically asked for him. I'm pretty sure the implication is they've been at the monastery longer than the few days since his father's death, so theoretically he could probably have made it, if he'd known. Instead he's been here, grumbling about having to fetch things for Blondie. Oof.

Finally Tuco's resolve to be cheerful and normal about this is broken. I like how we don't really see him cry, just him turning away at the wall and the slight movement of his shoulder and tensing in his neck and the sound of his breathing. Any open display of emotion from Tuco would come across as pretty suspect, but it's precisely the fact he's hiding his reaction that drives home that it's 100% real.

When he finally turns away from the wall, it's to tell Pablo, voice cracking, that he didn't just have one wife, he had lots. He can find them wherever! He's doing great! (Normal people who are doing great definitely have lots of different wives they've run off from.)

He dares Pablo to preach him a sermon about it, but Pablo doesn't take the bait. Tuco wants to hear him do his usual thing of judging and condemning him so he can throw it back in his face right now.

Instead, Pablo goes, "The Lord have mercy on your soul," and Tuco responds that while he's waiting for the Lord to remember him he'll tell him something. Another great little bit that's effective because we've seen him being sincerely religious in his own Tuco sort of way, but of course really this extremely down-on-his-luck bandit feels pretty forgotten by God, even if he's only properly voicing it when he's just learned both his parents died in his absence.

In response to being judged and disdained for his (genuinely bad) choices all the time, Tuco has built up this whole defensive self-image of how really he took the harder path and Pablo's just a coward, and I love that a lot.

Pablo left to become a priest, while ten-or-twelve-year-old Tuco was left alone with his parents; the way he emphasizes that he stayed suggests that he felt he was there for them where Pablo had simply abandoned them. And yet, "I tried, but it was no good." The banditry probably originated out of desperation as a way to earn money to support his parents, or at least support himself without burdening them. And yet he ended up alienated from all of them as a result (of course he did, he's a wanted criminal). Oof.

Kind of fun how these two brothers hitting each other in the heat of the moment are actually possibly the most convincing physical strikes in the movie.

We only see Blondie watching now; we don't know exactly how long he was watching or how much he saw, whether he heard Tuco's whole backstory. But he definitely saw them come to blows, which is the really important bit about him watching.

The way Tuco helps Pablo up and then immediately turns away before Pablo can say anything more or make eye contact is a really good, painful acting choice.

Pablo saying his name, and Tuco stopping for a moment, starting to turn around, and then tossing his hand behind him and leaving anyway is also a really good, painful choice. They almost got to have what might have been a more reconciliatory conversation (Pablo says, "Please forgive me, brother," after he's gone), but Tuco was just expecting more judgement and hostility and decided not to bother.

This scene is so good. Tuco was already the most colorful character in this movie, but there's a huge amount of depth added via this conversation with Pablo -- not just some token effort in the form of the fact his parents are dead and he's sad about it, or the explicit exposition about him growing up in poverty and becoming a bandit because the only ways out were banditry or the priesthood, but all the little nuances and implications and Eli Wallach's performance of it all. Tuco's insistent way of looking for alternative explanations for Pablo's coldness at the start; his dogged, desperate efforts to lighten the mood; the particular genuineness of his reaction to the news about his parents and the way he then deflects all those feelings into anger at Pablo and at God; the painful, painful way that they part. It's such excellent character work, and it makes Tuco really, properly sympathetic, where he's been serving a pretty villainous role so far.

Nothing like a good cigar

Tuco silently joins Blondie on the wagon, obviously in a pretty sour mood, and Blondie doesn't say anything either as they set off. I expect at this point Blondie is fully intending to just not comment on what he saw. (Tuco, of course, doesn't realize he saw anything at all.)

But after a moment, Tuco decides to live in his best world. His brother is so great! He was just having soup with him! He never wants Tuco to leave when he visits! Earlier he expressly didn't want to let Blondie know he was going to see his brother, but now he says casually that oh yeah, his brother's the one in charge there, like he just sort of happened not to mention it before. His brother's very important and also crazy about him, and the great thing about having him is he'll always be there for him to give him a bowl of soup if he needs it. This is definitely what actually happened and not a bald-faced lie-slash-fantasy in which Tuco's fine and loved and appreciated and has a robust support network. (This lie, of course, very directly contradicts Tuco's previous lie to Blondie about how he's all alone in this world. He's so consistently shameless about not being remotely consistent with his own lies.)

(And, notably, the way Tuco's treating Blondie has abruptly shifted, too, even though no one's watching -- he's just having a casual chat, smiling, lightly bumping his shoulder at "Bring your friend, too!" Tuco is feeling shunned and rejected and needs a friend right now, and Blondie's the one guy he's got, who has been acting basically friendly to him, not returning his hostility -- so Tuco's just choosing to at least for a moment live in the world where yeah, sure, they're the best of friends and always have been.)

We may not know exactly how much Blondie heard, but he knows at minimum that actually they were not having soup, that Tuco's brother slapped him, and that he punched him in return. So he knows exactly how bullshit all of this is. And yet, he actually has a little smile at it and chooses not to contradict him, but instead to actively play along with the lie by telling him, "Well, after a meal, there's nothing like a good cigar." (There was no meal, after all, and Blondie knows it; he could have offered him a cigar without actively playing along with that bit, but he specifically chooses to do so.) In spite of all Tuco has done, Blondie hears his pathetic bullshitting about his brother and it actually endears him to him, makes him human.

It's very possible he heard more of Tuco's backstory, too, and perhaps developed some sympathy for him based on that, the way we have -- but the particular reaction he's having right now, the smile and the cigar, is a reaction to Tuco telling him this. It's such a blatant, pointless, specific lie, delivered with such a bizarre change of attitude, and all by itself it says so much about Tuco: that he craves positive relationships he doesn't have, that he was hurt enough by this encounter he doesn't want to admit or sit with how it really went, that he uses lying as a coping mechanism, that he lies to himself too, that ultimately he loves his brother and would rather talk him up and lie that they're tight than just complain about him, that he really needs a friend right now and Blondie is all he's got so he's just discarding the hostility to do this. It's pretty sad, and it really is very endearing. Look at this miserable little man and his pathetic, absurd ways of coping.

And the reason this works is Blondie was already honestly a little endeared to Tuco, in a strange way. Tuco had stopped representing a threat, and his Tuco-ness had become entertaining -- initially because Blondie was just having fun rubbing it in and watching him flail in his unique way. But it's not that far from there to seeing his humanity, and this bit of more obviously desperate Tuco-ness will do it. Tuco still tortured him, and Blondie has not and cannot forget that -- but alongside it he's starting to get him, a little bit, and it makes him sympathize with him.

(Blondie doesn't look at him while offering the cigar, though. Not getting too sentimental about it.)

Tuco looks at him for a long moment after taking the cigar, perhaps realizing Blondie might have seen or heard something (even Tuco suspects it's not that he just genuinely bought all that and wants to give him his cigar because it's good after a meal; this looks suspiciously like a gesture of sympathy). But then he just puts it in his mouth, and shares another brief look with Blondie, and then we can see this great progression on his face as he actively psyches himself up into one of his normal grins (love Eli Wallach so much, what a great actor who makes this film), just as we shift from the somber Father Ramirez music back to the upbeat main theme. Tuco is fine! Blondie is living in Tuco's best world where they're friends too! Everything is great!

This is another great, fascinating little character interaction. Tuco has a great need to create his own reality and act fine at all times (unless acting otherwise serves some other goal he has, of course), because actually his life kind of sucks, and lying and pretending, to himself and others, is just how he copes with everything. He didn't need to say anything to Blondie at all -- he didn't ask what Tuco was up to in there and wouldn't have asked -- but it just makes himself feel better about it to go rewrite reality into what he wants it to be and then affirm it by telling somebody else about it and acting like they're totally friends. And out of it comes this weirdly cute little bonding moment where Blondie's beginning to understand Tuco, and feel kind of sorry for him, despite everything. I love them.

The map

One more brief Italian/Extended Cut bit. Tuco's reading the map, looking at where they're going; Blondie asks about where they're headed, and Tuco catches himself and tells him he'll tell him when they get there. Dead soldiers are lying around; Blondie notes they're not worried about anything anymore and asks again about where they're going because they might get caught up in the war as they go on. Tuco, defensive, says they're going towards $200,000.

This mostly serves as the first ambiguous sign that Blondie has some sympathy for the dying soldiers, even though he's mentioning them briefly in the service of making a different point, while showing Tuco's still wary of telling Blondie anything that would render him unnecessary, afraid that then Blondie would just kill or ditch him and go for the gold himself. It's not a very important moment and the film wouldn't lose much without it, though I don't think I agree with the idea that Blondie's expressed sympathy for the soldiers here is too much for where we're at -- it's not exactly an outpouring of sentiment, just an observation about why the situation is dangerous that happens to involve him noticing the dead soldiers, and it certainly worked as a part of his character progression for me, though I also think it would work without it, with the prison camp being the first thing to spark his sympathy.

The one thing Blondie does do in the movie that sort of seems like he's invested in claiming the gold for himself is these intermittent moments where he asks Tuco about where they're going. But I'm not sure that's actually what's going on in these moments either. They're very casual and understated and, especially as the movie goes on, grow to feel more like he's trying to catch him out for his own amusement than any serious hope that it will work. And in the end, when Tuco does tell him the name of the cemetery, Blondie then does not in fact ditch or kill him to get the gold first, even though he easily could have. So all in all, it doesn't actually sound like he really hoped to learn the name of the cemetery so he could go find the gold himself without Tuco, even though Tuco obviously fears that.

So I think his stated reason for asking at this point is basically genuine. He's agreed to accompany Tuco, but they could be about to get themselves into danger, and it really might be less dangerous if they both know where they're headed. It's very understandable why Tuco won't, though -- Blondie's not telling Tuco anything for the same reason, after all -- so ultimately he can't insist too hard.

How do you do fellow Confederates

When Tuco spots troops he wakes up Blondie and is preparing to just take off his uniform immediately -- it's Blondie who asks if they're blue or gray (Tuco looks at his own uniform for a moment like he needs to double-check which arbitrary uniforms they have again before he looks off at the soldiers, enjoy that), and that's when Tuco figures well, okay, they're gray so I guess we don't need to. In other words, this is actually Blondie's fault, inadvertently; Tuco by default would have played it safe and gone with being civilians. (Though obviously Tuco's ridiculous over-the-top yelling did not help.)

"God's not on our side, 'cause he hates idiots also." Blondie is calling them collectively idiots. Blondie is a very smart guy but I enjoy how willing he is to include himself in that.

All in all, this silly scene is great because it's hilarious, but also just very fun about how utterly arbitrary the Civil War is to the main characters. It's just blue versus gray, yell out support for whichever color they're looking at while unclear on what the generals' names even are, whatever. Tuco obviously doesn't really know or care what the whole thing is about at all. Blondie is probably a little more familiar -- at least he knows what the generals are called -- but still only really invested in keeping himself out of it.

Of course, they sure do get caught up in it anyway. Off to prison camp!

Batterville

Time for the war to start to get a lot more prominent!

The wide shot of the camp as they're marched in shows gallows in the background, just where the framing draws the eye, with a man still hanging from a noose. We don't see any executions happening at the camp but we're sure incidentally shown that those also happen.

Love that moment of Wallace reading out "Bill Carson" and Angel Eyes turning around to reveal his face. We had no idea he'd be here, but the moment he shows up, it's what we've been waiting for all this time, and then he goes on to deliver by being magnificently striking in the whole camp sequence. Angel Eyes is somewhat underused in the movie overall, in terms of screentime and development, but half of the bits he does feature in just go so hard.

Kind of insane that he's a Union sergeant now; presumably he got promoted quickly for being amazingly competent, I guess (and I suppose once again it's very hard to actually get a grasp on the timespans involved).

Tuco, again, clearly has a bit of ambiguous history with Angel Eyes, compared to how Blondie and Angel Eyes are only really indicated to know of each other. I kind of enjoy that the movie doesn't get into exactly how any of these guys know each other at all and just leaves it up to implication and the viewer's imagination.

