#and i want to make it really clear that as meta writers we don't THINK about HALF these shitty things

[the-badger-mole]

If that's how you interpret Mai, that's fine. I've read some really great stories where Mai is written as someone who has a cold, prickly exterior, but is all warm and fuzzy on the inside. Some writers really make that work for her. I don't think the show really bears that out. The way Mai is written (or underwritten) leaves a lot of room for people to take her in different directions. For me, it's less that I don't like her, and more I don't see her as a good person, so her ending made no sense to me.

The Beach is the only time we really get to see the softer side of Mai, and it's so much at odds with what came before that I, and a lot of other people, truly believe it was added at the last minute because they needed a reason for Mai to turn on Azula and save Zuko. Because that's not who she was until then. I have (and still could) go on, and on, and on, and on....blah, blah, blah about why I don't like Mai, or rather prefer her as a villain, but I don't want to bore you with it, so I'll give 3 reasons, and I'll be brief.

Yes, absolutely that moment with Zuko on the balcony is bad, and that's where I decided I hated Maiko. Actually, that's where I became certain that I was supposed to hate Maiko. After everything he's been through, for that to be her reaction to him opening up was vile. Especially considering that she got with him specifically to manipulate him into doing what Azula wanted.

She treats people terribly in general. I've brought this up before, but the fact that it's made clear that she takes joy in ordering servants around for fun and then it's never addressed in her "redemption" is maddening. The show is using so much short hand to prove that Mai is not a very nice person, and it's never walked back. That's just who she is, and she's very unapologetic about it.

This is more of a meta complaint about how Mai was written, and then hastily rewritten, but the show failed to make me believe anything Mai says in Book 3. When we meet her, she goes out with the guards to find the rebels who attacked her family (of colonizers). She's clearly been taught to fight, and those knives probably don't come cheap, either. Mai doesn't hide her bad attitude from her parents, who react the way most parents would when they have a child who didn't want to move for their parent's promotion. So how am I supposed to by that her parents were these emotionally distant, cold, repressive jerks who didn't let Mai have fun? I also don't believe she fears Azula. She doesn't even hesitate when Azula comes and asks her to help her hunt down Zuko, who she has feeling for, even though the best outcome for him at that point was imprisonment. This was the same episode, by the way, did such an amazing job setting up how terrified Ty Lee was of Azula. The same episode. They could've added some hint that Mai was afraid of Azula here, but they actively chose not to. That made her about face in Book 3 look really weak, especially because she only turned for Zuko, not as the culmination of any internal work on herself. If Zuko had stayed loyal to the Fire Nation, so would she.

I've already gone on longer than I meant to. I can't speak for anyone else who doesn't like Mai, but if I had to sum up my feelings, I like Mai better as a villain. To me, she works better as a hedonist who is here for a self-indulgent good time and a loyalist who upholds the status quo. Or as Maleficent. Give me a Maleficent coded Mai.

i actually can't process why people don't like mai. is it because of the "i just asked if you were cold" scene. is that it. okay LISTEN i will go to bat for her. she says it herself in the beach episode, she's been raised to not share her opinion or like. care about anything. she probably deflects in that moment because it's obviously an emotionally heavy conversation and she's been told her entire life not to share her feelings. or share other people's feelings, tbh.

she's ngl pretty incompatible as a match for zuko, who is constantly full of feelings, and needs someone who can help him work through them in his life, like iroh or katara. but that does not make mai the stone cold bitch y'all haters want her to be. i promise she's fluffy on the inside, the stone cold bitch is but a thin outer shell that protects all the love and care she contains within herself

[buddieism]

tommy's character, bucktommy's inherent flaws, tommy & eddie as mirrors and buddie endgame; a (lengthy) meta analysis

honestly, what's really confirmed my feelings about tommy (and the imminent bucktommy bones -> buddie pipeline) is that there have now been multiple opportunities for the writers to actually make tommy a likeable/serious love interest for buck and they just…haven’t. because while fans are naturally going to overanalyse every little thing, the vast majority of the show's audience are regular viewers who consume the show at face value and don't think twice about it -- so if tommy was intended to be buck's endgame or anything remotely close to it, they'd absolutely want to make the most of his (very limited) screen time to present him in the best light they could. think about karen, the only non-main LI, and how she was introduced to us -- despite hen's cheating, we can see how dedicated karen and hen are to each other and how karen is a complex character in her own right who is immediately easy to root for and love.

comparatively, when we look at tommy's s7 appearances and specifically his interactions with buck, it becomes abundantly clear that there isn't really much depth to their relationship at all. which is fine! it's just... you know. fine. let's get into it.

following the cruise arc, we watch tommy through buck's eyes in 7x04 where he's basically wining and dining eddie -- flying him to vegas, getting them front row tickets to a fight, sparring with him in muay thai, playing pick up basketball with him -- tommy and eddie are so similar (which we'll come back to later), and we even get that line from eddie about how well they "click." as the audience, we are being subconsciously told to align tommy and eddie together -- and furthermore, we are told that tommy can easily make grand gestures when he wants to. now let's compare that to the bucktommy moments of the season.

bucktommy's first date: tommy makes a shady comment that would have outed buck if eddie or marisol caught onto it and then proceeds to abandon him on the sidewalk because he thinks buck isn't "ready" for a relationship with a man

i'll be objective here -- i understand in a show like 911 there's always going to be "unnecessary" relationship conflict for the sake of drama and i can also see how buck trying to play off their date as platonic to eddie might have put a bad taste in tommy's mouth. but we hear from tommy himself that he struggled with being open about his sexuality when he was at the 118 so he could have absolutely extended some sympathy towards buck for not wanting to come out on the spot to his best friend -- especially when tommy fully knows how important of a role eddie plays in buck's life. at the very least, he didn't have to leave buck alone on the curb. this isn't me trying to woobify buck because yeah, he's a grown man, he's fine -- but that doesn't mean it still isn't a bit of an asshole move.

the bachelor party: tommy doesn't dress up for the theme and dismisses buck when he's clearly disappointed about him doing so

tommy showing zero interest for the bachelor party buck planned is practically the writers waving a massive red flag in front of the camera -- him having to leave because he's on call is an understandable 'conflict' plot point but why not have him show up in an 80s themed outfit? it wouldn't have changed anything except that he and buck would have had a positive interaction; buck would have been happy that tommy cared enough to make that small gesture and it could have been a cute way to establish their relationship as one built on mutual effort. (btw, the bucktommy hospital kiss could be seen as a big gesture, sure -- but from a more practical viewpoint knowing how rushed this season had to be, it was also just an easy way for buck to "come out" to the rest of the 118 without having to spend too much episode airtime on it.)

the medal ceremony: tommy says 'enjoy it while it lasts' (which, LOL) and also is not shown reacting to buck receiving his medal. he also has a conversation with henren in a deleted scene.

again, i'm going to try to give tommy the benefit of the doubt -- i'm not saying he has to be sunshine and rainbows all the time and i have no issue with a character having a snarky/sarcastic side. but when his screentime is so minimal, every line of dialogue matters. and it's pretty damning that the writers aren't taking those few chances to give us something to appreciate about him. with buck, tommy makes a dismissive comment for literally zero reason, and with hen and karen, who are rightfully looking out for their friend, tommy refuses to take them seriously at all.

bucktommy's dinner in the finale: buck displays some vulnerability about losing bobby, and tommy... really doesn't seem to care.

honestly i refuse to rewatch this part of the ep because it really icks me out on another level but iirc: buck says he's glad bobby's okay because bobby is like the father he never had -> tommy says "your father's alive" -> something something joke about daddy issues. ignoring #that joke entirely, it's really insane to me that they have tommy even acknowledge the nuclear bomb that is buck's relationship with his parents. yes, we had a bit of a ham-fisted 'redemption arc' in s6 but that doesn't negate the buckley parents being absolutely heinous and the fact that buck verbalises how bobby played the role of the father figure because philip didn't -- all for tommy to basically deny that to his face -- is absurd. tommy has expressed on multiple occasions that he's jealous of the 118 family bond, so this line is just... very interesting to me.

now, let's recap all these events and bring eddie back into the mix!

post-bucktommy's first date, buck is more torn up about the fact that he lied to eddie than the actual date to the point that he has to vent to maddie about it. he then comes out to eddie, who is incredibly supportive (and oliver and ryan make some very curious acting choices indeed). eddie is reiterated as one of buck's most significant relationships.

pre-bachelor party, eddie is the one to suggest he and buck dress in matching (queer-coded) costumes. he then stays by buck's side at the party when everyone else leaves and although we'll never get to see it (tim minear i'm inside your walls👹), they sing an absurdly romantic karaoke song together. eddie is reiterated as one of buck's most significant relationships.

