#and so when people are talking about themes of shows like Alien.... and are already kind of being laughed at for thinking those movies had

[girlscience]

I totally love being just a little too weird for normal people, but not weird enough for them to avoid me. It's great. Makes for wonderful conversations where I think I have something interesting to add and a chance to share something I like and then get made fun of.

[autistic-ben-tennyson]

Still Salty About the Flanderization of Steven

Many SU fans have had to see these memes and are probably tired of them. I really hate the way people who have never even watched the show and probably just LO’s video flanderize Steven into a bumbling wimp or take scenes like him crying about wanting to be friends with Connie or trying to talk down Spinel out of context. People hate him for not killing his enemies on sight and act as if all he does is talk no jitsu. People act as if he’d die trying to redeem Big Jack Horner from Puss in Boots even though he’s met villains like Jack with Aquamarine and Eyeball and not only did he kick their asses but accepted that they were beyond help. Steven prefers to talk over fighting but isn’t stupid and knows when he has to get serious. Even during his “I can make a change” song that’s twisted out of context, he was still fighting defensively against Spinel. He just wasn’t fighting to kill. As for the meme above, did the creator watch Alien Force? The way Ben handled the Dragon, Reiny and the Highbreed would be pretty similar to how Steven would. The idealistic hero who teaches violence isn’t always the answer has already been done so why does Steven get the most hate for it?

I reblogged a post about this but I really am tired of how TOH is propped up as the anti SU when Dana is friends with Rebecca and praised the groundbreaking work Rupphire did. The Owl House crew doesn’t hate SU and wasn’t doing a “take that” by killing its villain or claiming not everyone can be talked down with a hug. They’re two different shows with different stories and themes. Steven would also know that some like Belos can’t be redeemed and he didn’t actually redeem the diamonds. He didn’t like them and acts uncomfortable around them in Future but he needed them to cure the corrupted gems. The point of the diamonds as well as Andy was not that you have to accept bigoted family members but a wish fulfillment where queer people could get their families to accept them. I saw this on Reddit but I think Steven gets so much hate because he teaches the idea that retributive violence isn’t always the solution and because he got a good life with a loving family, girlfriend and adoration of everyone without being a self centered sexist asshole. Internet Dudebros hate the character who showed healthy emotion, treats Connie as an equal and taught stuff like acceptance, boundaries and kindness, as they hate the idea that they don’t have any of that because of how bigoted, self absorbed or toxic they are.

[jesncin]

Coddling Colonizer Guilt

"Performative diversity is when MAWS features a Native American variant of Lois Lane in the multiverse episode only to end the season on a Thanksgiving episode."

...is something I like to joke with my friends as a shorthand for referencing MAWS' squeamish approach to politics while still trying to reap the clout of "diverse representation". I want to get my thoughts out there and perhaps start a discussion over why this feels off.

Some disclaimers: Firstly, I'm not Native American. Understand this is an observation I'm making from an outsider perspective with no personal authority. I'm just a disappointed Asian Lois Lane fan. Secondly, I know the MAWS crew/creators had no malicious intent in any of these (what I consider) poor writing decisions. I'm simply here to challenge and analyze these narrative and visual choices.

MAWS takes a fairly controversial take on Superman mythos so far. Unlike Superman's historic roots as an allegory for Jewish immigrants with Clark coming from a Kryptonian socialist utopia (leading the imperfect people of Earth to a better tomorrow), MAWS chooses instead to reimagine Superman as a descendant from a planet of "alien invaders". If the leaked(?) concept art (warning potential spoilers for s2) is to be believed, Clark is the direct descendent of the leaders of the "Kryptonian Empire". Supposedly gone are the parents of Superman being scientists that warn of the destruction of their home planet- instead we have the "proud, loving, brilliant" "leaders of the Kryptonian Empire".

While we don't know if this is the direction the show is going in, there are already cryptic hints of it being planted and thematic elements set up that point to it being a possibility. Clark had spent a majority of the season wondering what/who he is (being incapable of talking to Jor-El's hologram because of a language barrier) only to find out his supposed origins in episode 9. He's devastated learning that he's an alien invader and, once he regroups with his friends, angsts about believing he's a weapon sent from Krypton to invade Earth. Asian-Lois Lane and Black-Jimmy Olsen assure White-passing-alien-man Clark Kent that he's different and not like other colonizers. Clark ultimately saves the day, proving he's an exception. It's curious then that the season ends on Thanksgiving.

As I've mentioned before, MAWS is exhaustively squeamish with getting political. Whatever happens in the show that resembles "themes" is quickly contradicted with very little consistent internal logic. One minute Superman is supposedly a threat that "wipes out good American jobs", should "go back to where he came from" and Lois makes a hope speech about how we shouldn't treat people who "are different" and "don't look like us" (??) with cruelty (so Clark's an immigrant going through xenophobia?) and the next he's a redeemed colonizer (a more prominent thematic arc). One minute Clark is "different" and scared of being othered- likened to a gay couple and allegorically closeted, and the next his friends call him out for being a lying liar for not disclosing his marginalized identity within a week (the narrative frames Lois and Jimmy as being in the right). This show's writing is non-committal with what it wants to say, and largely goes on vibes. That is to say I don't think the writers intended for the themes of colonizer guilt to accidentally tie into Thanksgiving as a set piece for their final episode.

I'm sure the reason the writers chose Thanksgiving as their final episode is because it's "relateable". Half the episode is dedicated to slice of life family reunion shenanigans and the dang turkey still not being cooked through. But in choosing Thanksgiving, the writers told on themselves here with their biases. The existence of Thanksgiving implies the existence of genocide (of Native American people) by colonists in the MAWS universe. And yet Black Jimmy Olsen doesn't know what racism is (Mallah and the Brain give him a judgmental stare as Jimmy admits he can't relate to being violently marginalized) and Asian American Lois Lane doesn't understand immigration and xenophobia (constantly being entitled to Clark's immigrant identity, being incapable of comprehending why he would keep it a secret, because secrets are lies). The MAWS crew wanted a "relateable" set piece but in doing so ended up reinforcing the historical revisionism the holiday entails. A foreign colonizer sharing a meal with his friends of color on Earth, whose culture, history, and identity are all white washed.

I would like to challenge this idea that Thanksgiving is somehow the "relateable" choice. Why pick this holiday? Why not celebrate Thanksgiving as a National Day of Mourning (as some Native Americans do)? Why not pick any Jewish holiday as a nod to Superman's creators (ignoring this version's colonizer interpretation for a second)? Why not pick Lunar New Year, a holiday celebrated by many people including Koreans (Seollal in South Korea)? It could've been another fun opportunity to showcase Lois' heritage, and create a fusion of cultures from Jimmy and Clark's families. At its most non-political and secular, why couldn't they pick any weekend? This is what happens when a show doesn't consider its world building and setting in a holistic way. MAWS will nod to xenophobic rhetoric, portray allegorical queer marginalization, and make the vaguest nods to systemic bigotry (Prof Ivo displaced a whole neighborhood! Yet we never hear from those figurative displaced people). But it does nothing to discuss any of that on a deeper level. Its characters of color don't know what racism is and Thanksgiving is just a fun family reunion, guys.

All this and they had the audacity to sneak in a Native American Lois Lane in the multiverse episode?? Why is she, out of all the Lois Lanes in this screencap, the only one in full traditional wear? Why isn't she in a smart casual business fit like Black Lois and STAS white Lois? Would she not have been recognizably Native American to the non-Native audience otherwise? Isn't this tokenizing? Do you think she has a xenophobic dad in the military like Korean American Lois does?

But that fits MAWS' approach to diversity, doesn't it? Surface level cultural nods, maybe make Lois wear a hanbok one time, and let the audience eat it up. Never mind that both Korean American Lois and Native American Lois have been stripped of their culture and history in every other aspect.

I use the word "relateable" a lot here, but I think the important question to ask is "relateable for who?". 'Immigrant' is too charged a word, so MAWS universalizes Clark's marginalization to "being different". Superman isn't even an immigrant in this version, that was all a smokescreen for the twist that he's actually a descendent of colonizers! Being wracked with colonizer guilt is way more relateable to the white audience than being an immigrant, surely. Thanksgiving is more relateable than celebrating any culturally specific holiday our "diverse reimagining" could have represented. Characters of color being functionally white (in a way that doesn't threaten middle America) is way more relateable. MAWS is a show that doesn't want to delve into Native American history. It would rather put a Native American Lois hologram on a pedestal and call it a day.

[boomthemoon]

I've already said I think Rogue is part of the pantheon, but here is a much more worked on (and insane) theory about how he is in fact the God Mercury/Hermes, or putting it more simply, the God of Travelers.

Basically knowledge on Hermes here to help you understand it better, Hermes is the Greek equivalent of the Roman God Mercury. He is the God of Travelers and Thieves, Trade and Wealth and many other things. He the messenger/herald of the Gods, and guide of the souls to the underworld. Hermes is considered smart, creative and cunning, he's famous for playing pranks (specially on Apollo) and for being really fast, he is the inventor of the lyre, often connected to birds, and known for his ability to constantly cross from the realm of the Gods to the realm of the mortals. As Mercury, he is represented by Wednesday.