Tuco doesn't seem to have noticed and pointed out Angel Eyes until after he's turned around, so they probably have no reason to think Angel Eyes knows anything about Bill Carson. So when Blondie then suggests Tuco be Bill Carson, I think what he's thinking is that the guards are trying to identify who the prisoners are for purposes of arranging prisoner exchanges later, and that their best shot at getting out of here is to be identified as actual soldiers that might be exchanged -- obviously the Confederacy is hardly going to actually choose to exchange prisoners for people who were not actually soldiers. Bill Carson is the one name they know that's definitely not going to turn out to be somebody else present (and Tuco's already wearing his eyepatch while Blondie could never pass for him if there were any kind of physical description involved), so Tuco had better pretend to be him, and Blondie will cross his fingers for a different name coming up on the manifest later that no one else responds to that he can assume.

The other possibility for what's going on here, though, is that they do catch Angel Eyes reacting to Bill Carson specifically, and Blondie is gambling that Angel Eyes taking an interest could be a ticket out of here for both of them. That's a very interesting possibility, but I can't get it to make quite as much sense -- surely, if Blondie knows anything about Angel Eyes, he would probably know that being somebody Angel Eyes is looking for is probably a bad thing, and if he and Tuco know each other, then Angel Eyes presumably knows Tuco is not actually the Bill Carson he's looking for, so pretending to be Bill Carson doesn't seem like a super productive idea in that case. I can still see it being the intended reading, though -- notably, Blondie doesn't actually suggest Tuco be Bill Carson until after Tuco points out Angel Eyes even though Wallace had read out the name several times, which is the main evidence in favor of this, but that could also just be due to taking a moment to think and evaluate.

Either way, we cut briefly to Angel Eyes smirking at Wallace punching Tuco in the stomach for not saying "Present." Whatever sympathy he might have had for the soldiers back at the fort, it definitely does not extend to Tuco even a little bit. I think their ambiguous history might have something to do with that smirk.

On the other hand, he does then tell Wallace that that's enough when he's getting ready to beat on Tuco some more; probably he wants to save it for the actual interrogation. Angel Eyes enjoys violence but only really employs it in the service of his agenda, rather than pointlessly for the hell of it, as the plainly sadistic Wallace does.

(Blondie looks rankled at Wallace's abusiveness, and smiles a little as Tuco fires back at him.)

Tuco sounding earnestly excited about Angel Eyes saying they should get "good treatment" is painful. Blondie is decidedly less excited about it, and when Tuco sees that his expression changes as well -- enjoy him taking that cue from Blondie.

Angel Eyes justifies his treatment of the prisoners to the commandant first by saying there are too many prisoners and he needs to have respect and then by saying well, our men aren't treated well at Andersonville camp. I doubt either of these things actually has much to do with it; really he's probably torturing prisoners mostly because he wants info on Bill Carson and the treasure, and is obviously robbing them simply for monetary gain, but to his superiors he'll coolly rationalize all this with something that sounds less self-serving. I went down a bit of a Wikipedia rabbit hole about Civil War prison camps, and it sounds like "Confederate prison camps keep prisoners in terrible conditions, so we should be equally cruel" was genuinely an argument used to push for abusive treatment of PoWs in the North.

The poor gangrenous Union commandant is such a good, decent guy, bless him -- "I don't give a God damn what they do in Andersonville." Most genuinely moral person in the movie, probably. Unfortunately, though, although he is nominally in a position of power, he's basically confined to his room, and all he can really do about the malicious takeover of the camp by Angel Eyes and his abusive cronies is giving him stern talks that he blithely ignores.

When he says the prisoners are not to be tortured or cheated or murdered, Angel Eyes just says, "That an accusation?" Obviously he's been doing all that, but he knows the commandant can't prove it. Technically he just takes prisoners into his cabin while the band plays some lovely music! Maybe the injuries they walk out with are because they just happened to have a fall.

"But as long as I'm the commandant I won't permit any such trickery. Am I clear?" "Yes, sir. Just as long as you're the commandant." A lot of people seem to interpret this as Angel Eyes planning to kill him, but the way I read it is that he's making an oblique reference to how the commandant is not really commanding anything at this point; Angel Eyes is already, for all intents and purposes, running things. He doesn't need to kill him. I think that aligns with the fact we then see Angel Eyes just wish him luck on proving his abuses (God, he's such a smug bastard), leave, and then tell his men to lay low for a few days -- just don't give the commandant the chance to find the evidence he's hoping for, the gangrene will take him eventually anyway, and then probably Angel Eyes might get to officially take over after him, without all the potential complications of actually murdering him.

Angel Eyes truly marks his return to the story in style. Him being effectively in charge of the camp, and thus having absolute power over our now-imprisoned protagonists, while Tuco's blissfully impersonating the very man Angel Eyes has been after, is just such a delicious, exhilarating development and creates an enormous amount of dread and tension for this whole sequence.

Tuco's interrogation

Tuco's clearly nervous being brought in to Angel Eyes' cabin. Then Angel Eyes is being friendly, just offers him food -- so he excitedly sits down and brings a spoonful to his mouth, only to stop, suddenly worried that it's poisoned. So Angel Eyes spoons some off his plate and eats it himself, and Tuco smiles and laughs, going, "I knew it! I knew it!" We may never learn exactly in what capacity the two of them knew each other, but this progression tells a lot, delightfully: Tuco thinks Angel Eyes is somebody who might poison his food, but also goes "I knew it!" when he's shown he didn't, as if he'd never had any doubts. Odds are Tuco does have good reason to be distrustful of Angel Eyes, but once again he likes to live in his best world where people actually like him, so if Angel Eyes is acting friendly, and hasn't poisoned his food, then sure, Tuco will act as if they are the best of friends and he trusted him completely all along. Enjoy this being established implicitly via Tuco's reactions, without having to exposit anything.

The minute he saw him, he said to himself that Angel Eyes never forgets a friend! (He plainly did not say this to himself the minute he saw him.)

"It's good to see old friends again. Especially when they've come from so far away and have so much to talk about. And you do have a lot to talk about, haven't you?" I love the way Angel Eyes does these pre-interrogations, so surface-level friendly yet distinctly threatening. Tuco has a lot to talk about, doesn't he? If he talks enough, Angel Eyes might even not torture him. (But he'd probably still send him to be executed. No reason not to claim that $3000 bounty!)

Tuco smiles and chuckles about how hard it was crossing the desert, especially with nothing to drink. It sure was a hard time for somebody but it wasn't you, Tuco.

Tuco deflects the question about why he's using the name Bill Carson into simply a general rule of not using your own name, which is funny when Tuco is the one main character here who does explicitly go by his actual legal name and also routinely refers to himself in third person.

Enjoy Angel Eyes clapping his back just a bit too hard, as the tiniest taste of what is to come. At this point Tuco's definitely starting to have some creeping doubts about where this is going; we see his eyes flick to the side at it.

Tuco's eyes also shift distinctly back and forth after saying music's very good for the digestion. Definitely catching on that Angel Eyes is driving at something very different and trying to work out what, for all that he answers in a friendly and cheerful way. (Tuco started to question this a little bit when Angel Eyes asked why he's using the name Bill Carson, then a bit more so at the back-clap, then this.)

Once again, once Tuco starts actively refusing to answer Angel Eyes' questions, that's when he casually shifts into torture-mode, stands up to signal for the music to start, and then offers him tobacco only to clamp down on his fingers. The very smooth shift, without much of a real change in demeanor, is part of what makes Angel Eyes so striking as a villain. What a memorably fucked-up guy.

Tuco tries admirably to fight back against Wallace at the start, even with the disadvantage of being handcuffed to a chair the whole time. When Blondie was being tortured he was very calculated about quietly going along and taking it until he believed he had an opportunity; Tuco being tortured is so much messier, full of screaming and struggling, though as it goes on he becomes less able to fight back.

I love the buildup of this scene: the timing of the music swelling before Tuco's first scream; the way you gather the music is to drown out the noise, but the distraught looks of the musicians gain new meaning when the old man tells Blondie how so many of them have had a session in there; the violin player on the verge of tears suddenly cutting out and looking away and being snapped at to continue; all intercut with the movie's bloodiest scene. And, of course, the dissonance of the song they're singing itself, which sounds almost like a lullaby (only if you actually read the mostly-unintelligible lyrics, it's actually about war and all the pointless death involved: Loud roar the cannons till ruin remains / Blue grass and cotton burnt and forgotten / All hope seems gone, so soldier, march on to die; There in the distance a flag I can see / Scorched and in ribbons, but whose can it be? / How ends the story, whose is the glory? / Ask if we dare our comrades out there who sleep). This whole scene is so striking and so good; lots of movies have torture scenes, but the way the band is used makes this one so much more memorable.

(Blondie is silent as ever, but doesn't seem super comfortable there lined up on the other side of the walls staring over towards the cabins, gathering Tuco is probably being tortured in there, that other prisoners already have been, that he might be next.)

Angel Eyes smiling and leaning in as Wallace puts his thumbs on Tuco's eyes is such a touch of sadistic bastardry. (Interestingly, this footage is apparently not in the Italian version, and we instead cut back to Tuco there and actually watch him with Wallace's thumbs on his eyes screaming that he'll talk -- it was reedited to be slightly less violent for the international market, and the Extended Cut kept the international theatrical version of this scene because the only available Italian prints had weird abrupt cuts in the music that presumably resulted from the original version of the scene there getting cut down post-music placement. I do always enjoy more torture, and it's a shame they felt the need to censor it, but I think this shot of how much Angel Eyes is enjoying this is actually very good and effective.)

The two instances of Angel Eyes torturing people for information (first Maria and now Tuco) both end with them giving truthful information, though in neither case is it obviously a violation of the character's deeply held principles or anything (we don't really know much about Maria or her relationship with Bill, but as much as Tuco wants the money, he has every legitimate reason to be more invested in keeping his eyeballs). On the other hand, in order to facilitate this, Angel Eyes kind of just magically knows exactly when they've told all they know and their "I don't know" has become genuine (we can see on his face that he can tell immediately that Tuco means it this time). In real life, torturers generally have no actual idea when their victims are lying even if they think they do, which is one of the several reasons torture is a terrible way to obtain information. But I suppose I will file this with other instances of Angel Eyes being implausibly competent to make him scarier.

Tuco keeps muttering Blondie's name in a bit of a choked-up way after giving him up, which gives the sense that he feels a bit guilty at this point for condemning Blondie to what he assumes is the same fate -- though he's not going to show it later, of course, filing it away where he probably locks all other times he might have felt kind of bad for a thing.

All in all, what a good, brutal, memorable torture scene, A+. The whump as whump is one thing and not necessarily my favorite whump ever or anything (many of the strikes here don't look super convincing, for instance), but as a scene it's just such effective filmmaking, and the particular bloody brutality of it compared to all the sanitized gunshots we've had is such a stark and evocative contrast.

The war is over for you

I love the cut to Blondie being shoved in there just after Tuco has given him up (though alas, he will not be tortured this time), and then the bundle of clothes getting thrown at him from offscreen. The old prisoner told Blondie what goes on in the shack, so as he was sent in there he was fully expecting to be about to get beaten bloody for several minutes. Instead he's… being told to put on some clothes? Huh.

Blondie is amused when Angel Eyes announces he knows the name of the cemetery now and Blondie knows the name of the grave. Here we go again! I think initially he assumes maybe Tuco had just freely told him after all, looped him in on the treasure in exchange for letting them go. After all, Angel Eyes does not seem inclined to torture him at all, they couldn't hear much of anything over the band, and it gets implied later that at some point Tuco told Blondie he and Angel Eyes were old friends, which Blondie obviously would not have put any stock in initially but might seem to check out now…

…But then, as he's taken his hat off, getting ready to just shrug and comply, he eyes the blood on the floor, verifies with his foot that it's still fresh. An uncomfortable confirmation that no, Tuco did not in fact just casually spill the beans.

He asks, "You're not gonna give me the same treatment?", because that seems genuinely odd. If Angel Eyes did get the cemetery out of Tuco by force, why isn't he trying to get the grave out of Blondie? But he's noticeably feeling a bit for Tuco and what he implicitly suffered here; the lingering on the blood on the floor and his expression are pretty telling.

