#and like. what i had to say about this wasn't the point of the original post so I'm making my own

[fujosh1dreamer]

Guess we're talking about millie being preggo I originally didn't want to discuss this, I wanna talk about stolitz lol. Unfortunately I forgot this fanbase is filled with misogynistic scum, so let's talk about millie.

First off, she didn't cheat, she's not having an affair, she didn't get assaulted, and she's not selling her body for money.

It's stupid that I have to say any of that, but if any of those statements are things you genuinely believe you need to take you're misogynistic beliefs and shove them and afterwards get away from my page.

You know what is going on with her... she's found out she's pregnant which is not always a happy thing, nor should it be. Having children uproots your entire life, and changes everything. The way people think about you and the way people see themselves.

We have already established multiple times that millie is a character that only sees value in her strength and abilities.

Now, let's get into the moments in the episode and the things that are foreshadowing the pregnancy reveal. If people perceive the only sign as the one where she is throwing up and when she lashes out at moxxie there's more. When the client comes in a blitz initially declines the offer both moxxie and millie too absorbed into sinsmas wrath to notice the reason why. Moxxie even laughs and goes "really?" They're not paying attention, which is actually out of character for millie (ie hormones) millie is usually really on point and supportive when it comes to Blitz and his emotional needs.

After she throws up, we get this small moment at the window where she's not even looking at the scene. She's no feeling well she wants to get out of the cold, and we can also see the concern in moxxie as he looks at her.

Then there's this moment and it works well to reestablish that millie loves her job, and it also works to show she's no all there emotionally. Everyone including moxxie her husband is walking away, but millie wasn't in that moment that everyone one else had. So she's confused and upset, which is understandable.

This results in her lashing out again.

She insults moxxie, and of course immediately apologizes, and she doesn't even know why she responded that way. Millie is usually pretty well in control with the exception of seeing Chaz and later in happy campers (which was justified) and ghostf*ckers (also justified) are the only times she gets upset and lashes out.

Moxxie once again is not upset he's just concerned, he knows something is wrong, he just doesn't know what it is.

Want to take this moment before the in episode reveal to talk about how hard it is to rewatch these two scenes knowing that millie is preggos. The stress is real omg.

Next this scene of millie deciding to use guns is also interesting because it might be setting up for season 3. If millie keeps this a secret for a long time in season 3 I can see her doing more long range killings in the future. At least until she decides what's she's going to do.

I love that she decided to talk to her sister, and I also love the small detail of their mom being the first to notice something is off.

This is a hard transition for millie because she loves the life she lives, and she loves her husband. We hear her say in ghostfers that's she's happy, we've also seen their lives be uprooted already. Now millie feels like after finally finding stability things are ruined again.

[badlydrawnmanic]

sonic movie 3 was pretty good BUT

i'm sorry, i can't help but feel disappointed by how gags seemed to take precedence over the plot more often than not, they removed the crucial detail of shadow being an artificial creature rather than naturally born, his unique link / relation to sonic despite never having met him, and the weight present in the ending of SA2 is just... ignored

after i saw the movie i went on at least an hour long monologue to my friend about how fascinating and tragic shadow's story is in SA2 alone much less when you consider the stuff that comes later, and hearing this she said that the movie felt like it was made by someone with about as much sonic knowledge as her (which isn't very much). i said that it felt like the people who made the movie may have played / looked into SA2 before making it, given very direct references and nods to the original title, but like... they stopped playing halfway through when it got serious / hard, like they got bored with it or something. i then had the same monologue with my mom the moment she woke up (sorry mom) because i couldn't sleep i was thinking about how much the ending felt half-baked and what i might've done with the movie series as a whole if i were the one writing

i understand that the target audience is general folks and especially kids, but as an adult super-fan who's been mega into this series since i was 7, it really sucks to see something you love so much not receive the love and care you would have given it after finally making it to a major hollywood production

i wanted to be able to cry going into this film, and i didn't feel... much of anything. some moments were really cool! but then it cuts to a scene of Human Characters Dicking Around For Way Too Long to the point where the other characters are complaining they're bored and it's like. y'all why

i'm not saying it isn't worth seeing, but if you're looking for a faithful adaptation of SA2, specifically with the weight, somber feeling, and finality of the game's end, you aren't gonna get it. probably better if you go into it expecting more comedy than proper action / satisfying story beats

all that and the second post-credits scene... fun fact, shadow wasn't supposed to come back after SA2. he was supposed to die and stay dead. he only came back in sonic heroes because everyone thought he was So Cool and sega delivered, so something about teasing that shadow is still alive feels... off? him coming back in heroes was a genuine surprise and delight for a lot of people and this also took the ending that's supposed to be sad and removed any sort of finality it may have had

metal sonic is cool though, and amy is very cute. wonder what they're gonna do with that for the next film

[atheostic]

The irony of you saying I have bad reading comprehension is *chef's kiss*.

"...nor was I giving an answer with personal trauma"

I never said you did. I said that you were pushing me to give a more in-depth answer that involves MY personal cultural trauma because my original answer wasn't "valid" enough for you.

"I didn't claim to be a victim, I claimed to be annoyed"

Oh, but you did. Not explicitly, but implicitly. Maybe you need to read up on how subtext works.