during the medal ceremony, when the camera pans to each member of the 118's love interest/family, it is eddie we are shown smiling at buck, not tommy. this is especially interesting considering we get buck reacting to tommy. i honestly can't get over how a reciprocated tommy reaction would have been an easy yet significant moment to cement bucktommy as a relationship, but they gave us eddie's instead (with chris in the background and marisol conveniently obscured, mind you). eddie is reiterated as one of buck's most significant relationships.

in the final episode, when eddie is experiencing his personal worst nightmare, buck is the one at eddie's side every step of the way. buck talks to christopher, buck reassures eddie (without judgement), and it's made clear that buck will be there for eddie, whatever he needs.

at every possible opportunity, we the audience are being implicitly told that eddie is buck's person. he is his place of support (buck having his more vulnerable coming out scene with eddie rather than his sister); he has buck's back (the bachelor party); he is his family (medal ceremony reaction), and ultimately, this goes both ways (finale).

some other things worth noting: when buck has his coming out scene with maddie, she tells him he's confused about his feelings in a way that seems to indicate she's talking about his feelings towards eddie ("if you there's something you need to tell eddie, you will"). in bobby's conversation with buck in the firehouse, he's verbally supportive of tommy and even asks if buck is going to see him, but buck goes to eddie's house instead. these were deliberate choices made by the writers; eddie has been consistently intertwined in bucktommy's relationship both overtly and subtextually throughout the entirety of s7. and let's not even get into the whole 'evan' thing, because that could be a whole other post in itself.

from the first moment we start to learn about tommy's character (beyond his... coloured past), we find out that he and eddie are practically mirrors. why not make tommy and buck share similar interests? why not give them something to bond over? why present tommy and eddie as almost identical in every way? because tommy is a placeholder for eddie. buck's initial bisexuality journey can't happen with eddie when eddie still hasn't come to terms with his own feelings. so, in the meantime, tommy is the "safe" choice in buck's mind because buck has nothing to lose with tommy whereas he's got everything to lose with eddie. buck can't confront what he truly wants yet because the risk factor is far greater and it's been repeatedly asserted that buck has an issue with people in his life leaving -- he would never do anything to jeopardise his relationship with eddie.

but ultimately (and in my opinion, fairly soon), we are going to get that moment where it "clicks" for buck and he realises that it is eddie he has feelings for. and when that happens, there's basically only one way it can go. we know buck can't keep secrets from eddie; we know eddie is going into s8 feeling "isolated"; we know tim loves making his characters suffer before they can be happy. in my mind, the narrative is going to go something like this: buck feelings realisation -> pining buck era -> eddie healing journey and a reevaluation of what buck means to him -> some insane life-threatening situation that really doubles down on how buck and eddie care more about each other than anyone else because it is 9-1-1 at the end of the day -> love confession induced by their dramatic near-death experience -> #BUDDIE_CANON !

when we factor in how there was a possibility of eddie having the sexuality arc this season instead, how tim has said buddie is one of his favourite dynamics of the show, and how supportive both oliver and ryan are of the ship, i really can't see how everything isn't building to buddie endgame. every other main pairing of the show has had seasons of development, of conflict, of bonding moments. buck and eddie have gone through that with each other time and time over (tsunami/lawsuit/shooting arc etc), which is why every other random love interest that's introduced for either of them falls flat in comparison. they quite literally are exactly what the other person needs; buck wants the stability of a home, a family, and unconditional love; eddie wants someone he can trust, a caretaker for his son but also a partner. buddie is the ship the audience wants to root for, because we know they work! now that we have canonically bisexual buck and eddie finally having to face his complicated feelings about losing shannon, buddie isn't just the logical conclusion -- it's the inevitable one.

[picaroroboto]

For the past couple days, I've been unfortunately cursed with thinking about Zenos yae Galvus. I don't even particularly like him - not that I dislike him either, Zenosfuckers you can put your scythes down - but it seems to me like a lot of the fandom either greatly misunderstands him, or doesn't even care to try to understand him, which from an objective standpoint as someone who cares deeply about writing in video games kind of pisses me off. But I'm more pissed about the fact that I'm apparently going to keep thinking about this issue until I actually write a character analysis of him.

Q: "But, what even is there to analyze with him? Isn't he all about wanting to fight the WoL and nothing else?"

Well, you wouldn't be wrong with saying that. That motivation is at the forefront of his character, and even if you look closer, everything about him comes back to either "violence" or "lack of understanding of others". But there are more meaningful sides to his deceptively simple character. That question of meaning is what I really want to look into - what does his character mean, what symbolic or thematic role does he play in this story?

Q: "Better question: why are you posting this on your art blog/Fate meta sideblog?"

Good question, with a stupid answer: I have all of 6 followers on my FF14 sideblog, and around 150 here. Let's go under the cut so they don't have to read a wall of text, unless they want to.

When you look at and compare FF14's villains, you can see a very clear change, no doubts thanks to the change in main writers. ARR Gaius and Thordan are more or less two-bit villains - Gaius's memeable iconic Praetorium speech gives us insight into how fascists try to justify themselves but little into Gaius's actual personality, while all Thordan gets as far as depth of character is an NPC in a sidequest remarking that he wasn't always a bad person and was probably doing what he thought best for his nation. Nidhogg is a little more understandable, since revenge is a relatable motivation to anyone who's been hurt by others. In Stormblood, Zenos and Yotsuyu are both presented as deserving of pity even as they do terrible things. Come Shadowbringers and Endwalker though, the story takes a greater interest on why villains like Emet-Selch and Elidibus do the things they do, and the player is allowed more options to try to understand them and see how similar they are to the WoL. Hell, Hermes and the Endsinger are barely "villains" at all, with the level of sympathy the story shows them.

What I'm getting to here is that Zenos, with half his arc in Stormblood and the rest in Endwalker, is sort of caught in the middle of this shift. He played the role of the rival character in Stormblood really well, but come Endwalker, he's standing on a stage full of heroes and villains with grand causes and deep motivations, as the guy whose sole motivation is fighting for pleasure.

It seems he's not unaware of this contrast himself - when Jullus confronts him for ruining Garlemald for no good reason, he retorts with "Would you be happier had I a good reason?" Zenos makes no attempt to justify his own actions and doesn't care that his reason seems incomprehensible and unforgivable to others. Yet in that same cutscene Alisaie hits him with the fact that if he keeps living solely for pleasure, he'll die alone. When next we see Zenos, he's alone at the Royal Menagerie waxing philosophical about what he really sought in the battle with the WoL.

See, what really motivates Zenos isn't just the thrill of battle - this guy has gotten Battle High and the joy of human connection confused. Really.

Even before he gets so perturbed by the idea of dying alone, there's other suggestions, like his proposal of friendship to the WoL when they fought in Stormblood, and then later his dying words in which he explains that he never understood others - at his core, he's just lonely. I know there's an official side story that tells it, but you don't need to know the exact details to glean that he had some sort of tragic backstory. Sad, but not a surprise, considering he's the prince of the Garlean Empire, raised to take the throne and continue the Empire's legacy of violence.

At his core, he's a very lonely person, but also a thing of violence, raised using violent methods for the purpose of causing more violence. Violence is how he lives and breathes - the only way he gets any sort of connection with others in a world of hurting and being hurt is the brief connection warriors dueling as equals can sometimes find. Don't deny that this sort of connection exists - FF14 is great at making fights that are both fun and tell a story. Hence, why he goes crazy for the WoL, but also refers to them as "friend". In their fights, he senses (or thinks he senses) similarity between him and them. Beneath all the madness is a pure, genuine joy in seeing the self reflected in the other...but he also instantly gets on the train to projection-town, population Zenos, and assumes the WoL is exactly like him, ignoring or failing to notice that they also fight for deeper meanings. The worst part is, he doesn't even notice that what he's actually seeking in fighting them is connection until Alisaie's aforementioned callout.

So he goes and angsts for a while, then turns into a dragon again and flies across the universe to help us kick the Endsinger's tail feathers, then issues his challenge for that duel he'd been longing for. But what's changed is that he starts with a question - "Such pleasures you sought for their own sake, and for no other reason, is that not so?". Dying after the duel, he's full of questions too: "Was your life a gift or a burden? Did you find fulfillment?" Alisaie's suggestion that he'd die alone actually spurred him to realize what he actually sought in the WoL, and now he's asking all these questions in an attempt to, for the first time in his life, genuinely connect with another human being.

The questions aren't important just because they're a sign of how Zenos has changed in Endwalker - they're actually the thematic heart of Endwalker! ARR may have had "Answers" as it's theme, but EW is the expac of questions. Namely the biggest question of all: What is the meaning of life? Different characters have different answers to that, leading to the grand-scale symbolic conflict being the Endsinger's despair - her belief that there is no meaning in life - versus whatever reasons the WoL chooses to live for, left, as always, up to player interpretation.