There is much more but I'm keeping it short and relevant to the subject.

By now most people made the connection that the ring Rogue gave the doctor had the symbol of Hermes (his Caduceus) in it, so we will start here, but that is just the most obvious of many references made to the God through the episode. There are so many meaning and myths to the Caduceus (being a gift from Apollo, being a symbol of peace, being able to bring people back from the dead) that I wouldn't know which one to go for, so we are sticking with the basics that is represents Hermes and Mercury and their deities. The Caduceus is a staff, with two intertwined snakes and a pair of wings.

The second main point is Rogues ship. Let's talk about the bird theme, Hermes/Mercury is often connected to birds, mostly due to the fact that he is described to wear a hat and shoes with wings (those symbolizing his speed and ability to travel). And then we have an episode all about birds, the villans are alien birds, there are birds in the decoration, but most importantly, his ship is a bird, but more than that, his ship can be invisible. One of the many itens Hermes is know to possess is a cap that allows him to become invisible, in my interpretation, his ship seens to be a reference to some of his accessories, the bird wings that allows him to travel, the cap that turns him invisible, all applied on his ship.

Then there is the third main point, that convinced me of this theory because is too much of a coincidence to be just a coincidence. When the Doctor and Rogue are talking for the first time, you can clearly see a statue of Mercury behind them. And I say Mercury specifically not Hermes because I went to a lot of trouble to find a statue to match this one to prove my point and I could only find it by searching Mercury specifically.

Here is a screenshot of the statue in the episode vs two statues I found, you can see they are very similar.

Now about what happens in the end, Rogue is very calm about the possibility of Ruby being sent to another dimension, and still very calm when he sents himself, you could just argue he doesn't care about her or himself, but the way he acts feels like he was testing the Doctor to see if he could sacrifice Ruby, specially since he knew you could just replace the person that was stuck in the trap but he didn't replace Ruby with Emily when he put her there. So like I mentioned before, Hermes can travel through realms, what in the show context, would just be different dimensions, so maybe the reason Rogue is so indifferent about being sent to another dimension with a bunch of murder bird aliens is because he knows he can just get out of there easily.

Maybe "find me" isn't in some random barren dimension, maybe is just "find me out there in the stars".

Other things it might be worth noting:

"Mercury is sometimes represented as holding a purse, symbolic of his business functions. Artists, like followers of Roman religion themselves, freely borrowed the attributes of Hermes and portrayed Mercury also wearing winged sandals or a winged cap and carrying a caduceus (staff)"

His ring represented his Caduceus as it has it's symbol, the ship represented his winged hat and shoes, and he literally wears a purse.

This one might be a bit of a stretch, but the lines "Fast mover" and "Run!" "I'm normally the one who says that" feels like small reference to him being to fast even for the Doctor (Just like Hermes/Mercury are known to be really fast). I just think that if he is some sort of equivalent of Hermes and Mercury and I'm not going crazy here, the "fast mover" line is actually hilariously clever.

The last bit is how we don't see anyone placing the two first pieces of the trap, we can only presume it was Rogue, but the only way I can think he did it without anyone noticing, is either he was incredibly fast, or invisible, which both track back to my theory.

Look, I'm not a specialist on Hermes and Mercury, I just know some things and did some research, so this might be a reach here but it make sense to me, so I'm sharing. And let's be honest, what is more God of Travelers and Thieves than falling in love with the guy that stole a ship from his own people to travel through space and time?

[championari]

True Love: Why FifteenxRogue Works

WOW. Man, that Rogue episode, huh? Watching that live was probably the greatest experience I’ve had recently regarding Doctor Who. Not just as a queer viewer, but as a queer media analyst. Fifteen and Rogue truly feel like a relationship written for me to analyze, because there is simply so frickin’ much to talk about. So, allow me, gentle reader, to be your Lady Whistledown of queer alien fuckery, and guide you through analyzing the latest dalliance of our Time Lord extraordinaire with the most honest bounty hunter in the galaxy. 

We’ll be covering a LOT of ground in this: the theme of facades/masks, an interrogation of The Doctor’s perception of romantic relationships, and a deep dive into The Fifteenth Doctor’s character overall. So, needless to say, this is going be a LONG LONG piece. Grab a snack, some water, whatever you need, cause we’re going deep on this one. 

You’re still here? Fantastic! Then let us begin! Specifically, with the Fifteenth Doctor himself. Because above all else, this episode works as a dissection of his character overall. 

I’ve already done two metas regarding The Giggle’s ending and The Doctor’s perception of romance pre-Season 1/14, so if you want more elaboration, go read those here: 1, 2. But in case you don’t, I’ll sum up and expand based on what we’ve learned since. 

The Doctor, as a character, has always struggled with commitment and attachment. They never stayed in one place for long and when they did, they had an unhealthy relationship with it (Trenzalore, Darillium, Bill’s University). Romantic connection is a permutation of this larger issue, as every romantic relationship we have seen The Doctor take part in since 2005 either was unbalanced (holding back problems/outright lying) or ended in a really bad way.  However, thanks to the 60th specials and a bi-generation, The Doctor went through a massive change, and with it, came a new perception of openness and love. Fifteen is more expressive, and willing to verbally identify beauty. He openly points out how beautiful people are, and talks about previous exploits with pride. But this supposed openness betrays a deeper dishonesty still inside the Doctor. As much as Fifteen talks the talk of openness, he doesn’t often walk the walk when things get tough.

Fifteen’s character struggle is trying to break out of the Doctor’s previous patterns of unstable attachment and commitment while continuing those patterns. He values emotional honesty and encourages it in others yet simultaneously runs from it when the spotlight is on himself, even when he knows it’s beneficial and necessary for him to do so. So, with all of that in mind, let’s deep dive into Rogue (the episode, not the character, but also the character).

The best word to describe this episode is ‘deception’. Setting the episode in Bridgerton-esque Regency-era England was an appropriate choice, likening to a show that is all about facades and posturing to gain wealth and social standing (yes I am oversimplifying, don’t hurt me). Throughout the episode, we see characters who aren’t who they present themselves to be and use all manner of tools or tactics to disguise themselves to meet their ends. 

We have the Chuldur, creatures who gain pleasure from cosplaying. They thrive on creating fake entertainment for their amusement, honesty is useless if it can’t satisfy them. While this is meant as an obvious commentary on fan culture and how dangerous it can get when taken to the extreme, it also functions as a darker reflection on The Doctor’s habits. Because think about it: what are Fifteen and Ruby doing in this episode? They are having fun, dancing alongside the other partygoers. They’re wearing the outfits but only to blend in. Ruby doesn’t know how to dance, she has to wear psychic earrings to keep up. She watches the fake fight between ‘Emily’ and ‘Lord Stilton’ like she would watch an episode of Bridgerton. Her fight with Emily later in the episode is set to Lady Gaga’s ‘Poker Face’ playing in the background.

What we’re seeing in the villains is The Doctor’s pastimes becoming toxic, taking a companion and bringing them to a culture far removed from their own. But it’s not only a commentary on The Doctor overall, it’s also Fifteen’s philosophy in a darker context. Posing as sincerity and maybe containing it to some extent, but ultimately not completely honest. Through the setting and the villains, the episode is already priming us on a subconscious level to be thinking about disguises and dishonesty, a topic that both The Doctor and the Fifteenth incarnation specifically have a complicated relationship with. And then comes Rogue.

Rogue himself is such a fascinating part of the episode because he is such a deliberate disruption to this cultivated environment of deception. Rogue is the complete antithesis of everyone in the plot. He’s terrible at improvising, he’s socially awkward, he dances without needing psychic earrings, and he never cleans the inside of his ship. Rogue intentionally disrupts the narrative of lies by not being able to play the game. Even when he tries to wear a mask, the mask of an uncaring bounty hunter, He doesn’t wear it well and gets rid of it after the ship scene with The Doctor. Rogue is a character who cannot help but be who he is, he’s a character who not only can’t wear a mask but doesn’t want to. To put it simply, honesty is Rogue’s kink. That’s why the episode is named after him; it’s not just because he’s a central character, but because he provides the counter-argument to the themes of lies and deception. Rogue, the disruptor to The Chuldur’s acts of fake entertainment, and the disruptor to The Doctor’s act of cosplaying with Ruby, and on a deeper level, disrupts Fifteen’s oscillation between sincerity and repression. But we’ll get to that, we have Mount Everest's amount of context to analyze first, starting with their first meeting.

The Doctor and Rogue’s beginning scene sets the stage for the main obstacle in their relationship: their masks. ‘Cause right now we’re operating with two versions of the characters: the facade/mask versions, and the real versions. We get our first look at Rogue when Fifteen looks around for interference on the psychic earrings. He finds him being the most conspicuous while wearing the ‘bounty hunter’ mask: on a balcony (separated from the party physically), not speaking at all. 

He is standing out here but only in the way someone who knows disguises would recognize. The Doctor, remember no. 1 liar, of course he’s gonna recognize that. So much so, that he gives Rogue pointers on how to put on a better “brooding” face, literally teaching him how to wear the mask better. Rogue is an amateur mask wearer, going up against the master of mask-wearing. And that’s why Fifteen smiles when he sees him, he’s intrigued by that contradiction and wants to know more. 

