#and it has the same run time as the episode where they go to another country

[charcubed]

"Did you love medical school?" Avery asks Max.

"Medical school is the greatest longest hardest thing you're ever going to do," Max says, not answering the question, as he is already fucking famous for doing to get out of talking about himself.

(But this is not a post about Max. This time.)

The use of the word love here and the subtle framing of medical school as a relationship... Well.

My theory for Avery since the start has been that part of her arc is going to be growing to understand herself and realizing that becoming a doctor is not synonymous with fulfillment.

In episode 2, we got her saying,

"I've given up everything good. Everything that matters. Relationships, family. All for this job. And at the end of the day… I'm alone. Adrift. With nothing to show for it. I'm never going to be a doctor. This is all there is for me."

(This follows a pattern of a thing this show does with dialogue where characters say things that are more revealing to us as the audience than the characters themselves are conscious of, but that's a point for another post.)

Her bucket list included,

"I want to know myself."

because she doesn't know herself yet.

And now we got,

“I always thought that if I became a doctor things would start to make sense.”

I think Avery wants far more than just being a doctor... or, to be fully honest with you, I think they're conceivably going to go the route where she decides she doesn’t need to be a doctor because she’s found fulfillment in her life and work (and love!) in other ways anyway. I’m not talking “Rachel gives her life up for Ross” type of bullshit with two men instead of one, but rather tied into the explicit arc of how Avery wants to know and understand herself because she doesn't currently, and the "you're never alone" theme. That's part of what this pregnancy and future abortion plotline is setting up anyway: it's a brute force tool for self-reflection for her.

Does Avery really want to be a doctor, especially at the expense of all other parts of her desires? Or has that just always been The Plan and is she unconsciously thinking that earning that title will fix the holes she feels in herself and in her life?

If you think this sounds tricky to pull off as a story, you'd be correct – but hey, so is polyamory, and yet they're doing that. They’d have to write Avery's arc well enough that it doesn’t come across as reductive, but I really think they could land it because of the character setup they seem to be doing for her – and I've thought that for several weeks already. This week just has me locking in on that possibility more.

Now, going off the rails here from meta to straight up crack theorizing even though it's way too early to be predicting shit...

Weeks ago I was already wondering… what if the season ends with Avery going to leave to become a doctor and the guys decide to follow her? Maybe even in a big dramatic traditional “they run off the ship / to the airport” sort of romantic scene sort of way lmaaaooo. And as the boys abandon ship to follow her, at the same time, SHE turns around to go back to them without knowing they were following her! Idk. Who knows! Not me. Like I said, way too early to know anything.

Regardless though, the Hot Take™️? I would not at all be surprised if Avery changes her mind about wanting to become a doctor. And I think it could, if done correctly, be a weirdly bold move (in a show that's already planning to pull off A Big Bold Move).

[gottagobackintime]

That’s the exact same run time as Sunflowers… I don’t know what’s going to happen next episode but I’m excited.

[skipppppy]

The life of Stanford Pines must be so bizarre from the perspective of a random townsperson who doesn’t know him. Imagine you live in a sleepy lumber town, where the most interesting thing you’ve heard this week is that a plot of land on the outskirts of the woods was sold and someone has started constructing a cabin on there.

You later learn by word of mouth that he’s a phd student doing some kind of long-term research project. You don’t see his face until one night he comes blasting down the street on a trail of destruction, eyes yellow and glazed over, trashing public property, inflicting gruesome injuries on himself, and laughing like he’s on an erratic, drug-fuelled bender. He then goes home and locks himself in his cabin again. This becomes a cycle; he stays isolated for weeks, then comes out once in a blue moon to wreak havoc and be a nuisance to the authorities.

Then one day it stops. He doesn’t come back out. The next time you see him he’s at a grocery store looking completely different to how you remember; his hair is grown out, he’s put on weight, his clothes are completely different and he’s stopped wearing glasses. Some townsfolk finally work up the nerve to talk to him and you learn that he invited them to his cabin on a tour. His home is apparently FULL of dangerous research equipment and the scientist, who had allegedly been very quiet and level-headed on the days he wasn’t having his “episodes,” has had a complete personality change, he’s loud and confident and less than honest and a little sleazy but a damn good salesman and entertainer.

He hosts tours out of his home for the next 30 years. Over time he’d changed it into a museum of sorts that sells overpriced knickknacks to unsuspecting tourists, but aside from his shady business practices he’s a well known member of his community. He changes up the exhibits every few months, brings his niece and nephew to stay one summer and they become town darlings, and even exposes a beloved public figure for running a spyware scheme.

One day you hear he got visited by the FBI. They start going round town asking about him. A week or so later he gets arrested. The town goes CRAZY theorising why but then there’s a massive earthquake and in the chaos of that you forget what happened to him. One minute you hear that the feds were surrounding his house and the next they’re all leaving like they forgot what they came for. Another week later he resurfaces and announces he’s going to run for Mayor, dominated the polls, wins the popular vote, but loses his position immediately due to an extensive criminal record.

Then there’s gossip that he completely changed his appearance again. He’s lost his fez and is walking around in a coat and cable knit turtleneck in the middle of the July heat. Then you hear from someone else that he looks the exact same and didn’t change anything. Then you see two identical men walking down the street, one matching the description you saw. People are BUZZING to know what happened and you eventually learn that the “new guy” was actually the same Scientist and the guy that had been running the museum was his twin brother who stole his identity after he went missing. Then the apocalypse happens

[exhuastedpigeon]

Sometimes I sit back and think about how almost all of the most insane and unhinged stuff about Buddie is stuff that, before getting into 9-1-1, I thought was fanon.

I started watching at the end of s6 and binged watched s1-s6 and I thought I was getting into another show where two guys stand near each other and the fandom ran with it and instead I got Buddie. I was sitting there watching being like.. wait this is all in the actual show? I thought it was all fan created stuff.

-> Eddie's introduction being set to "Whatta Man"? I thought that was a fan edit. -> Buck getting bashful after Eddie says "You can have my back any day" felt like something you'd see in fanon until you watch it ant realize it's canon. -> The entire Christmas elf scene -> Eddie holding Buck's hand while Buck is trapped under the ladder truck -> "There's no one in the world I trust with my son more than you" with Ed Sheeran playing over it??? CANON???? -> "Wanna go for the title" -> Buck digging at the earth like he could get to Eddie through 40 feet of mud is canon???? -> Eddie seeing flashes of Chris and Buck while he was buried under ground was canon and not an edit (this one blew my mind I'm not gonna lie to you). -> Chris ran to BUCK when he was mad Eddie was dating someone. -> The whole "construction on sunset" scene being that domestic blew my mind too. What do you mean that was actually in the show. -> The entire shooting scene? I genuinely can't believe we got that one shot of them just staring at each other in slow motion -> "Just say with me" -> THE WILL??? I truly thought that was fanon until I watched it with my own two eyes. -> Buck and Chris spending time together without Eddie (Eddie's line about Buck taking Chris to the zoo all the time in s5 I was like.. I've read this fic before) -> Buck canonically worrying about Eddie's health and mental health in s5? How is that canon and not fanon? -> Chris calling Buck during Eddie's breakdown truly blew my mind. That was in canon. When Chris was scared and worried about his dad he called Buck! -> THE LOVE HEART BUCK DREW?? THAT WAS CANON?!? -> The small moments we get of them (both together and with Chris) that just have a different vibe than when they're hanging out with other characters. Again I thought that was fanon and it turns out, nope it's just canon. -> Eddie running up the ladder without a safety line to get to Buck (screaming Buck's name) when Buck was struck by lightening. -> EDDIE CALLED BUCK COWBOY! THAT HAPPENED IN CANON TOO?! -> Eddie yelling "DO MORE" when the get Buck to the hospital after the lightening. -> Poker night? The same episode when all the canon couples were on dates Buck and Eddie actually got dressed up and Eddie took Buck to a secret poker game? IN CANON! That isn't fanon either??!? -> Buck's entire "Eddie, Eddie, Eddie, Eddie" moment in 704. He was about to be kissed by another man and he said Eddie's name, what? 7 times? -> Buck being SO nervous about telling Eddie about his date with Tommy. Like just freaking out for an entire episode. -> THE BACHELOR PARTY?!? Those two being in cahoots is another thing that I thought was fanon at first and then you get moments like that and you're reminded it's canon. -> Buck being who Eddie turns to when he needs parenting support because he sees Buck as a co-parent of some sort. I still can't believe that's canon. Like in the text of the show Eddie has turned to Buck for parenting support multiple times. -> Buck being there when Chris left with his hand on Eddie's shoulder. Again, so insane that it's canon.