When you look deeper, Zenos isn't actually as out-of-place in the symbolic conflict as he first seems. His depressed worldview - that metaphor about drowning in a swamp again - seems to align with the Endsinger's view about life being meaningless. But he aids the WoL in defeating her. In that way he serves as part of the answer to her question about the meaning of life. He may have resented life at times, but he still found meaning in chasing pleasure. Not the strongest or most beautiful reason to deny oblivion, perhaps, but it did enable him to help the WoL triumph. I think of Zenos's philosophy as being connected to the concept of "Amor Fati"...largely because this quote explaining it sounds like something he'd say, or at least agree with on some level:

"and if our soul has trembled with happiness and sounded like a harp string just once, all eternity was needed to produce this one event—and in this single moment of affirmation all eternity was called good, redeemed, justified, and affirmed."

So he does have a meaningful role in Endwalker, as the "Amor Fati" against the Endsinger's "Memento Mori". I think that in this the story shows that his reason for living, while somewhat shallow, is not necessarily a morally wrong thing in and of itself (setting aside for a second all the people he hurt in his pursuit of that). It's just that, since it is a lonely pursuit that denies everything except for his target, it still feels empty. The core of the counterargument against the Endsinger's despair is that both pleasure and fulfillment are necessary to live a meaningful life in a meaningless universe, and that's why Zenos is here in Endwalker. Why he even exists in the story in the first place.

Even if you're one of the people who deeply hates Zenos...well, you probably wouldn't have read this whole thing if you did, but I still think it's important to read into characters you dislike, because every character in a story is written for a reason. Plus, trying to understand even their worst enemies is one of the WoL's key traits as of ShB and EW. With his last breaths, Zenos was trying to understand the WoL too - carrying this understanding of him with you as we move into our next adventures is the least you can do for your "friend".

[thavron]

I was writing a meta post about the final fifteen and honestly it got so long an unwieldy that I gave up and just decided to live in denial land for a bit. But there is one piece of the puzzle I want to put out there, and that's how the flashbacks are edited, or one in particular.

I've seen a couple of great posts about how the flashback minisodes are edited in season two to be from Aziraphale's POV and not the Objective View, and if I was a better meta writer I'd have links for you, but I'm not, sorry. I've also seen a few posts discussing whether Aziraphale is a reliable narrator. That is definitely something we ought to consider when dealing with this sort of POV storytelling, but not entirely relevant to my post, but worth reading about if you have the time.

What I want to discuss is how the Metatron conversation is edited. We see Aziraphale go outside with the Metatron, this is the usual objective viewpoint. It then cuts to the scene inside the shop. We don't see the Metatron conversation again until Aziraphale is talking to Crowley. The way it is edited makes it very clear that this is not just a flashback but also Aziraphale recounting the tale. The use of "He said-" cut to scene, and "I said" cut to scene makes it as clear as the editor possibly can make it. It is a technique often used in editing to reduce exposition monologuing. Whether this is an accurate depiction of the Metatron conversation, we don't know but not actually relevant to my point (though worth thinking about).

What I want to point out is that Aziraphale chose to give Crowley four important pieces of information.

I don't want to go back to heaven.

There are enormous projects afoot. (consider that they have already discussed the possibility of a second Armageddon, though only Crowley knows about the Second Coming.)

They know about the Arrangement.

We could go together as angels.

He says all this in such a way that suggests he's fully drank the cool aid, but if we review the information without the dramatics it sounds more like a warning.

The use of double signalling ("it'll be like the old times, but even nicer" whilst shaking his head no) which occurs throughout the scene, this post and this video got me thinking about how deceptive Aziraphale is being. But he's not trying to deceive Crowley. He is trying to pass on the above information, hinting that he has a plan, whilst putting on a show for whoever is watching. He assumes Crowley is on the same page, and then it all falls apart when it becomes apparent that Crowley is really not. This is when he changes tack, and begins to panic.

He's left with the horrible task of trying to respond to Crowley's declaration positively, whilst not breaking the illusion. Which is why we get lines like "We can be together... as angels."

He also obviously sees them as a unit already (our car, our shop) and so it may not have he occurred to him that Crowley wouldn't just trust him and follow him into heaven. It's insensitive yes, but also not out of character for Aziraphale. I think this is the real kicker here, Aziraphale feels rejected because Crowley doesn't trust him enough to follow, and Crowley feels rejected because he doesn't feel good enough. Yet they are both clearly saying they want to be together.

I think the final few moments with Aziraphale and the Metatron is really what sells this idea to me. He is left undecided. He has the choice, abort mission and follow Crowley, or go ahead alone. He's devastated and you can see him wavering. If this was truly about him being excited to go back to heaven, I don't think we would see this indecision.

I can not decide just what is motivating Aziraphale to leave, whether he sees a sliver of hope to fix things in heaven, or whether he has decided to take on the role of hornet in a bees nest, but what is abundantly clear to me is that he has a plan and he wanted Crowley to help him, and Crowley said no. Or maybe he didn't. He was waiting by the car after all. Maybe this moment is what allowed him to move forward with a smile?

[luthien-under-bough]

my meandering thoughts after ep7:

i think a lot of people are overlooking the importance of daemon's scenes in episode 7 in focusing so much on oscar tully. like ok sure it is objectively funny to see daemon be read for filth by a teenager, but this is not some meta punishment doled out by the writers because they hate his character - or even oscar "gagging" daemon. this is daemon directly responding to rhaenyra's accusation during their ep2 argument: "I think you used my words as an excuse to take your own revenge… to indulge the darkness you keep sheathed within you like a blade." Oscar's own words to willem blackwood call back to this: "it is true that he made clear his base desires, but you did not have to pursue such savagery. You did it… because you wanted to."

like yes, daemon is being humbled, but he is also specifically acting contrary to his own desires, and choosing to do what is necessary in service to rhaenyra's claim. it's obvious in the look he shares with ser simon, and in his shifting expression from anger to acceptance as he realizes he must do this to earn the crucial support of the riverlords. i do not think the daemon of episode 2/3 would have responded this way. he would have given into that impulse that's telling him to smack oscar around and burn the lot of them. he is putting aside what he would do, in favor of what rhaenyra needs him to do.

And the look on his face afterwards is full of horror - for the first time we really see him haunted by his own act of violence, when we've typically seem him remorseless or flippant (rhea royce, vaemond velaryon, the unnamed body they used for laenor's "death") if it advances his aims. this contrasts with rhaenyra in this same episode, where we see her really indulging in violence for the first time - she sacrifices the dragonseeds in pursuit of finding new dragonriders, which is also a repudiation of her and daemon's earlier argument, where he accused her of being too weak to spill blood to achieve greatness.

(literally everything they do ties back to one another, their influence on one another, and which parts of each other and viserys they choose to internalize and express - two halves of a whole, indeed - so it baffles me that most daemyras are unsatisfied with this storyline just because they aren't physically together, but that's a story for another post)

daemon's scene in the Harrenhal godswood leads directly into the vision with viserys, where he is confronted with the question of whether or not he still wants the crown (really, if he ever actually wanted it - or was it just a symbol of his brother's love, of recognition, of the ultimate tool to achieve power and respect in this world). he's just had to make a choice and take an action that conflicts with his own worldview, of what strength and loyalty means, of the acceptability to the ends justifying the means, of the ramifications of the collateral damage that such choices have - which is all tied into the true weight of bearing the crown. is he really cut out for this? i think it's clear the answer will be 'no' - and it will reaffirm his support for rhaenyra, at the same time her own journey has brought her to a place where she has found a way to wield her power and authority in a way that can be respected (and feared) and is independent of her reliance on daemon's martial prowess and masculinity.

if there's still any doubt that daemon's visions all have purpose and are moving him forward, i really don't know what to tell you. it's frustrating to see his arc reduced to "daemon is doing nothing all season" because most of it has been internal. both daemon and rhaenyra have grown from the accusations levied at one another in their argument, and i think are positioned well for a reunion that allows them to "finish their conversation" from a place where they are both more able to function within the parameters of their strange and unique relationship as sovereign/consort, husband/wife. uncle/niece, and even brother/sister (as their relationship to viserys is very much reminiscent of siblings competing for their father's love and attention). it's a very clear arc to me, and i am very excited to see how it all comes together in the finale (as well as how this sets the stage for future conflict between them).