Because complaining that non-Christians are to blame for watering down your religion instead of the Christians who push it on non-Christians IS playing the victim.

What you were saying in your response was basically "Oh, us poor innocent Christians were just minding our business when these mean non-Christians came along and appropriated our religion out of nowhere against our wishes uwu" when in reality everyone else was minding their own business and y'all insisted we observe your holidays or else.

If non-Christians celebrating Christmas is "watering down" your religion then Christians are to blame for forcing everyone else to participate.

"I claimed to be confused"

Which was why I politely answered your question, leading to you having a meltdown because you didn't like the answer.

"I wasn't being a bigot..."

Reeeeally?

Telling people who your religion forces to celebrate your religion that we're at fault for "watering down" your religion's celebration isn't being a bigot?

Telling a minority person that their experience isn't valid simply because you don't like it isn't bigotry?

Telling someone that their perfectly polite response about a question YOU asked is "acting like a toddler" for making the point that y'all push Christmas celebration on everyone every damn year in a post that had nothing to do with you isn't being a whining bigot?

*snorts*

"...you seem to think that Christians as a whole are responsible for the commercialization of Christmas..."

No, I don't. Saying that it was Christians who commercialized Christmas is a factual statement, because the capitalists who started commercializing it weren't Sikhs or Muslims or Jews or even atheists. They were Christians. And in a way non-capitalist Christians DID play a part in commercializing the holiday, because

a) they bought the commercialized things, thus signalling with their wallets that they wanted more of the commercialized things

b) they pushed (and continue to push) Christmas down the throats of non-Christians every damn year

"I claimed to be hurt by how capitalism has stripped my faith of its holiness and injected it with consumerism."

Aaand implied that that was non-Christians' fault instead of pointing to Christian capitalists and Christians who bought into the commercialization of the holiday.

"...also you think that Christian’s ‘stole’ pages traditions..."

No, it's called syncretization. It's a well-established fact in academia that Christianity constantly "borrowed" from Pagan religions in order to make conversion easier to stomach for Pagans. Take an unbiased class in religious history, I'm begging.

"...when in actuality pagans and Christian’s coexisted in Europe..."

They didn't coexist like you're implying. Coexistence in the sense you're using is peacefully existing at the same time and in a proximity close enough to affect each other without causing harm to one another. You're implying that they got along and converts would convert without pressure to do so. Christianity persecuted the other religions, it didn't coexist with them.

The one exception is what is now Scandinavia, where there was a council on whether the people should convert. According to my Norse Mythology & Culture professor, it's more or less the only known relatively peaceful mass conversion into Christianity that we know of.

"I DID NOT DO THAT, you are taking out your (valid) pain, and frustration of particular christians, on me, when I did not do that to you."

You're once again missing the point in favour of acting like the persecuted victim.

The point is not that you personally slaughtered Indigenous people. The point is that Christians can't complain that non-Christians are "ruining Christmas" when it was Christians who forced us to participate.

You're victim-blaming persecuted minorities instead of pointing the finger at the real culprits (Christians who pushed [and continue to push] Christianity onto nonbelievers).

"I have experienced religious celebrations in a secular capacity, and I no longer do..."

And yet you act like only Christian holidays are celebrated by non-members of the religion.

Shows how intellectually dishonest you are.

"...because there is no fucking reason if i don't believe in it."

Just because YOU don't see any value in having fun with your loved ones if Jesus isn't involved doesn't mean that applies to everyone else.

"...and you do celebrate non christian holidays secularly.... why?"

Ready to have another meltdown?

Because holidays are fun, and often involve having fun with your loved ones or even complete strangers.

Because experiencing other cultures and traditions is interesting and fun.

I hate to say it but I do fear we need to take Christmas away from non-Christians.

‘Secular Christmas’ babes that’s just capitalism…

[cranberrymoons]

.

[jewishcissiekj]

I do like Ahsoka in the TCW Movie a lot and I think Dave Filoni himself should rewatch that movie to get a feel of Ahoka again and submit an essay explaining how she got to where she is now from there by next week. might just be me tho

[queer-omens-in-the-archives]

.

[goldentigerfestival]

i will never not find it hilarious that they completely forgot to animate patty at the very end of the final cutscene in the last three frames of the whole group

and the dub didn't even give her voiced lines when everyone was shouting they so the localization forgot about her too

[eats-the-stars]

I feel like there are roughly two kinds of "painfully weird kid" that you can be during your K-12 school years. the first is your "I am trying so hard to be normal but I just cannot seem to hit the mark. there's just something wrong with me and I don't know how to fix it" and the second is the category I was in, which is your "everyone around me is so incredibly weird but they obviously can't help it so I will just have to accept this."

[cat-madhouse]

I think

I think that me thinking I'm a compulsive manipulator for most of my "aware life" has something to do with the tism

[giantkillerjack]

Happy to report I'm no longer responding to the religious people on my posts! Apologies to anyone who may have taken the psychic damage of seeing that unexpectedly!

It had been a while since I had purposely kicked a metaphorical wasp nest so I guess I was overdue. I am simply a sexy fool. 🙄 I do it a lot less nowadays tho, which is good!