Rogue meanwhile, is being rude and dismissive to scare him off, trying to keep to the mask he’s built. At this point, he knows that Fifteen also stands out from the rest but right now is assuming that he’s still a random partygoer. Notice what he says to him: 

He’s still using language and ideas someone from that era would understand. Where this deviates is this little exchange that felt familiar to me, but I couldn’t figure out from where. Until I remembered this:

(credit to @ngatwa for this set, you're amazing)

This is the first instance in the episode where Fifteen and Rogue’s relationship calls back to previous romantically-coded relationships The Doctor has had between companions. But it’s not just romantic subtext, it’s subtext that explains where the two are in the relationship. Victorian Clara was far more than what she appeared to be (a governess masquerading as a barmaid/echo of a companion scattered in the Doctor’s timeline), and the Doctor was more than he appeared to be (an alien who lived in a blue box). In asking those questions, it’s both recognition of the masks and inquiry for the real person underneath. Same thing here: Rogue and Fifteen at this point are trying to figure each other out, trying to see beyond the masks of the uncaring bounty hunter, and the flirtatious partygoer. Where things start to go wrong is that neither party fesses up to who they are. Rogue instantly assumes Fifteen is The Chuldur he’s looking for, while Fifteen assumes Rogue is a regular partygoer looking to…*ahem* create a scandal in the gardens if you get what I mean. This explains why a violin rendition of Billie Eilish’s ‘Bad Guy’ plays in the background. It’s not just a Bridgerton reference, it’s contributing to both characters’ perception of each other in this scene: both characters think the other is the “bad guy”. The lead into the scene is deception, we leave it the same way. No breakthrough yet. 

Now we’re moving on to the scene in the garden, where both masks of Fifteen and Rogue begin clashing with their real personalities. Fifteen is still being semi-sincere, still complimenting Rogue. And like water, all of it is rolling off of him because he’s still under the assumption he’s talking to a shapeshifting alien. He rudely asks about The Doctor’s info dumping and doesn’t respond to The Doctor’s compliments.

(credit to @klausbens for the gif, you're awesome)

He’s not engaging because he thinks the Doctor is not who he appears to be, and for a character that values honesty, everything Fifteen says is gonna wash over him. The moment this changes is when the two are accusing the other of the murder. Quite literally finishing each other’s sandwiches (C’mon, you know I had to throw a Frozen reference in this somewhere). 

This is a very interesting scene given our current context. Trope-wise, this is meant to communicate to the audience the bond between the two characters, they’re thinking the same thing. But the trope is flipped on its head because both characters take it in opposite directions. Both Fifteen and Rogue are in perfect sync, they are being honest about how much they understand about the situation, but that information is leading them to completely different conclusions (i.e. the other person is the Chuldur). They’re slapping more masks onto each other, this time with information they know is true, which leads to them locking in their heels and simply not being honest altogether until later. This scene is a repeat of the previous one, except this time it’s them showing their hands a bit more, making the backslide all the more difficult. Getting close to sealing the deal, then heel turn at the last minute, a classic Bridgerton move. 

So, what needs to happen to break this backslide? Well, plain and simple honesty. The scene on Rogue’s ship is when both masks start coming off. What Fifteen is doing on the ship during the scene is essentially trying to figure out Rogue. He finds out the ship is meant to be piloted by two, and he discovers the origin of Rogue’s name, the Kylie Minogue music. Which is a moment I want to zoom in on. Right before this happens when Rogue gives a cheeky response to Fifteen finding out about the name, Fifteen makes a joke and starts emphasizing his Scottish accent. This is Fifteen putting on another mask to make a joke, and Rogue doesn’t appreciate that, given his dirty look. 

Then Fifteen finds the music, which he then again uses as an opportunity to joke around and make fun of him (and flirt a little bit with him).  Fifteen is removing Rogue’s mask, while he is staying enigmatic and mysterious, which is why Rogue is still stonewalling him. HOWEVER, two can play that game, and Fifteen makes a big mistake in showing Rogue the psychic paper. This is the first time Fifteen is completely honest about his feelings towards Rogue. No mask, no posturing, complete honesty. And we see Rogue responds positively to this: 

This is the first time the two are both on the same level, communicating honestly. And that’s where we start to see genuine romantic feelings and attraction. 

But it’s not enough, so what does Fifteen do? He pulls out the big guns. He shows Rogue the truth: he’s a Time Lord from Gallifrey and has lived many different lives over hundreds of years. He not only rips off his mask, he quite literally reveals all of the other masks the Doctor has worn throughout the ages. And what is Rogue’s reaction to this? 

Complete besotted awe. If honesty is Rogue’s kink, then The Doctor revealing their faces just supercharged it. This is the moment that Rogue falls in love because he’s finally seeing who this mysterious flirty person really is. 

Now, I’m gonna pull out another previous Doctor romance for two reasons: One, I’ve been seeing this comparison floating around for a while, and if you know me and my old analyses, it’s that I cannot leave an inaccurate take alone, and two, because I think it applies here. I’ve been seeing comparisons online of this episode to Girl in the Fireplace, in which a new character falls in love with The Doctor and gets the rare opportunity to see their true self. But what makes Reinette different from Rogue is that honesty kink. Reinette was attracted to the mystery of the Doctor, her childhood hero who somehow doesn’t age. Note when he comes back the first time, she focuses on how strange he is:

She learns more about them later, but she was already in love with them before that. Rogue doesn’t want the mystery. In reality, The Doctor wearing masks is a turnoff for him. He only wants the real thing, so when Fifteen reveals the truth, that’s when the genuine romance begins. 

(We could also extend this comparison to the discussion of consent: Reinette found out everything without The Doctor's permission, while Fifteen revealed all the info by himself, but whether we can consider this consensual depends on your definition of consent under duress/threat. So I’m not entirely sure what to make of this conversation, feel free to expand in the tags/replies cause I want to hear more about this)

So now we’re moving along to the TARDIS scene. We continue with the theme of disguises with the whole “bigger on the inside” routine, Fifteen riffing as Willy Wonka for a hot moment singing Pure Imagination, and we have Rogue’s momentary slip-up:

(credit to klausbens for the gifs, you're awesome)

This is a great sign of character growth because while he’s maybe not wholly honest about his feelings towards The Doctor, he still is open about his love for the TARDIS, an important part of The Doctor’s life, so big step right there. 

I want to pay attention to the heart-to-heart here because watching what Fifteen says and how he reacts is extremely important to getting his view on the situation. Because right now, I wouldn’t say The Doctor is in love with Rogue back. While there is a lot of attraction and hints at a deeper bond, Fifteen is still operating with most of his mask on. Notice that when he asks Rogue about the person he lost, Ncuti Gatwa’s blocking has him leaning on the railing at an angle to the side of Rogue. He’s purposely staying at a distance, yet is leaning on the railings to appear casual. 

And when Rogue starts opening up, he moves closer and they’re at equal distance from each other.

We get a really sweet (and allegorical to the queer community) moment about The Doctor’s motivation of living out of respect for the dead, to keep living each day that they lost. And then we get Fifteen inviting Rogue onto the TARDIS. I want to focus on this because he doesn’t seem upset or disappointed by Rogue countering this offer by inviting The Doctor to travel with him, meaning he doesn’t see this as a “take it or leave it” offer. In fact, the compromise Fifteen comes up with, “let’s argue across the stars” and Rogue accepting it, is what leads to the almost kiss. So that prompts the question, what is Fifteen trying to say here? 

Well, what Fifteen is asking for is to continue seeing Rogue. It doesn’t matter to him if he’s on the TARDIS or not, all that matters is that he still has him in his life. The choice to see him more. Why does that sound familiar? Because that’s exactly what I wrote about in my dissertation on The Giggle’s Ending: 

“In giving Fourteen their own TARDIS, Fifteen is allowing his younger self to have what they always removed from the equation: free will. The Doctor can still go anywhere they want, which makes them even more motivated to stay and fix themself. Fourteen can feel safe staying with Donna, Wilf, Mel, Rose, Shaun, and Sylvia because the option to travel is still there.”

Fifteen’s love language is giving the people he cares about the freedom to express the love they already have within them. He values freedom above all else, and when Rogue accepts that freedom, that’s when we get the almost-kiss. This is the moment where The Doctor falls in love with Rogue back because it’s Rogue being willing to meet The Doctor where they’re at. He’s allowing Fifteen to set the pace and not force himself on him. 

Additionally, this willingness to be as slow or fast as The Doctor needs means far more to The Doctor overall than to just Fifteen. Many people have already pointed out the similarities between the line “let’s argue across the stars' and previous lines the Doctor has said to villainous characters like The Master and The Toymaker:

"We can take your games back to the stars."

"We can fight across the constellations if that's what you want".

Now, why is that? It’s because again, The Doctor’s perception of Rogue is evolving in this scene. Remember, up to this point, The Doctor doesn’t entirely know Rogue’s morality. All they know is that Rogue is a bounty hunter, and is not afraid to use his gun when he deems appropriate. There’s even a little line in this scene before the heart-to-heart where Fifteen specifically imposes his own brand of morality on the situation: “Whatever the Chuldur has done, I can’t let you kill it.” Now, we know that The Doctor’s morality and romantic life can conflict: River being a known murderer/psychopath, their longtime situationship, and later attempted rehabilitation of The Master/Missy. This is another feature of The Doctor’s character: while they do act like they have the final say on what is right, they also compromise that morality for people they care about. 