Anyway, this list is in no way comprehensive since there's a lot of other stuff in canon that I thought was fanon, but my god the list is already so long I don't think I need to add more. I didn't even touch on the casual touches and the way they're almost always looking at or for each other when they're in scenes together.

[johanna-swann]

I actually have sooo many issues with 911 lately that haven't even got much to do with any ships.

Like. They wrote out almost all of the side characters. Chris is gone, Linda and Sue are gone, Athena's kids are gone (even though Harry just moved in with her and Bobby again? Seriously, where is Harry?), Ravi is gone, Carla is gone. I know the GA maybe don't care that much, casual viewers might not even have noticed that this many characters have just vanished from the show, but in my opinion this is one of the things that give a show running as long as 911 life. Having a big cast is a good thing. Otherwise things are going to get very monotonous very soon.

Actually, that's my second point. They keep repeating storylines! Every season Hen and Karen have to fight a custody battle over one of their kids.

Every season Eddie ends up realising he has a lot of repressed trauma and issues which keep him from leading a healthy happy and free life.

Every season Bathena realise that they have communication issues and they fight about it, but then something traumatic happens and they forgive each other without ever really talking things out.

Every season we are reminded that Maddie's most prominent character trait is "traumatised", the writers just alternatingly bring up Doug again and sometimes the ppd arc.

Every season we see Buck being somewhat restless, looking and searching for something that will bring him true happiness and cycling through love interests that never stick around and each time when you think "oh, there it is, he's getting somewhere now" the writers go "BEEEP! WRONG!" and we start all over again. [This is not just about recent events aka Tommy, the break-up and Buck potentially going back to his 1.0 ways, this also happened in season 6 when he had his "it doesn't matter what other people see in me, I'm enough" revelation only to suddenly be like "omg, Natalia just sees me".]

And Chimney- he had his moment last season with the wedding episode, Kenneth Choi really ate that episode up, but his most prominent character trait is "Maddie's supportive husband". There's really not that much going on with him otherwise.

Another point I briefly touched upon above is consistency. Like Harry moving back in with Athena and Bobby and then just vanishing. Or Gerrard being more like a slightly unfriendly grandpa than an actual antagonist in season 8 when he was still spouting slurs in season 7.

And the timeline! We talked about this before ("last March", Mara's fostering to adoption timeline, Tommy tranferring to harbour "5 years ago"), but the newest "Tommy was actually Abby's Tommy" twist just adds to that. Tommy was with Abby for over 2 years. They were engaged. This was at a time when he was still at the 118. Tommy dated Abby presumably because he was in denial or maybe because he was hiding. In either case, wouldn't his team at least have heard about his fiancée, Abby the dispatcher? Wouldn't that have rung a bell when Buck eventually brought her around only a year or two later? Tommy did talk about his private life at least a little at work, even under Gerrard. It just doesn't make sense. (Not to mention this seems wildly out of character for Tommy who around the same time also said about himself "being single is easier".)

Then there's the pacing. This was a huge issue in season 7. They jumped from one personal soap opera drama to the next without taking any breathers, had almost no procedural in their drama the whole season, still somehow decided to spend one third of the entire season just on the opening disaster and also squeezed in a "Bobby begins for the third time now" episode. But okay, it was a shortened season, there were strikes, they switched networks, they were under a lot of pressure - I'll cut them some slack. At least they set up a bunch of interesting stuff for the following season.

But we're in season 8 now. The renewal was announced very early, they had a lot of time to plan this time. Also they have almost double the episodes they had last season, there's really no need to rush any of the major plots. I am done cutting them slack.

They wanna do a 3 part opening disaster again? Okay fine, you have the time now. I feel like they could've easily done it in 2 episodes (especially 8x02 felt a little "eh"), but okay. Better than the breakneck speed you were going at befo- Oh, what's that? 8x04 flying in with a steel chair. You resolved 70% percent of the plots you set up last season in one single episode with no build up, no emotional pay off and no lasting consequences? And you also squeezed in multiple unrelated calls at the same time? Damn, okay then. Good-bye potentially interesting storylines. Fuck me for being invested I guess. I thought there would at least maybe be some follow up in 8x05, but no.

Now that Halloween episode wasn't bad, it was actually the best episode of this season imo, but instead of following up on previously established conflicts and developments they just hit us with new Wilson family trauma and conflict that was also immediately fixed again. And now 8x06 has speedrun and dumped another storyline that had potential to go to deeper and interesting places. Not gonna talk too much about that though because this post is about the show as a whole, not ships.

And I am not yet convinced that there will be much more to come on the only thing that's left from last season: Eddie's deep dive into his trauma and repression. It's totally possible at this point that being told "you deserve nice things" by a random stranger actually solved all of his problems, it would be very in tone with 911's new style.

What are they even gonna do with the rest of this season? Revisiting the Hotshots set sounds fun, but ultimately inconsequential. You know what's great about a regular old procedural drama with ~20 episodes per season that comes on weekly? You have time. You can let the viewers sit with their emotions and thoughts for a week and keep them engaged by stretching things out a little.

But why should I bother getting emotionally invested in problems the characters are gonna solve within the same episode anyway? Or rather, even if I wanted to, how am I supposed to care if you don't give me the time to develop any feelings about anything that's happening? "Henren lost in court and are now completely forbidden from seeing Mara at all!" Damn, that must be so har- "JUST KIDDING! Ortiz is exposed and everything is perfect again now." Oh. Okay then, I guess.

Bottom line: The characters are all stuck in their own hamster wheels, they keep cutting side characters that could bring a breeze of fresh air (I'm honestly surprised they even kept Josh until now), they rush through all the storylines a such a ridiculous speed that I don't even have time to feel any sort of way about it, they don't even try to keep a consistency or sensible timeline going and they seem to strongly prioritise random funny bits that'll entertain the very casual viewers right now in this moment (tiger call, Billy Boils, Bee-nado, the 'Stache tm, "wait, it's the same Abby?", Gerrard being a fangirl at heart) instead of playing the long game and catering to people who actually pay a little attention to the show.

[On that last remark: I'm not talking about hardcore fans who analyse every single frame here, I mean casual fans who've watched the show on and off again for a while and who may not be involved in fandom but genuinely care about the show.]

I mean. What am I even still doing here? The show is treading water and I end up disappointed more often than not. I'm still holding out a little hope that they actually will do something interesting with Eddie and his sea-monkeys, but I wouldn't be surprised if they didn't.

[aangarchy]

We all saw the post about how insane the boiling rock episodes are from Hakoda's perspective but what about Chit Sang

Like imagine you're a notorious fire nation criminal, you've been in prison for it for about a decade. You like provoking guards, even though it ends with you in a cooler most of the time. You've spent a few years trying to come up with an escape plan but everything you can come up with ends with you falling into a boiling lake so you kind of give up.

Then after having spent the night in a cooler again you walk across the main hall and hear this young man wearing a guard uniform talking about using that same fucking cooler as a boat to go across the boiling lake. Of course you force them to let you join. The plan fails miserably and you end up getting caught. You don't tell the warden anything. You find the teenaged guard again, and now another adult has finally joined, turns out that's the kid's dad. Whomever this kid's dad is must have done something real bad to end up in this prison, and looks like the apple doesn't fall far from the tree seeing his kid is impersonating a guard to free them all, but you don't really have time to figure it all out. You get a new plan, you capture the warden and make it to the gondola. This kid has some serious balls. Halfway there though the gondola gets stopped and the princess of the fire nation runs up to you guys. These kids pissed off the royal family and you're really reconsidering joining these guys because who the fuck pisses off the royal family and lives? Great, you think, that's it, but no those three fucking teenagers you're escaping with all climb the gondola in order to fight her. Absolutely insane. Miraculously you make it off, and escape on the princess's very own war balloon. Again, these kids have some balls.