I did genuinely set out at first to get information about how Catholics reconcile certain paradoxes within their faith, and then I was like oh right oh no I just remembered why I stopped doing this

On the upside I DID actually learn a lot; even if part of what I learned was don't tag Catholic tumblr in your posts about Catholicism, Jack. (Listen. I'm a work in progress! 😅)

And now I am very dedicated to putting a priest in my graphic novel who fucks a demon. Which I was going to draw anyway, so I might as well make it work with the story. For art. And penises.

Anyway, I hear the song "Godsend" by Trebuchet and I go a little bit insane in a good way. It's like if Supernatural was good and also a song. I'd really like to capture that energy in my work. There's also this song called "the queer gospel" that I love very much, which is about the inherent holiness of queerness and queer community regardless of if there's a god. (I actually made a burlesque routine for that song once, and more than one person said it made them cry happy tears! Which is a hell of a point of pride for me! AND a hell of a point of Pride!)

*okay if someone sends me an anonymous message that makes me laugh out loud and not feel rancid, then I will answer it if it brings me joy and I have a funny response. I will tag it accordingly and then block that person as soon as they stop being funny. But I'm good on debate and philosophy now. I got my answer. I had forgotten what those answers looked like. But I am grateful for (and moderately horrified by) the reminder. Please see the tags for an explanation of my new favorite phrase involving a man, heliocentrism, and one very hot piece of wood~

[sirfrogsworth]

How do you take a photo of time?

I've been watching the track events at the Olympics since I was a wee lad. It was a tradition in our family. We'd gather around our ancient low-definition 19 inch CRT television and watch tiny blobs compete against other tiny blobs and root for our country.

It was a bit like watching YouTube on your phone in 144p.

Several heroes emerged.

Jackie Joyner-Kersee was amazing.

You can't forget about Flo-Jo.

And then the Olympics decided NBA players were allowed in the competition.

Which formed... The Dream Team.

Was this fair?

Well... they won each game by an average of 44 points.

So... no. It was not fair.

Though it became more fair as time went on.

But, umm... yeah. The other teams looked like the Washington Generals and the US looked like the Harlem Globetrotters if they stopped screwing around half of the game.

But my absolute favorite Olympian was a runner named Michael Johnson.

He was cool as heck.

For one thing... gold shoes.

But he also had this crazy, upright, Tom Cruise-ish sprinting style that just made him look like a running robot on the track.

And in the 1996 Atlanta games he just trounced EVERYONE. I mean, it wasn't even close.

Yikes. Those losing blobs are probably really embarrassed.

Last night I decided to invigorate my nostalgia and watch the track events again. And I got to see one of the wildest races in history.

It didn't even last 10 seconds but it was one of the most exciting sporting events I've ever witnessed. Almost every runner won the race.

After I saw that initially, I was like... who the heck won???

Even in slow motion I wasn't sure.

This was one of the closest finishes in history. There has never been a race where all 8 runners were within this margin.

The arena was silent as the winner was being confirmed. The runners just kind of paced around waiting for official word. My best guess was the Jamaican runner, Kishane Thompson. But then the loudspeaker announced Noah Lyles.

The last tiny morsel of American pride burst out of me with a big "Wooooo!"

I forgot what it was like to be proud of my country. I wish it happened more often. But this young man, despite being last place in the first 3rd of the race, turned on the afterburners and won in a photo finish.

And that's when my inner nerd took over.

Because when they showed the photo finish image, it looked super weird.

Why is the track white?

Why do all of the runners look all warpy like that QWOP game?

So I went down a research rabbit hole to figure this out.

Photo finishes are actually fascinating. The first photo finish captured the end of a horse race in 1890. But that was mostly luck and timing. The actual photo finish mechanisms weren't used until 1937.

Originally they would film the finish line through a physical slit.

And the first horsie head that appeared in that slit would be the winner. This technology ended a huge aspect of corruption in horse race fixing almost overnight.

But we have come a long way since then. And I'd like to introduce you to the Omega Scan 'O' Vision Ultimate.

This slow motion camera sits fixed on the finish line of every race. The concept of the photo finish has remained remarkably similar to the 1930s approach. The camera sensor is specially designed to only record a vertical slit.

Only the finish line itself is actually captured.

And because it limits what it records to only that slit, it can capture 40,000 frames per second to get amazing temporal resolution.

So why don't the photo finishes just look like, well... this?

That is because the camera takes a picture of time more-so than dimensional space. I guess it would be more accurate to say it *assembles* a picture of time.

As the runners cross the finish line, the camera combines all of the little strips of pictures into a single image.

It's almost like if you tried to reassemble a piece of paper after it had been shredded.

Imagine each strip of paper is a picture of ONLY the finish line, just at a slightly different point in time.

What if someone stopped on the finish line and didn't move... what would that look like?

Once they got there, the same part of their body would just be repeated.

So the right side of the photo finish picture represents earlier in time and it just assembles the image strip by strip as time passes and you literally get a picture of time itself.

NEAT!

Okay, but how do they determine the winner from the photo finish?

I mean, that shoe looks like it is ahead of Noah Lyles!