Angel Eyes notes that he figured Blondie wouldn't talk, not because he's tougher than Tuco but because he's smart enough to know that talking won't save him. Very true -- Blondie's calculated enough to figure once he gives up the information he's given up his only leverage, and by that point Angel Eyes would have zero reason to keep him alive anyway. Tuco, though, isn't quite as stupid as Angel Eyes thinks -- he does in fact end up both living and keeping his eyes, simply because talking when he did ultimately paid off by buying him time and opportunity to get free and kill Wallace later (though at the ostensible cost of giving up the money and probably getting Blondie tortured too, of course). Tuco couldn't have known that was likely to work out for him, but while he's there in agony and Wallace is threatening to put his eyes out, he'll take that chance, play it by ear and see what happens. That's not really how Blondie operates: he figures the information is the one thing what makes him valuable and if he wants to survive he needs to safeguard it at absolutely any cost. Angel Eyes understands that, and so he doesn't bother with trying to beat it out of him and just skips straight to the taking him along -- once again, his violence is in the service of his agenda, so if it wouldn't accomplish anything, why try?

(Of course, Blondie being smart enough to know talking won't save him is also why Blondie's smart enough not to lead them to the correct grave later. Foreshadowing!)

Blondie asks if Tuco's dead, hesitant, stopping before the last word. Perhaps this is the moment he realizes he actually hopes he's not.

Angel Eyes is in friendly mode with Blondie. It'll be easier with two of them! Even gives him back his gun -- Angel Eyes presumably figures he's not in danger from Blondie because, with Tuco gone, Blondie needs Angel Eyes to get the money, and obviously he wouldn't just squander that opportunity for no reason, right? Even so, when Blondie unholsters his gun, Angel Eyes slows down as he's putting on his jacket, watching him, probably prepared to react if Blondie were to point it anywhere unexpected.

But he doesn't, of course. Blondie is always one to wait for the best possible chance; if he were to shoot Angel Eyes in the middle of the prison camp he runs, it'd just alert the guards and get him killed. And of course, usually he wouldn't do it until such a time as Angel Eyes is getting ready to shoot him.

(Angel Eyes insists he's not greedy and only taking half, as an incentive for Blondie to actually come along and guide him to the correct grave, but once they do get to the grave, he of course just pulls a gun on Blondie -- he never actually intended to keep that promise.)

When someone at the train station (another injured soldier, missing an arm) asks where Wallace is taking Tuco, and Wallace says to Hell with a rope around his neck and a price on his head, Tuco adds, "Yeah. $3000, friend! That's a lot of money for a head. I bet they didn't even pay you a penny for your arm." It's extremely Tuco that as he's being taken to be hanged, with no Blondie to shoot him down, he's choosing to live in the world where this just makes him impressive and important.

Man, Wallace is so pointlessly violent with Tuco even when he's not even being ordered to torture him specifically. Very understandable how much utter loathing Tuco has for him in particular.

Wallace calls Tuco lucky compared to the Confederate spy who has been tied to the front of a train, because at least he's going to go relatively quickly. Jeez. Striking background elements.

Wallace also makes a quip about how there isn't any partner this time to shoot Tuco down -- he must've heard about the con he ran with Blondie from Angel Eyes, who witnessed them doing it together that one time during the second hanging.

All in all, we've just had yet another shift in the situation! Angel Eyes is now taking Blondie along with him towards the cemetery, while Tuco has been sent off to be executed. We've still got two guys who each know half of the secret -- but at this point, we're all rooting for Tuco to escape, aren't we. We've also got some very important signals here about Blondie's growing empathy for Tuco: the lingering look at the blood on the floor, how he hesitates asking if Tuco's dead. One way or another, he's grown to care for the guy, in spite of everything.

The perfect number

Blondie sleeps with his hand by his pistol, of course he does.

We see his eyes flick open briefly at the sound of footsteps, then he closes them again, and then a few seconds later after the camera has panned back to his hand, when the footsteps have already gone quiet, he suddenly grabs the gun and shoots. This suggests he wakes up at the noise but only decides to fire a bit later, after pretending he's still asleep for a bit. Initially I took it he'd just shot basically on reflex after hearing something in his sleep and then put together that it's someone Angel Eyes instructed to follow them, but on a closer look it doesn't actually look like that's what's going on. Instead, presumably Angel Eyes had told his guys to stay hidden, and this guy only stepped out into the open because Blondie was asleep -- only Blondie is a light sleeper, noticed, took a moment to think, and then decided to go for it.

I think his thought process must be essentially this: first he deduces this guy must be working for Angel Eyes -- either recognizing him from Batterville or just noting that he seems totally unsurprised to see him and Angel Eyes sleeping there. And while traveling to the cemetery along with one guy gives Blondie a pretty good chance of making it out of this alive, Angel Eyes having hidden cronies following them in the shadows is plainly designed to stack the deck hopelessly against him. Blondie is never going to survive this if there's going to be a hidden assassin or more lying in wait (obviously he's not buying that Angel Eyes is doing this just to fairly split the gold with Blondie and then let him go). So he makes a snap judgement to take down at least this one and call Angel Eyes out, knowing once again that because he knows the grave he's too valuable to kill right now.

(This is definitely the most unprompted murder Blondie does in the movie, though -- this guy definitely wasn't drawing his gun, just existing as a future threat to Blondie. RIP.)

Either way, "If your friends stay out in the damp, they're liable to catch a cold, aren't they? …Or a bullet," is a fun one-liner. Blondie shooting them is just something unfortunate that might happen, the way catching a cold happens. (But really, he's warning Angel Eyes that he's on to him with the hidden assassins and he will shoot if he catches any more sneaking around.)

Angel Eyes just looks amused and impressed that Blondie just killed one of his men. Normal reactions that normal people have.

Presumably Angel Eyes tells his men to come out because Blondie just threatened to kill them if they stay hidden, hoping to pacify him. But Blondie still has his leverage, so he just as good as announces airily that he's still planning to kill them all. Angel Eyes may laugh, and be willing to call his bluff as far as his own self is concerned due to the Blondie also can't get the money without him thing, but his poor lackeys must be sweating -- Blondie is running around with a gun, he's just promised to kill them all, and Angel Eyes almost certainly wants the money, and thus Blondie alive, more than he cares about the lives of any of them.

I guess the lackeys aren't too keen on their prospects if they were to attempt to disarm Blondie right now, and if anyone actually dared to shoot him before Angel Eyes' say-so, they could expect his wrath. It's sort of surprising none of them attempt to just get the hell out of there at this point, though -- everyone just shrugging after this while Blondie is there with his gun and a designated bullet for each of them sure is something.

Blondie may in fact have been going for trying to scare off the lackeys. He does not actually think he has much of a chance alone against six men -- hence why he doesn't in fact make a move until he manages to team back up with Tuco later.

He does also say, "Since we're all going in the same direction, might as well go together," which vaguely suggests he's not planning to murder them all right now or anything -- which gives them a bit of time to desert Angel Eyes, if they're going to.

Sometimes the phrasing of lines in the English dub is kind of funny or off, and I just write it off because it's a live-action dub trying its best to vaguely match the lip flaps (sometimes pretty successfully, sometimes a lot less so). But Blondie explicitly spelling out that six is the perfect number because it's the number of bullets in his gun is one instance where I feel like the writing itself is legitimately just kind of clunky in a distracting way. The line about six being the perfect number is good and fun, if the audience is trusted to infer what he means; the spelling-out is unnecessary and exacerbates the sense that Angel Eyes and his men are kind of idiot balling here (you mean to tell me that Angel Eyes, the picture of hypercompetence and master of threatening insinuations, heard him go, "Six. Perfect number :)))", just after shooting one guy and then reloading his revolver with another bullet, and couldn't tell what he meant?).

(Also, why does Blondie say he has six more bullets in his gun. That would imply it's six in addition to the one he's just fired, but no, the one he fired left him with five and that's why he just had to replace that one. Surely the sensible line would be to just say he has six bullets in his gun, no more.)

Incidentally, six really is what is called a perfect number in mathematics (it equals the sum of its integer divisors). Obviously this is not what either Blondie or Angel Eyes is talking about. It might have made at least somewhat more sense if Angel Eyes had said something about the actual concept called a perfect number of which six is genuinely an example (it would still be implying Angel Eyes is somehow enough of a nerd about math, and thinks Blondie is enough of a nerd about math, to think of that first, but at least it would be an explanation for him taking it to be anything other than a reference to the number of bullets in a revolver), but no, saying three is the perfect number rules out that Angel Eyes knows about perfect numbers, because three is not a perfect number. Terrible.

All in all, "Isn't three the perfect number?" "Yeah. But I got six more bullets in my gun," is definitively by far the worst bit of dialogue in this movie on several different levels, thank you for coming to my TED talk.

This one's another Italian/Extended Cut scene, and while it has a couple of fun lines, and fun implications about Blondie's normal paranoid existence, I think it kind of raises more questions than it answers. I suppose the reason it's there originally is that without it, Angel Eyes explicitly says to Blondie that there's going to be two of them at Batterville only to have five additional guys there next time we see them with no comment; we can pretty easily infer that these are the same crooks he was working with for the smuggling operation at the camp either way (that bit isn't even mentioned in this scene anyway!), but the explicit presentation of it initially as a two-person operation becomes a little strange if a bunch more people then appear for it with no explanation at all. That's a valid concern, I suppose, but meanwhile this scene has that straight-up bad bit of dialogue, and while its implications for the metaphorical chess match between Blondie and Angel Eyes and his men are interesting (I kind of enjoy how confidently both Blondie and Angel Eyes call each other's bluffs here), they're a little nuts, and the movie is probably more coherent if we skip this scene and are left to assume Blondie's simply biding his time and Angel Eyes and his men fully assumed he was willingly cooperating and on board with accompanying them all to the cemetery, even if Blondie's initial reaction to Angel Eyes going, "Oh, by the way, these five guys are coming along too," somewhere offscreen is left to the imagination.

Tuco escapes

This is another bit of Tuco being very resourceful and thinking on his feet. Originally he was trying to reach for the gun in Wallace's holster, but when Wallace catches him he immediately comes up with wanting to take a leak. Gun doesn't work to shoot the chain? Try using it as a hammer, and then a different rock, and then try using a train as a bolt cutter, and then jump onto the train while he's at it.

Wallace already looks unconscious by the time they've rolled down the hill away from the train -- Tuco's just making sure he's very, very dead. The smashing his head into a visibly pointed rock several times is very brutal and also kind of drives home all that Wallace has done to him, which is clearly fueling Tuco in his fervor here.

I enjoy that Tuco briefly looks at the blood on his hand after doing it and then just dries it in the sand. I wonder if he's killed anyone quite so directly with his own two hands before. Either way, though, he is not one to linger on it.

"You made a lot of noise, my friend, huh?" he says, calling back to his little seething remark from the first scene where Wallace beat on him about liking how big, fat men like him make more noise when they fall and sometimes they never stand up -- another little bit tying it more directly back to Wallace's abuse.

I enjoy how Tuco is tangibly pretty scared to be up there so close to the moving train, but he sure is still doing it.

Most brutal fate in this movie is definitely Wallace. Pulled out of a moving train, head bashed several times into a pointy rock, then laid down on a train track where he gets dragged along the track for a bit. Eeesh. Certainly a very conscious choice that he's the most violently sadistic character here; Angel Eyes, again, may be an evil bastard, but all of his violence is serving some purpose for him, whereas Wallace has constantly been pointlessly violent just to be cruel.

The ghost town

This movie being very striking even in an incidental scene: the guy made to carry his own coffin to his execution. His crime is explicitly, according to the sign he's also been made to carry, just that he's a thief. What a horrid, awful little background event.

(In this movie, there are six different scenes involving executions or something resembling them in some form, legal or extrajudicial: Tuco's two hangings, Tuco trying to hang Blondie, Shorty's hanging, this guy being executed by firing squad, and Blondie hanging Tuco at the end. In addition to all this, there's how Tuco is going to be hanged when he escapes, and then there's the background gallows at the prison camp. As someone with a thing for executions in fiction, I am truly, shamelessly feasting here. There are many, many other reasons I enjoy this movie, 30k+ words' worth as I am currently demonstrating, but "several hangings and a firing squad" definitely does not hurt.)

Tuco has new clothes here, so clearly we've had some time in between where he managed to get new ones -- he didn't just step off that train he caught or anything. Very reasonably, I assume he ditched the Confederate uniform as soon as possible after what that got them into.

Man, this town really is shot to hell and back. Very tangible sense of how the war has just utterly destroyed it. And yet, once again it's not the main characters' biggest concern, really. It's just a place they're passing through.