Then finally you fly away from the prison you spent a decade in, having your first taste of freedom. You ask these kids where we're going and the one in the guard uniform mentions they're flying to the western airtemple ruins to join his friends. Alright fair enough, you don't really get why teenagers would be spending their times in those ruins. In the meantime you've realized the scarred kid is the banished prince of the fire nation, no wonder his sister came chasing after your group. After a few hours you land and you finally set your feet on free ground for the first time in years. You get ready for introductions and the first person to walk up to you is a twelve year old bald kid with tattoos who introduces himself as the fucking Avatar. You accidentally joined team Avatar as they're trying to end the war.

[conradrasputin]

[bodhrancomedy]

Guess who's on TV!

(Well, iPlayer until the 15th, that's when it airs on BBC One)

Hope Street episode 3.11, let's go!

First of all, I'd say they did me dirty with this picture, but my university ID was exponentially worse.

Onto the spoilers!

Our boy Matthew has arrived in Port Devine, looking a little concerned.

For good reason when he's suddenly confronted by this lad, Dara.

Ah, a fight which Matthew escapes by slipping out of his coat. (Pretty sure this is the take where we ripped it practically in two...)

Dara's questioned, he claims he's never met Matthew in his life. Hmm.

Police do some investigating (and some character stuff) before Dara makes his way to Matthew's mother (Louise)'s house to have a wee showdown.

They both in a gang and Matthew's stolen a gun. Dara needs to get it back...

Matthew's nay having it. "This is my way out. If they want the gun back, they have to let me go."

Another fight. The gun goes off! (Poor Pete and I were convinced after take one to put some padding on. My arm looks bulky because I'm strapped up with squishy stuff and allergic to plasters so it has to be in a sock)

Thank fuck no one was hurt. Dara gets the hell out of dodge -

Leaving Matthew to contemplate his mortality. And other people's, but mostly his own.

"Oh fuck, my bosses are gonna find me and murder me, oh shit. I'm far too young and pretty to die!"

Time for Matthew and Louise to follow Dara's example and get the fuck out of here.

The police are now on the Halbridges' trail, but they discover the phone tracking them and leave it in a field.

Meanwhile, Dara's been arrested for drug dealing. He refuses to talk, clearly nervous.

Ah, what's this on Dara's phone? So Matthew and Dara have been in a relationship for over a year now.

(The poor intimacy coordinator having to walk me through my just about second kiss in my entire life. And the third. And the fourth. And the fifth... Pete is a very sweet person. Made it all funny.) ("Relax your hand, Bodh. Just relax it. Open - open your fingers, just let me position your hand.")

They're both working for the same gang. Matthew was given the gun to hold onto by their bosses' and freaked out, running away with the weapon. His plan was to trade his freedom for the gun, but Dara was sent to get it back for the Brazier Brothers, notorious drug runners and gang leaders.

These guys.

Unfortunately, now Dara's had to tell the Brazier Brothers that Matthew is refusing. They're going to kill Matthew and then Dara. Oh no.

But Dara has an idea where they might be hiding.

At the caravan there's a standoff between the police and Halbridges. But when the Braizer Brothers are arrested, they're convinced to come out.

(Side note, my favourite picture of me, ever.)

Oh no, the Halbridges are going to jail and Matthew's regretting his life choices.

Matthew walked off to his new life inside a jail cell.

The end.

(This is where Niall Wright accidently sublexed my shoulder. To be fair to the man, I'd never mentioned it and he took his finger sliding in-between bone like a champ)

Look, it's me!! I was on TV! Bit sad they cut pretty much all the uses of SSE (weren't allowed BSL because we still had to speak the lines), but I got to be queer and Deaf so that's pretty nice.

[jgnico]

Is someone gonna talk about the use of signage in yesterday's episode? Do I have to be the one to talk about the use of signage in yesterday's episode?

I know we all saw the billboard beside Choso displaying the abilities of his technique in tandem with the narrator, but there were so many more great uses of the signs in the background to convey information.

The first sign (and also one of the first shots) that we see in the episode is a Pedestrian Do Not Cross sign overlaid by the sound of Yuuji running, followed by Yuuji's shadow itself taking up the position of the pedestrian on the sign. You can read this as the sign telling Yuuji not to proceed to where he's going or as an indication of how the upcoming fight will end for the viewer.

The next sign that we get is one telling us to Go Left, which doesn't really seem important, but I promise you, it is. We'll see a lot of arrows pointing left throughout the episode and every single one of them is pointing away from danger. Go Left to avoid danger, essentially.

These two signs are arguably the most important in the episode, but they aren't the coolest use of visual symbolism that we got, so lets keep going.

The third sign that we see focused on in the episode is a No Running sign that Yuuji passes that says "Do Not Rush. It Is Dangerous." Yuuji, of course, runs past it on his way toward the escalators that lead (for him) to Gojo and (for the viewer) to Choso.

Once he does get to the bottom of the escalators, Yuuji is attacked by Choso immediately and Choso's opening move (Convergence), once Yuuji moves his arms up and away from his face, slices up through the subway cieling and the road above to cut the Pedestrian Do Not Cross sign that we saw at the beginning of the episode in half.

We also get out first big Left Arrow, placed immediately in the foreground of the shot and pointing toward the aforementioned sign that's been cut in half (this will be important later), but in a another view, it also points away from station itself. Again, go left to avoid danger.

Our next Left Arrow is on the ceiling between Yuuji, indicating that he should go away from Choso. Interestingly enough, it also points toward the bathrooms that Yuuji will go into later once his fight with Choso in the hallway becomes too dangerous.

That same arrow falls to the floor between them once Choso gets mad after Yuuji tells him about Eso and Kechizu crying, this time pointing directly away from Choso.

Another Left Arrow, this time in a more urgent red. We see this once Yuuji realizes that he's in serious danger, that he'll loose if he continues to fight Choso in the hallway. It's also pointing away from the bathrooms and toward the escalators from Yuuji's point of view beside the bathrooms, indicating that he needs to leave the area entirely.

The previous arrow pointing toward the bathrooms as a safe option has been destroyed and Yuuji has taken some serious damage by the time he moves toward them. The bathrooms are no longer safe. Yuuji needs to leave.

This is followed up by the only Right Arrows that we see focused on in the epsiode, but unlike the Left Arrows, they aren't used to convey how to get away from danger, but rather what is dangerous. Not only do these arrows all point toward Choso outside of the shot, they also have each of his techniques displayed below them.

Once the bathroom fight is over and Yuuji is on death's door, we get a zoomed out shot of his body framed by (two) people cut in half. This sign is shown right before Sukuna makes his only appearance in the episode, where we hear the sound of electricity flickering.

We heard this exact sound earlier from the Left Arrow telling Yuuji to get away from Choso at the beginning of the fight, but I like to interpret it as an audio indicator of Yuuji's life and/or control of Sukuna flickering in and out, becoming weaker.

Side Note: In the previous shot of Yuuji that we get before this one, we see a blade of light cutting Yuuji in half, the same way Convergence cut the Pedestrian Do Not Cross sign in half earlier in the episode. This will come into play later in the post, but keep it in mind.

The next time we see these bisected bathroom signs is when Mimiko and Nanako approach Yuuji to awaken Sukuna. Two people framing Yuuji/Sukuna that have been cut, while those same signs are whole in the hallway to the left. Go left to avoid danger applies to the girls here as well.

Our next important set of signs are actually the same sign, a large green arrow in the foreground that points away from where Yuuji's body is. While Choso stumbles away from it (away from Yuuji/Sukuna) the girls walk toward it.

This is also the first Left Arrow that we see point toward Choso, unlike the one pointing away from him at the beginning of his and Yuuji's fight. Choso, at this moment and onward, is no longer a source of danger to Yuuji or to us, the viewer.

And finally, the final shot of the entire episode, our old friend, the Pedestrian Do Not Cross sign. Yuuji has lost to Choso, the girls have found him to awaken Sukuna, and we get a focus shot of the Pedestrian that previously represented Yuuji cut in half and covered in blood.