(the " but in the book…" arguments about daemon at this point are also weak IMO, because daemon basically does nothing during this section in the book. and because the show has added different dimensions to his character that simply do not exist in the source material. his time in harrenhal is summed up in a couple of paragraphs. the riverlords all honor their oaths without conflict - and he fights in the battle of Stone Hedge, which you can mourn as an adaptational choice you do not agree with, but personally i think it's far less interesting than what we were given in the show.)

this is where i wish the fandom at large would give the writers a little more credit, and extend your faith a little further. sure there are some odd choices throughout, and yes they have taken adaptational liberties you may not agree with - but as we near the end of the season, the overall vision for daemon (and rhaenyra) is clearer, and i think it will be even more rewarding looking back on the season as a whole.

[bleeding-star-heart]

The more I think about DA:2 's ending and read people's thoughts on it here, the more it changes. I've come to the conclusion that while the Watsonian explanation for what Anders does is okay, I cannot say the same of the Doylist explanation. For those who don't understand what that means, a couple definitions. Watsonian: the in-story justification for why something happens or is. Ex. Luke's aunt and uncle are murdered in A New Hope because the Empire was looking for Luke. Doylist: The author's purpose for having something happen or be in a story. Ex. Luke's aunt and uncle die to move the plot forward and help make sure he leaves Tattoine. In other words: the in-universe reason for the Chantry being blown up is clear, but the writers' reasons aren't. Therefore, we are not discussing Anders's motivation. There's plenty of meta for that if you're curious. Instead, we are discussing the writers' motivation for writing it the way they did. One could simply say, 'they needed a conflict for the finale', and have done with it. But that only explains the most bare-bone plot-related reasons. It says nothing about how that plot point relates to the overall message, or how the writers intended Anders to be viewed by the audience. Specifically, I doubt that the writers meant us to view Anders positively. If that was their intention, they would not have written Anders murdering Elthina in a way that involved massive collateral damage and the death of innocents. Those things don't tend to generate goodwill. It's possible they wanted Anders to be viewed as a villain, but in that case, why doesn't DA2 end with an Anders boss fight? No, I suspect that the writers' intention were in the same situation as Marvel movies with politically progressive villains. Namely, the ones the audience ends up agreeing with to the point they're in danger of losing their status as villains. Only, instead of it being a single character, the writers had this problem with the concept of mage rights as a whole. Namely, modern people are generally against depriving people of their freedoms/rights. They're especially against doing so because of something the person can't control or doing it to a whole group because only some members of that group are bad. Therefore, most players will probably agree with Anders that the Circles are indeed bad. Especially players from real-life marginalized groups. It's the same deal as X-Men, except that X-Men understands and ANTICIPATES that the audience is on the side of the X-Men. DA:2, on the other hand...not so much. So, I suspect Anders blowing up the Chantry was the writers doing what Marvel writers often do: make the left-wing villain inexplicably do something nasty in order to have them retain their villain status. Or, in this case, have the most prominent activist do something bad so that the mage rights cause looks equal to the Templar point of view. And, like in the case of Marvel, it doesn't really work. Anders blowing up the Chantry doesn't make the Templars look right. As a matter of fact, the in-universe explanation explicitly relies upon the fact that it doesn't! And that is why I cannot say the writers' reason to write Anders do what he does makes sense. Mainly because I don't believe the writers had a reason. In other words, I believe Anders was done dirty by the finale.

[thegirlwhowrites642]

Hi, please free to ignore( huge fan of your metas btw)

What are your thoughts on Peter pettigrew? In swm we saw him fanboying over james to being responsible for his death. Just because he was afraid or he never really loved his friends. Many people say James and Sirius treated him shitty thats why he betrayed. Some even say he was just a tag along. Please share your thoughts.

First of all, thank you!

(also, unless they are rude, I don't ignore any questions, it might just take me two years to answer)

Peter Pettigrew

My very controversial opinion on Peter is that I love him (as a character).

To me, Peter is one of those characters who represent how Rowling's clear lack of self-awareness as a person translates in her work into her being unable to recognize her strengths as a writer. The majority of the most interesting things she comes up with are not the ones she focuses on.

And that's the case for Peter Pettigrew, who might be the Marauder with the most interesting story.

It's way too easy to reduce him to a coward as the author seems to want you to believe. And even claiming he didn't love his friends is a flattening of his character.

You can have a tendency to be influenced by peer pressure all you want but you don't become an unregistered animagus to help someone if you don't love the friend you are doing that for and you don't have a bit of courage (especially considering how long the whole thing was and that he wasn't particularly talented). He risked extremely severe consequences on his body due to the possibility of the process going wrong and he risked Azkaban for being unregistered.

That's fundamentally the opposite behavior of the one he later has with the Potters.

I also think it's important to point out how Remus is not a close relative (father, son, brother) and how the help Peter provides is not essential to Remus' survival, it's emotional comfort. The lack of necessity of the animagus matter and the easily cancellable bond with Remus increase the braveness and love of Peter's act (in contrast for example with something like what Narcissa does with her son by lying to Voldemort).

I think Peter's story is the one of someone who lost his courage, not the one of a person who never had it.

Doesn't this also make it so much more delicious how his downfall is caused by the return of a glimpse of honor?

I do agree with the fact that in SWM, James and Sirius don't treat him particularly well, especially Sirius, but I don't think they are that aware of it, especially James. They are a bit crude, and they are arrogant. They are two bright posh 16yo guys in a boarding school in the 70s. I don't expect from them a particularly high level of sensitivity in how they talk to people, especially to someone they take for granted knows to be their friend. Sirius is probably more aware of it, but I believe James to be quite unaware of himself at this point in the timeline. This is before his maturation really kicks in, his whole interaction with Lily shows a lack of self-awareness in how he talks to people (we know Lily turns him into a bit of an idiot, the problem is that he doesn't seem to be aware of it). Sirius on the other hand seems a lot more self-aware than James. A lot of people are not going to like what I'm about to say but: James is canonically a better person than Sirius.

And yet, it is abundantly clear that both James and Sirius love Peter.

James gives into Peter's hands his own life and the ones of his wife and son. Sirius gives in Peter's hands the lives of the family he chose.

In the Shrieking Shack, under all the pain Sirius has for the death of James and Lily, it is evident that there's also the pain that comes from the betrayal of a friend.

"THEN YOU SHOULD HAVE DIED!" roared Black. "DIED RATHER THAN BETRAY YOUR FRIENDS, AS WE WOULD HAVE DONE FOR YOU!" - Chapter 19, Harry Potter and The Prisoner of Azkaban

Lily herself is very attached to Peter, in her letter to Sirius, she calls him Wormy (how cute is that?). And, let's remember that she too puts her life and the ones of her husband and son in Peter's hands.

It's too easy to say Peter was just a tagalong, that they didn't love him. It incredibly diminishes the pain of his act.

I also would like to point out that Peter isn't stupid. He was a double agent, he managed to frame Sirius by using in his favor people’s low opinion of his skills (and Remus and Sirius' rocky relationship). James, Sirius, and Remus might have thought of themselves as smarter than Peter but I don't think they actually believed him to be stupid. Considering who the Marauders are, their knowing how good of a liar, and how cunning Peter could be, would be a perfect explanation of why they became friends in the first place.

Does this mean they all loved Peter but Peter only loved Remus out of his friends?

We can't really be sure of his feelings for Sirius, but the admiration he shows for James and the sense of guilt we know he has for his double agent activities don't really align with that image.

I think Peter's fear for his own life ended up winning over the love for his friends.

But why at this point? Why not at Hogwarts?

Something quite interesting is how Peter's father is the only parent of the Marauders who is never mentioned, not in the books, not in any additional material. Doesn't that align just so well with Peter always putting himself at the service of the most important male figure around? First James, and then after school, with the war going on, Voldemort.

Isn't it such a fitting image, Peter growing up without a father, with a too-cuddling mother whom he ends up resenting, faulting her for the absence of the father? It's so natural to paint him as a young man crushed by a sense of inadequacy towards an image of masculinity he idealizes but can't fulfill, supported by a society filled with a very toxic sense of masculinity and an absent father he can sew on any fantasy he wants.

When Peter was at Hogwarts, being friends with James, and being part of the Marauders, gave Peter a sense of security that allowed him to be brave enough to prioritize his love for his friends over himself.

Out in the real world, though, Voldemort is the dominant man and being positioned against the Dark Lord takes away the sense of security he had as a student. Both times Peter goes to Voldemort, he does it because he doesn't feel safe.

It's also abundantly clear how Peter's siding with Voldemort doesn't come from ideology. He becomes an animagus for Remus, he's a dear friend of Lily.

Peter dies because Voldemort doesn't trust him, and he is right in not trusting him. Somewhere in Peter, there's still the boy who risked his life for a friend.

Try to tell me this is not an interesting character.

He's still a coward overall, but a complex one.

Also, Peter Pettigrew is a clear victim of pretty privilege when it comes to the fandom. I'm ready to bet whatever you want that if he had been described as handsome the most popular ship with Sirius would be Sirus/Peter.