Tuco, choosing to just casually use someone else's abandoned bathwater and pour the entire contents of several jars of different bath salts into it. Likewise with the multiple times he licks soap. What a madman.

I love that the purpose of the one-armed bounty hunter is just to be somebody for Tuco to shoot in this town so that Blondie can recognize the sound of his gun and come find him. That's literally all this means for the plot, but they just make a hilarious little sequence and continuity gag out of it, with Tuco being his delightful self with the "When you have to shoot, shoot, don't talk!" line, and that's an iconic choice.

(Tuco, as ever, applies pretty different standards to himself -- he sure could've just shot Blondie on multiple occasions if he really wanted to, but first wanted elaborate revenge, then hesitated, took the time to say goodbye, and then ultimately got interupted. But it's all very personal with Blondie. Random bounty hunter #3? He's just shooting. Bet it was very personal on random bounty hunter #3's end too, though.)

Likewise, Blondie has befriended a tiny stray kitten, who probably just happened to wander into his hat, and calls the kitten 'large one'. It's adorable, and instantly makes Blondie 500% more charming, and also its actual purpose is that there is no way Blondie would explain out loud for the benefit of the audience here why he's standing up to find Tuco unless he had someone to say it to who isn't Angel Eyes' men. Solution? He says it to a random kitten who's there now. A completely shameless approach that totally serves its purpose and adds to the characterization in the process: like Tuco's religiosity, it doesn't mean anything for the plot per se that Blondie is somebody who would see a stray kitten climbing into his hat, gently lift it and pet the kitten and address it by a cute ironic moniker and tell it what he's thinking, but it just adds a little bit of charming extra dimension to him. (And it reinforces the capacity for empathy that he has but has been very quiet about showing so far.)

(Incidentally, even though he was genuinely speaking English on set, you can tell Clint Eastwood's lips aren't totally in sync here, and I gather the Italian line here is just something closer to, "Every gun makes its own sound, and I recognize that one." Is "large one" a product of Mickey Knox doing a rewrite but trying to match it to the lip flaps of a line that originally ended in "that one"? If so, truly the best dubbing choice of all time. The kitten is already adorable, but Blondie calling them large one, my heart.)

That's not to say they couldn't possibly have conveyed that point in a different way, mind. We could see Blondie look up silently and walk away and then tell Tuco when he shows up that he followed the sound of his gun (definitely wouldn't be unreasonable or out of character for Tuco to ask about that). It would have been a little awkward, though, since the actual trigger for him silently getting up would have been taking place a little before the cut to him doing so (and we can't cut straight after the gunshots, because then we would lose "When you have to shoot, shoot, don't talk!", which we definitely cannot). Instead, kitten. Excellent.

(On the other hand, I am very sad for this stray kitten wandering around a ghost town as all the people are leaving. Noooooo please tell me Large One is okay)

(If Tuco has the same gun as before, that must mean Wallace had and was carrying Tuco's gun, and then he took it with him before catching the train, after initially throwing it away in frustration? I don't know guns well enough to tell if it's genuinely all the same gun.)

Angel Eyes sending only one guy after Blondie really makes considerably less sense with Blondie having explicitly threatened to kill all of them in the perfect number scene, doesn't it. Without that scene, it checks out that Angel Eyes wants to keep an eye on Blondie but doesn't immediately have any particular reason to think he's about to betray them or liable to attack anyone; with it, it's a wonder Clem doesn't protest.

RIP Clem. Blondie may jump him when he turns a corner, but even he has his hand on his gun before Blondie actually shoots him, though he freezes and stops drawing it before Blondie actually shoots. (Would he have even gone on to actually shoot Blondie if he'd gotten the chance? Well, Angel Eyes still wants him alive… but perhaps Clem might have tried to shoot him somewhere debilitating but not fatal, which is a thing that generally never happens onscreen in this movie but is clearly something that hypothetically can happen, what with all the injured soldiers with lost limbs.)

Things were once again looking pretty bleak for Blondie here. It was always extremely unlikely he could take out six men on his own, even if he did threaten to do so. He could create an opportunity with Clem, because Angel Eyes sent one guy after him, but it's doubtful he'd ever have been able to pull that more than once; all in all, all roads seem to lead to inescapably getting killed at the cemetery while outnumbered. But then he recognizes Tuco's gun. And if there were two of them, maybe they would have a chance at whittling down Angel Eyes' men. Regardless of anything else, he can easily assume that Tuco will agree to join him: that gets Tuco back in the race for the money.

So why was hearing Tuco's gun perfect timing, anyway? I'm enjoying the thought that Blondie was actually starting to consider attempting something foolish on his own by the time those shots rang out. If what I think I read about the Italian line is accurate, perfect timing is an English dub only thing, but it does create some fun potential implications.

Reunion

Love Tuco playing with the bubbles in the bath; what a ridiculous lovable problem man. Sometimes he's not only naïve but outright childlike.

"Just give me a little time to get dressed and I'll open up!" says Tuco, presumably assuming it's more people here to kill him and hoping he can get the jump on them if they think he's oblivious and are expecting to wait. Instead, it's Blondie on the other side of the room, pointing a gun at him, having distracted Tuco with the front door while coming in from the back -- much like Tuco did to him back at the inn. Parallels!

Blondie opens by telling him to put his drawers on and take his gun off. Instead, Tuco takes his gun off but then gets distracted by wait, how is he here, so he just stands there stark naked for this whole bit and Blondie just takes it in stride without comment. Amazing.

Presumably, Tuco's assumption here was that after Wallace took him away from Batterville, Angel Eyes would have had Blondie tortured as well, and then either killed him too or just kept him locked up. (Naturally, though he seemed to be feeling a bit of guilt about giving up Blondie in the wake of the torture, by now he has suppressed any sense of guilt or regret for this.) Blondie instead being seemingly alive and unscathed and out of there is suspicious.

Blondie says he's here with "your old friend, Angel Eyes". We didn't actually see Tuco talk to Blondie about Angel Eyes on-screen, only "Hey, Blondie, isn't that Angel Eyes?", but it tracks that Tuco would have told him they were old friends, because of course he did because they were definitely friends, and of course Blondie makes a little ironic jab at it now, after Angel Eyes cold-bloodedly had Tuco tortured.

Tuco sounds legitimately angry at the thought that Blondie talked, despite that he himself talked, and gave up Blondie specifically. Very Tuco moment. As ever, he just applies very different standards to himself, who will just do whatever he needs to do, than to others. And I think he legitimately hadn't expected Blondie to talk. How dare he give Angel Eyes the secret when he wouldn't give it to him?!

Blondie could so easily make at least a bit of a jab at the fact Tuco not only talked but obviously gave up Blondie specifically, too. But instead he chooses to completely ignore that bit and just say nah, he didn't talk, and I love that. Blondie does not want to get on his case for whatever he said under torture, and the blatant hypocrisy is just Tuco being Tuco, something that he understands and expects and tunes out by now.

Tuco is so happy when he realizes Blondie is the only one who knows his half of the secret and he's choosing Tuco, and it kind of breaks my heart. In his naïve way, he just figures Blondie wanted to find the treasure with him rather than Angel Eyes, and he's just over the moon about it -- Blondie likes him! Actually went out of his way to come find him!

I love "I get dressed, I kill him, be right back." Obviously if Blondie came here with Angel Eyes and then ditched him and came to Tuco instead, Angel Eyes has got to be seeing red and looking for Blondie right now, and he's a loose end generally, and in Tuco's elation about being Blondie's preferred partner, going out and casually killing Angel Eyes just seems like a simple no-big-deal task! He'll be right back!

When Blondie says there's five of them, Tuco's face falls, because oh, that's not quite a simple no-big-deal task even in his current state of inflated confidence. And then, when Blondie confirms… his eyes narrow a bit. "So that's why you came to Tuco." In other words, not because he just likes Tuco better and wants to share the treasure with him instead, but because if Blondie tells them or shows them the correct grave, he is absolutely 100% dead if he's up against five guys. It's a practical calculus after all, when Tuco so plainly wanted it to be because Blondie just likes him better.

But then he just goes, "It doesn't matter! I'll kill them all!" He's going to prove his worth to Blondie, by singlehandedly killing those five dudes, and thus render himself irreplaceable again. He can totally do that. Definitely.

This may be one of my favorite scenes? I love Tuco playing in the bath, Blondie sneaking up on him in the same way as Tuco snuck up on him at the inn, the way Tuco starts at the sound of his gun cocking, the delightful comic energy of Tuco forgetting that he's still standing there naked for this whole conversation, Blondie quietly choosing to let "You traitor, you talked!" go, Tuco's emotional progression and Eli Wallach just being an absolute joy in his portrayal of him as usual. It's so revealing how thrilled Tuco is about thinking Blondie would just rather find the treasure with him and how he shifts when he realizes that's not actually why -- but Blondie genuinely does kind of like this ridiculous man in spite of himself, even though there are cold, practical reasons behind why teaming up with Tuco again is his best bet. I love this complicated, fucked-up, utterly fascinating character dynamic and how we're still adding more delightful layers to it two thirds in.

Two against five

Angel Eyes is still maintaining he wants Blondie alive to his men, but they're free to kill Tuco.

Blondie lets Tuco go out there, determined to do this on his own, before actually joining him. When Tuco notices him, he's watching him there and just smiling, marveling at this guy. Tuco really is fully planning to just go and singlehandedly confront Angel Eyes and four other men. Plainly something Blondie himself would have been too methodical and careful to even attempt under most any circumstances (which is indeed why he came to Tuco), and yet Tuco's just unquestioningly doing it, choosing to live in the world where this isn't almost certainly going to get him killed.

"Were you gonna die alone?" is just cute. Blondie really wasn't expecting him to go do it alone -- the whole point was they'd have a chance if it was the two of them together. It's pretty likely that they'll die anyway, but they really do have the best shot working in tandem.

I enjoy how you can see how it takes a moment for Tuco to even parse what he means, but then comes that cautious bit of a smile and the theme music kicks in, and awww yeah! Look at them, working together!

Tuco gets the first guy before Blondie notices him, and Blondie gives him this slightly impressed look, and Tuco crosses himself because of course he does and then moves on, and we see Blondie smile a little bit at that too before they continue. Just Tuco things. Blondie's missed him a bit, hasn't he.

I can't believe the two guys who are behind them with a pretty clear line of sight but don't shoot, and then a rogue cannonball kicks up dust so they can't see and then Blondie and Tuco take them out in succession by drawing their attention and then shooting. I guess they were too distracted hearing the cannonball falling by the time the camera made them fully visible.

Tuco's little wink after that one is a delight. He's just having fun.

In terms of the actual action, this sequence isn't that interesting -- Angel Eyes' men are not really characters and don't feel very competent or threatening at all, there's never a real sense that Blondie and Tuco are in serious danger, they barely even actually get shot at, and every time they shoot they just instantly kill the other guy, with not much real tension about it. But really it's a sequence about Blondie and Tuco genuinely working well together. First Tuco kills one Blondie didn't notice, then they each get one in a coordinated effort, then Blondie gets one Tuco didn't notice. They make equal contributions, compensating for each other's weaknesses, and it all works out smoothly, where they cover each other and enhance each other's skills rather than getting in one another's way.

Tuco says Angel Eyes is his and Blondie just says, "All right," a little sign of respect. Angel Eyes did have Tuco tortured, so it seems only right. (Later, though, when it really matters, he will absolutely not leave Angel Eyes to Tuco -- too careful.)

Love Tuco stumbling over reading the word "idiots". He grew up in poverty and probably had zero formal education; he's obviously learned the alphabet and can theoretically read, but for anything but the most common words it clearly takes him a bit of trying to sound things out. Another character trait that's not necessary for anything but it's just fun and adds even more flavor and texture to him, like his religiosity.

Blondie reading it for him and then going "It's for you" and handing it to him is a great gag and also reads fully as good-natured ribbing at this point and it's great -- Tuco doesn't even react to him making that joke, just tears up the piece of paper.

(On the other hand, the Doylist reason he doesn't react is that, as Christopher Frayling's commentary points out, you can tell from Clint Eastwood's lips that on set he said, "It's for us." Again, I love "It's for you"; it's definitely a funnier line, and the comic timing with Blondie handing Tuco the paper is perfect, and the sense of friendly ribbing is great. But what I do enjoy about "It's for us" is that it calls back to the other time Blondie called the two of them collectively idiots, namely, "God's not on our side, 'cause he hates idiots also," and I really do enjoy Blondie calling them both idiots as a pair being not just a somewhat ambiguous one-off thing but a habit. I will take on board the fun implications about his character while considering "It's for you" canon.)