I mentioned earlier that we get another shot of Yuuji cut in half by a ray of light in the bathroom.

Here is that shot, and the way that I interpret it is as a reminder that Yuuji shares his body. Yuuji's control of his body has been cut off in the same way that the Pedestrian representing Yuuji has had part of it cut away. What's left is the part that Yuuji can't control, the Pedestrian covered in blood.

Additionally, repeated use of a sign showing pedestrians cut in half and bloody can also represent the civilians in Shibuya, especially now that Yuuji no longer has control of his body.

[blorbologist]

Y'know, I think I figured out why the Hells still feel like a new low-level party to me, even though they're level 13 and almost 100 episodes in.

I don't quite think it's the lack of conversations, or the fact half the party's plot hooks are big ties to past campaigns - though that definitely plays a part.

... Bell's Hells still primarily rely on quest givers.

Most of their goals are given to them and do not feel organic to the party, and constantly remind us that the Hells are pretty much never the most powerful people in the room. Which is usually something you see with a low-level party.

NPCs offering jobs is not a bad thing; it's a very common plot hook. Matt has been extremely skilled with using NPC quest givers in those two campaigns. Not only do they provide an obvious plot thread, but they can put the party in the path of others (say, the Nein running into the Iron Shepherds while doing a job for the Gentleman and everything that came of that). And the Hells had a solid start with it too - Eshteross was an excellent quest giver!

The problem is that Bell's Hells have never really not had a quest giver.

Maybe it's a byproduct of the more plot-heavy structure of this campaign? But while prior parties have felt like they decided on their course of action and what they prioritized, Bell's Hells feels less like level 13 (13! Level 13!) experienced adventurers and more like an MMO group clicking on the exclamation point over an NPC's head. Where does the plot demand we go next? Who do we report back to?

They're level 13.

At level 13, Vox Machina had just defeated a necromantic city-state to clear their name and Percy's conscience. And, you know, the Conclave just destroyed Emon. No one was explicitly telling the group to gather Vestiges and save the world (though Matt guided them there), and they were usually among the most powerful people in the room. They chose which Vestiges to prioritize, which dragons to tackle when, even if the over-all plot was pretty clear.

At level 13, the Mighty Nein were celebrating Traveler Con (another PC goal, I'll note) after brokering peace between two nations, accidentally becoming pirates and heroes of the Dynasty. The Nein regularly chose what to do based on personal goals, not grand ones. Though definitely smaller fish than Vox Machina at this level, they were very independent and gaining solid political clout.

While we're at it: level 13 is one level lower than the Ring of Brass, who had a huge amount of sway over Avalir. They ended the world, and also saved it, while in the grand scheme of things being only a smidge more powerful than Bell's Hells are now.

Can you really see the Hells wielding that amount of influence, when they're constantly being told what to do next?

The god-eater might be unleashed, so Bell's Hells have no time to do anything but what is asked of them. No time for therapy unless stolen from Feywild time, no travel on foot and late-night watches. They haven't even had time to grieve FCG. Percy was grieved in the middle of the Conclave arc. Molly was grieved when half the party was still in irons.

Matt is in the very unfortunate spot of not being able to give the Hells the same agency as the other two parties. Not only because of the world-ending plot introduced so early on; they are surrounded by characters they know (and the cast knows) are stronger and wiser than them - the familiarity of the past PCs and NPCs is to their disadvantage.

Why would the party reasonably ignore Keyleth's task that will help save the world and go off on a romp? Why would the cast when they know well Keyleth has to be sensible and with the best intentions in mind? The stakes are just too high.

It means that the Hells still feel like they're running errands instead of pursuing their own destiny. Their accomplishments are diminished as just being parts of a to-do list, and any stakes feel padded by several level 20 PCs/NPCs standing 5 steps away ready to catch them.

This isn't Bell's Hell's fault, nor is it Matt's. It could be amended, I think, if the Hells are really left to their own devices for a long period of time without support and shortcuts (like during the party split)... which would be really tricky to pull off at this point in the campaign.

They're level 13. They're big fish, but they're stuck in a pond full of friendly sharks, so they don't feel big at all.

[laterreurofficial]

LT Doodle Stream Recap/Questions!

(Part 1/Part 2)

Hello everyone! Wisteriasymphony here. Yesterday the LT hivemind had the wonderful experience of our first doodle stream together!

For the purposes of cataloging all of the questions we answered on our stream (because somebody doesn't know how streaming works yet *COUGH COUGH*), I'm going to be answering them all here!

La Terreur takes place in 2002, and the events of the timeline last about a year. Of course, it's a retrofuturistic cyberpunk-y 2002, which explains later developments like the alliance ring and so on.

They're the same au! Miracle Exposure has just been a tag Silu has used to categorize talking about the effects of the miraculous, but it all happens within LT.

Hawkmoth is already a pretty solid design as is. Shadowmoth and Monarch will probably get overhauls later on, but why fix what isn't broken? Hawkmoth is already just the right amount of gross and creepy and fancy and bald, so no need to revamp that.

The consensus to far is that Felix arrived before the quarantine was instated, but he could easily have bribed officials into letting him into Paris if he needed to. The quarantine is mostly to keep people in, and if some idiot with a death wish high-paying member of the british aristocracy is willing to give money to a dying city just for a ticket in, then why wouldn't they let him?

@gaussiansphere put it quite nicely in the stream when he said that the heroes aren't trapped in Paris physically, but mentally. There's nothing theoretically stopping Ladybug from blowing a hole in the defenses of Paris and going on the run, but she has a moral obligation to protect her city. Everyone else feels roughly the same way, though we did discuss the idea of having the concept of migration fit Max better by virtue of his big goals in life involving getting out of Paris.

Also, the miraculous will likely be passed out differently. We're not following exact episodes, only storylines.

On a similar note....

Ladybug will probably alternate who she gives all of the minor miraculous to multiple times over the course of the story. She would find it ridiculous to pass them out to people "for keeps", as @sillysiluriforme put it, and before a certain point in the story will favor adult holders over teen holders. (Not saying why this changes though heehee, spoilers.)

MUCHAS GRACIAS!!!!!!!!!! Los ships no son un foco de La Terreur, pero.. Adrigaminette 100% mejor del mundo JAJAJAJA XP. de lo contrario es lo mismo que el canon.

Opinions de los kwamis hacia sus portadores es q los ven como niños. Son indiferentes a la humanidad en realidad. Los kwamis también los vicios q usan sus portadores para obtener. (Adrien huele a tabaco Y queso apestoso :/ Marinette no se afectada porque Tikki quiere el sabores dulces en su vaporizador).

#wispanol arc hehe. also YES you saw that right English audience, the kwamis are smokers. Marinette has to ask Luka's bandmates for vapes because the closest bodega to her house is run by a sweet Chinese grandma who her mom likes talking to, so if she bought from there she'd be absolutely screwed. Adrien just buys all of the tobacco as Chat, though.

We're not planning on having Aspik show up in LT, at least as far as we have planned. If he did, however, his rat eating desire would definitely go through the roof. He'd probably try and time his rat-eating specifically for when he's Chat Noir, just to make things easier for himself. (Until he eats one as Adrien by accident and has to live with the mental baggage for the rest of his miserable little life...)

Well.. there are a lot of characters that really don't need redesigns! Or where redesigns would be extremely minimal. Marinette's dad only really needs to get proportional legs and then that's it, and the same philosophy extends to most of the other minor characters.

Here are some of @clemnoir's designs for the rest of the class, though!

In fact, her lovely annotations somewhat answer another question we received....

We haven't figured out everyone yet, but the scholarships group so far is: Kim, Max, Ivan, Rose, Nathaniel, and Mylene. Adrien, Chloe, Sabrina, Alix, and Marinette are all paid tuition.

There could be! The ancient miraculous are indeed destroyed, much like the infinite amount of others like them, Bearinette and Lambdrien are just explorations of what it would be like if they hadn't been. The bear and lamb miraculous are not canon to LT, nor would any future ancients be. If we get any good ideas, you'll see them.

[wis is biting all of her fingers to prevent herself from talking about the coyote....]