Actually, he didn't even have to be described as handsome, he just needed to not be described as ugly. Draco is described as having a pointy face and people have been lying to themselves claiming he's incredibly handsome for the last twenty-five years.

[nalyra-dreaming]

IWTV s2... an (emotional) recap

Between the spoilers dropping before the last three episodes and the content of the episodes themselves we really have gone through the emotional wringer.

I think I have rewritten this three times over, because my feelings kept changing.

I had hoped for more, I got more than I wished for, I wanted something else, they hit the nerve precisely...

And now with the season 3 announcement:))))

Maximum emotional carnage - indeed.

Everything ... up to that NOLA visit in episode 8 and the actual ending... is not the truth. Let that sink in.

The trial: scripted (and Lestat breaking out of it for the important bits)

Claudia's turning: So much... more raw.

Claudia's death: brutal. That final look between her and Lestat was one of the most painful things to witness.

Her diaries (pages): mostly unused. I am a bit unnerved bc of that wasted Merrick reveal and aftermath implementation tbh. Louis is not freed up after it, but... he should have been, imho. Though, that said, with Dubai likely a stand-in for Trinity Gate... maybe the arc fits after all - BUT I still think they could have done more with her diaries. I get why they wanted to escape the “white savior trap“ but this way Louis did not get that power-up that will ultimately bring him to where it frees him. But who knows... maybe they will implement a version of it all still.

The broadcasting and Loustat's relationship in general: Armand putting a fantasy retelling into Louis' brain. Holy shit.

Flashbacks to 1790: Self-indulgent fanfiction.

Dubai: Stepford Wives via mind gift. 💀

Daniel: Supposedly(*) turned out of spite. I absolutely get why DM fans are besides themselves with this and the comments after.

The story itself: More or less ending exactly where the first book puts us. I do NOT know why they kept that title a secret, it's not hinting at anything other than that simple fact, imho. :)

So.

You know, them using the movie "Gaslight" for the poster reference makes more and more sense now, because that is how I feel a bit at least: gaslit. Just a little bit.

Because... Nice reunion that you had there... too bad it will turn out to be the contested NOLA one, I would bet real money on it. 😅

......

Sarcasm aside, this is a brilliant show. But I am NOT looking forward to another two years of bullshit accusations (by some) because they were mostly/only spelled things out in the episode insiders, and only broke things up in the last episode. Or of people confusing the meta and social commentary level with the in-universe one.

Which, by the way, I'm happy that they went there. And I am relieved that they spelled things out in the episode insiders. Truly. But as experience has shown after season ONE... implied manipulations, episode insiders and interviews, and cast/crew/writer statements don't mean jack shit to some people.

So yeah, where does this leave us?

This was a dark season. I think I'm not totally wrong when I say that most of us did not get what we wanted from it, neither DM, nor Loumand, nor Loustat. Or Claudeleine.

"Locked together in hatred" comes to mind, though "hatred" is obviously (way) too strong a word. (But that quote fits so nicely 😏🤓)

We DID get some of what we wanted. But for a show which built so heavily on other books... to follow the first book then so closely?? I don't know, it leaves me a bit unsatisfied(**). It feels as if they just shut the book, to be done with it, you know?

I still enjoyed the season, there were brilliant parts in it. But it feels... bloodless. Sexless. Empty of affection. Harrowing. Which is, of course, the point.

This... is a depressing, hinting at suicide-through-vampires note.

Which won't happen, of course.

Because here we get to (**), which is of course ™️ them announcing s3 just prior to the last episode;))) And thereby making some things clear by that fact alone :)) 🙌🙌🙌

I said it before, I expect them to revisit... again. Given that this will be in what, 1,5 to 2 years from now? Well. Hopefully still in 2025. And I hope the arc they spun over these three seasons will be done then. And we can move forward.

I do hope this show will get 10 seasons. But for the first time since it aired I wished we'd already be ahead, in season 4 or something. 😅 Because this heap of loose endings is... taxing^^. Though definitely coming very softened as a blow now with the s3 renewal that’s for sure^^

Can't wait to hear your thoughts, if you want to share them. But these are mine. For now.

I'm sure there will be a lot of details, and analysis and meta to follow, and I'm looking forward to it. 🥰🙌

S1 and s2 were a tale... I mean we knew. But I would have preferred a bit more... truth.^^

Because that Magnus‘ tower scene?! No way. The metaphorical push off the tower??? No way, sorry Rolin but if they let that stay… that’s not giving agency that’s removing Lestat‘s suffering for their weird “toxic masculinity arc“ that Sam hinted at and which was - IN THE BOOK!!! - a misjudgment of Akasha.

AND it is removing Lestat‘s suffering to give more nuance to other characters. -.-

Given Hannah‘s episode 5 comments I hope they do not make a misjudgment of his character there. The red flags are there though, especially after the recent interviews, have been ever since that DV drop, and I have people come to me via DMs now to tell me they’re leaving the fandom bc they’re scared of another GoT…. which I get.

I… still have some faith. I know Rolin tends to put his foot into his mouth at times, he is a troll, and for all her takes on ep5 Hannah also wrote other brilliant scenes.

And we have Sam and Jacob as trump cards.

I‘m determined to enjoy this - this is what we‘ll get. I waited 30 years. I won’t go anywhere. I will enjoy what they give us.

I won‘t like all their decisions. That I am aware of.

BUT I will enjoy it, going in open-eyed, nonetheless.

(*) okay that is obviously bullshit, Armand would not turn him out of spite. Which is another hint I guess. But I talked about that in asks^^ At length 😅

[doctorprofessorsong]

Destiel Fic Recs

Are You Writing From the Heart? By luckshiptoshore @luckshiptoshore (Explicit, 86k)

This fic is equal parts hilarious and touching. A ride of meta delight.

Cas Novak has been hired to ghost write the hit book series Supernatural after the original writer disappeared. He spends his days in a coffee shop trying to somehow write something compelling from Chuck's messy notes. 

But a chance meeting with a cute boy turns his life and the narrative upside down. As they grow closer, Cas finds himself questioning everything he thought he knew about himself.

This fic ties in canon in such a fun way as Cas works through the plot. It also features a deeply repressed “straight” Cas who is struggling in a way that will make you want to shake and hug him at the same time. 

Theres a lot of humor, but underneath is a really beautiful story about the stories we tell. It's a gorgeous journey that will leave you emotional.

(S)ex Parte by corrupt_touch (AmberXBoone) @corrupt-touch (Explicit, 25k)

Listen. I'm a burnt out lawyer. So on the very rare occasion I will read a lawyer fic, it's about burnt out lawyers and this one certainly hits that part of my brain. 

Dean is miserable in his job as a corporate defense attorney, and his current case where he has to defend a soulless pharmaceutical company isn't helping. Desperate to get away for a few hours, he finds a cute guy in a bar for a mind-melting night of sex. It would be a total win, except the same guy walks into the courtroom the next day. He's the judge. Can Dean and Cas forget their wild night of passion, or will they risk everything to recapture the magic? 

The desperate, needy, immediately profound bond between Dean and Cas is what makes this fic. Truly, they are two magnets pulled together. Also, there are some beautiful themes about leaving the past - and parental expectations -behind. 

Phantasma by thisisapaige @thisisapaige (Explicit, 30k)

Dad's on a hunting trip and he hasn’t been home in awhile. Dean considers trying to get his brother Sammy to help, but he seems so happy. 

So he decides to buy a haunted house and settle down. He'll clear out this ghost (some lady named Naomi) and the place will be all his.

Except it turns out the ghost isn't a lady, but a hot dude named Cas. A lonely phantom and a lonely human finding comfort and companionship together. 

This fic does have a happy ending, so don't worry! The fic has a nice mystery as Dean and Cas work to try to understand what happened to him, but it's the softness of these two together that really stands out.

Theres something so beautiful about these two guys, both alone for so long, finding joy in each other.

Ghost Town by blue_morning, xfancyfranart (Teen, 25k) (art by @xfancyfranart )

Speaking of ghosts, this one features a soft tropey love story with a really fun setting and a meddling ghost (Jo) who ships it.

When Cas inherits a ghost town from his eccentric uncle, he isn't sure what to think, but he decides he wants to check it out. Unfortunately for Cas, what he doesn't check out is the weather.

Luckily, the grumpy town caretaker, Dean Winchester, is there to save him. Unluckily, they have to wait out the snow storm in the abandoned ghost town.

There's only one bed and they're snowed in. throw in a surprise mystery treasure hunt and a bored ghost and you have yourself a fun, soft story.

I'll Follow You Into the Dark by FriendofCarlotta @friendofcarlotta (Explicit, 15k)

This one hurts so good. A fix-it (but Dean lived because fuck that), this fic explores Dean’s grief and desperation to get Cas back. 