One sequence and the movie has successfully sold us on Blondie and Tuco collaborating in a perfectly genuine way. Last time, we ended on the delightful moment where these two guys who hate each other are going to have to set it aside and work together anyway; by now, an hour later, I was sincerely rooting for them to both make it out of this alive and actually split the treasure together, and that's a marvel after how the entire first half of this movie went. It's just an all-around delight and their dynamic is so much fun. I love them.

(Concluded in part three! Thanks for reading if you have been.)

#the good the bad and the ugly #ramble #review #character analysis #blondie #the man with no name #tuco ramirez #angel eyes #sentenza #movies #my buttons

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neon-junkie · 2 years ago

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In the Heat of the Moment - Chpt.1

Summary: "Less than ten percent of domesticated species go into heats," accord to Tech and his research, and (un)fortunately, you're one of that ten percent. What else are you meant to do? Trapped during a heat cycle with five men - five willing men who are happy to help relieve you, but not all have the confidence to say so.

Relationship: The Bad Batch x fem!Reader (she/her)

Tags: Heats, Mating, Sex pollen, Friends with benefits, Friends to lovers, Slow burn, Sex, Jealousy, Pining, Scents, Knotting, Creampies, slightly A/B/O, Tags to be added.

Word count: 1.5k

[Chapter 2]

Notes: I've had this series in my drafts for a while. I keep adding to it here and there, and I figured I should start to post *something*. Not going to lie, I purely had myself in mind when writing this. I've been tired of trying to write for an audience, and instead, I'm just writing what I want to read. I also miss writing smut-centered fics, so let's scratch all of those itches at once!!

For context: Your heat is vaguely based off the heat cycles that you see in animals. Once a year, your species goes through a heat cycle, where you have a high physical urge to mate. These can last 1-2 months, depending on if/when you mate. I took a lot of inspiration from the sex pollen trope, kinda "fuck or die" but without the death. Just a lot of pain/discomfort. It's a craving, your body NEEDS to fuck or else you're going to get nasty about it. Very nasty. The lads won't be happy with your attitude, but how can they turn down such a pretty and desperate thing?

Chapter 1 - And here we are...

"I should not be doing this."

"I should certainly not be doing this."

"I understand that I am assisting you, but this? This is going to get me reported, shamed, decommissioned and-"

"Tech, please!" you whine. "Stop thinking out loud. I'm only going to report you if you hold back from what you're doing!"

Tech slams his hips forward, coming to a halt. "I apologise," he mutters, and tightens his grasp on your hips before returning to a brutal pace.

How did it come to this? On your knees, your elbows propped up on the Marauder's pilot chair - Tech's chair, in fact. Speaking of the devil, he's also on his knees behind you, with his cock slamming into your slick cunt.

Tech is 'assisting' you through your heat. Yes, because you're no standard species. The galaxy has a vast variety of beings out there, but "less than ten percent of domesticated species go into heats," accord to Tech and his research.

He had noticed that something was off with you recently - a slight temper, recklessness, lack of sleep - not to mention that you smell. Like, you really stink, so much so that even Wrecker has pointed out that, "you're getting as bad as me!"

And Hunter, poor Hunter, has kept his distance from you. Neither of you have commented on it, almost like a silent, mutual agreement. The poor man has heightened senses, and you can't tell if your scent is driving him the good or bad kind of crazy.

At least your scent is tolerable, a sweet, yet sweaty lingering flavour. Tech had begun silently researching after noticing that your 'new behaviour' had stuck around for a few days, with no intention of disappearing, which brought him to a series of detailed articles about ruts and mating.

Well, the articles weren't about your species specifically, seeing as there was little to be found on that topic, but it gave Tech more than enough to understand what your body is currently going through.

You're horny, to put it blankly. You're pent-up, frustrated, and desperate to be filled.

The Batch had left for a supply run, leaving you and Tech behind to guard (and repair) the ship, which gave him the perfect opportunity to speak to you alone. He began explaining how he has done some research, and "somewhat understands the difficult time you are going through. Perhaps I can assist you in some way?"

Tech said that line with the intention of giving you medical assistance, supplements or whatever, but the pathetic whine that you let out caused his cock to harden, even more so when you shifted your thighs together and innocently asked, "are you suggesting that you can satisfy my natural urges, Tech?"

Back to the present. Tech's eyes drift to the side when he notices a light flashing on his datapad, resting on the co-pilot's seat. "The others are on their way back," he informs you through gritted teeth.

"But we've barely started!" you whine, knowing that your urges will be lingering for the next month. Minimum.

"And we'll find other opportunities to satisfy you, General," Tech comments. He notices the way that your cunt twitches around his length at that word alone - General - because you are his superior, after all.

This is all so complicated, a desirably defective Clone Trooper mating with his Jedi General for the simple purpose of assisting her during her natural urges. Insane, and incredible.

There's a silent and mutual agreement to keep this matter private, seeing as it would... complicate everything. But Tech had already let some information slip when Crosshair caught him researching ruts. "Do I dare ask?" Crosshair had pried, but it doesn't take a genius to put two and two together.

Another hard slam of Tech's hips causes you to let out a heavy moan, and with it, your upper body practically collapses on the pilot's chair. You're fucked out, debauched, yet still craving more. "Where shall I finish?" Tech sputters behind you.

"Inside," is all you can whimper.

Tech's hips come to a halt, "I may be willing to assist you during your heat, but I am not willing to impregnate you," he comments with a raised finger.

Peering over your shoulder, you explain, "I can't interbreed."

"Oh," Tech blankly sighs, and his finger softens before returning to your hip. "In that case, I'll happily finish inside," he cheerfully smiles.

And with that, he's slamming into you again, his brows furrowing from the pure intensity of it all. It doesn't take much for you to climax, just a few messy rubs on your clit, and you're cumming on Tech's cock with a series of pathetic moans escaping your lips.

Tech practically explodes, his mind fogging up at the sensation of your cunt gripping the life out of him. You're milking that poor man, and all he can do is fold over and rest his forehead on your back, panting heavily as he waits for you to relax and release your death grip on his cock.

"I..." Tech begins, and licks his lips as he straightens his back. "I assume the males of your species have the ability to knot?" Tech observes.

"What gave it away?" you sarcastically reply, and attempt to relax your muscles, allowing Tech to escape.

Tech lets out a pained, "ah!" as he slips his cock out, then tucks his poor little trooper away. "I'll certainly need to get used to that sensation," Tech casually states.

"Did it... hurt?" you ask, and begin cleaning yourself up, tucking your Jedi robes back into place.

"Not at all, but I am particularly sore," Tech replies as he offers you a hand, pulling you up to your feet. You watch as he clasps his codpiece back into place, followed by correcting a few pieces of armour that have drifted astray during his wild turn of events. You needed urgent care, and Tech didn't see much point in removing his armour when he's simply providing assistance.

There's a moment of silence, an awkward pause, and Tech breaks it by nervously rubbing the back of his neck as he states, "feel free to ask for assistance when you next need it."

"Oh..." you stutter. "Yeah, thank you, Tech."

Like the fool that you are, you push up onto tiptoes to plant a light kiss on Tech's lips, before making your way through the Marauder, ready to splash your face with cold water in the refresher.

Everything happened so fast. You were painfully aroused, and ate Tech up like a three-course meal. Your hormonal urge has been filled, but from experience, you know that this is only a temporary fix. Hopefully, before you know it, your yearly rut will be over, and you'll be back for to your standard, witty self.

As for now, you'll need to tolerate it, and redeem your Tech voucher whenever the time is right.

After coming to your senses in the confinement of the refresher, you shimmy out to find that the others have returned, shopping bags in hand. "You look tired," Echo comments as soon as he locks eyes with you, and you're unsure if that's a statement or an insult.

"That's what happens when you spend the afternoon doing repairs," you sarcastically reply, and Echo rewards you with an eye roll.

Wrecker is quick to drag your attention away as he begins going through the fascinating new foods that he's brought, all thanks to your Republic credits. You're starved, hungrier than usual during your troubled times, and before you can pick out a treat and tuck in, somebody else pulls your attention away.

"Here-" Hunter interrupts. He chucks a small prescription bottle at you, the tablets rattling as they come into contact with your hand, and you rotate the bottle to read its label. "For your... new problem," Hunter explains before heading down the ship, obviously trying to keep his distance, even more so seeing as he can't simply hand the tablets over to you.

Wrecker can be heard sniffing the air, and proudly comments, "you don't stink any more!"

How innocent he is, unaware that you've been given assistance to your 'medical problem.' "Yeah," you say with a soft laugh. "Scrubbed extra hard in the refresher this morning."

"I still think your problem is stress related..." Wrecker begins, and waffles on about his thoughts and opinions on the matter. All the while, your eyes gloss over the label, the cure to your problems sitting in the palm of your hand. Yet, your mind is asking the same silly question over and over.

Why don't you want to take these pills?

#in the heat of the moment #tbbwriting #swwriting #fanfic #the bad batch #tbb #the bad batch x reader #tech x reader #tbb tech x reader #f!reader #nsft #lemons #the bad batch fanfic

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stuck-in-the-ghost-zone · 3 months ago

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HI HI HI IM IN UR INBOX :]]]] nothing in particular to say just hiii how was yr dayyy i hope it was good ^__^ also. blank check for u to talk abt evildead ive been thinking abt them so so so much today..... emo kids union..... if u can talk abt post s2 without spoilers. ive been particularly thinking abt their dynamic immediately post s2/post trickster & whatever crazy wiwi shit happens.....👀👀👀

OH FUCK WHO PUT THIS HOLE IN MY WALL !!!!!!!!!!!!!!!!

hiiiiiiiii i am !! good. thank guns its friday or however that tubbobot post goes. im on my weekend and i have NO PLANS which means NOBODY is expecting anything of me for two whole days i can do whatever i want. fuck yeah. im vaguely watching pro wrestling event rn to keep up with my dads texts (he gets rly excited abt pro wrestling and its become a bonding experience from us bc my mom and brother do not put up with it) so like. watching sweaty guys beat each other up on live tv. cool . awesome. OH WAIT ALSO SPEAKING OF KITTIES. NEW KITTEN PICS FROM MY MOM HOT OFF THE PRESSES.

anywayyyyyyyy evildead... god.... theyre like alec and aisha to me (only sayign this bc theyre fresh in my mind). not necessarily romantic not necessarily platonic but a secret third thing. weird ass freaky emo kids that are kind of scary to anyone from an outside POV but are in reality deeply traumatized by their respective creepy aspects (ghost and demon). they areeeee so similar in so many ways but also couldnt be more different. but they understand each other better than any of the others could. going off of that thing about horror movies i posted earlier i think they give each other the worlds most misguided attempt at fucked up exposure therapy by watching the horror movies they dont like together. and it never ends well but they keep doing it and its like. a weird proabably unhealthy bonding experience. they go to concerts together this is so important to me. and its a lot and its overwhelming and sometimes they have to leave early because the loud noises and crowds are too much but they each have their little signals where the other can be like "ok lets get out of here" and they still have so much fun. and maybe they have to cry on the sidewalk outside in the cold before they either go back inside or give up and leave but they still have fun regardless. theyre messy and weird and freaks and they talk about things that would probably give other people nightmares but theyre so chill about it. i cant say much more abt specifics yet but . they have conversations like "do you wanna know what it felt like" (<< william referring to getting cut in half) and "i know its not real but i can still hear his voice in my head sometimes" (<< ashe referring to the trickster) and those conversations will come out of left field while theyre doing something completely unrelated but they always talk about it . i think they hurt each other more than they mean to but theyre inseparable regardless. "i know what raw meat tastes like now" vs "one time i found maggots under my skin" . i have really specific and unhealthy thoughts about evildead in my mind all the time.

#theyre probably not good for each other but like what else do they have really #(i know they have dakota and vyncent but like. its not the Same)#head in hands. i need to finish ONE of my evildead fics so bad ive ben thinking abt them so much.#asks #friends!!!#intertexts

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capricorn-0mnikorn · 1 year ago

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"For she may strew dangerous conjectures in ill-breeding minds" (making a fresh argument for my 'Ophelia was murdered' interpretation of Hamlet)

Three-years-and-change ago, I wrote a post with my conspiracy theory literary interpretation that Ophelia was murdered. A couple weeks ago, I was tagged in another post about "The Tragedy of Hamlet," and that brought me back to my chosen hill to die on.