Clavicles!

The IAFF rules state the foremost part of the torso must cross the finish line first. And the endpoint of the torso is the outer end of the clavicle.

So if you get this bone across the finish line first, you win the race.

Two more fun facts!

The start of the race is actually just as carefully timed as the end of the race. There are sensors in the starting blocks of each runner.

The starting gun also has an electronic sensor.

They have determined the fastest a human can react to the sound of a gun is roughly 100 milliseconds. So if you start running before 100 milliseconds they know you didn't actually hear the gun, you just got antsy and started running too early.

And the final fun fact...

Did you notice the Omega logo at the top of the photo finish?

That isn't superimposed or added after the fact. That is captured by the camera.

But if this image is composed only of tiny little slivers, how did they get the Omega logo to show up?

That is a little display. And it is synchronized with the Scan 'O' Vision Ultimate to show a little sliver of the Omega logo for each frame captured.

So when the final image is stitched together, it looks like a cohesive logo at the top of the photo.

Pretty clever, Omega!

[severepink]

Observing Adam

Where I go way too deep into something that probably isn't that deep. It's long, it's long as hell.

Okay, so you'd think with how Adam talks he's just a typical misogynist, right?

This man worships pussy. So much so, he's named a whole ass angel, one of his best, Vagina. You'd say that he objectifies them and thinks of them as being lesser, but I don't think that's the whole story. In fact, I think he might be the original simp.

All of these exorcists so far have been women. All of them. He refers to them as ladies or bitches interchangeably, he sees them as being completely capable of absolutely decimating leagues of some of the most vile beings who have ever existed, and they have, to the point it was only after thousands of years that there's been a risk to this hierarchy.

He's a self-centered, egotistical, loud-mouthed, arrogant asshole, no doubt about it, but I'm beginning to suspect something now.

If Adam and Lilith were created from the same dust, if they were created as equals, I am more than willing to bet... Lilith is also a self-centered, egotistical, arrogant asshole. But, she's likely far more intelligent, composed, and duplicitous.

Lilith was allowed to refuse Adam and leave of her own free will and garnered her own independence. A new wife was created for Adam, she was replaced. My guess, is she thought Adam wouldn't be able to live without her, to come back and find herself replaced entirely, she was enraged.

I believe both Adam and Lilith were both incredibly dominant individuals who fought over ideas, thoughts, and ultimately in the bedroom as well, if we take into account the creationist stories.

I'm willing to bet she likely manipulated Lucifer into twisting humanity against its original concept. What if Lucifer's intention truly was to just spark something within Eve, like independence and thought and creation, but it was Lilith's poison within the fruit that tainted her, then subsequently Adam, with sin.

Lilith thrived in hell, while Lucifer's dreams of creation were dashed. She didn't suffer as he did, instead the power of her voice grew with hell. Her voice grew so powerful that heaven found it to be a threat, her actions instigated the beginning of exterminations.

Charlie said that when she was a little girl, she didn't know Lucifer at all. I don't think this was because of Lucifer, he's seen here, picking her up, inviting her to share in his thoughts and dreams, showing her something wonderful. Something she could see within herself.

Charlie says that it's this moment that sparked her will to fight for her dreams. Which is strange, because at the very beginning of the story, Charlie says it was her mother's dream that was passed down to her.

Lilith took Charlie away. In this scene, Lucifer wasn't done showing Charlie his thoughts and dreams, he's still yearning to show his daughter these things at this point.

Lucifer loves his daughter. He loves Charlie so, so, so much. So why wasn't he allowed to build a relationship with his daughter for the longest time? He was waiting for the opportunity to get to know her, but with how much he adores her why didn't he do it sooner? He didn't comment on 'It took you a while-' he just said he missed her smile. They don't want to be pulled apart, again.

Now, we know Vivziepop has said that Lucifer and Lilith love each other, but Lilith 'wears the pants' in the relationship. We see all of the pictures all over the walls of a supposedly happy family. I don't think the relationship was as loving as originally portrayed and Lilith is a woman who desires control above all else. She likely tried to mitigate what influence Lucifer had over their daughter when she thought his angelic thoughts and behaviors became more than what she approved of.

Lets take it back to Adam and Lute for a moment. Again, Adam is a loud mouthed idiot, he's a jerk. The moment he realizes there are demons in heaven, he's ready to go on the attack. It's only because of Lute that he didn't end up doing something absolutely idiotic.

I gotta say, Lute and Adam's relationship is an absolutely fascinating one. He's a disrespectful dick head in how he talks, but how he acts is a different story. He allows Lute to man-handle him. He does listen to her, even if he's a whiny bitch about it.

Look at him, this is the face of a man listening, a dumb one, but a dude listening all the same. He doesn't manhandle her back, he doesn't even pull away until she lets go of his collar. Of all the shit he complained about, between being grabbed and being told what to do, his biggest complaint is that she's telling him to shush.