Like how The Doctor surprised Rogue by showing all of his faces, Rogue surprised the Doctor right back by not only being honest about his past but by being willing to accept The Doctor’s compromise. This moment is when The Doctor finds out that Rogue is a good person, and that The Doctor doesn’t need to compromise their morality when entering this relationship.

This heart-to-heart is about Rogue not only winning over the Fifteenth Doctor by agreeing with his values of freedom but also winning over The Doctor overall by just genuinely being a good person. But of course, the moral duty of taking care of the Chuldur rears its head in the form of the TARDIS alerting that the trap is ready. The bubble has popped and we still have a long way to go. 

(Plus, Fifteen’s facial expression in this shot perfectly captures that trademark “Oh.” moment, realizing you’re in love with someone but then taping it down to focus back on the immediate problem. Love you Ncuti Gatwa, you do great work)

Alright, now we’re at the dance/fake proposal scene. Oh lord, so much happens here with both dialogue and production regarding character, so let’s take this one at a time. Fifteen, Rogue and now Ruby have figured out the big plot regarding the Chuldur, their obsession with cosplay and dressing up to create drama. In response, Fifteen comes up with the idea to essentially beat them at their own game: create a fake scandal to draw them out. 

Now on paper and in terms of beating the bad guys, this is a plan that could and does work, but in terms of his relationship with Rogue: THIS. WAS. A. BAD. IDEA. Why? The very idea of masks and faking not only was the leading cause of them not connecting in the beginning but specifically doesn’t work with Rogue. You can see it in how Rogue nervously looks at Ruby and Emily when Fifteen asks him to dance, and even questions the validity of the plan: 

(credit goes to @carricfisher for texted gif, you're awesome)

It’s not just that he doesn’t know about homophobia, he just doesn’t like the idea of pretending at all. But the reason why it doesn’t collapse right away is because it’s not entirely pretending. The dance may function on the surface to create a scene, but for Rogue (and Fifteen albeit to a smaller extent) it doubles as an intimate moment between them. This connects to the choice of dimming the lights in an unrealistic way (which btw, as a film student, had me going insane watching it live). We’re seeing a deliberate break in reality, a dishonest showcase of the story being told, that serves the purpose of highlighting an ultimately honest and sincere act of love. Both The Doctor and Rogue are warping the aesthetic of deception in terms of the narrative by fabricating a scandal, and in terms of the production by changing the lighting. 

But of course, things start going to hell right there. Fifteen tries to up the drama and Rogue can’t keep up. Rogue overcorrects and proposes to Fifteen, who freaks out and leaves the room. Now, I don’t want to get into the question of whether or not Rogue was playing along by proposing or being genuine (Personally speaking, I think it was both. 70% true, and 30% fake). Instead, I want to clear up why Fifteen freaked out here. I’m sure a lot of the long-time audience could already guess that it was parallel to River Song, The Doctor’s wife, but I think it’s more layered than that. Why would a reference to River scare the Doctor so much, aside from reminding them of a close person they lost? Because the last time the Doctor got married to someone they truly loved, it involved a 24-year stay on Darillium, which he knew would end in tragedy. Note the word choice here:

“Sorry I…I can’t.”

Not ‘I don’t want this’, it’s a void of agency (which connects to my piece on The Giggle’s ending and freedom). The Doctor can’t have that with Rogue, he was fine with them being casual to avoid the possibility of losing him. 

But on my first watch, I couldn’t help getting a little bit cross with Fifteen here, because the amount of ball fumbling on display is outright ridiculous; The Time Lord brings himself onto the dancefloor, with a guy he nearly made out with two minutes ago, gets all up in his face and starts shouting at him to “tell me what you heart wants!” and then completely freezes when said guy starts proposing to him. What in the fuck did you expect was going to happen, bud?! What made you think this would go off without a hitch?

I want to preface this by saying I had a completely different reading of this scene for a long time. My original thought was that Fifteen was trying to do multiple things simultaneously. He potentially was trying to lure out the Chuldur by creating scandal and at the same time, was trying to have a serious talk with Rogue about where he’s at emotionally. These lines in particular have fascinated me since my first watch: “You would ask me to give up my title, my fortune. But what future can you promise me?”. It did feel like these lines hinted at Fifteen’s thought process at this moment, he chose those specific lines to use for this moment. Was Fifteen trying to have an honest conversation with Rogue about their relationship while being fake to everyone else? But that doesn’t make sense considering the previous conversation in the TARDIS showed Fifteen comfortable with the idea of them being casual and Rogue respecting that, so it doesn’t make sense with where Fifteen is progression-wise. 

But it wasn’t until writing out this piece that I realized I had it all wrong and the truth was far simpler: this is a repeat of their meeting on the balcony, albeit with higher personal stakes. Let’s take a step back here: What is happening in this scene? Fifteen and Rogue are completely missing what the other is trying to say. Fifteen ignored Rogue being visibly uncomfortable over being back to playing with masks, and Rogue is not getting if Fifteen wants him to be genuine or not. Just like on the balcony and the garden, where both sides think they’re saying one thing when it’s the opposite. Before, both parties were wrong about who they were, now both parties are wrong about what they want. 

Fifteen is saying complete bullshit here, not true stuff to their situation but stuff that their audience would react to. He’s being over the top on purpose to elicit reactions. Meanwhile Rogue is thinking he’s being genuine. He thinks Fifteen is, through code speak, trying to genuinely ask him these questions. Which leads him to get down on one knee. And that’s a big problem because Rogue doesn’t know that proposing is wading into a gargantuan trauma pool for The Doctor. This scene is a magnified example of the duo’s problem with masks and not being completely honest with each other. 

However, while this scene may have been a cause for regression from The Doctor on the relationship part, Rogue on the other hand has an epiphany. In the scene following this one, we get the truly iconic callback of “Run.” and Rogue taking the Doctor’s hand. Why is this important? Well, there are three specific examples that this moment is calling back to: 

Nine meeting Rose ("Run!")

Victorian Clara and Eleven fleeing from the Ice Governess ("I do the handgrabbing! That's my job! That's always me!")

Twelve running with River ("Stop holding my hand! People don't do that to me!")

Nine meeting Rose establishes this idea of protection: The Doctor taking care of someone by leading them away from danger. The other two examples are subversions of that idea: Clara and River are now leading The Doctor out of danger. Same principle here, except here it has a bit more context behind it. Clara and River subverting that act of protection made sense given who they were: Clara as an echo across The Doctor’s time stream knew who The Doctor was and what they needed, even if she didn’t know it consciously when the moment happened. River as The Doctor’s wife also knew who they were and what they needed at the time. 

By connecting Rogue’s action of taking Fifteen’s hand and running to Clara and River, it not only again connects Fifteen and Rogue to previous romantic relationships, but it also shows Rogue learning from his mistake. Rogue’s mistake in the proposal scene was him not figuring out what Fifteen needed at that moment, it was a major miscommunication. Now, at this moment, Rogue is starting to figure out what he needs to do. He is, to use relationship lingo, "shelving his agenda" to help the Doctor. 

And that progression continues through the last leg of the episode, including the moment when Fifteen thinks Ruby is dead. I’ve always found this moment in particular so fascinating because of how loud it is metaphorically for both characters. Fifteen is taking off the mask of coolness and revealing that Doctor™ anger. This is a complete switch-up from what he’s been like throughout most of the episode. Yet when he lets out that chilling line, “Good. That’s a long time to suffer.” Rogue doesn’t look all that scared or mad at him. 

The face Rogue makes here looks far closer to a resigned sadness, almost like he knew that he would have that reaction. Keep in mind that Rogue knows nothing about The Doctor at their worst, all that he knows right now is that they lost “everyone”. Compare that with Donna, who was outright terrified of The Doctor when at their worst (for good reason though). 

Rogue isn’t surprised by this at all. He’s not asking “What happened to this person in front of me?”, he’s realizing “This is how much he cares about his best friend.” He’s seeing the depth of this person’s love that is inexorably linked to the depth of his grief, and is realizing he can’t allow that grief to corrupt this person he’s grown to love, even if it means endangering himself. Which is exactly what ends up happening.

This is where the theme of masks finally pays off. At the beginning of the episode, both Rogue and Fifteen are wearing their masks (cold, uncaring bounty hunter, and flirtatious partygoer). Those masks started to come down, but that got messed up thanks to miscommunication. Rogue didn’t understand what The Doctor needed from him, causing their trauma to resurface and The Doctor ran away from having to deal with that grief. This final scene is them being completely honest with each other. Rogue asks him “Can you lose your friend to save the world?”, and Fifteen tells him the truth. He can’t, he can’t let that happen again. And Rogue understands that, he finally knows what needs to be done. And so he kisses him. Why did Rogue kiss him? Again, it’s a repeat of a previous scene, this time the dance. Rogue is comfortable putting on a mask/doing something dishonest when there’s an aspect of truth to it. Even if they danced together to serve a lie, it still was a moment powered by romantic feelings. Same with the kiss. Rogue had wanted to kiss him, so he felt comfortable doing something with an ulterior motive (taking the button from him) because it was also something he would’ve wanted to do regardless of the situation. 