In this post, I'll focus on Gertrude herself, and on the iambic pentameter, because

A) The rhythm of English has not changed in the last 400 years, and B) We know Shakespeare himself wrote it that way on purpose.

Now, Shakespeare used iambic pentameter to direct the pacing of a scene, depending on context (I'm basing this on the work of Shakespearean actor and scholar Ben Crystal; see the link at the end to a video where he demonstrates how this works):

If an actors line was shorter than ten syllables, followed by a full line, that could tell the other actor in the scene exactly how long to pause and do some nonverbal reaction before speaking (the unspoken syllables are there, they're just silent).

If two, or more, lines add up to exactly ten syllables, that could tell the actors to pick up the pace, and answer without pausing

If each line is less than ten syllables, but more than ten when added together, Tell the actors to speak over each other / "step on each other's lines.

And Shakespeare uses all three variations in Act 4, scene Five.

In dialog lines of irregular length, I'll indicate silent syllables with "-_" for each iamb, and I'll underline the when the overlapping syllables blend to make a clean line of iambic pentameter. Then I'll write out the shared & overlapping dialog as though they were lines of verse, showing the stressed syllables in bold.

I hope that's clear (or will quickly become so).

First: Act 4, scene Five (MIT.edu) opens in the middle of things, with a Walk-and-Talk that would make Aaron Sorkin proud:

QUEEN GERTRUDE: I will not speak with her. -_ -_ HORATIO and Gentleman: [Insert astonished blinking man GIF here] Gentleman: She is importunate, indeed distract: Her mood will needs be pitied. QUEEN GERTRUDE: What would she have?

Her moods will needs be pit- What would she have?

Okay, so hearing that Ophelia is "acting up" certainly got the queen's attention, eh? She doesn't even wait for Gentleman to finish the last word of his line (Also: she's being told that a teenage girl is really upset that her dad's dead. And Gertrude's response is to snap: "What does she want?" Really?! Yikes).

The unnamed Gentleman goes on to describe how Ophelia is speaking of her dead father and vaguely alluding to conspiracies, that her speech is basically word salad, but her "winks and nods" give the impression that she's speaking in code.

Gentleman: [concluding] Indeed would make one think there might be thought, Though nothing sure, yet much unhappily. HORATIO: 'Twere good she were spoken with; for she may strew Dangerous conjectures in ill-breeding minds.

Though nothing sure, yet much unhapi-'Twere Good she were spoken with; for she may strew Dange-rous conjectures in ill-breeding minds.

Finally, Gertrude says: "-_ -_ -_ Let her come in."

Horatio and the Gentleman are talking over each other, in their efforts to sway the queen. I get the feeling this attempt has been going on for some time; it may have started with: "She's really sad about her father. she could use some support in dealing with grief.." But the argument that finally sways Gertrude is: "She's a potential threat to Claudius's Power."

Shakespeare wrote the line about the threat she posed in a completely different meter. Instead of giving that line a scansion of: "de-dum, de-dum, de-dum, de-dum, de-dum," he's given it the rhythm of "Dum-de-de, dum-de-de, dum-de-de, dum," which makes it stand out from the rest of the scene. That's another red underline Shakespeare is giving us.

The longish pause could have come at the end of her line, but I think it makes more sense to have her hesitate before agreeing to see Ophelia.

Exit Horatio to go fetch her. Then:

To my sick soul, as sin’s true nature is, Each toy seems prologue to some great amiss: So full of artless jealousy is guilt, It spills itself in fearing to be spilt.

As I noted in my previous post, these are two rhyming couplets -- the only "plain dialog" in the scene that rhymes (other than Ophelia's songs, but they rhyme because that's what song lyrics do), and not even in Shakespeare's usual way of rhyming alternate lines.

Now what, pray tell, could the queen be feeling so guilty about (that she absolutely, positively, does not want Ophelia to find out)?

That Ophelia's father died because of something she had asked him to do? Quite possibly. But Ophelia already knows her father has died, and the queen expressing regret about it would not likely make the queen appear guilty.

Maybe Ophelia doesn't know, however, that her father was in the queen's chamber when he was killed, and the queen is afraid Ophelia would get the wrong idea. But whatever sin Gertrude is trying to hide, it's probably not that she's cheating on Claudius with Polonius so soon after the wedding (unless that's exactly it. I doubt it, though. Polonius is basically a walking-talking plot point).

At first, I thought she felt guilty about the fact that her own son (and Ophelia's boyfriend) was the murderer, and that's the secret she doesn't want Ophelia to find out. That's reasonable. That's what any halfway decent person would worry about, to protect the heart and mind of a young woman that's almost family.

But then, between Ophelia's first confrontation with the queen and her "Flower Speech," Leartes breeches Elsinore's defenses, and leads a raging mob (those ill-breeding minds in which dangerous conjectures have already been planted) to the doors just beyond Stage Left, and:

Leartes: Where is my father? Claudius: Dead. Gertrude: But not by him.

Where is my father? Dead. But not by him.

I said it in my earlier post, and I'll say it again, here: Gertrude literally does not skip a beat to defend Claudius, even when that puts her own son at risk. Doesn't stop to think about it, even for a breath.

If Queen Gertrude didn't hesitate to risk Hamlet's life. I doubt she'd be overly worried about risking Ophelia's opinion's of his character (especially since appeals to speak to her at all didn't sway her until Horatio mentioned Ophelia' threat to civil order). And yet, Shakespeare very deliberately underlined and circled the point that Gertrude is holding a deep secret guilt, and that she's afraid to speak to Ophelia, lest she let something slip.

(Also, when going back to the scene, to check something, I noticed something my mind skipped over, before: The Danish Rabble promise Leartes not to let anyone come in while he's in the room negotiating with Claudius. And yet, they're heard off-stage saying: "Let her come in" just as Ophelia reenters to give her "Flower Speech" while her brother is there. So while Leartes has been in France, Ophelia has clearly been gaining the respect of the Common Folk in the meantime. Which, to my mind, suggests this "madness" has been going on for a while, and is not a sudden reaction to deliberate or accidental poisoning. Which further suggests to me that she is simply better at "Putting on an antic disposition" than Hamlet is.)

So, all that is why Queen Gertrude started to appear very suspicious in regards to Ophelia's death.

But what's the secret Gertrude is so afraid Ophelia will find out? I think :

Claudius's legitimacy to the Danish Throne depends on the courtiers and common people Believing that he and Gertrude agreed to wed after consoling each other in their shared grief over losing a darling husband and beloved brother.

Queen Gertrude had done a "Lady Macbeth," and it was actually her idea for her first husband to have a final, forever, nap in the royal garden.

She's afraid Ophelia will figure that out. After the coded language of the Flower Speech, I think she's worried that Ophelia has already figured it out, and so gives her a little shove into the river, before she can spread that idea any further.

-----

*Starting here, in a 2014 presentation on Shakespeare's use of language (celebrating Willy Shakes's 450th birthday), Shakespearean actor and scholar Ben Crystal demonstrates how Iambic Pentameter shows us how Shakespeare wanted the dialog to be paced in The Tragedy of Macbeth (sorry, not sorry, not superstitious). A bit later, he and his acting friends demonstrate overlapping iambic pentameter when Hamlet and Leartes fight at Ophelia's grave.

#Hamlet #macbeth #Ben Crystal #'It's just an idea. But I do like it'#iambic pentameter #justice for Ophelia #long post #bold text #underlined text #large text

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shihalyfie · 1 year ago

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Shihanne's 02TB FAQ

Here's a 02TB version of the Kizuna FAQ I made earlier, where I answer questions to things you may be curious about regarding the movie while trying to stay as spoiler-free as possible! This is, again, not a post made to convince anyone towards or against watching the movie, but rather just something to provide assistance for people who might be on the fence about watching the movie or want to know certain things before going in.

Like with the last post, I will be organizing this post in such a way that the story references to what happens in it will get more and more extensive as the post goes on. The more you read, the less "blind" you'll be going in, or the more there may be risk of you being able to figure out what happens in it. So if you want to stay fresh to a certain extent, you should just stick to reading the first few questions! (However, also as with before, I won't be including any major story beats in here, just generic allusions.)

What do I need to have seen beforehand in order to watch this movie? Are tri. and/or Kizuna necessary to understand it?

Perhaps surprisingly, I personally think you can still enjoy this movie even if you've never seen a Digimon thing in your life before (something I would not say about either tri. or Kizuna!). However, I do think you should at least know:

the basic concept of what a Digimon partner is

the context that the 02 group has known each other since they were in elementary school and overcome a lot of things together

the context of the proliferating Chosen Children all around the world and the epilogue it's going to be leading up to

...but other than that, you'd probably be fine even if you have no idea about anything else. Still, the movie will definitely be greatly improved if you've seen 02, because you'll have better surrounding context of what these characters are like, what they'd done together in the past, and what little things here and there are referencing.

Even then, the 02 main TV series (and possibly the second movie, Diablomon Strikes Back) is really the part that could be said to be most relevant. Adventure is largely relevant only for (very mild) context behind Takeru and Hikari's characterizations, and there are virtually no substantial references to Kizuna. tri. is actually downright contradicted by this movie's contents, to the point where the official timeline leading up to it straight-up omits it. So even if you've never seen anything past 02, you're still perfectly good to go.

(If you do see someone reporting that they referenced tri. by using the name "Homeostasis" at one point, note that the name was used in an Adventure novel from 2001; it doesn't actually originate from tri., and the way the name is used is compliant with Adventure lore.)

How 02-referential/fanservice-loaded is this movie?

Very little. Despite what the advertising might suggest, there really aren't a lot of references to things that were in the 02 TV series, other than the fact it has its characters and is obviously set in a point in timeline after it. (Of course, there's still the evolution sequences and all, but that goes without saying.) In fact, most of the "references" to 02 are vague and not explicitly stated, so it's a very "if you know, you Know" affair -- for instance, the Kaiser is not mentioned even once in the entire movie, but Ken and Wormmon's lines are very obviously written with that background in mind, and if you know what happened, their words carry much more weight.

The main character of this movie is Rui, and the story of the movie is about him (official media has been open about this), so you can think of it as a mostly original story that happens to be rather 02-flavored. Or to put it a different way, it's more like 02 episode 51 than it is a 02 tribute; it builds on 02's themes and characters, but more in terms of building on top of them rather than referencing past stuff.

How much of a role do the 02 characters play in the plot?

Since Rui is really the main character of the movie in practice, the 02 characters are "support characters", similar to the way they supported Wallace in Hurricane Touchdown. This is a good thing, and in fact most hardcore 02 fans I personally know agree that this is for the better; the 02 cast has a specialty in supporting others, and the best way to show off their character development is to show off how good they've gotten at reaching out to others like Rui.

Moreover, the movie also goes out of its way to portray the 02 group as a solid group that bounces off of each other, so it's less about each individual character getting any super-impressive moments and more about the way they interact and how deeply they know each other. The movie itself is also about relationships and connection, so it's thematically appropriate, both for the movie and for 02 itself.

Is the 02 epilogue retconned?

Hell no. The movie is very obviously building up to it (even more so than Kizuna was).

How are Takeru and Hikari portrayed in relation to the rest of the group?

They're regular members of the group, and there's no real separation between them and the rest of the group at all.

Does the movie resolve Kizuna's lingering question regarding partnership dissolution?

For better or for worse, no. It's a completely self-contained story, and its only connections to Kizuna are the fact it takes a lot of elements from the worldbuilding/setting it added. (For the record, I'm of the opinion that there's no need for anything new to answer Kizuna's question, but that's a digression.) The movie does give you more lore about Digimon partnerships that you could potentially apply to figuring out the situation in Kizuna, but it leaves the question untouched.

The movie prioritizes its own integrity as a standalone story first and foremost, so (again, for better or for worse) it doesn't have too many connections to other things.

How much of a role do the Adventure characters play in the plot?