We know that Adam is the one who suggested the exterminations to begin with, so Sera says, and this was because of the power that Lilith was amassing. To him, Lilith is a threat. Even when he was willing to move on, to go to another wife when Lilith didn't want him or want to submit to him (fair babe, he's a bit of an idiot), she came back with an angel and proceeded to manipulate his new wife Eve. This is the supposed progenitor of man-kind, the original dick (hilariously enough), the reason civilization even exists at all. He and Eve had to fight for their lives after being tempted with the fruit. They had immortality, they had no ideas of shame, they were supposedly 'innocent' creatures before Lilith and Lucifer came along. He and Eve had to fight tooth and nail to survive after being cast from Eden. I think it shows in how willing and ready he is to take lead and do what he believes needs to be done, now out of a need for entertainment rather than a need to defend or protect. But, he still stopped to listen to Lute's advice. In the mythological story of Adam and Eve, Adam is the one who has to tell Eve that god said don't eat the fruit. Eve never heard god speak to her, so she was vulnerable to the snake's manipulations. She will now die because she ate it, and because she did not want Adam to take another wife, convinced him to eat it unknowingly. Funnily enough, Adam tried to explain to god that 'she lied to me and gave me the fruit' and in this actual mythology, Adam was punished for listening to his wife. Even without mentioning Lilith in the original mythology, Eve didn't want Adam to take another wife, so when we consider it within the context of Hazbin Hotel, it may be likely that's how it went down. Eve knew of Lilith, knew that she could be replaced, and decided that she would take Adam with her.

I believe that Adam does and did rely on the women in his life to help him with direction. I think Adam knows he can be an idiot and is willing to listen, even if he doesn't agree with what he's hearing. He did listen to Charlie in the beginning, he just didn't believe in her, like everyone else and he, out of anyone there, probably had the most reason not to. Cain and Abel were his and Eve's sons, his own child became the first murderer. Out of jealousy, the same kind of jealousy that no doubt has caused Lilith to act how she did. Adam isn't going to have empathy for sinners. His family, his legacy, were filled with the original sinners. He probably had to kill his son Cain in hell during the first exterminations. What do you think he would have had to feel, if it came to be a fact that sinners could be redeemed? That maybe his son, could've been redeemed? Or any of his progeny for that matter? How did it feel when his sons, his progeny, weren't given the same mercy as the Hellborn that Lucifer managed to keep protected through some deal with the angels or god? Not to mention that Charlie could've been his daughter. Charlie is the product of the people who completely and totally destroyed the paradise he'd been born into. She's the daughter who is protected and immune from the slaughter while all of his sons and daughters are judged and killed. I believe, even though he was a dickish prankster to Charlie, he was surprisingly patient and even somewhat amicable, willing to even ask her how her weekend was like he was just trying to get to know her.

Adam could just see all of the angels under his employ as being disposable. He doesn't have to name them, or think about them in any individual fashion. But, he knows Vaggie, recognized her instantly. Thought she was badass. Lute's the one who saw her, tore her wings off, and walked away. I'm surprised they even let her live, because this just goes against everything they're doing. They're an army and they saw one of their own showing empathy to the enemy.

Look at this dumb ass. He's being a shit-head, a dick, a bastard. But, he admires Vaggie's ability to pull Charlie, congratulates her, this dude isn't even judging her for being a lesbian. I don't think it's because he objectifies women, this dude loves women, he just does. He respects fellow vagina lovers. I don't think he respects liars in the slightest though. He's being underhanded, he's trying to be manipulative (he's not very good at it). I think he's brutally open and honest about everything and that's probably one of the reasons he's such a bastard anyways, because sometimes you just need to shut-up and he's not good at that.

I don't think he respects Sera for that either, he's more than willing to let others know what the hell he's doing, but under Sera's lead, he can't be open about it. I don't think it's his jam to act this way, it's why he sucks so bad at it and I think that's why Lilith is so antithetical to him. I also think that's why he's possibly even being manipulated.

It's kind of crazy that Adam is the only one who tries to come up with what allows someone to get into heaven. So here's his list: 1. Act Selfless: Maybe at one point he was! He had to have been, to be one of the progenitors of mankind, he would have had to work, sacrifice, and give to his wife and children for them all to survive. Eve would have had to do the same, no doubt. He may not seem selfless, due to his raunchy behavior, but he's served heaven since he's been there. He's served humanity in some kind of facet. 2. Don't Steal: Considering the only other humans are his spawn, he likely had to try and get them to not steal from one another for them all to have an equal opportunity of survival. He and Eve likely both knew they would need to work together to survive.

3. Stick it to the man: This, however, is interesting. Who is 'The Man' he speaks of? God? The only other people over him or were equal to him were women. He speaks like a rocker, and I think in this case he's using the term 'The Man' in a gender neutral way. I think he allowed some amount of Authority to Lilith when they were supposed to be seen as equals, it comes so naturally to him as a character when it comes to the other women he's been interacting with. I think she is the 'man' that he's been sticking it to- Pun somewhat intended. ((This third one may also simply be a tongue in cheek reference to when Alex Brightman played Dewey in School of Rock on Broadway! Thank you to the user who brought this to my attention!))

Adam is a bit of a hypocrite, isn't he? He likes to fuck, he's made that abundantly clear. Full of lust you could say. It was his original purpose after all, and he is judging Angel Dust for something he probably would've done himself at one point or has considered doing (maybe not the having sex with men part). Angel Dust does all of these things, Adam doesn't even deny it. He even looks nervous. He's angry, but doesn't deny that Angel has done those things. He doesn't explain it away or try to lie or move the goal posts, he's just asking what is an actually very valid question.