The big issue Marinette has with being Multimouse is that she's no longer respected as the leader, at least as much as she's used to. Because she sees Ladybug as more of a responsibility than fun superpowers, her side effects are more psychological by consequence, whereas Adrien's are more physical. She also feels some sense of jealousy towards Scarabella, as well as general insecurity over not being the leader when she's Multimouse... but despite this she continues to use the Mouse Miraculous more often than in canon just for the sake of "training" Alya.

Silu dice muchas gracias!!!!! ...No conocen sus identidades fsgdss. Exposición al milagros del raton causa disocociación, duplicación no literal para Marinette jajaj. (Pero, no puedo decir si dos Marinettes aparecen en LT..... tal vez, tal vez no? huummmm)

Tambien, ellos comiendo ratones en privado. Nadie los trae en su almuerzo. Todos ellos tratan con sus síntomas en secreto.

Violence and misery and horror and class dynamics. I'll get into it more in Part 2, but characters' relationships to power is a huge part of this AU, both of the magical and non-magical variety.

[mountainsandmayhem]

Just One More, Baby

18+, Minors Do Not Interact Pairing: Pleasure!Dom Pike x Female!Reader Word Count: 2.8k Summary: Just a casual evening with your pleasure dom husband and as many as orgasm as he thinks you can handle. There is zero plot here, people. CW: so many orgasms, light bondage, temperature play, use of pet names (baby, honey, etc.) praise kink (obviously, unless you're new here. In that case; hi, welcome, I have a praise kink), aftercare AN: I need this man more than I need food or oxygen or money. I'm out of my mind over him and I curse the day I decided to watch these random ass episodes of The Mentalist. Friendy reminder that I am phasing out my tag list, so please follow @mountainsandmayhem-updates and turn on the notifications to stay up to date. Thank you so much for reading, where's my Pike Army? XO Dividers by @saradika-graphics

Masterlist

The warm oil drizzles over your mound, spreading across your hips and cunt. You let out a pained hiss when it hits your sore and overstimulated clit.

“Ouuchh,” you whine, your breathing shudders. 

“You’ve been such a good girl,” Marcus murmurs, watching the oil as it beads and rolls in every direction. “Just relax.” 

You close your eyes and try to steady your breathing. Relaxing the muscles in your arms and legs that have been pulling at the soft silk restraints for god knows how long as Marcus pulled orgasm after orgasm out of you. 

He is still dressed, he had only managed to remove his suit jacket and tie before he started. He has the sleeves of his crisp white shirt rolled to his elbows, still tucked into the dark blue dress pants you picked up from the dry cleaner yesterday. His belt is still on, too, shoes toed off at some point during his slow torture. 

You, on the other hand, are completely naked. A delicate, white silk tie around your wrists that is then looped through the headboard, stretching your arms above your head. Your ankles are held much in the same way, one tie on each ankle, keeping your legs spread wide.

He’s used every means available to him to make you come tonight; fingers, tongue, your small purple vibrator, a dildo, or a combination of one or two of those things. He’s done everything except fuck you. At some point you lost count of the orgasms, lost track of when one would end and the next would start. 

The oil starts to soothe the dull ache he’s caused at the apex of your thighs. Marcus’s intention is never to cause you pain, but tonight you learned that too much pleasure can feel like torture. 

You let out a content sigh, muscles going gooey and pliant. “There’s my girl,” he says proudly, his strong hands coming to your hips, his thumbs needing the muscles along the crevice of your leg and pelvis. 

He clears his throat gently. “I think I counted sixteen.” 

You smirk and let out a small giggle, eyes still closed as you relax into his touches. He kisses the plush skin along your lower belly. His soft velvety lips are gentle, granted Marcus Pike is always gentle. Yes, he’ll tie you down or make you orgasm so many times you black out, but he’s always soft and warm. Always asking for permissions. Always explaining exactly what’s going to happen before it does - not that you have an option, or want an option if you’re being honest.

“Baby girl?” He mumbles, his breath hitting the oil, warming your most sensitive spots. You shudder, an icy shiver running down your spine at the feel of him. “Think we can get you to twenty?” 

His hands move to massage the tops of your thighs, thumbs crawling closer and closer to your pussy. Your clit twitches at the promise of him giving you another orgasm, that blissful tingle causes the tired and overworked walls of your cunt to flutter. Pleasure followed by a dull painful ache waves across your center and mix of a whine and whimper fills the room.

“What’s the matter, baby?”

His thumbs come to carefully pull apart your puffy outer lips. Watching intently as the oil coats your glistening folds. A moan rumbled in his chest, “Beautiful.” 

“I’m sensitive, Marcus,” you murmur, pulling at the silk ties he has your hands bound above your head with.

“I know, this perfect little pussy has taken so much. And you’ve been so brave and submissive. I’m so proud of you, honey.” He places a light kiss on the patch of hair right above your clit. 

Your orgasm happens so quickly and without him even touching you. A lustful gasp leaves your lips as you shake under him. His voice is full of lustful admiration as he says, “Good job, baby.”

Your muscles tense, hands fisting, as the orgasm rolls through you. You whine his name, equally desperate for the orgasm to end but also for it to never stop. “Just relax, that’s my good girl.” 

“Oh god,” your chest heaves as you try to catch your breath. 

“Look at me, darling.” Marcus said sweetly, the soft pads of his thumbs running up and down the slick lips of your pussy. 

You look down at him, the soft expression of his face riddling you with emotions. You can feel the tears prickle behind your eyes. Tears of what you aren’t sure. Happiness, that’s for sure. But also a sense of overwhelm and insatiable need, it’s all mixed together. You can stop it, a hot tear runs down your flushed cheek. 

“It’s ok. I’m right here,” He says softly. “You can do this, baby. Just three more, then I’ll run you a bubble bath and give you my sweat pants and all the cuddles. Can you do that? Can you give me three more?” 

“No,” you say through a shaky breath. He’s trying to kill you, you’re sure of it. And while death by orgasm might sound like a great way to go, your pussy is aching and tired. 

His thumbs stop their ministrations. 

“Do you need to use your safe word?” 

You shake your head, “No.”

He lowers his mouth to your swollen clit, lightly feathers his tongue over the tender bundle of nerves. You pull so hard on the restraints that the delicate silk snaps and your hands card through his hair, pulling him back. He has you on that paper thin line of pain and pleasure, but the slight attention to your puffy clit slices through you. “Nonono - please stop.” 

“Do you need to use your safe word?” He asks again.

You shake your head no.

“Do you need me to go get some ice? Make my tongue nice and cold, then make your pussy feel better?” 

“Yes, please.” You pout, sticking out your bottom lip. 

Marcus stands and removes his belt. “Ok baby, but first, my naughty little girl broke her restraints. Arms up.”

You put your arms back above your head and he expertly loops the belt around your wrists. He leaves the scraps of silk that are still around your delicate wrists and then wraps the belt around the headboard.

He stands beside the bed, looking down at you hungrily. “Fuck, I could torture you for hours,” his eyes flick to the alarm clock across the from you and then back to your flushed face. Smirking a little, he corrects himself. “I already have been, so I guess I should say that I will never be sick of seeing you like this. So submissive and sweet. Listening to my every word. Teetering on the edge of pain and pleasure. You’re such a good girl for me, aren’t you?” 

He runs the back of his hand down your cheek, you keen into his touch and smile at him. “Yes, I’m a good girl, Marcus.” 

He bends down, kissing your forehead and then the tip of your nose before he walks out of the bedroom. You look him up and down, so sexy in his dress pants and white dress shirt, his strong, veiny forearms on display. You had no idea what you were in for when he ditched the tie and suit jacket the moment he walked in the door tonight. But you knew that look. When frustration etched his eyebrows and a hunger flashed in his eyes. You knew he needed an escape, and you knew it came in the form doing exactly as he says.  

Marcus grabs a small bowl and fills it with ice from the freezer. He grabs you a bottle of water and then pops an ice cube in his mouth, letting the frozen water melt on his tongue as he walks back up the stairs. As he re-enters the bedroom he sees you lying there - spread eagle and arms bound, eyes closed peacefully, long lashes resting on your cheeks. Your swollen tits rise and fall, nipples hard and slightly purple from the rose gold clamps he had on them earlier. You look sinful and delicious. He meant what he said, he could do this to you forever and never get sick of it. But as your pleasure dom he knows he’s going to have to stop soon. The folds of your pussy are puffy and red, he sucks the ice cube harder, making it small enough so he can speak. 