When he realizes the price of admission into the Empty is being an angel or a demon, Dean takes extreme steps to save his angel. But will Dean lose himself in the process?

It's a beautiful story of love and sacrifice with a soft landing. Even if it ruins a certain item from Ikea for you.

The Princess Bride by foxymoley @foxymoley (Teen, 20k) 

Like peanut butter and chocolate, the marriage of The Princess Bride and Supernatural is a combination that works.

Its a retelling of the movie featuring all your favorite lines. There's humor! There's true love! There are pirates! 

Some of the details are changed obviously (Dred Pirate Cas and Inigo Montoya Dean, for example, are the main love interests), but it works really well and I found myself grinning like a fool the entire time I read this.

See all my rec lists at @riversrecs

[ernmark]

Juno Steel and the Case Closed (part 1) reaction

It's been a while since I've done one of these, hasn't it?

But it's the last episode, and I wanted to be here for the end. So if you'd like, some thoughts and theories under the cut:

It was a solid choice to have Nureyev go-- to make this final story about Juno and his world and his life, rather than specifically about their relationship. But also, the choices made around Nureyev's leaving-- holy shit.

Because here's a man who's spent the last twenty years entirely defined by his relationship with one man, and now he's cut loose and of course he's flailing to re-establish himself in a different orbit. And you can hear it in his voice, where it rises into something halfway to panic (amazing job, Noah Simes), and you can feel exactly how horribly wrong it's going to go if he goes down that road. And then there's Juno, who's healthy enough to be the voice of reason, even when it hurts him? Who makes it clear he's willing to wait until Nureyev is ready for him? Oh my god, that's perfection. (And Nureyev going maybe back to Brahma-- my little fanfic writer heart did a leap there). Nureyev may very well be back next episode (I suspect he will, if only for the final moments), but I really like this as an ending of their arc-- not the neatly laced up riding off into the sunset together, but looking forward to that sunset and being actually ready for it when it comes. It makes my heart feel so good.

--

And from that happy moment, to have Juno go back to Hyperion, to his office, and immediately start slipping back into his worst self? Oh, that's too real-- in a way that I am very happy with. Because he isn't 'fixed'. Juno 'born-a-sad-baby' Steel won't ever be 'fixed', not by romance or a vacation or a wonderful new family dropping him reminders of how much they love him. What's wrong with him isn't something that can be fixed-- but this time around it's different. This time around, when he yells at Rita she stands up to him (with a small, tremulous voice, because goddamn standing up to people you love is terrifying). I am so proud of her for that, and of him for backing off. It takes a palpable effort for him to rein himself in, but he's making that effort-- and he knows how, in a way that I don't think he did in those early seasons. It's a choice he's making, over and over again, just like it's a choice he makes to keep replaying Jet's wisdom instead of drowning his misery in tequila.

(Another kudos there: that Juno's problem isn't addiction, not the same way it is for Jet-- alcohol isn't a problem for him when things are going well, but it's easier to retreat into a bottle than to deal with his feelings. It's a distinction you don't see very often. Honestly, the way this show has dealt with addiction has been really refreshing to see.)

I've said from the beginning that one of the things that really drew me to this show was how it handles Juno's depression-- as a genuine mental illness that's an inherent part of him. And it's enheartening to see him struggle with it, but now be able to reach out for the tools and the support he needs. And that support doesn't have to be Jet literally talking him away from the bottle, or Rita or Nureyev petting him and making him feel better. He can reach for the pieces of them that they leave behind. And he can wish the Ruby 7 a good journey home, and send Nureyev to find himself, not without pain and grief, but without completely losing himself to it.

That kind of story gives me so much more hope than any kind of 'happily ever after' ever could.

--

And then the designated mystery, which has me so freakin' excited:

Nightmare.

She is the culmination of so many plot threads that I've been picking up on for so long and I'd completely forgotten about, and I am so freaking excited to see it.

I was in such a rough place emotionally when we last visited the most obvious of those threads, I genuinely don't remember if I posted meta about it or not, but it definitely struck some bells:

When Juno rescued Rita from Dark Matters, the safehouse she was in was described as being full of items that were clearly meant for a child. At the same time, Sasha was having Rita destroy all evidence of her own life so thoroughly that not even Rita herself would be able to find traces afterward.

It seemed most obvious to me that she was hiding a child (one that, I didn't realize until Juno remarked on Nightmare's area code, could have been hidden in the suddenly repopulated New Town without anybody asking inconvenient questions about who she was or where she came from). Also her taking care of a child would explain her ever-escalating reactionary tendencies-- she certainly wouldn't be the first parent who descended into authoritarianism in a misguided attempt to protect someone.

So some theories about who and what Nightmare is:

Alessandra's daughter is the most obvious, of course. (I still hold onto that theory that Sasha was either the Worst Client that Juno told Alessandra Strong about, or else that Sasha was the cheating spouse in that story.)

Nightmare could be Annie Wire's daughter-- assuming that Annie survived the factory, grew up, had a child of her own, and then died for real this time, leaving her grieving sister to raise her niece.

Nightmare could be Annie Wire herself-- dead, kept in stasis, revived by Dark Matters technology, and then whisked away to the safe house.

Nightmare could be a clone of Sasha and/or Annie. Honestly, not digging this theory, but I might as well throw it out there.

Nightmare could herself be a Radical, not unlike the Ruby 7, who's taken on Sasha's appearance and stayed that way ever since (after all, Sasha would have been at just about the right age when she was recruited by Dark Matters)

From a narrative standpoint, I'm most fond of the idea of Nightmare either being Annie or Annie's daughter, personally. Because that's literally the second mystery we were given, and it was pointedly never solved. As much as I like the idea that some mysteries just aren't and you have to make peace with that, I'm a big fan of long games like this, and of tugging on threads from the beginning of a story when you're wrapping up the end. That's especially true for Sasha's arc closing here, back in Hyperion City. Sasha's voice was one of the very first that we heard in this series, and Sasha's trajectory has always been a funhouse mirror version of Juno's. She's always been an integral part of his story. It seems fitting that her story gets wrapped up alongside his.

[coldgoldlazarus]

Some stray Metroid Prime 4 thoughts in brief, that I didn't feel like making their own posts:

On Sylux and the writing:

Really hope Sylux is a good, complex, nuanced antagonist. Gimme that Cyclosis lore, too!

I am admittedly a bit worried that this being pre-Fusion (not that I expected it to be otherwise, but still) means they might not be able to do as much with the Federation as I'd hope for, but hopefully it can still do some decent foreshadowing. (Post-Fusion MP5 tho pls)

Apparently the lead writer has done some amazing work with a Star Wars game (Fallen Order?) though, so feeling more optimistic about the writing after learning about her

Since she did dialogue writing for that game, I kinda wonder if we might get to see/hear the return of some of Samus's internal monologue. I know Other M's reception makes that kind of unlikely, I'd be leery of that if I was the people at Retro, but I honestly think it could be done right. More of a Fusion-esque noir narration that characterizes her well could be what we need to heal from that.

Think I already said this, but just in case I haven't; hoping Sylux survives this so they can pop back in after Dread and be like "Told you so!" lol

On the gunship:

Gunship still has the bottom hatch. I bet Samus comes out of the top when there isn't a proper landing pad with reliably even ground, such as that spot she popped out in the trailer

The addition of red trim around the windshield is a cool touch, makes it look a bit more aggressive somehow. Like the gunship has dramatic tearful red-rimmed eyes or something

I like how she sent the gunship off immediately after getting out; she learned from Ghor

ZM gunship was destroyed. Prime gunship's fate unknown after Hunters, possibly just sold off to make way for the next two. Classic gunship and Corruption gunship seem to be alternated between depending on needs of the mission; rv camper van versus well-armed speedy one-seater. Then classic was destroyed in Fusion and she switched to the purple one full-time, instead of going back to the Corruption one. Could we see the Corruption gunship get destroyed here, clearing the way for that?

On the timeline:

Also curious if this will use Sylux's Metroid and the Mochtroids to create a serious enough Event to lead into the extermination order in Metroid II. Might kinda conflict with my desire for nuance, but I could see some ways to thread that needle

Also wondering if we might see Samus be a little bit more flawed and morally compromised here, coming off of Corruption and leading into Metroid II. Rewatching the extra ending for Corruption, it tends to get overshadowed by her grieving beforehand and the Delano 7 afterward, but for a moment after dismissing the powersuit, she has a bit of a darker expression. I wonder if that was meant to imply some subtler, more lasting impact of everything she went through there, that Beyond could expand on further. Or it could just be a determined expression that I'm misreading lol

Wouldn't object to them finally taking another stab at Meta Kraid, but pls no Ridley unless we absolutely 1000% need him here. In general want that to be the policy going forward; keep the recursion to a minimum unless it's necessary.