Why isn't Angel Dust there if he can do things equal to what Adam himself hasn't done? Serenity continues that line of thought. It isn't until Charlie is realizing no one knows what it takes to get into heaven.

Adam is more than willing to let Lute take the lead here, he's willing to give her the stage to clap back, he's giving her back-up antics. By all means, they could be pushing and fighting one another, there could easily be body language expressing something other than their general comfort around one another. They aren't fighting for a spotlight like you'd expect Adam to try and do considering his egotistical attitude.

Adam fucking sucks at keeping his mouth shut and he sucks at lying. He nearly blew the secret out of the bag once, this time, Sera is the only one who tries to stop him and to be honest? Lute looks a bit too thrilled at it. He knows he fucked up, but he doesn't think it's a big deal that anyone would know. For fucks sake, they've already condemned souls, his progeny, to suffer. What's the big deal if he kills them?

I have to re-iterate what's happening here. Charlie is proud she caused this chaos, that she caused these angels to fight amongst themselves, even if in this case it's a good thing. But, this is like history repeating itself to Adam, the reflection of his ex-wife, entering his domain, causing strife among his people, being happy about it.

And the venom he expresses when it comes to the 'liar' portion, god Alex Brightman destroyed when he got to this portion specifically. There is some vehement disgust in his tone when he says liar.

Adam isn't a good person now. But, I think he used to be a good person. By all means, Adam himself could've been the first murderer when his wife made her mistake. He, at one point in time, had to have been good enough to foster civilization itself with Eve. Both good and bad. Adam's original purpose was to be fruitful and multiply. Ordained by god (or maybe just angels) himself, divine power directed and created him to fuck. He didn't chase his ex-wife down, he was given a new one, Lilith was allowed to leave. When he left things alone, when he tried to move on, his ex-wife and a scorned angel destroyed the paradise he was in with Eve. He had to struggle and toil, he had to feel shame in his own body. He had to find out his first born son was the first murderer. His second son killed. We don't know if this is going to be canon in the story, a lot has changed, and if Adam is the first soul who reached heaven, then what did happen to Abel? Was Abel considered a sinner? Or did Cain kill Abel after Adam had passed? Either way, he had to witness his children kill, he had to watch his descendants behave in a range from saints and monsters. He's seen genocides, he's seen famine, war. Adam is desensitized to the plights of his descendants. Maybe he even saw it as a duty to cleanse the universe of their existence at one point, because they were his responsibility.

At the end of this episode, he is properly scolded by Sera and does seem ashamed of himself. He isn't huffy, he is reminded that he should be ashamed of acting that way.

I love Lute's enthusiasm, she's absolutely brutal when talking about Vaggie and with how she handled Vaggie. I think it's funny that Lute is so brutal she's even made Adam uncomfortable. It's cute that he's made uncomfortable by the excitement and all he does is tell Lute, the premier hype woman over here, to chill. She's so proud of herself too, look at her.

He fully expects these exorcist bad bitches to go in there and fuck shit up. But, you know it's hilarious that he's throwing horns? This dude, this angel. First human soul in heaven, loving rock n' roll, the devil's music, and throwing motherfucking horns. It's poetic really. I think we can probably assume where things are going.

Now, this is the first point we've seen Adam being a real piece of shit to Lute. I don't think Adam likes it when people think he's too dumb to notice something, especially something so damn obvious. This is such a drastic moment of vitriolic, uncontrolled anger directed towards Lute. Adam knows he isn't the brightest tool in the shed. He likely knows he's obtuse and misses shit. It's why he sucks at lying, he knows he's not smart. That is why I think he's afforded women opportunities to direct him without fighting back against their advice and their choices. I'm sure Lilith made it obvious how dumb she thinks Adam is. I'm wondering if this might be where their ground breaking fight might've come from. Who's to say he didn't allow Lilith to take the lead, or listen to her like he's done with Lute here and now? Perhaps to an even greater point? He listened to Eve and ate from the fruit of knowledge and he was punished for it. Being seen as so dumb he can't formulate a simple fact is a sore spot for him.

Adam is incredibly powerful. It took a bit out of him to exercise that power, probably because he's out of practice just like Lucifer said. At one point, he probably wasn't so sloppy and weak willed. He's gotten lazy. Sloth like.

I think it got real personal here. How viscerally and personally he attacked Charlie. No one but Charlie truly thought sinners could be redeemed, or that they were even worth it. Not even one of the original sinners. Maybe he never considered the possibility, maybe what happened really did make him see the world as black and white to cope with that happened to him, his wife, his children. Charlie's desire to fight this idea would destroy the foundation for all of his coping through the years. He stopped seeing them as family, even though he's grandiose about his founding role in humanity. Does that itch the guilt that may lurk under the surface?

I don't think Adam thought much of Charlie at all. I don't think he had any intention of coming to kill her in the beginning, despite seeing her, despite who her parents were. But, I think with the constant push, with how eager she was to disrupt the pre-conceived idea of order, it reminded Adam and reflected her parents so much, he was eager to kill her for revenge against them. I think this electrical interference on the mask is a direct reflection of sin. Namely, wrath, in this moment.