But why did Rogue do it? The one line that I kept thinking of in summing up the intent behind Rogue's sacrifice was, ironically, from Frozen: "Love is...putting someone else's needs before yours”. Essentially, shelving your agenda, like we’ve been saying. Back in the proposal scene, Rogue’s mess up was not figuring out what Fifteen needed out of him at that moment. Fifteen needed him to play along in faking and instead, Rogue heel turned into a lot of trauma for The Doctor. So now, after seeing how important Ruby was to Fifteen, so important that he was willing to torture The Chuldur out of grief, Rogue is putting The Doctor’s needs before his own and stopping him from having to choose between her and the world. It's also why Rogue wiping away his tears before the kiss was so crazy because that's normally the Doctor's job. The Doctor is normally the one who turns sadness into hope. This time, someone else is doing that for him.

(credit to ngatwa again)

The greatest act of love in the episode was not the proposal, it was the sacrifice.

To close our tale, let us circle back to talking about Fifteen’s character arc. I opened this essay by talking about Fifteen’s main character flaw being a contradiction: both valuing emotional intimacy and running from it. That doesn’t seem to change by the end of this episode, so much so that Ruby forces Fifteen to take a moment and mourn Rogue’s loss when he wants to steamroll forward. But there’s one little detail left: Fifteen kept the ring. Not only kept it but is wearing it in the season finale to the point of even playing with it like a nervous tick. 

That bond, that relationship was so important to him that he doesn’t allow himself to ignore it. It’s only after he has that hug with Ruby that he pulls out the ring and chooses to wear it. Rogue is the one thing Fifteen won’t run away from because what they had wasn’t fake. It was real. 

Rogue, the supposed bounty hunter who only cared about wealth, loved The Doctor so much that he was willing to give up his life for his friend. The Doctor, the supposed Time Lord who flees from attachment, loves Rogue enough to remember him every day.  

I ask you, gentle readers, how could one resist a love story like that?

NOTE: some extra bits I wanted to include that I couldn’t fit anywhere else: I’m such a sucker for color symbolism, and having Rogue wear blue in contrast to Fifteen’s normally warm color palette, as well as blue being the color of The TARDIS…it just makes me feel things, ya’ know? 

Also, by not gendering Rogue’s previous partner, only ever using they/them pronouns, it helps add to the relationship in a social commentary way. It subtly shows that Rogue already has experience/is attracted to people who on some level defy gender norms, which helps prime the audience to buy Rogue accepting/liking The Doctor being able to change gender when regenerating.

Essentially, I'm insane over these two, and I need them back on screen as soon as possible.

[transmascutena]

what do you think about the incestuous relationships in revolutionary girl utena, and the root causes of the abuse? one of my favorite analyses I've read so far talked about how rape and incest aren't deviant, they are an extension of the patriarchal family unit. And do you have any thoughts/analysis about how it specifically manifests in RGU and the way the narrative communicates these themes?

It's so annoying the way some people act like the incest is just regular brother and sister complexes that's common in a lot of anime, and not an integral part of the show's themes about the Family fostering an environment ripe for abuse. The show treats these heavy themes seriously, and I wish I was smart enough to articulate my thoughts about Miki and Kozue, Anthy and Akio, etcetera. Hence, this ask.

Jsjsksks I know I sent an ask just yesterday about Revolutionary Girl Utena, but your analysis is so cohesive, and I really appreciate you bringing family/marriage abolition and amato-normativity into your analysis posts. It's very affirming to me as an aromantic asexual.

thank you so much! i will admit i also have a hard time putting my thoughts about these themes into words, because they are . a lot, so forgive me if this is a little rambl-y. but they are a huge and very important part of the show, so they're important to talk about.

i think i know the analysis you're talking about, and it's spot on. every kind of abuse we see in the show is a product of The System (patriarchy, the school system, the nuclear family, etc.) that's not to say that the abuse isn't purposeful, or that it doesn't often come from people choosing to do harm, but their ability to cause that harm is facilitated by these systems. for example, the system is not forcing akio to do what he does (although it is the reason he knows it will get him what he wants) it is just giving him the tools to do it effectively. abuse does come from people, but the systems are what makes the abuse so effective, and that's why we need to dismantle them.

this is something i've mentioned before, but a big part of why anthy was so trapped in her situation until the end, is because of the expectation to value family above all else, and to always love and forgive them no matter how they hurt us. and that is the reason why incest is so inherently toxic and abusive. it's not that it's "gross and unnatural" (such rhetoric really only serves to hurt and alienate victims anyway) it's that you cannot ever have a healthy relationship in a framework that tells you that you always have to stay with someone, and forgive someone, and love someone, no matter what. it doesn't matter if there's no age gap (seen in the kaoru twins) to create other kinds of power imbalances and it doesn't matter if they're not actually related by blood (seen in nanami thinking touga isn't her "real" brother, and in touga trying to use that against her.)

i've talked about how all this affects utena as well, and how even the state of not having a family makes you vulnerable to it, here.

it's not that siblings (or other family members) are more likely to be abusive people, but when they are, it is a lot harder to escape said abuse. leaving a regular abusive relationship is already incredibly difficult, but if they're you're family, it's even easier to fall into the mindset of "oh, but they really just want the best for me." when you've been taught that family is the most important thing in the world, leaving them is a huge decision. especially if you rely on them for material needs as well, like housing and food (which also happens a lot in romantic relationships and marriages.) there's also the way that with sibling incest in particular, especially if there isn't a big age gap, the victim will often be made to feel complicit in the abuse, either by their abuser or by society at large. like it's something "weird and taboo" that two people are doing together, rather than the abuse it really is.

that last part definitely manifests in the show, with the victim-blaming anthy recieves. from nanami especially. her desire to prove that she's "not like anthy" comes from an understandable place. she's dealing with figuring out that her feelings for her brother weren't what she thought they were, but it ends up with her putting equal amounts of blame on akio and anthy for the abuse she witnessed, even though there is a clear perpetrator (not helped by nanami already disliking and distrusting anthy.) it's clearest, i think, when she refers to them as "those perverted siblings" to utena.

it's funny (it's not) that this kind of thinking even manages to happen in the fandom itself. anthy is obviously not a perfect passive victim, and it's reductive of her character to say so, but the idea that she is as much an active participant in the abuse as akio is, is a take i have seen too many times for comfort. like, congrats, you fell for the exact kind of thinking that the show was trying to critique!

[itsclydebitches]

Hi. Feel free to totally ignore to ignore this ask I just needed to vent to someone. Have a great day! 

I hate little. (Or somewhat now). I hate this stupid mouse that accomplished nothing for the entire volume.

They were a terrible guide, they weren't funny, they were ugly. And they didn't help Ruby at all.(honestly I would also talk for hours on how much I hated Ruby depression arc especially her breakdown but that's not important now) Hell for the most part I forgot they were even there.

And honestly I probably wouldn't care that much if it wasn't for the fact that then they try to tug our heartstrings by having Neo stomp them.

No! I don't care! This scene was already traumatic enough you seriously didn't need that!

Then they try to connect with this theme how the smallest act can impact someone's life. Which I call bias cuz the only thing Rwby did for them was to give them cheese. They tag along on their own after being lost. Ruby wanted them to leave but they insisted and that got them killed.

And it's not like the paper pleasers who were unhappy about their lives and wanted to ascend little was rather fulfilled and happy with his life. Then wtf all that was for.

Also they shouldn't have wasted an episode of rwby beyond on them.

Please vent away! :D

Little feels like such a wasted opportunity to me (if, you know, we resign ourselves to having some version of Volume 9) because:

a) I love cute familiar-like characters b) I love the fairy tale, butterfly effect lesson of 'One small act can lead to huge results, often times in ways you'll never fully understand' c) Little is the one consistent new character the group gets this Volume and thus should, by virtue of being the first they meet/the longest to hang around, the most developed and significant to the conflict.

But they're functionally useless. Worse, they're boring and (to me) annoying. Ruby helps Little get some cheese. Cute meeting! Would love to better understand why they're trying to gather food when they clearly can't do it on their own and why their tribe is otherwise engaged in hunting Blake (she barely even looks like a cat! Her ears blend into her hair and everything else is human!). Looking back, it feels like there are seeds of Little being an outsider here (why are they gathering alone when that's clearly a multi-mouse endeavor? Is it unusual for a mouse to not have a purpose at their age?), which would have helped to explain their motivation for leaving with Ruby, but as it stands it all just feels so rushed and disjointed.

In repayment for the cheese, Little agrees to be Team RWBY's guide. Great, that's very logical and helpful! Except Little spends the whole Volume engaging in a sleeping gag and reminding the girls (the viewer) that they don't actually know anything outside of their tiny territory.