I don't seriously expect this to be post-Super (as interesting as that would be) because of the date, since the dates given are so infrequent and inconsistent. But I could see the emphasis on that coming first thing, plus the time travel, be used to finally clear up that inconsistency and put hard, definitive dates on stuff going forward.

On the possible time travel stuff:

Kiiinda wondering if they'd use the time travel thing to branch off the Prime series timeline from the 2D games for more creative freedom going forward, (sorta like the Star Trek Kelvin timeline) though I don't think it's likely. Would be interesting though

Torn between wanting to see the time travel used to get new angles on familiar places, versus just wanting to have mostly new stuff

Time travel used to foreshadow Fusion/Dread Metroid Samus pls, like the Hordika plotline in Bionicle being foreshadowed by Vakama's visions in the Tahtorak comic

As I said previously, also wondering if they'll use Sylux's Metroid and the time travel thing to patch the whole "Metroid Prime in the Impact Crater" inconsistency and bring things full circle

On gameplay and possible multiplayer:

Gameplay-wise, I just like how classically Prime it looks; obviously I want new gimmicks and mechanics and expect those will come in due time after that intro, but I'm glad they're not trying to completely reinvent the wheel and make the baseline more like traditional FPSes. This is Prime 4, not Metroid Doom, and I appreciate that (as someone who respects Doom)

Torn on multiplayer since I've heard whisperings on that; don't want it to become too geared toward that sort of thing and wind up with an influx of like, toxic CoD fans or something

But I wouldn't object to a Hunters-style multiplayer, (maybe paired with upgrades for more parity with singleplayer) Especially since Sylux is a factor, even if the story is just them and Samus, they could still use extra hunters for the multiplayer

Corruption's trio being included somehow would break my heart but make my day, even if they'd be difficult to balance mechanically

Revisiting the Hunters and Corruption casts through this would be great, but would also love if they added even more all-new ones on top of that. (Maybe a few more gals?) Let's keep building this out! Samus is the best of the best, but I wanna see the rest of the best xD

On the overall experience:

Honestly far and away most excited for the new places to explore! But I ironically have the least to say about that rn since it's such an unknown

Would love to see unique new biomes, I guess, kinda like I mentioned in my big wishlist. Maybe a coastline with cliffs and coves and beaches? Maybe badlands, with one huge long continuous canyon instead of several smaller ones? (Maybe even with a flying boss fight through it, like one of the early abandoned concepts for Meta Ridley) Something even crazier?

At any rate I love how that rainforest in the preview looks, and I especially love the foggy chasm with that huge bridge off to the side

On that note, the additional shots of the rainforest on the JP website all point away from that direction. I bet you there's an awesome fucking view of whatever's on the other side of that bridge, that they're saving for a later trailer. Or possibly something plot-relevant that they're saving for the game itself

Kinda torn between wanting to see a little bit more of the places we'll be visiting, versus wanting nothing else so I can go in almost completely blind

Really really looking forward to hearing the new title theme. Would be cool if the main menu takes after the logo and has a big black hole or something in the background

[queer-reader-07]

op could you elaborate on the she/her muriel thing. because i totally get what you mean but i find it so hard to articulate why... its just like. mmmmm. canon they/them character. but you wont respect their prns. but then again i enjoy when people get genderwierd w the ineffable spouses. would you respect my prns if you cant even respect a fictional character. is that the same thing. idk.

hi anon! i'll try best to elaborate, but apologies in advance if it comes off a bit... intense?

to give some context to my words:

i am nonbinary

i am afab

my pronouns are they/them

most everyone with the exception of close friends and people on the internet misgender me with she/her pronouns because they perceive me as a woman.

i think the root of it for me is that muriel has no experience interacting with earth, let alone humans, before they're sent down to be Inspector Constable. and because they have no experience with humans, they most definitely have very little context for the human construct that is gender. muriel's pronouns are they/them because those are the default gender neutral pronouns in english. muriel (like the other angels and demons) is referred to with they/them pronouns because, for all intents and purposes, they don't have gender.

whereas aziraphale and crowley (and even gabriel to a certain extent) have interfaced with humanity enough to have developed some level of understanding regarding gender, and possibly even an understanding of what they want their gender to be/be perceived as.

additionally, crowley and aziraphale play with gender in a way that feels very intentional to me.

crowley has canonically, in the show, presented femme. meta writers far more skilled than me have examined how, during the crucifixion scene, crowley is very obviously dressed more like the women in the background than the men. and it's not just in the historical flashbacks that we see crowley's genderfuckery. his modern look is comprised of a combination of femme and masc pieces. he wears a woman's cut waistcoat and his "11 years ago" look features women's sunglasses. all while inhabiting a decidedly man-shaped body.

i'm also just going to remind the audience that crowley outright denies being "a lad" in season 2. he straight up told us he's not A Dude.

aziraphale's genderfuckery is definitely less obvious and some might say debatable. that being said, i would make the argument that aziraphale's tendency to dress and present in a way that results in him being almost universally perceived as not only A Gay Man, but an effeminate gay man at that, is a quintessential example of gender as performance. and i do believe that aziraphale is making a very conscious and deliberate choice to present as a gay man. for fuck's sake he calls himself THE Southern Pansy, he knows what he's doing.

also, i know it didn't actually happen, but we almost got both of them presenting femme in the 60s so like. there's that too.

so, to me, it's ok to fuck around with crowley and aziraphale's genders in fanfic and art and the like because they do so canonically. the book makes it very clear that they are "man-shaped" but not necessarily men, ie they have chosen bodies that are perceived as being A Gender but that doesn't mean they technically are.

whereas muriel does not. muriel doesn't have a concept of gender because they haven't been on earth or around humans long enough to develop one. they are only ever referred to with gender neutral language. so it just feels really gross to me when people choose to she/her them. because to me it feels like saying "well this body that appears woman-shaped to me must mean they are a woman" which is a sentiment i, unfortunately, know all too well.

muriel is a character that is canonically referred to with they/them pronouns, on a major TV show on a major streaming platform no less. so it really fucking sucks to see people disregard that because they "can't remember to they/them muriel" or because they "seem like they use she/her."

to put it bluntly, every single argument i've ever read in favor of she/her-ing muriel has boiled down to "i just can't be bothered to remember they use they/them" and if you can't use a fictional characters pronouns correctly then i have zero faith you can use a real person's pronouns correctly. all i hear when i read those arguments is "i can't be fucked to do the bare minimum of gendering trans people correctly."

and lastly, i know it's genderfuckery when people she/her aziraphale and crowley because they're "man shaped" in the book and played by male actors in the show. but i don't have much faith that it's genderfuckery when people she/her muriel because i can almost guarentee it happens for no other reason than the fact that Quelin Sepulveda is a woman.

[jesncin]

I think what's funny about MAWS S1 is how the build up to the show's attempt at allegory for xenophobia don't really affect Clark's character that much. His anguish before he fights Parasitezilla is due to the general's exposition holograms, and it ends up feeling that stuff was just there to set up Lois's speech. Also, I just find it funny how the show had Ma Kent take the time to knit the shorts- not a whole suit, just shorts.

Exactly! I've said that this show has a "short term memory loss" problem where it slaps on a theme to a series of disparate events and doesn't go back to check if those scenes reinforced the theme they were leading up to. Parasitezilla/Ivo's motivation as a villain is unrelated to xenophobia and makes no sense (we can't trust Superman, he's some nice stranger! Unlike me who will provide self defense suits you'll have to pay to use, therefore you'll be more,,, trustworthy somehow? Because you paid a product to protect others and yourself? Never mind that his tech made no sense either I could go on about how awful their Parasite is). It makes it so Clark (or his friends) don't actually go through character development. Stuff just happened.

Haha I think it's so funny that people praise Ma Kent for adding the red underwear because on a meta commentary scale it's a return to form to have Supes in the red trunks again- but like in the context of MAWS Ma Kent was a total freak for doing that! Clark was gifted with a suit from an essentially dead culture and Ma Kent's first reaction is hmm I'm gonna add red underwear on this sacred dead foreign culture's outfit. It's clear the writers wanted to have their cake and eat it too- they wanted that magical girl transformation scene where the Kryptonians bestow an outfit onto Clark, but they're attached to Ma Kent sewing the outfit too so this was their compromise. Freak Ma Kent lol

[exhuastedpigeon]

the queer eddie foreshadowing was insane in this episode, like that line was as loud as bucks from s7 premiere. Also I really do hope these last 4 episodes have made Tommy fans realize what he is and is not and it's very very clear he is a love interest and won't be lasting much longer. they're basically made him ana or marisol. but will tommy fans see the light after everything they've done the last 6 months, probably not unfortunately.