“Goddamn,” it comes out as groan. “You’re so fuckin beautiful.” 

You flutter your eyes open, “So are you.” 

You swear he blushes as a shy smile crosses his face. “I’m going to make it all better now, baby. I’m going to use my mouth to make you come again now. My tongue is nice and cool, it should help with that ache.”

He puts the water on the bench at the foot of the bed and then climbs between your legs, placing the bowl of ice on the bed beside your hip. “Are you ready, baby girl?” 

You gulp before whispering, “Yes.” 

His cold tongue licks a slow, flat, languid line from your entrance to your clit. The cooler temperature of his mouth soothes the burning heat between your thighs. 

“Mmmm - Th-thank you, Marcus,” you hum as he repeats the motion with his tongue two, three, four more times. 

He grabs a new ice cube and pops it in his mouth. As he sucks on it, he grabs a second cube and runs it down the right outer lip of your cunt. He hushes you as you cry out and then does the same thing to the left side. The cube in his mouth has melted enough now for him to continue tasting you. He places the flat of his tongue on your clit and presses down, his hand with the ice cube comes to your right nipple. Ice starts to combat the fire in your veins, and as he trails the ice cube around your nipple, his tongue mirrors the pattern on your swollen nub. 

And then it happens again. For the eighteenth time tonight, your orgasm hits you out of nowhere. Your convulse under his cold tongue and as quickly as the orgasm starts it’s over. You’d think after coming this many times in the last two hours that you’d be satisfied and exhausted, but the quickness of that last one leaves you wanting more.

He stills his tongue and lets you grind on him, the ice cube he was trailing along your body has melted. He grabs a fresh one and traces it along your body as you shamelessly hump your husband’s face.

He brings the ice cube to rest right above your mound, the cold water running down your folds, causing you to hiss as it hits your clit. 

Marcus pulls his tongue away quickly to say, “Come on, baby.” He lays his tongue out for you again and you push your hips into him harder. 

“Fuckfuckfuck - Marcus, I - I’m, oh fuuuuuck.”

He slips the ice cube between his tongue and your cunt and you shatter around him.

“Oh god, mmmmm, yes.” Your voice is hoarse, throat dry from the combination of your rapid breathing and incoherent ramblings throughout the night.

He stays still, letting you control your nineteenth orgasm. His name spills from your lips as you circle your hips. The walls of your pussy clench and release around nothing, slowly and deeply, over and over. Sparks of pleasure light behind your eyes. 

“Marcus. Yesyes - oh my god,” your legs start to tremble as you come down the other side of the most intense orgasm you’ve had so far tonight. 

“Good girl,” he whispers, kissing up your hip bone to your stomach, your navel to your sternum, the swell of your breasts to your neck, and finally your lips. “You’re doing so well, baby. Just one more. Can you do just one more for me?” 

You strain your neck to press your lips to his again. Kissing him deeply and slowly. “One more,” you mumble into his lips. 

“I’m going to untie you for this one. I want to feel your fingers tug at my hair as I suck on that perfect little clit while pushing my fingers against that little spot inside of you that drives you absolutely wild. Is that ok, little one?” 

“Mmm,” you hum. Mischievously adding, “Yes, daddy.” 

Marcus laughs flirtatiously as he releases your wrists from his belt and the torn silk ties. “Are you okay, baby?” 

You nod as he guides your arms down and then situates himself between your soft, plush thighs, sitting back on his heels.

“Do you need a drink?” He asks, grabbing the water from the foot of the bed. 

“Yes, please.”

He cracks the lid and then helps you sit, guiding the bottle to your lips. You sip a little, the cool water soothes your throat. Marcus’s brown eyes bore into you, soothing the rest of your body. “One more, baby,” he whispers. 

You hum in agreement before lying back down in the bed. Marcus leaves your ankles restrained as he unbuttons his dress shirt and then tosses it on the floor. You eye his hard chest and slightly soft belly, a line of dark hair that starts at his navel and travels down to his cock, which is rock hard under his dress pants.

He gives you a shy closed lip smile, “Do you need to use your safe word?” 

“No,” you say breathily.

Marcus grabs an ice cube and holds it in his fist, his lips coming to place lingering kisses on your clit. Making out with one of his favourite parts of you. Kissing and kissing, occasionally running his tongue along it before kissing you deeply again. 

Once the ice cube in his hand has melted, he teases at your entrance with two cold fingers. You cry out, as pushes them all the way in and then he curls them forward, turning you into a moaning mess. You wrap your fingers into his hair like he asked, holding his face against you. 

“That’s my girl,” he says between kisses. “So good for me.” 

He sucks your clit into his mouth, pumping his fingers against your g spot. A pained cry passes your lips, “aah, it hurts.” 

“I know, baby. You’re so close.” He whispers encouragingly, pausing the suckling on your clit, keeping his fingers still. 

“I - I can’t.”

“You can do it, baby. You’re almost there. I can feel you clenching me.” He curls his fingers forward slowly. “Come on, my love.” 

“M - Marcus. It hurts, baby. I can’t. I can’t.” You whimper. 

“Relax, baby.” His free hand presses on your lower belly and the pressure behind your navel becomes nearly unbearable. “That’s it, fuck baby. I can feel her fluttering for me. Can feel your orgasm building. You’re amazing, did you know that? Give me number twenty, pretty girl.”

You whimper again, willing your body to relax. Willing for the dull painful ache to blossom into pleasure.

“Good girl. Just relax,” he presses down on your stomach harder, his fingers still cold inside you as they tickle against the front wall of your pussy. 

You tighten your grip in his hair and he hisses at the pain in his scalp before bringing his lips back to your clit. He sucks it into his mouth loudly, lewd sucking noises filling the room, only interrupted by your mumbles of building pleasure. 

He releases your clit, “Let go for me.”

With a final steadying breath it hits you. Your last orgasm sashes over, erasing every thought until all you are is the pleasure Marcus gives you. Your abused pussy flutters weakly around his fingers as he pumps them inside of you. You gasp and squeal as your body breaks out in goosebumps, but simultaneously glistens with a fresh sheen of sweat. 

Marcus slows his fingers and looks up at you through his lashes. “You’re so beautiful,” he whispers in awe as the involuntary full body twitching of your orgasm starts to slow.

“So…” he kisses your mound.

“...Very…” he stops his fingers and kisses your hip. 

“...Beautiful,” he starts to slowly slip his fingers out and your body goes slack. 

You lay there panting, trying to catch your breath and find your muscles. Marcus unties your ankles and climbs beside you, pulling you into him and tucking your head into his neck. 

“I love you,” he murmurs into your hairline, kissing you softly. “You did so well for me. Twenty orgasms. My good girl.” 

You roll into him tighter and wince when your thighs squeeze together. 

“Aw, baby. Is she sore?” 

You pull back to be able to look at him. “A little, yeah.” 

“Come here,” he pulls you closer. “Just let me hold you a little and then I’ll run you that bubble bath I promised.” 

“Will you come in with me?” You ask sleepily. 

Marcus laughs gently, “Of course. Whatever my baby wants.” 

You nuzzle deeper into his skin and let your eyelids close. Completely and utterly surrounded by your beautiful husband. 