They're emotionally available to Ruby when she's at her lowest? Sort of, but beyond whether you think those scenes feel forced or not (I personally do), I question why that role isn't given to someone we already care about. You all know I've got plenty to say about the previous Volume, but at least those later episodes had the wherewithal to send Yang after Ruby on the staircase. I honestly believe that part of the reason why some people are upset with Yang's response to the depression arc is not simply what she does do (compare Ruby to Ironwood, physically imply that she's siding with Blake, seemingly ignore Ruby's VERY obvious symptoms, etc.), but what she doesn't do too. By giving Ruby this new companion and trying to make Little an emotional center of the Volume, it deprives the other characters (including Ruby's sister) with that role. Granted, it could have been compelling to double-down on those feelings of alienation, culminating in Yang witnessing Ruby's suicide and regretting the choices that lead them there... but the show decided to turn Ruby's "ascension" into this supposedly feel-good moment instead.

Their death is the tipping point that sends Ruby over the edge? I admittedly like the idea. Giving us a small animal, one that many people are afraid of/find nasty, and equating it to a 'simple soul' could have helped sell the idea that all life - ALL LIFE - is precious. Hell, I wonder if it would have been better if Little was just a mouse. No talking, no magic, nothing but an (arguably) cute animal for the audience to cheer for. I can imagine a version of the dining room scene where Ruby is haunted by the people who have died, but she's also still centered enough to argue how those deaths weren't her fault, only for Neo to senselessly kill this little mouse on top of everything else. Maybe it scurries over when Ruby is beaten and bloody, gives her a little lick, something akin to a smile, this moment where she's connecting with a soul that is literally simple, and vulnerable, and doesn't care what Ruby may or may not have done because it's just another creature she's trying to protect... and then crunch comes the boot. It's a completely unnecessary act of cruelty on Neo's fault and the audience must sit with the death of an animal (something that always tugs at the heartstrings) rather than the arguable relief of being rid of Little.

Don't even get me started on their ascension. It straight up doesn't make sense and has the same kind of 'rule' structure as wishing for Penny to get a new body.

[itsastrobixch]

ASTROLOGY OBSERVATIONS PART 5 🌹Chiron in 1st house people can't seem to relax in pictures. They always either seem tensed, drawn like a bow string in photos.

🌹Lilith in 4th in my opinion isn't just not getting along with the women in their family, but being and growing up alienated from their relatives and family. They loose touch with their ancestral roots or there is some sort of shame associated with their identity in that regard. It's like they almost try to reject that part of themselves when presenting themselves to others. they are ashamed of, in this case, anything to do with certain facets of their family.

🌹Count yourself lucky if an air sign comes to you with their problems, and ask for ur opinion. They may seem confident, just like fire signs and like they can handle it all on their own, but while fire signs bulldoze through the issue without thinking twice, the air people have come up with 1000's of ways this scenario could play out and are internally freaking out lmao

🌹Mercury aspecting Neptune people are either excellent liars and manipulators ( in the sense they can manipulate any situation to their advantage) or they suck at lying and everyone knows when they're bluffing. It's usually indicated by the positive or negative aspects, both planets make.

🌹I don't know where the bad rep about having Natal mercury Rx and communication comes from. people say They turn the influence of mercury inwards, an in some ways, yeah true. They may make the individuals think things much more thoroughly before they talk, Make sure their point is clearly communicated etc etc. This actually makes them an excellent communicator. It doesn't interfere with the expression of mercury in my opinion. For that, we have to look at the sign mercury's present in and the aspects it makes.

🌹Sun conjunct Mercury people usually read a lot, and the sign it conjuncts in can show their favorite genre or the themes they may like in their books. For ex : I have it in Libra and of course I'm a sucker for those sweet sweet romance and Smutty novels.

🌹Libras are NOT pushovers. we need to emphasise this more lol. They will look like they're fluttering around here and there trying to decide on something. But in actuality they have already decided and they just weighing the pros and cons of that. Yeah they are an air sign but they're cardinal air. You can't convince cardinal people to move a fingernail if they don't wanna lmao

🌹Uranus and or Mercury in 3rd house, the house of mind, have a lot of ideas. But they're all either scattered or they come and go in a fleet, with the person not even conscious of it, much less process it and write it down. But sometimes their ideas are electric and revolutionary, especially Uranus, solving stuff in very unconventional ways and surprising everyone with their eccentric genius.

🌹If an air sign texts u DAILY, keeps in touch with you DAILY, then they love you lmao.. they take a minimum of 3 to 6 business days to text people back..so if they do it daily, consider yourself occupying a high position in an air signs life 😂

🌹Venus - Neptune pisces venus 🤝 Venus Pluto scorpio venus : Falling for unattainable and elusive people and giving them more chances than they deserve.

🌹The ascendant of your ascendant persona chart also determines some of your physical features, it's not just your asc that determines your physical structure, and your ascendant of your ascendant persona chart isn't just how people see you. The sign your ascendant persona is in will contribute some factors in your appearance too. Along with the planets in 1st house if u have any.

🌹For example a sag rising with a Taurus in their asc persona, will have good thighs and legs but will also be very curvy and soft, with full lips and some venusian features.

🌹 Venus Pluto and scorpio venus people, being in love is their addiction. Not the person they fall in love with like most people assume, but the feelings their lover evoke in them, the way they lose themselves in their partner, and become one with them, that is their addiction.

🌹word of the wise : don't argue with people who have personal planets in Virgo. You'll be humiliated and proved wrong. Straight up. They don't get into arguments which aren't logical or which they aren't sure they'll win. So they go in prepared and armed. They're masters of rubbing Salt in the wounds

🌹 this is just a theory, but hear me out. Our 1st house and the planets in them have a large influence on our appearance. But..i also think, our 6th house plays a part in it too. Our 6th house affects our appearance too but in am indirect way. Our 6th house rules our health right and under that comes our weight, likes and dislikes in terms of food, our BMI etc.

🌹 case on point, me. So I'm a Sagittarius ascendant, and I have good hips and thighs. But I'm not tall. And I'm very much curvy. Although sag rising tends to produce that too, I've a fuller venusian figure. And i have Taurus in 6th house.

[foolishsweet]

Ok so the person down (@/aoyogu) made Opposite Day VBS and the person Up (@/kleinnsed) made Opposite Day WxS in the quotes. And what I like about it is that Tsukasa would still be the perfect leader for this group, and also hilariously the most optimistic in comparison.

The rest of this post is a LONG idea of how their dynamic works and how things could work out:

Emu: I don't know why my sister hired you all. there is no point doing any of this... Wonder stage is doomed either way...

Tsukasa: ...So? If it's so hopeless then there is no reason NOT to do whatever you want with it is there?

Emu: ...I guess...

Rui: YOU DON'T GET IT. THERE ARE SAFETY RESTRICTIONS AND RULES THAT WE HAVE TO FOLLOW FOR THIS. LOOK AT THIS PLACE. THERE IS NO WAY WE CAN DO A SHOW HERE WITHOUT FIXING IT!!!

Tsukasa: ok so let's fix it then...

Rui: oh yeah? With what money?!?! They are already planning to tear this place down, there is no way we are gonna get any support for this!!!

Tsukasa: Aren't we already hired tho?... Can't we threaten to sue for making us work in "this" conditions or something...?

Rui: I-! I am-!...... You... You have a point... >:(

Nene: UWAAAAaaaa b-b-but- what if something goes wrong?!? If one of us forgets out lines?!?!? O-o-or if it rains that day?!?!! Or the lights fall off??!?!! Or the STAGE BREAKS INTO A FIRE?!?!? OR THE AUDIENCE HATES IT AND WE GET BOOED AND GET TOMATOES TROW-

Tsukasa: **shrugs** idk we try again I guess... If the stage breaks we can ask to get it fixed... Or just do the show outside...

Nene: oh... R-right...

Rui: Outside? WITHOUT PERMITS?!?!? ARE YOU SOME DELINQUENT?!?!?!

Tsukasa: *shrugs again*

Nene: B-b-bit what of the police come arrest us?!?!!

Tsukasa: Emu can bail us out...

Emu: I won't.

Tsukasa: that's fair...

Like, I think they could get past the main story. they would be a Troupe that brings smiles by using the catharsis of tragedies, making people feel seen and have their fears and worries be represented in ridiculously dramatic ways that make them look so simple and mundane, making them laugh with tragicomedy.

And maybe they won't be able to save the Wonder stage, but they could continue, if nothing to reuse WxS theme of death and rebirth, Emu seeing that her dreams to protect Wonder stage die, yet still going forward, instead of protecting, she rediscovers the magic that died with her grandpa, ironically thanks to Tsukasa, of doing things that make people smile for no real reason other than because you feel like it.

It would also work so well with Rui's backstory, that he became a lot more stricter with rules to avoid being alienated from shows, yet also became a lot more judging of people because of mistrust and paranoia, thus he is still seen as a weirdo. Yet, he meets a bigger weirdo being Tsukasa, who just does what he feels like and doesn't talk much so people avoid him. So now we get another reverse of canon where their relationship is Tsukasa doing or suggesting things that are beyond the norm and Rui going crazy stressed, thinking of how to do the things this guy is proposing without breaking something (be it the preformer or the law) but secretly loves it bc he still gets to do amazing shows.