I think they're certainly planting more queer Eddie seeds, but that episode for me was more about Eddie's relationship with Chris and his relationship with his own father. To me, that's what Eddie will likely be dealing with first - how his upbringing and his father (and likely mother) put him in a box and Eddie never fit into that box.

His talk with the dad felt like Eddie trying to help a dad avoid mistakes Eddie's dad made and Eddie feels like he's made (not the mistake of not talking to his kid because he's a cheerleader, but not living in the same place as his son and not being there for him when he should have been).

As for Tommy... listen he's a character on the show. He's been written very similarly to previous love interests who are no longer on the show. People who like the character and his relationship with Buck are welcome to enjoy it!

Fans of a ship or character are almost always going to expect more from it then the canon text gives them because being in fandom is a hobby. Fans spend hours and hours each week speculating and reading meta and rewatching scenes and episodes they like. Fans read and write fic and make edits. Fans are almost always going to be more invested in characters because of this.

The writers and actors don't do that. There's a reason that there are continuity issues on long running shows like this and it's that the writers forgot things about characters or stories because they happened 5, 6, 7, years ago. To us as fans they feel recent because we rewatch! We talk about it often!

I think it's important to remember what other fans like or don't like shouldn't bother you. The only time I have issues with fan behaviour is when people cross boundaries (like DMing actors and writers, spamming their comments with fandom stuff, etc), when there's bullying/harassment of reporters for writing stuff that doesn't match with what the fan wants, or when fans bully, harass, and threaten each other.

Who cares if Tommy's fans think he's going to be around long term? He's either going to be around for a while or he isn't. Based on patterns with previous love interests it doesn't seem like he'll be around long term, but we're only four episodes into the season.

Everyone take a breath. It's all fiction.

[dreamylyfe-x]

Hi, I am pretty new to the Shameless/gallavich Fandom but first I LOVE YOUR FICS

Second, I've read some of your meta and I don't know about soaps but novelas and kdramas under my belt, I agree the come and go of Noel probably saved them from drama in later seasons, they probably have had them broke at one point also, they refused to make Mickey a principal, but one of my fav parts of s4 is that he finally gets his own arc (pimp and all that apart) and I'd have loved to see him explored outside his relationship with Ian

Hey! What an amazing surprise this is!

First of all, thank you.

Second: Novelas, kdramas (I have watched my share of t-dramas -- Devil Besides Me and Meteor Garden forever), Shondaland -- they will all give you the gist of that soap experience. My feeling is that we'd get a season six where both Mickey and Ian sort of struggle to figure out their adult lives -- and that's probably a decent enough story. They likely marry them in season seven. And then they spent seasons 8-11 (or however many seasons they get to keep them) messing them up. Not because Shameless burns plot the way soaps and novelas do, but because 11 seasons is a lot. And at some point they will decide they need conflict for Gallavich and that conflict will be in the era of Gay Jesus-type writing and I'm confident we'd have been very upset by it.

I will say I don't think they so much refused to make Mickey a principle as they didn't know for sure what they wanted to do with American Mickey or where he fit into their pretty full roster. Like, there was always a chance for him, since I believe his British counterpart sticks around, but he's not filling the same role that US Shameless Mickey does. Also, shows has a budget and I can completely see how they might not have had the money for him until season three.

In season five, Cam and Noel did an interview with Buzzfeed where the EP, Etan Frankel, talks about how Mickey turned into the character he'd become at that stage, and it's clear that they don't quite know where they're going with him, and then once they shoot 1x7 they know they've got something interesting to pursue. There are a lot of moving factors in making use of that, though, including Cam's age and how ian's character balances out with his siblings in terms of storyline. Gallavich get one of the most dramatic moments of the entire series in season three and I think that's really when they shift into being primaries on the show. More and more, they start to drive fan engagement online and that sets up season four where, absolutely, Mickey vaults ahead in terms of how much the show is paying to his inner life.

Part of that is because Cam is off filming The Giver, so he's not around for half the season, but I think the other part is what Etan is talking about in the Buzzfeed article -- they just know Noel can deliver. I particularly always think about this quote, in regards to both Noel and Cam as individual performers, but also when I think about their creative partnership:

As a writer, you feel secure writing a scene knowing they're going to knock it out of the park and they'll find things you didn't necessarily intend, so you find beautiful moments. It's exciting to see those dailies come back and saying, Oh wow, that wasn't even a moment in the script, but they've made it become a moment.

I know this is why we get so much Mickey in the first half of season 4. Not just that he needs to carry the torch for Gallavich by himself but because the writer's room knows they can give him that scene with the picture in the bathroom and the performance will convey how much Mickey misses Ian. This is also clearly when he essentially becomes a point-of-view character -- and he continues to be until he leaves the show in season six. So many key moments in those two seasons, particularly around Ian's illness, rely on the audience seeing Mickey's reactions and moments of realization. His confusion in 4x12. His reaction to the suitcases. His meltdown after Ian is hospitalized, where virtually his entire reaction is silent across two episodes. It's really great that they trusted him to do that. It's one of the reasons I think the story works so well.

Anyway. I find it a little jarring, when Mickey comes back, that he isn't quite the POV character he was. It improves in season 11 and we get more Mickey-centred storylines. But I feel consistently (particularly in the late seasons when I'm really not that invested in the rest of the story) that there was a lot more room to use Mickey the way they used to. But by then, it's a different kind of show.

[happilyfeatherafter]

Happilyfeatherafter’s ficrec Fridays

Back back back again, and I don't know guys, I think we should all just totally stab Caesar! Welcome back to a new fortnight of fics that I’ve read and loved recently.

If you want to find more you can see my previous rec lists here!

15 March 2024

Are You Writing From the Heart? by  @luckshiptoshore is now complete!! Congrats Luck! Full disclosure, Luck is one of my very best friends, but that just means I know not only how much of a talented fic writer she is, but also how much of her heart and soul she poured into writing this love letter to queer storytelling, season 4 Destiel as a romcom, meta text (and subtext), and finding out who you really are when society and your upbringing is fighting against you. Castiel is a ghostwriter for L.S. Shore's Supernatural novels about Neal and his brother. Caught in a storytelling rut, Cas finds himself adding the fallen angel character of Bel...what could possible go wrong? Meanwhile at his local writing coffee shop spot, he meets the handsome stranger Dean who is an up and coming standup comedian and Supernatural fanboy. They because firm friends, but that's definitely it because Cas is straight....right?! Following these two dummies as they FAIL TO USE THEIR WORDS is a total joy, as Luck's humorous and emotional writing paired with her eye for detail is so very on point, and I'm so excited more people will finally get to read this story in full.

Baker Six by komodobits because !!!!!!!!!!!!!!!!!! I cannot tell you how goddamn excited I was to get this email notification and finally be back in 91w world, and to witness these early stages of Dean and Cas' relationship through Dean's eyes at last. This barely needs a rec because it's THEE 91w Dean, but komodobits hasn't missed a beat in getting back inside their heads and I was once again swept away by this iconic love story against the odds. Head the trigger warnings as always, this is truly on the front lines as a medic in a war zone. Baker Six was written for the very good cause of the fandom Palestine fundraiser, in support of the Palestine Children’s Relief Fund. Please donate if you can!

Truth & despair by @shallowseeker was a recent discovery and such a fascinating read! It's set in a post-15x18 verse, but importantly it features a fun Sam narrative perspective that delights in his lens by...being a bit of an unsympathetic oblivious dummy (affectionate). I really appreciate a crunchy Sam characterisation and oooboy does this pay off. Dean is steeped in his grief for Cas, and Sam is oh so concerned. He reaches out to Mia Vallens to understand his own grieving, and that leads to him making a discovery...Dean's memories of Cas' death aren't what he claims happened. With the unwelcome reappearance of Chuck (he lost...didn't he?) and LITERAL sinkholes appearing in the fabric of the universe, can they figure out what's happening to save Cas and save the world? This wip plays with physics, theology and narrative fuckery in such intriguing ways. I can't wait to see how it wraps up in the next two chapters.

The Leap by @friendofcarlotta started reading this one when Tina reshared it on Leap Day...because of course. I'd actually read it before but it more than lived up to the reread. 'Castiel Krushnic is a police officer in Soviet-occupied East Berlin. He is also gay, in a city where that’s a dangerous thing to be. One night, he meets Dean Winchester, a mechanic from the American sector. Their mutual attraction is instant, and a convenient hookup quickly turns into a passionate love affair that defies all rules and expectations.' Meticulously researched, emotional, heartrending and thought provoking. I highly recommend taking the leap on this fic!

See you in two weeks and OMG it's @deancaspinefest time!!!! I'm so excited *clears calendar*

Tag list under the cut - let me know if you'd like to be added to be notified of future recs!

@dean-you-assbutt-cas-loves-you