Now, this. THIS. Is something that made me want to write this whole fucking essay. Is Lucifer implying that he not only gave Eve the Fruit from the tree of knowledge, but FUCKED HER TOO? Homies, I'm sorry but holy shit. That is some hydrating tea. I'd be pretty pissed too, fucked over twice by women who were supposed to be literal soul mates, who you were made for, who were made for you?

I knew he would have a goatee, I could almost hear it. I gotta say, I'm a sucker for how he looks. I think he's hot. He is a bastard, but so are a lot of the hot dudes in this show. It's just a theme.

This exact series of lines prompted so many of the thoughts that I had about Adam and why he thinks or acts the way he does. At one point, Adam did have to work himself to the bone and learn to survive from scratch alongside Eve. He isn't entirely without cause to not think that he deserves some respect or recognition from his descendants.

But, that doesn't give him the right to act like god himself. It's... well... Blasphemous. Isn't it? One of the worst sins is to think yourself to be worthy of worship, as if you're a god.

This is the moment that gave me empathy for them both. You could probably see the kind of loving person Adam could have been at one point with how he looks at Lute, even as he's laying there, dying. He's not crying like a bitch, just looking at Lute softly. Lute screaming for him, screaming his name. They cared for each other deeply.

And this... and this.... and this. WHAT DEAL DID YOU MAKE, LILITH? Did you make it with Sera? Did you make it with Adam? Did you make it with Lute? Did you really just want a little 'vacay' away from the hell you helped create? Left her husband, depressed and lonely. Left her daughter without any care or guidance. Maybe Alastor was sent in her place, perhaps? Seven years since he was seen after all, but why wouldn't he show up sooner if Lilith did care? Did she make a deal with Lute and Adam? Did she let Adam smash it so she could stay in heaven? Did Lute let her stay in exchange for getting Adam out of a position of power? Or was it maybe Sera who commissioned Lilith with a deal? Either way, I'm in full belief that it wasn't Adam's idea to move the extermination day up. I think he's a patsy, a scapegoat. I think Lute may have been manipulated, potentially, into manipulating Adam into this position. Was it even really Adam who came up with the idea to do the exterminations? Or was he the one who simply decided to fight originally because he was told heaven was at risk due to Lilith's rising power? The Road to Hell is Paved with Good Intentions. I think it could be any number of these. Either way, Lute certainly does think she had authority over Lilith. Is it Lute just having hubris? Or is Lilith truly bound, just like Alastor, Husk, and Angel Dust?

Of course, now that we know a soul can be redeemed... and we certainly know that angels can fall. I don't think this will be the last we see of Adam.

[shadowtraveled]

"mithrun is the only real monsterfucker in dungeon meshi" is objectively the funniest bit you can get out of his everything, but in all seriousness i think his attraction to his love interest is deliberately overstated—and that makes sense, because romantic jealousy is a classic and digestible motive, which is explicitly what kabru was aiming for in condensing mithrun's backstory, and also because until chapter 94, mithrun wasn't willing to admit to the true nature of his desires.

but because romantic envy is both classic and digestible, it probably isn’t a unique enough or complicated enough desire to tempt a demon’s appetite. mithrun’s wish, as far as we can figure from kabru’s reduced retelling, was to have a life in which he had never become one of the canaries, and that carries like 3857 implications and desires within it. that’s delicious. his love interest acts as sort of a red herring to his motivation for making it, though. (side note: i'm saying "love interest" here because, keeping in mind that i barely speak japanese on a good day anymore, "想い人" is something i'd usually take as just kind of an old-fashioned and romantic way to refer to a lover, but in context i wonder if both the connotation of yearning and the vagueness are intentional, and i think this phrasing gets those aspects of it more effectively. anyway.)

mithrun considered his love interest to be untrustworthy. there was a minute where i thought that comment might be about a similar-looking elf (yugin, one of his squad members), but comparing the two…

the "sketchy" arrow is definitely referring to the elf we know as his love interest—the bangs go toward her right, she only has the one forehead ornament, and, most notably, her ears aren't notched.

every time she’s given a full-body depiction in his dungeon, she’s drawn as a chimera, with the body of a snake from the waist down. (side note: the “what if a dungeon has chimeras before reaching level 4?”/“then the dungeon lord is unstable” exchange just being mithrun grilling his past self alive is so funny. he’s so. but anyway) there are a couple things about this.

first, the snake part of the chimera appears to be modeled after some species of coral snake mimic

which, in the biology-for-fun manga, i… doubt is a coincidence, especially with the added context of the “untrustworthy” comment. the dungeon’s conjured illusion of mithrun’s love interest was a harmless copycat of a venomous original. for whatever reason, he felt this person was a threat and made up a "safe" version of her to be in a relationship with, and while it’s definitely possible to be attracted to or even love someone you find to be toxic and/or intimidating, when you take that into consideration alongside the configuration of her body, you get some interesting implications.