[starleska]

73 Yards has devastated me and i have some theories

we all agree that 73 Yards was a genre-defying, harrowing episode...and i think there's some really interesting themes and ideas going on here. tw for discussion of trauma, abuse, neglect and abandonment:

i hope we're all on the same page that the Woman seems to represent Ruby's fear of abandonment, brought to life. always present, always out of the corner of her eye, and whose primary mechanic is to drive people to scorn and leave Ruby without explanation. even people who do not know her, or people she's just met, or who are incredibly warm towards her...they speak to the Woman, and they look back as if to confirm their suspicions, and then run away, maddened and horrified. it is an unbelievable stroke of genius to make the Toymaker's breaking down of the boundaries between science and fantasy bring Ruby's abandonment into being...and for Ruby to weaponise her. but that's it - as soon as Roger ap Gwilliam was taken care of, we expected the Woman to disappear, right? but that could never happen, because Ruby's fear of abandonment will never disappear...no matter how purposeful her life is, or how much she distances herself from others. the use of the cruel, distant individuals in the Welsh pub to set up Ruby sympathetically is excellent...and then, we see people approach Ruby at all levels of emotional connection, when time and again she is considered untouchable, as if her very being is contagious. and all this time, we have the fairy circle being broken and hope vanishing...with hope being the Doctor. the one man who potentially holds the key to uncovering Ruby's deepest desires - to find out why she was abandoned, and by who. and at the end of it all...even in death, Ruby doesn't find peace. she is transported into a neverending hell-loop where she is her own abandonment. the two are inseparable, inexplicably the same, because Ruby's very existence as herself is built on the bedrock of abandonment. and i think this resonates heavily with any trauma survivor...the way that our trauma and our very real anxieties brought on by that trauma are inextricable from ourselves. i think the plot with Roger ap Gwilliam shows off a very real symptom in trauma survivors: we often daydream that our hurt and pain will be useful one day - functional. and not only does Ruby get to do that...she gets to be the quiet, unsung saviour of the whole world, protecting us from a world-ending terror in spite of the abuse and neglect she's faced. she endures menial work and constant fear, while only confiding quietly in one other person...Marti, who i believe is coded as another trauma survivor due to her response to Roger (who she describes as a monster). if Ruby can't receive love and affection from anyone else, at least she can feel satisfied that she served her purpose. on a practical level, the presence of Mrs Flood and Susan Twist in this episode AGAIN gives me pause. my theory that someone here is another of the Toymaker's Legions, and is the embodiment of Story, has only deepened. the fact that we had a cold open without the title sequence, we met Susan Twist very quickly, we seem to have flipped genres for the show and Ruby was able to embark on a self-destructive wish-fulfilment saviour fantasy in real life...it all indicates to me that the boundaries between reality and fiction are fully collapsing. when Kate says things are trending towards the supernatural lately, i think we've only hit the tip of the iceberg. on a broader level: my God Russell T Davies, what a brilliant script!!! this is one of my favourite ever episodes of Doctor Who, and is absolutely my highlight for the season. huge kudos to Millie Gibson for giving such a killer performance...i am now terribly endeared to, and protective, of Ruby, and hope against hope she gets the happy ending she so deserves 💖

[twilightcitysky]

Everything Is Meant (long S2 analysis, part 1)

I cannot figure out for the life of me how to make gifs so this will have to be a gif-less essay. If anyone more tech savvy than me wants to reblog with relevant media, please do!

I've seen a lot of people saying how Aziraphale's actions in the final ten minutes come out of left field and are OOC, and when I first watched the episode I felt the same, but now I think I couldn't have been more wrong. And I don't think Aziraphale is being controlled... I think the entire season showed us exactly what was going to happen.

On first watch, what struck me was the number of plot points that seemed disconnected. I couldn't figure out how Job related to the present, or the Victorian era, or the Nazi zombies (still at sea on the zombies part tbh). I didn't know where the Maggie/ Nina subplot was going, or why we were bothering with it. Then I put my "psych hat" on and it was like seeing one of those 3D pictures come into focus. It's a psychological networking rather than a plot-driven one, which is what Neil told us to expect.

Detailed analysis under the cut, with spoilers:

I went back through the season in my head and started asking myself: why is this element there? What does it contribute?

1. Start with scene one. Why include it? Does it matter for the climax that Az knew Crowley as an angel? YES. It's actually huge. Angel Crowley was joyful, he was bursting with delight at creation, he was idealistic. He wanted to be a part of everything rather than run away from it, and that's still how Aziraphale feels. He loves being a part of things. He's a joiner. He's a landlord. He dances at clubs and he makes human friends and he learns magic. Crowley the demon doesn't seem to want any of that, and I think that's hard for Az. He wants Crowley to be free of the cynicism he thinks prevents him from enjoying life now. At some level, I think he senses that Crowley is depressed (empathy's not his strong suit but I'm sure he's aware that Crowley's in a "what's the point of it all" kind of mood; see the eccles cakes scene). He wants to fix it. Aziraphale is a fixer. Metatron offers him a chance to do that.

Another thing is that Aziraphale knows Crowley ended up Falling just for asking questions that seemed innocent. That's not okay with him. He thinks that with the two of them in charge they can actually MAKE the changes that Crowley wanted to see way back at the beginning, starting with a suggestion box.

2. Okay, now Jim. Obviously Gabriel/ Jim is the central mystery, but why does he matter? First and foremost: he's there to show Aziraphale that angels can CHANGE. Gabriel terrorized and threatened Aziraphale. Az has been terrified of him. He ordered Aziraphale's execution. And now here he is, drinking hot chocolate, doing noble self-sacrificing things, with morals that suddenly align with Aziraphale's. What an absolute game-changer that must have been! He thought Heaven was unfixable, but here's Gabriel in his shop for weeks, slowly convincing him otherwise.

Then two other things happen. First, they find out that this all happened to Gabriel essentially because he fell in love. He was fired and his memories were stolen and the only reason he recovered was because Beelzebub happened to give him the one thing that could save him. That must have seemed like incredible luck. Now, how does Aziraphale feel about memories? He lives in a bookshop that is stuffed to bursting with the records of all of human history, essentially. His memories of his time with Crowley are incredibly precious. He sees, there at the end, that everything he is can be taken from him as a punishment for falling in love. Aziraphale doesn't have a magic fly container. He'd be forever robbed of Crowley, his life, himself. It's a very real threat in his mind when Metatron intervenes.

Which brings us to the second thing. Metatron saves Gabriel. Not only that, he prevents him from being punished for loving Beelzebub and lets them both go. What better way to win currency with Aziraphale? HE doesn't want to go off to Alpha Centauri, he never has, but suddenly he sees that Metatron might protect his relationship. And he's probably the only entity with the power to do so.

So we come to two conclusions: Aziraphale, when he goes off to talk with Metatron, is feeling like maybe it's not intrinsically bad to be an angel. He believed all the angels sucked, and only God was good... but now he sees that even Gabriel can change. He met Muriel, and he likes them. (He also had a huge crush on angel Crowley, which is neither here nor there but he loves Crowley in all his forms.) So if Crowley became an angel again, would that really be so bad? In his mind, it wouldn't change who Crowley is. It would just make them both safer and allow them to be together. (He's wrong! And Crowley doesn't see it that way! But this is a key miscommunication. Aziraphale doesn't really believe that becoming a demon changed Crowley. Back to the first scene, which Aziraphale references during the Job minisode. In his eyes, Crowley is the same person (just more cynical because of what's happened to him)-- so why would it matter if he's an angel again? I truly don't think he was trying to save Crowley, or saying that Crowley would be Better as an angel. To him, it doesn't matter what Crowley is. Which is reductive and harmful, but not the same as thinking Crowley needs rescuing from himself.)

Second conclusion: he sees that an angel and demon can be in love, but they have to run away to be together. Gabe and Beelz couldn't go home again. Earth is Aziraphale's home, but after the attack on the bookshop he learned that without Heaven's protection he can't really keep them safe there. Metatron says: "Come with me, do this thing, and you can have guaranteed safety AND be with the love of your life". Poor Aziraphale wants this with every fiber of his being. All he's ever wanted was for Crowley to be safe. He's never been able to offer it. Over the past four years, he thought they were safe, but he's just learned that he was wrong.

This is getting long. Continued in Part Two!

[inbarfink]

I have… so many little thoughts about Simon’s shift in the climax of ‘Prismo the Wishmaster’. He’s so ready to give up, to resign to Death By Interdimensional Beetle Cop. And the thing that pulls him out of it, gets him to see a purpose in his life again, is seeing Fionna cry.

And this moment is so important for Fionna and Cake because this is their first moment to really process the Implications and Consequences of their magical adventure. You know, it’s not just a dream you can wake up from - this is actually a matter of life and death and the fate of their entire world.

And it’s actually, also kinda the same from Simon’s perspective? Even if he was already told they are real and have been real all along a while ago - I think seeing Fionna break out in tears is really the moment where he processed her not as a manifestation of Ice King’s madness, not as yet another way the universe is kicking him when he’s down, not as a cruel joke at his expense. But really actually as people, who need his help.