Taichi and Koushirou have an extremely short background cameo in the beginning of the movie, and they're also briefly namedropped. There's a quick scene depicting a flashback/past representation of young Taichi and Hikari, but it has no plot relevance (the PVs were probably overselling this a bit...). Koushirou is namedropped later in the movie. Other than that, there's nothing relevant to the Adventure characters (sans Takeru and Hikari, naturally) at all.

Is there time travel in the movie?

No, or at least nothing that would be outside the range of what's effectively a vision/flashback. The PVs probably suggested that more aggressively than what had actually happened, and it seems to be a common misconception about the events of the movie, but there are more than enough context clues in the story that indicate that the "past" shown in the movie is more of a representational space than literal time travel.

Is it true that some really messed up stuff happens in this movie?

There are two major content warnings I would give the movie: one for a clear depiction of child abuse, and one for mild body horror (not super-graphically depicted, but definitely something that's very uncomfortable to think about). Neither depiction is particularly unusual for Digimon standards, and if you've played some of the video games like Cyber Sleuth or Survive, it's not even remotely near that level. (And besides, 02 itself certainly had its fair share of psychological horror, even if it was comparatively more subtle in order to accommodate for kids' show network restrictions.) Still, it may be something you want to know about before going in.

There is also a mild amount of blood in one scene, but it's not any worse than the equivalent scene in Kizuna, and in fact, the animation framing is clearly trying to prevent it from getting too graphic; the blood is mainly there in a "with that kind of injury, it'd be weird if there weren't blood" sense, so it's definitely not trying to come off as a violence fest or anything.

For all it's worth, despite the above factors, and despite the fact the middle of the movie definitely starts getting into some serious psychological horror territory, I would say that overall, this is actually a very sentimental, feel-good movie. There's nothing that feels like it's there for shock value, and in fact, there aren't even any real surprising or shocking plot twists or anything; the main core of the story is about talking about relationships and what's important for a good one, and it takes that theme and commits itself fully to it.

Why is there a new version of Target when the opening is the original version?

So, you know how Target also happened to be the evolution insert song for Imperialdramon...

How much of a lore retcon is in this movie?

There are definitely things that seem contradictory to anyone who has a passing casual knowledge of Adventure lore, but in fact, if you know it deeply, there isn't really a hard contradiction at all.

It's actually a plot point that the 02 group isn't sure what to believe is the right lore, and that they're making their best guess as they go along. The new things they learn in the movie ostensibly seem to be contrary to what they'd learned earlier about how partnerships work, but this contradiction is directly pointed out in the movie itself, and there's a very clear sense of uncertainty as to how everything works and what the true mechanics are behind everything.

For what it's worth, even in the original series, entities like Homeostasis and the Holy Beasts were not portrayed as all-powerful, and were depicted as also trying to figure out this whole thing as they went along. So while the new introductions to lore are probably outside what Kakudou would have liked (yeah, this has been getting kind of awkward...), just speaking from a detached perspective, there's nothing strictly contradictory.

On the other hand, the entire existence of Rui as the first Chosen Child from 1996 makes tri.'s plot pretty much entirely impossible, so that's probably why the aforementioned official timeline actually omitted it. That said, Wallace has a cameo, so even if the part about him meeting Chocomon and Gumimon in 1995 doesn't work anymore, he's definitely still canon. (Note that Mochizuki Meiko appeared in Kizuna, and one of the novels explicitly describes her as having met the Adventure kids in high school, so just because tri. isn't in the timeline as-is doesn't mean it's as simple as "the series isn't canon anymore".)

Are there romance depictions in the movie?

Nothing overt, but there's definitely something that's practically the absolute embodiment of "if you know, you Know."

#digimon #digimon adventure 02 the beginning #02tb spoilers

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tiredjust1 · 11 months ago

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i love your kim x roxie art!! i’ve sent almost all of them to my gf and said “us?” bc we love that ship, do you have any advice for drawing characters interacting? i wanna start drawing art of kim x roxie myself for my gf since not a lot of people make art of them but im just really bad at drawing people hugging or kissing or anything like that

THANK YOU!!!!! THAT’S SO CUTE IM GLAD YOU AND YOUR GF CAN BOND OVER MY WORK!!!

And yes absolutely!! I’m gonna be using my newest post as an example since they’re pretty close in proximity. I hope this can be helpful!

So whenever I try to draw poses where two characters interact or just generally more complicated poses, I like to scribble out a very messy sketch of how the pose vaguely looks like. Example:

Fyi this is like a one minute doodle just so I can get my idea on paper. I like to do this so that I’m able to actually remember what the pose looks like in my mind since it tends to get warped a lot throughout the process. By getting the fresh idea on paper, I can look back at it and get a reminder of what I was vaguely imagining earlier!

After doing so, I start with the actual proper sized sketch which is much more refined because I get a makeshift reference for where everything goes already thanks to the thumbnail. With this, I can focus on drawing the actual pose without having to worry where things would go since I already figured that out! Now I just to form out a coherent and clean form with this blob of “clay”

As you can tell a lot of my process is just refining smaller details from bigger pieces!

I should also add that generally using actual references is the best way to do this but if you want to put your characters in poses that don’t have online references then you could use this method, or better yet, take pictures of yourself in the position and use those as reference!

I just wanna put this one that I like to call “the catfight sheet” which was just a bunch of random messy fighting poses I scribbled out very quickly when I was strongly hit by many ideas at once!

As you can see, they’re tiny, they’re messy, and they’re bad, but that’s ok!!! It really doesn’t need to look good at first since it basically acts as a reminder for when you draw the full piece. Such as this one where I used the first scribble as reference:

This was fun to draw as you can tell

Anyways I hope my rambling was helpful and comprehensible! Thank you for asking and I hope breaking down my process like this helps you out in the future for when you draw for your gf!!!

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moomeecore · 6 months ago

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hey, i hope this isnt rude, but i value your thoughts on betty (and simon!) and i think about your various analytical pieces often.

so i hope this isnt too vague, but. ive been thinking about the ways betty and simon might differ from each other, specifically in the way they view...everything. do you think one of them has a 'sees the big picture but misses the small details' view and the other has a 'gets lost in the details, cant see the big picture' view? im not sure if they differ here, or if they are both the 'gets lost in the details' but going opposite ways...?

FINALLY getting around to awnsering this. i got sick so it took me even longer than i thought it would (had to wait until i could retain coherent thoughts)!!

Ok So, a lot of this is extrapolating (esp for betty) and goes very into more of a headcanons and Personal Interpretations area than a, like, canon analysis. in part bc the show dosen’t give us a ton of content of these characters (i mean, there’s plenty of simon content as ice king but im talking about pre and post ice king simon here). but yea im just gonna ramble. dont take this super seriously btw guys. again a lot of this is just personal Interpretation yknow

SO i think simon is definitely a “gets lost in the details guy”. at least like, overall. that man overanalyzes things until he goes into a state of paralysis and then he just passes out. in some ways he might better about this post being-freed-from-the-curse, on the basis of "had to survive the apocalypse by thinking on his feet", but also worse about it bc of the lasting impacts of having been ice king. because one of the Big Things about ice king is that he almost never thought anything through and just did things as soon as he thought of them. i think simon probably really wants to be Not Like Ice King and so might be scared of making choices too fast or acting too impulsive. i imagine he’s very worried about behaving like ice king and thats something thats in the back of his mind most of the time, impacting his confidence in his own choices & actions. but also f&c sorta shows that he has that issue of trauma responses causing him to have emotional outbursts and make quick decisions. so thats something to keep in mind.

i think he's, like stuck in a state of being scared to do things without thinking really hard abt them but then sometimes he does that and then he usually regrets it and feels really awful afterwards. not always guilty-awful even. f&c seems to show him feeling angry a lot. to me simon deals not just with guilt over being ice king or recovering from being ice king or Having strong reactions to things or making choices he regrets… but also with Anger At The Situation - a lot of feeling confused and not sure what to do and overwhelmed, i think . (i like that they let him be angry and frustrated, not just sad and depressed. i think this is very realistic to trauma related emotional responses)

the other thing abt simon is he tends to follow other people's lead on a lot of things. i think he just likes not having to deal with the pressure of making decisions. he seems more inclined to lead around f&c than around, like, finn, though. and betty. but i think that’s in part because he was taking on a protector role w them. but yeah. he does a lot of crazy shit in f&c but very noticeably does not really act as a lead decision maker. until they get to the vampire world and they get attacked for a second that man is yelling orders and breaking a chair over his knee and pulling out a pocket knife to carve it into a stake lighting fast. which i loved that. i loved that he gained so much confidence from being in Panic Mode when confronted w vampires Because those where something he had to deal with in the apocalypse when raising marcy. he had to know what to do for marcys sake. other than that tho he's usually making suggestions at most. and agreeing to do scary crazy shit lmao . EXCEPT he decides on his own in secret to try and contact golb . hehe (motivated by wants to see his wife)

(it also seems like when he feels more confident in something he's much more capable of making choices. (makes sense) he wasnt paralyzed by anxiety when going on that research expedition with betty, probably because he was literally getting a phd (or had a phd, the show was so weird abt that) in that subject. makes sense he knows what he's doing. and also is interesting bc in ep2 of fionna and cake when he goes on an Adventure with finn he's very scared and nervous, but then talks about how he "used to be quite the adventurer in [his] day", which fits into the theme f&c had w his character where he feels out of place and less confident bc his whole ass profession isn't really relevant anymore, and everything is so different from how it used to be. so yeah. current simon has even less self confidence and confidence in his own decision making than Back In The Day simon bc of that)

id like to say that…. i think that the fact that it took betty only a few years to summon and eldritch god to free simon from his curse meanwhile it took simon 12 years to get to the point where he kidnapped a guy to use in a summoning ritual to talk to betty is interesting. bc i really do think they both love each other, and are both obsessive and co dependent. but betty went off the deep end so fast, meanwhile simon took a lot longer to do something comparatively Less Evil for betty. i think that a lot of this is because simon is just less confident in his choices, more nervous about making decisions, and *slower* at making decisions. in part because of a obsessive focus on details (i also think a buncha other stuff contributed to the difference in how long it took betty vs simon to do differing levels of fucked up shit for eachother but Yeah that’s the relevant part.)

i wouldn't say betty is a "think about the big picture, ignore the details" person though, necessarily. maybe compared to simon she is, but she's still a huge fucking nerd. she's an academic! to me she's someone who takes issues and situations that are more subjective and translates them into concretely structured language in order to guide herself through what actions she should take (my friend responded to this with “so what youre saying is betty took a philosophy class and was like ‘aw yes! Math!’” and yeah that is exactly what im saying)

i feel like canon sort of implies this, and definitely doesn't Not Imply It, but i also think canon didn't flesh out her character very well, so in a lot of ways im making my own assertions. but i think she's the type of person who likes to view things in ways that are ....not necessarily less complicated, but more concrete? like she can handle an uber complicated math problem with ease, but the way a math problem is complicated is entirely different from the way a social interaction is complicated, you know. and she's way better equipped for the first one.

so, basically, i think betty would be like: Dosent see the bigger picture.... but in a different way from simon, where instead of getting caught up on and overwhelmed by all the little details, she picks a specific angle to view the situation and then focuses on That, often to the detriment of viewing things from a wider, more complex and nuanced perspective. so better at seeing the bigger picture than simon, but still can miss a Lot…

i also feel like she leans towards viewing things as "identify a problem/issue, then find away to eliminate it" and "identify a goal, and find a way to reach it" . like i feel like she'd tackle social and personal situations in this way. it's not like she can't do things for fun or anything, but like, if she upset simon she'd go into Solving A Problem Mode and be like: “The issue is Simon Is Upset. The goal is Make Simon Not Upset. First i have to identify Why simon is Upset, and then how to make him Not Upset. This is The Current Goal I Must Complete.” like, not in an abstract sense. like shes literally narrating that to herself. i think she likes to focus in on "what's wrong here and how do i fix it" as opposed to dwelling on emotions and exploring nuance. (which may be a contributor to how she ended up in that “there’s so little me left anymore” state by temple of mars: she was so focused on Fixing the Problem that she didn’t allow herself to really process her feelings too deeply and that took a toll on her mental health.)