Then Ruinene are a stress bomb, with Nene worrying about everything and Rui taking all of her concerns so seriously he stresses himself out too. Nene has practically the same arc even, with her becoming braver and seeing Tsukasa as a rival to her ambition while also secretly admiring him for his willingness to just, do things. And how she wants to do the same and MORE without being so scared of everything.

And then there is Tsukasa, who seems like he doesn't care and really doesn't at first, who forgot his ambition when he saw that he couldn't make his sister smile no matter what he did and became indifferent to everything (but not apathetic). He is helping Emu because "what's there to lose?", it's a way to waste time for him doing something interesting, or so he tells himself. He tells Rui of what he is thinking of doing because "it's not like he is gonna stop me", unknowingly planting a seed of trust. He tells Nene not to worry, "We all fail, it doesn't mean anything", words that have given him the courage to continue too. And, gradually...

Saki: big brother, you are doing a lot these days...

Tsukasa: not really... I'm just doing what I like...

Saki: yeah but, you look like you are putting a lot of effort.

Tsukasa: ...you think?... It doesn't feel that way...

Saki: but it looks like it. ...you really care a lot about your new troupe, don't you?

Tsukasa: well no- i don- I'm- ... ...... .........? ??? ??????? *Blue screens*

[damnation-if]

I just want to say, as a certified monster fucker, I'm already in love with your story hahaaa <3 I'm glad we're getting more adult stories and the themes in this one are so intriguing, can't wait for the rest ! Alsooo, I really liked the way you describe things? I do not know how to explain it haha but I could easily visualize what was happening and the general atmosphere you're going for and I thought that was neat :^)

thank you so much for your kind words!! i truly appreciate them and i'm so glad the descriptions were to your liking! i have at least some level of aphantasia, so i'm always worried that i'm not describing things enough haha... glad that doesn't seem to be the case!

i was actually talking to my friends just yesterday about how there's relatively few Creacher-y ROs around... so for whatever reason, i guess because it's on my mind, i thought i'd take a bit of time/space here to mention all of the Monsterfucker Approved (TM) ROs that i could come up with, in case anyone else might be interested. this list isn't meant to be exhaustive (in case i miss anyone) as sadly i am yet to become all-seeing and all-knowing 😔

Creacher (Alien)

Rhaxa and Imxa from Project Hadea by my beloved @nyehilismwriting. spikey, scaley, bitey, etc. 👌i also love and appreciate the attention to detail put into worldbuilding for the different ways their species communicates and thinks and so on, showing the culture gaps between them and humans. quality buggies!

Creacher (Eldritch)

Roach from The Passenger... the mc is also an eldritch creacher in this one, which may add or subtract to the enjoyment for various different people lol

Sysba from Attollo; i also think this game in general is pretty monster friendly, with a bunch of monstrous side characters and so forth. the cool kind of neo-gothic vibes give it a feeling a bit akin to a cyberpunk Penny Dreadful... it's about as Monsterfucker as cyberpunk gets i think!

Beacon from Stygian: The Abyssal Lighthouse by my good friend @salty-stories. this one is probably the most Lovecraftian of the eldritch creachers i think, heavy Call of Cthulhu vibes. it's still in progress but i'm personally willing to wait haha

Creacher (Parahuman)

Lorelei and The Other from The Golden Harp; pirates and sirens and mermaids, oh my!

Danny and Isla from When It Hungers by the wonderful @roast-ifs ... the game is still on hiatus but it still lives rent-free in my head always... the monster mcs are So *chef's kiss*

Oisein from The Nameless; due to the sheevra mc there's a Lot of really cool exploration of the boundaries of humanity and stuff like that... we love a "nonhumans shouldn't be able to feel/do this" story... we love it a Normal amount for sure.

Creacher (Indefinable)

Trace from Greenwarden by @fiddles-ifs; an iconique creacher... the game itself also has excellent kind of Appalachian gothic/supernatural vibes and a dark undercurrent of Lurking Monster Foreboding.

Games with Applicably Creacher-esque Vibes

Virtue's End by my beloved friend dani... the ROs might be human, but the mc most certainly is not<3 dark fantasy and sumptuous Monster vibes, what more can you ask?

anything by the extremely talented @thirtybythirty (links to their games in their pinned post). everything they write has a compelling undercurrent of... eldritch existentialism. perhaps the creacher is in fact the Narrative... or maybe the humans were the creachers all along...

the fabulous OFNA: Birds of a Feather - it has the perfect combination of things Not Quite Human and Not Quite Right to create a rich and ominous atmosphere, well-worth playing even though everyone is Technically human lmfao

anyway sorry for rambling on and i'm sure there's a bunch i have missed but. i do feel like it's worth giving praise where it's due for games and writers that we appreciate! thank you again for your kind message (and for giving me a chance to talk about this a bit lol)

[stargazerlily7210]

Hello, and welcome to my TED Talk.

In this essay, I will demonstrate why I think Mrs. Flood is Susan Foreman (aka The Doctor's Granddaughter, aka The Unearthly Child, aka The Boss, aka The One Who Waits).

I know, I know. Not exactly the hottest take out there.

But buckle in, cause this goes deep.

Getting this out of the way first: I know this season has been billed as a bit of a fresh start (what with calling it Season 1, and all) and thus people are wary about assuming Mrs. Flood is a returning character. But let's be real. Just look at the 60th anniversary specials. Ya know, the massive 3 parter whose plot has set everything in motion for this next season.

They feature The 14th Doctor (aka The 10th Doctor revamped) with Donna Noble and her family (from the 2000's), Kate Lethbridge-Stewart (from the 2010's) who is both the current leader of UNIT (from Classic Who) and the daughter of The Brigadier: original leader of UNIT (throughout all of Classic Who), The Meep (from a Classic Who comic strip of all things) The Toymaker (Classic Who) and Mel (Classic Who).

And that's just the characters. Never mind the near constant references to both New and Classic Who.

They made it appealing and approachable to new viewers, sure. But they've already proven they're not actually interested in distancing themselves from the show's past.

So why do I think she's Susan, specifically?

Well, for starters, although the age of an actress doesn't really mean much in a 60 yr old time-travel show that's already had (MAJOR SPOILERS FOR THOSE WHO HAVENT SEEN THE 11TH DOCTOR'S EPISODES!!) a parent-child dynamic where the daughter is not just played by an actress who's noticably older than the parents, but also canonically met the doctor first, despite her parents being the primary companions, (and each of them are played by both adult and child actors). But Anita Dobson is 74. Which would have made her 14/15 when the show started in 1963. Around the same age Susan Foreman is supposed to be/appear.

But again, that doesn't really mean anything in this show. So why else would I think she's Susan? And why do I think this means she's also The Boss mentioned by the Meep, AND The One Who Waits mentioned by The Toymaker?

Well, because I think it all falls into place with some of the big themes they've been pushing in the episodes so far, if she's Susan.

I mean, from what I know of Susan, she was a refugee from Galifrey, with her grandfather, The Doctor. As far as we know, he's her only family. He'd basically been raising her until she caught feelings for a human guy, so The Doctor decided she'd be better off staying on Earth. Effectively abandoning his very traumatized teenage granddaughter in 1960's London. It wasn't malicious, he was trying to do what's best for her. But he still left her there against her will and never came back for her.

So she's an orphaned teenage refugee, raised in a high-tech alien culture, stuck in the 1960's, with her first major crush as her primary confidant and caregiver. Let's be real. She'd have been deemed a mentally unstable minor, and at best institutionalized, at worst dissected/studied, in a heartbeat (or rather, two heartbeats (a surprise tool that'll help us later)).

So here we have a woman who's likely been drugged and tortured ("psychotherapy" in the 1960s, am I right?), gaslit, and desperately isolated for a significant portion of her life. With a massive list of reasons to both deeply resent and have seriously dissociated from The Doctor and the TARDIS.

And now we finally get to the new episodes:

The Meep says that creatures with two hearts are so rare that it can't wait to tell The Boss about The Doctor. So we have The Meep, who just happened to pick Earth to "crash land" on, answering to a nameless Boss who's on the lookout for 2 hearted creatures. Thus, we're looking for someone with both a connection to Earth and intimate knowledge of Timelord biology.

The Toymaker says even he didn't dare face The One Who Waits. Which says a lot, considering the importance and prevalence of people described as Waiting with a capitol W.

(MAJOR SPOILERS AHEAD IF YOU HAVEN'T SEEN THE 10TH and 11TH DOCTOR'S EPISODES!!) Off the top of my head, I can think of Jack Harkness aka The Face of Boe who waited billions of years to see The Doctor again. We have Amy Pond aka The Girl Who Waited, and Rory Williams aka The Boy Who Waited. We even have Sara Jane Smith, who's first real conversation with the The Doctor after finding him again had her admitting she'd spent her whole adult life waiting for him to come back. So to be The One Who Waited, above and beyond all others? You'd have to have somehow waited more than the rest. And when you're already talking about Waiting upwards of 5 Billion years, that's tough to do. Unless you're looking at it from The Doctor's perspective. And the Granddaughter he'd abandoned 15 lifetimes ago would absolutely fit that bill.

So we have an individual who is intelligent/knowledgeable enough to be called The Boss by an alien kapable of mind control and space flight, who's searching for creatures with 2 hearts. Who's earned the title of The One Who Waits, above so many other candidates.