And, I think about this, also in context with this moment?

Simon Petrikov is… a dad at heart. Simon’s first focus episode in F&C starts with a prologue of him and Marceline surviving in the wasteland. Showing that despite being under much more miserable circumstances

he still seemed to hold himself together far better than present-day Simon. 

Because the need to protect Marcy and keep her happy was giving him purpose and a motivation to hold himself together. 

And this desire to help and nurture and protect is clearly still deep within him. It’s just that now he feels incapable for doing so. In both body-

And spirit -

But now, suddenly, he is once again the Only Person Who Can Help this younger person in distress.

And I think that is a huge part of his motivation to keep on going right now. I mean, just look at how quickly he goes from dismissing Fionna and Cake - into basically declaring that he has to protect them. And fully willing to sacrifice his own identity and sanity to bring magic back to their world because he knows it’ll make Fionna and Cake happy. Because the moment he saw Fionna tear up, he basically decided to Adopt her.

And that’s, you know, technically a step forward - but it is a very very imperfect step. 

Like, at the very least he’s not drinking his sorrows away while waiting for death out of pure despair and spite. At least he has a sense of purpose and a reason to open up for others again and bond. And we’ve seen how much this has been a great coping mechanism for pulling himself together through difficult times.

My guess is that after two episodes of only seeing Simon Petrikov at his lowest and very worst - Fionna and Cake are finally going to get an understanding of Simon’s actual positive qualities as his dad-instincts are going to bring them up to the surface again. 

Buuuuuuuut….

You know, tying your sense of self-worth and motivation entirely to how well you can Dad is not particularly healthy in the long run either. And it’s going to cause problems both for Simon and for F&C.

Looking at it from what's best of Simon, for the sake of protecting Fionna and Cake and making them happy by bringing magic and wonder back into their world - Simon is willing to throw himself right into the suffering and trauma that he’s been fearing all this time and has been trying so hard to get away from. I mean, it’s also about how Simon has started to miss being Ice King in a weird twisted way and how he resigned himself to being miserable in general. It’s also about that, but the part that he actually says out loud is that he’s doing this to protect Fionna and Cake.

So that’s, you know, still very Not Good. Simon can’t hang his entire ability to properly function on there being Younger People who need his protection. He can't actually move forwards by trying to relive the Better Times of the Horrible Post-Apocalyptic Wasteland. That's not a sustainable coping mechanism. And it’s an incredibly unhealthy amount of self-sacrifice. 

And on Fionna’s side… she never said she wanted Simon to protect her.

She might want a useful teammate or a helping hand, she might need a friend. But I don’t think she needs a Dad. Simon is surely old enough to be her father (even just counting his age biologically and not the fact he’s 1058 years old) but Fionna’s not a Literal Child like Marcy was. Fionna Campbell is a grown-ass woman in her early 30’s (Finn is 29 years old right now and there was always kinda the implication that Fionna was a bit older than him). 

(And, heck, if she IS the daughter of a gender-flipped Minerva Campbell, she is probably not in the market for a new overprotective dad. She’s fully booked out on that.)

AND while Fionna does not possess full memories of her magical-adventuring-self, she clearly retains some of her fighting and athletic abilities.

Meanwhile Cake is clearly an adult in cat years and is just as much of an insanely powerful shapeshifter as Jake was.

So where does this middle-aged scrawny nerd get off, acting like it’s his job to sacrifice his mind in order to protect them?

And Fionna very much wants to be the hero, she wants to be at the center of the action. It is no coincidence that her own idealized version of Ice King/Simon is a Tuxedo Mask.

Someone who can give her a helping hand and words of encouragement when things get rough - 

But still lets her be the main hero of the story.

And you know, right now Fionna and Cake have not fully processed the implications of Simon choosing to become Ice King… but once they see a bit of who Simon really is at his better moments. Yeah, they’re probably gonna have some objections to the idea that he should throw his entire identity away just for their own sake. 

Back when Simon allowed the Crown to slowly consume him so he could protect Marcy, it felt like a noble sacrifice. It really seemed like he had no other options. But now he has the entire multiverse on his disposal and two serious badasses on his side. Simon has to learn to see the difference between a codependent senseless self-sacrifice and something that will actually help Fionna and Cake.

So if Simon is really going to lean too hard on his Dad aspect, it’s actually going to cause some really big problems down the line. For his own mental well-being, and for Fionna and Cake. It is in a way, a step in the right direction. And I think it’s going to lead to our main trio finally becoming closer and understanding each other - but unless Simon learns to temper himself, it’s going to cause some serious interpersonal conflicts.

At least this is my thoughts about these interactions right now. I know they’ve been really short but I think they’re really full of Meaning and Emotions. But really, we’ll just have to wait and see.

[sparring-spirals]

Still emotional about Fy'ra Rai and Opal, actually. Thought dump time bc i. dont have the energy to cut this down effectively.

Because at that point in the episode, Opal is doomed. Not in the fun little "oh things are getting worse ;)" kind of way we'd been experiencing leading up to the fight, or even IN the fight. At that point in the fight, Cyrus is dead. Dorian and Dariax have their minds twisted, bodies clambering away from the fight. Morrighan has felt, firsthand, just how far gone Opal is, holes in her mind, her friend broken. The heartbreaking sentence of. "You can always come back." understands that she is gone already. She's lost already. Opal has forgotten Ted. Opal has forgotten herself.

So at that point in the fight, we know Opal is doomed. Us as the audience, the cast, the characters. Aabria is running through each of the other crownkeepers and it is more of a goodbye than a round of combat. Defying the Spider Queen invites death, with zero hesitation- Cyrus's body as physical evidence of that. The terms were very clearly set: You leave Opal, you let her be lost. Or you die. (Leaving Opal anyway).

and Fy'ra Rai then. Grasps the crown, understands intimately that she can break it off and it will kill Opal. (I will free you, if you want me to. We would lose you but you would not be taken). And asks, what do you want me to do. What do you want.

and Opal says, I want you to leave. (I want you to live.) and Fy'ra Rai functionally says. No. Sorry. That's not one of the options.

If you wanted to go. I will do that (your blood on my hands). If you want me to stay, I will. But I'm not going to leave you.

There was the point where Fy'ra Rai broke into the communication and I felt my insides sink because. Look. Lets be real, Aabria had already demonstrated the stakes here. The gesture would not be rewarded for the gesture alone. The Spider Queen's terms were: You leave Opal. Or you die.

And Fy'ra Rai said: no.

I don't think I'm overstepping to assume that if Fy'ra Rai had failed the intimidation check, she would have died. This entire thing hits me so hard because I think Anjali knew that too. I think Fy'ra Rai knew that too. Yes, Fy'ra Rai convinced a Betrayer God to negotiate. She carved a third option out of a non-negotiable situation. She knew what would happen if she failed and did it anyway, with no fear, no regret, no waver in her resolve. She had lost enough sisters. She wasn't going to lose anymore, no matter the personal cost. That's part of why it succeeded, I'm sure, but.

Just. Fuck me. The amount of resolve. The amount of love. The amount of conviction. "I am. A protector." You know your friend- your sister- is doomed. So no more negotiating away from that. You step to her side and you grasp her hand and say- doom me with her.

And in some, sideways way, this saves you both, at least for a little while.

Because this story is a tragedy. This ending is a sad one. We know this already. But think about- Opal, under Lolth's bidding, alone in the dark. Think about Fy'ra Rai, alive, intimately aware that she had failed to protect yet another sister.

And think about what we got, instead: the two of them, in deep darkness, danger encroaching- holding hands. Someone they love at their side. A champion. And her champion.

This is still a sad story. But it's not the same one. Fy'ra Rai stared down a Betrayer God and made her change her mind. She stared down a Betrayer God, and her love and conviction changed the nature of the story. It shouldn't have been able to. But she did.

Fy'ra Rai chose to doom 2 people instead of one, and the sheer strength of her love and will managed to save them both, at least for a little while. Isn't it funny how that works? Isn't it devastating? Isn't it. fucking incredible?