simon is maybe more aware of nuance, which could be part of why he gets caught up on details because he's like "this CANT be properly categorized into something more straightforward, there's actually a billion TRILLION little details and that is stressful". like simon desperately wishes things could be simplified down more but is usually like "actually no, a million things are happening actually". he's like me he would get upset if asked to rate his pain or feelings on a number scale at the doctor (i can’t do that shit for the life of me. Those things are far too complicated to put on a number scale in my eyes). meanwhile betty just will force things into concrete categories and steps and factors that Make Sense To Her with intense fervor and if she starts to have a "this is too complicated to address" moment she feels threatened and then tries very hard to reprocess things in a way that is easier, or just does her best to ignore the things that make stuff too complicated to address

i think betty tends to view things in medium-sized chunks that incorporate some but Not All details in a situation, and that she cares about small details and being thorough but feels like accomplishing the goal is the most important thing, so is willing and able to make a quick decision if she feels it's the only choice. like. she had a limited time before the portal closed, and she chose to jump through it, because she thought "the problem is that im not with simon. simon is on the other side of the portal. ill go there" it's not that she doesn't like to think things through. she loves to think things through! its just that OVERALL she is a Doer who wants to solve the problem and thinks taking action and doing something is way better than sitting there and missing an opportunity. betty will think through the details if she has time, but if she doesnt, she just breaks things down into whatever is most easy to digest and process, and then takes the option that seems.like it will get the most desired outcome based on the available info. and also shes just very confident and headstrong. and THATS. why she punched bella noche

In my eyes betty likes having rules and defined, structured processes about what to do or how to deal with stuff. and she dosen’t really like changing those. she's very autistic. she hates change i think. so does simon. but i think that simon would be more likely to be like: the change in situation is so upsetting that it's making it harder to think and process things, so he just gets overwhelmed and has an even harder time addressing whatever is happening or comprehending it. meanwhile betty is quick to try and find the easiest way to rerout her thinking to fit the new change, she's just really fucking pissed off and stressed out about it (part of this to me is she hates feeling powerless & hates feeling like she might fail). she copes with changes in her surroundings by finding a way to connect the changed situation as well and as fast as possible with her pre existing methods of tackling situations. i think bettys also worse at handling changes in people than changes in situation. to quote my friend when we where texting about this “Situations dont have feelings”.

Like. Betty has so many skills. so much knowledge. but isn’t great with people. And she gets to know people and figures out how to understand them and then THEY CHANGE??? ILLEGAL. and so… like…this is literally her whole thing with simon!! elements seems to imply that betty originally views things as "simon is cursed, i have to fix the curse". but when she makes an attempt to meet simon where he’s at and try to interact with him as ice king, she is unable to handle it. she is upset that he is different, so much so that she concludes the only way to view things is to see them as separate people, even though it was implied that she wasn't doing that before! she was approaching it like he was Simon With Memory Loss…..but then she does her villain betrayal scene and now she's all "things will be back to just me and simon, and you won't exist" . meaning before she directly started interacting with him, she was able to view him as simon, but when she did interact with him for an extended period of time and found out how different he had become, she felt so threatened by this that the only way she could handle it was by switching her view in order to not have to confront the idea that simon could have changed that much. it also meant switching her view to a place where she would be okay hurting simon. but when he starts to protest, get upset, ask what's wrong, and worst of all, insist that he's worthy of respect, that starts to stress her out and she has to talk out loud to herself to reassure herself that she's doing the right thing

and in that scene simon goes "i don't know who this simon guy is, im ice king", which i think is a Big line - he's responded to simon in the past, but doesnt always. Like. he's inconsistent in whether or not he's aware that's a way of referring to him, which makes sense bc he seems to have memory lapses where he remembers things fine one minute and forgets them the next, them remembers about them way later. anyway having him say that simultaneously provides a Confirmation of bettys new perspective, but it also… isn’t meant to. i feel like, to the audience, its saying that "simon has changed so much, he's entirely different now. and this is the way things are, and betty should accept this, but she cant" . to betty its telling her she’s right, but that kind of sucks, because she’s not totally sure how much she wants to be right (she dosen’t want this to be simon, but she also dosen’t want simon to be gone)

(i think the idea of betty Swapping her perspective abt simon during elements as a coping strategy to deal w the panic of What If Simon Is Different + the moral dilemma of potentially hurting him fits nicely into the "betty has bpd" interpretation . my girl is splitting)

(also ik many people interpret simon and ice king as Literally being entirely different people but tbh i think that is way less interesting and doesn't make a lot of sense with the canon. but also ik this is partially because what people consider to be "different people" is subjective. like it depends somewhat on ur perception of identity and stuff. also having different interpretations is valid and fair and all that - and adventure time is often very loose in its text and there’s lots of ways to interpret it. but whatever man im just saying my feelings and That is and Always Will Be the Same guy to me and i think that perspective is waay more interesting to explore than simon getting possessed by an alternate personality or whatever. so im just going under that interpretation….. i think some ppl would perceive the "im ice king" line as being a conformation of them as separate people but to me it's a more abstract representation of the idea that a Drastic Change has taken place that Cannot be reversed!!.... which. Ok eventually it is but tbh i doubt they even knew how they'd end the show by this point and i still think in the context of elements it still works very well as a way driving home both how betty is Not Handling the Situation Well while also making you empathize with her bc u also know how hard that must have been for her to hear)

i think betty is very person-oriented in a unique way!!she's codependent while also being low empathy, introverted, and in many ways socially inept, which is an interesting combo! i really get the vibe that she has always struggled socially and had trouble fitting in, so attaches really heavily to people who she does feel a connection to, and works really, really hard to maintain the relationships she has. i like to think she’s scared of rejection…

i think simon is much more empathetic, emotion-driven, and in tune with others than betty, but i also think he can be Very bad at actually understanding other people on many levels - like with his obliviousness to betty being interested in him romantically until she spelled it out for him, or to the impact of bettys earlier sacrifices. simon also, with the mission to get the crown in f&c, despite his empathetic nature and love for his friends, does not seem to consider that putting the crown on would upset his friends. This shows a "focusing on one thing and missing something else" scenario, and perhaps more of a "thinking abt the big picture" (saving f&c's world) over the details (friends would be sad) thing. so that's interesting. (although i think part of this example in particular stems from his self hatred preventing him from really thinking that his friends would be upset if he did that. but in a sense it is focusing on big picture over details). So theres some nuance there i think

BUT Anyway, i think this issue probably is mainly with him struggling to read people, or fully understand others perspectives, despite caring deeply about people and feeling Upset when he can tell other people are Upset. he cares and he feels very emotionally connected to people, especially people he cares about…. he just isn't that great at picking up on things sometimes. (also. Worth noting, i think its def shown that while simon may be very caring towards his friends and is a generally nice and approachable, well meaning person who wants whats best for other people. He still is very capable of Hating People and Doing Bad Things On Purpose. Don’t want to ignore that. also hes very desensitized to bad things happening in many respects lmao. So its not like hes just always super nice and caring and amazing. He still murdered choose goose to death and That is via the power of choose goose being annoying and Simon Loving Betty)

Betty also struggles to understand other people but instead of being downright oblivious to certain things or being unsure and nervous she finds relating to people and understanding their actions and emotions to be actively difficult and makes an active effort to understand people in a bit of a scientist-looking-at-a-subject way. Which can be helpful sometimes and less helpful other times. like. it's good that she has a way to navigate social interactions . but also that way of addressing things isn't always conductive to a healthy relationship, especially when she doesn't really let simon in on the fact that she's making these sort of analyses where she's like "what will maximize Simon Being Happy and how do i accomplish this" sometimes to her own detriment. simon is just like "wow betty is so confident and good at knowing what she wants" meanwhile betty is like "i will make the best choice For Simon" betty i think is better than simon at reading people but not good at Empathizing With Others Emotions or really Understanding or relating to the emotions behind their actions .

she also is shown to, despite caring So much about simon, not be very considerate or caring towards others (not the same as being low empathy & etc dw im not equating them. Its just on the topic of How She Views Others!!!). To be fair, we don’t see nearly enough of her interacting with people besides simon, but i like to think that she just sorta struggles to really care about and have compassion for Random People but deeply cares about those she is Really close too (but as far as we know, thats just simon)

OVERALLi think they see the world very similarly in some ways and very differently in others and it's an interesting balance. also they are both Autistic. In cconclusion !!

betty

likes to break things down into concrete concepts because she struggles to comprehend more subjective and nuanced experiences, especially in social situations + Feels more comfortable approaching things from a “scientific” perspective because it is familiar and easy for her to navigate; threatened by uncertainty and comforted by things that are more straightforward and well-defined

doesn't dwell on things a ton (esp not as much as simon) because she's very goal-oriented and focused on the Now. she wants to get to the next step. that often then means ignoring Her Own Feelings Or Needs if she deems Other Things to be more relevant or important than them (not good for your mental health) + this also means she’s better at making quick decisions! she cares about details and prefers to have All The Relevant Info but is willing and able to cut things down to a “wider-picture” that helps her make whatever choices will help her achieve her goal - that wider picture just may not always be the Full Actual wider picture.

struggles to put herself in other people's shoes - finds it easier to view herself as an outside party with the goal of achieving the ideal outcome in a social situation. In general has low empathy and struggles to understand/relate to others feelings, which impacts her perspective on things and how she handles/views situations.

(not really mentioned earlier but idk where else to put it:) i also think she has that Autism Trait where you focus in on a specific goal you want to achieve and struggle to focus on anything else until it's accomplished (and that that sort of thinking pattern happened with curing simons curse). where you put off doing anything, even things you could do, until something that you Need to happen (according to your brain, not the real world) happens. Betty put off being person until simon was saved. she put Everything on hold until she accomplished her mission. and this is in a way a form of not seeing the bigger picture, because its overly focusing on a specific thing at the expense of others

(bettys better at balancing seeing the details & the big picture in a sense, but more like. she picks a medium sized chunk of what is going on and focuses on that and acknowledges details when able to but is willing and able to make split second decisions based on little info and is confident in doing so. but whereas i think simon might have more of a "sees the whole big picture but then gets caught up on the details" thing going on, i think betty just straight up focuses on One Portion of something, of varying sizes, which could or could not he considered a "detail", but then almost completely ignores everything else, viewing things as individual challenges or events that need to be addressed before anything else can be)

simon

is someone who really likes to think things through, and can easily get hung up on details and can easily get overwhelmed by those details and sent into a state of anxiety-fueled-spiraling or decision making paralysis

this is worse probably for Current simon because he’s also Trying To DIstance Himself from his identity as ice king, and as ice king he had no impulse control and thought things through very little. so simon likely puts even more pressure on himself to think things through! unfortunately hes also Going Through A Lot Emotionally and sometimes that’s too much and he Dosen’t think things through and just acts on how he’s feeling. And that makes him feel Worse about himself and just Everything in general

he is more confident with his decision making skills if he feels more prepared/knowledgeable on the subject at hand or is taking on a caretaker role (like with marcy, or f&c). but currently he dosen’t have a lot of that going on so that kinda sucks for his self confidence.

simon is better at empathizing with people than betty & at creating connections with others & is more caring towards people he dosen’t know that well - and so may consider Other People more in his perspectives on things. But on the other hand hes not always the best at reading people or understanding their perspectives, even if he feels emotional connections and cares about people, so he can easily overlook other people’s struggles or perspectives within an issue - even if he cares deeply about their wellbeing (very relevant to his relationship with betty)

he’s generally more emotion driven than betty, and dwells on & ruminates about his feelings, sometimes to the point of obscuring his understanding of a situation or his ability to engage with it. On The Other Hand this means he at least acknowledges how he’s feeling meanwhile betty is like “im classifying that as irrelevant information until further notice” lmao.

he’s better at understanding nuance & subjectivity than betty but this contributes to his habit of getting-overwhelmed by everything & Overthinking

(simon focuses on details over the big picture overall. he easily gets caught up in details and panics. he traps himself in cycles of worrying about details that can paralyze him when making decisions, and so prefers to not have to make choices. BUT simons "paralyzed with fear of making decisions" state can often be overturned by the power of Having Strong Emotions and his decisions may be Less Good because of the power of not being great and understanding other people. he's very emotion-driven and currently suffering from a billion mental health issues so sometimes all that gets in the way of his natural over-thinking. hes got a better understanding of nuance than betty & is better at Empathizing with others and more considerate but not all too great at reading them or recognizing others Feelings or Behaviors)

I THINK I REPEATED A LOT IN THIS. AGAIN, KIND OF JUST RAMBLING. HOPEFULLY IT WAS SOMEWHAT COHERENT

#text #asks

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