which brings us to our second point: if we assume that mithrun was not in fact fucking a snake, then sexual attraction, at least, was so far removed from his idea of a relationship with this person that he did not even bother to keep her dungeon copy human enough to maintain the illusion of the option of a sexual relationship. this is somewhat echoed in the depictions of their interactions, which also imply a frankly unexpected romantic distance. she kisses his cheek and he doesn't seem to react; she's at the edge of a narrow bed with only one set of pillows, on top of his blankets while he's underneath them.

the kiss is particularly interesting because it seems to contrast the text. kabru's narration tells us this was everything mithrun could have asked for, but mithrun is there looking unreadable to pensive, likely because this is right before the panel that makes it clear things in the dungeon are beginning to go wrong.

walking through this backwards for a minute, we have the physical barrier of his bedding and the spatial separation inherent in a bed made for one person, the emotional barrier of his mounting anxiety getting in the way of his ability to enjoy the affection he sought, and... the snake, which historically carries the connotation of temptation, yes, but also mistrust, barring physical intimacy. okay. ok. if a dungeon reflects the mentality of its lord, all of this might suggest that mithrun was not able to have any real desire for a relationship with this person. his unwillingness to be vulnerable or let another person in was insurmountable. but in that case, why was she such a focal point that she remained to the end, after his dungeon had stopped creating iterations of his friends to come and visit him? why would he get so upset over her meeting with his brother that he became lord of a dungeon about it?

well. mithrun's brother was also interested in her, probably genuinely. and mithrun had to win.

you have an older brother who your parents completely ignore, probably in part because he is chronically ill/disabled and almost definitely in part because he received a ton of recessive traits that resulted in rumors that he was an illegitimate child. you are aware, most likely because those same parents fucking told you, that you actually are an illegitimate child. but they keep you around because you had the good fortune of looking just like your mother. what can that possibly teach you but that you, like your brother, are disposable?

it's utterly unsurprising that mithrun, under these circumstances, developed a pathological need to be better than everyone around him. people don't keep you otherwise. i'd argue this is also why he says he looked down on everyone he knew while milsiril claims his dungeon reeked of feelings of inferiority—he sought out people's worst traits and prioritized them in his mind to protect his already extremely fragile sense of self-worth, and all the while he tried to be as likable and high-performing as he possibly could be. his parents disposed of him anyway, but even then he tried to keep up the performance. he was kind to everyone. he never once lost to a dungeon.

when he saw his "love interest" meeting up with his brother, what he saw was himself being replaced by a person his parents had always treated as worthless, and if that was what they thought of the child they'd kept, what value could anyone possibly see in the bastard they'd given away to die? mithrun and kabru tell the story like he wanted to win this unnamed elf's heart, but it was never about being with her. it was about cementing his worth, proving that he didn't deserve to be thrown away.

and so it's particularly cruel that his demon discarded him, too. but maybe it's also particularly gentle that, in the end, there was someone who refused to even consider giving up on him.

kui laid it out in three panels better than i could hope to.

yeah. it's love. you wanted to be loved, even when the only way you were able to understand it was through the desire to be wanted, and you wanted that so badly that the idea of being consumed felt like the promise of finally mattering to someone.

[bitchthefuck1]

I actually don't fully vibe with my point here anymore. I think there's definitely an element of this going on, and it was never supposed to be a full explanation of his whole "thing", but it still feels a little too simplistic and overcooked. Post cancelled.

I feel like a really crucial scene for unpacking Roman's whole "oedipal" thing is the bit in Prague where he sees Tabitha, because one of the first things he says is "dad would go fucking nuts for her." He is constantly using "well it's what dad would do" as an explanation for his actions, and I genuinely think the jokes about wanting to fuck Marcia/Caroline are less about his mommy issues and any actual attraction to maternal figures and more about "well these are the women dad's into, so they must be the right women to be attracted to." It's like a defense mechanism--Logan can't think there's something "wrong" with his sexuality if they're attracted to the same people. It's what he would do.

Except this is obviously flawed logic that only makes him seem more "wrong," because "if dad does it then he must think it's okay to do and he won't get mad at me for it" isn't even the mostly-coherent reasoning of an adult choosing a partner their parents approve of, its the logic of a kid trying not to get hit.

[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[emphistic]

Sukuna looked you up and down, and immediately sighed like a disappointed father. "You should probably put on some mittens or gloves before we leave."

The two of you had plans to go Christmas present shopping; now, Sukuna wasn't originally so keen on the idea, but you didn't want to wait until last minute. The other thing Sukuna wasn't so keen about, was your chosen attire for the afternoon's adventure.

"I could say the same about you," you quipped.

Sukuna gave you a pointed look, raising a brow at your playfulness. "You know I don't get cold."

"Well, I guess I won't need gloves, then," you began, pulling Sukuna's hands into yours as you stared up at him; "your hands will be sufficient enough."

". . ."

You laughed at the sight of Sukuna turning his face away from you. "You're really bad at hiding how much you're blushing, you know that, right?"

". . .What?" asked a very confused Sukuna, as he turned back to you with his hands placed on top of his cheeks, covering the slightly pinkish tint that was there.

"Here," you began, covering the tips of Sukuna's reddening ears with both of your hands, "you missed a spot."