And we just so happen to meet a character who's being played by an actress the same age Susan should be.

Speaking of, we can finally look at Mrs. Flood herself. When I first watched the episode, it struck me just how angry she was at seeing the TARDIS. When it's far more normal to see people ignoring the thing. So her reaction is weird, both in general, and for a character the actress herself described as a friendly neighbor lady.

It's only after she's utterly shocked by the TARDIS disappearing in front of her that she starts acting different. As if seeing that unlocked her memories. From there on out, she's a different person who knows exactly what's going on. She even addresses the audience at the end and knows to call it a TARDIS. Which Susan of all people would know, as Susan claimed to have come up with the acronym herself, during her time with the 1st Doctor (whether that's technically canon or not, idk).

It's also worthy to note, that if you look at the houses during the scene where she's complaining about the TARDIS, you'll see that on the outside, her house, while the most extravagantly decorated outside, is noticably stark and empty inside, unlike each of the other houses where you can clearly see decorations through the windows. Not to mention, her door is the only one that looks like the TARDIS. The other doors are either the wrong shade, or style, or both. And her's is the only one that doesn't have stairs going to the second level. I don't know how much of this is just working within the confines of the location, and how much is intentional, or what it would mean, but we see enough wide shots of the house fronts, it seems potentially relevant.

So if Mrs. Flood is, in fact, Susan Foreman, she's exactly the right age, she'd have had more than enough reason to be triggered by the sight of the TARDIS, more than enough intelligence/knowledge to reach Boss status in her search for a rare two-hearted creature and being The Doctor's Granddaughter, could absolutely intimidate The Toymaker, and have more than enough claim to the title of The One Who Waited.

And if she turned out to be a future Big Bad, she would have the trauma, reasoning, skillset, and intelligence to truly challenge The Doctor and force him to deal with the repercussions of his habit of never stopping or looking back at his actions or mistakes.

We've never seen if Susan can regenerate as far as I'm aware, but we know she's a Timelord and significantly younger than The Doctor. So if she can, the actress has already suggested that Mrs. Flood will go through quite a transformation throughout future episodes. We might be seeing the birth of a new antagonist for a new generation of the show.

Honorable Mention: I feel like The Boss is right up there with The Doctor and The Master. And RTD would absolutely make The Boss a bada** boss babe.

Phew. That was a whole essay. If you've made it this far, congrats!! I'd love to hear your thoughts!

[threecheersforinking]

Some thoughts about Arcane s2

(spoilers obviously)

To start off, I have a lot of mixed feelings. I don't think it was AS bad as some people are saying, and I definitely don't believe that everyone's characters were ruined/OOC. In my opinion, the overall plot was more of an issue than any individual character's choices (barring a few exceptions). I'm not even going to go into the individual characters, actually.

Because to me, the biggest issues were this:

Lack of a focus on politics

Lack of a focus on Jinx/Vi's relationship

Classism is one of the central themes to this story, and an unavoidable aspect of season 1. It's almost too obvious to talk about. The overarching conflict of Arcane has always been about the tension between Piltover and "Zaun". So why was Viktor and his little army of mannequin clones the big bad of season 2? I do not buy even for a second that Zaunites would suddenly start banding together for Piltover just because they were both at risk of being murdered by some freaky aliens. Why would people in the undercity care? They're already dying and being mistreated. It was lazy, overdone, and not consistent with the thesis of the story. Yeah, having Sevika on the council representing Zaun in the last 10 seconds of the show was great, but how did we get there? Why was that not the focus?

As for #2, Vi and Powder are the main characters and their relationship is at the core of this story. It is the most important relationship in this story. Objectively. And their relationship was not resolved in a satisfying way whatsoever. It didn't have to be perfect, it didn't even have to be happy, but it had to be satisfying and make sense. And it did not.

I truly believe that if those two aspects remained the focus of the story, every other issue that people had with the show or any individual character's choices would no longer be a problem.

I keep seeing people mad that some characters died or their ship wasn't canon but the thing is, this has always been a tragic story. I am not mad that all traces of Vander are gone from Warwick. I am not mad that Jinx and Ekko didn't end up together (even though I literally actively ship them). I don't think everything has to be wrapped up in a nice happy bow for a show to be good. It just has to make narrative sense and be consistent with the thesis of the story, which it was not.

Here's my take: I think many of this season's issues could have been resolved had episodes 1-6 been spread out over 9 episodes with the events of episode 6 being the season finale.

Episodes 1-6 had elements of the central theses that I mentioned earlier. Jinx's attack reignited the suspicion/dislike of undercity folk, therefore upholding the classism aspect; Salo even says "I can't believe we were almost about to give those people rights" (not a direct quote but you get the idea). Vi had lost all hope that her sister was still 'in there', was thinking about Jinx and mourning Powder. The physical fight between them and the role Caitlyn played in it was narratively consistent. These episodes weren't perfect, nor were they as cleanly written as s1, but they had the heart of the story in mind. The real issue is what happened afterwards. They lost the plot, quite literally.

When I heard this second season would also be the final one, I was surprised, but considering there's nothing I hate more than when a story gets drawn out just for the sake of it/because it's popular, I felt like I couldn't complain. However, considering how much convoluted bs they tried to shove into this one 9 episode season, I am confused as to why it wasn't drawn out more. Was it a budgetary reason? An issue with Netflix? I can't figure out what the problem was.

In conclusion, I don't think this season was horrible. Definitely not the worst Season 2 of a beloved Season 1 I've ever seen, at least. But it's still disappointing that the impeccable writing of Season 1 was unable to be matched.

[utilitycaster]

Sort of related to the post about people coming in for shipping but something that’s struck me, as actual play fandom has spread, is that there is a certain lack of genre awareness currently - not just surrounding Critical Role, to be honest; it’s a frustration for me for the conversation surrounding Dimension 20 and Worlds Beyond Number for a while as well.

Take fate, for example. The idea of fate, whether it’s as specific as an ancient prophecy, or as broad as the general concept of destiny, is absolutely at the core of so many classic fantasy series that to be vehemently opposed to it within Critical Role is to display profound ignorance of the genre of fantasy. It’s akin to showing up to a sporting event and getting mad that people are running around in athletic gear; it’s like going to an Italian restaurant in the US and screaming in the face of the waiter when they give you bread and olive oil. There is not, per se, a required reading list. You do not need to read nor watch all of Lord of the Rings let alone consider it a formative work; Sam Riegel and Aabria Iyengar sure haven’t. But if you are not familiar with the genre at all, at the very least you do need to come with a certain awareness that you are not familiar with the genre and be open to its conventions. And to be clear: it’s valid to hate the theme of things being fated. But again, that’s like hating they serve bread and olive oil at the Italian restaurant; you should probably simply not go to Italian restaurants.

Another example that is my personal source of irritation is the obsession with radiation as a factor in Burrow’s End. Setting aside my original irritation at just good old-fashioned lack of reading comprehension with the conflation of the poison and the Blue/the Light, the idea that the intelligence was induced by radiation is really…not genre aware. Like, I recognize I’m coming at this with rather more knowledge than average (from a scientific rather than genre-aware perspective no less) but to get back to genre, I take no issue with, say, radiation in comic books. I know the premise of Spider-Man or of Doctor Manhattan’s origins is absolutely ridiculous; but that’s the genre. Radiation in comic books exists to be an easy origin story so we can get to the point of “here’s a guy with powers”. However, in a show that derives its narrative language from Watership Down and Mrs. Frisby and the Rats of Nimh, the idea that the magic and the lightning and the source of intelligence are radiation makes little sense. Another example is the weird response to Skip in Starstruck; the idea of an alien brain parasite like that is so genre-typical to space opera it feels like, again, someone going to an Italian restaurant, pointing at the bread, and saying “WHAT THE FUCK IS THAT? HOW DARE YOU!”

I think my particular frustration with both of the above (and when I talk about Worlds Beyond Number) is that those people ignorant of genre and not letting it wash over them a la Sam will often fall back to the real world (although, unfortunately, not when it comes to radiation) when trying to make sense of the narrative without the signposts, language, and tropes of the genres to which they belong. To understand the subversions or deconstructions that are likely to occur in, for example, the upcoming exploration of the Citadel in Worlds Beyond Number, you need to be open to the idea that it is a complicated place and not simply The Evil Empire That Suvi Will Definitely Leave; if you’re utterly suspicious of everyone and refuse to try to understand why this is a place people enjoy let alone will die for, you can’t actually experience the story. We are going into the Citadel arc; these wizards will be humanized, and if you have closed off your mind to them already you have set yourself up to be miserable. I do think it’s great that actual play has found an increasingly large audience, but the medium of actual play also carries a certain lexicon and ignorance of it will skew one’s interpretations. My personal bugbear here is of course interpreting bog-standard tanking strategies as either romantic or self-sacrificial in intent, but in general, any resistance to the mere concept of gaining power, the existence of concrete deities, combat, and the placement of plot above romance in D&D are all signs of this ignorance. And again: ignorance is fine! But with all of the above there also often comes this entitlement to a story that is familiar, in blatant disregard for those parameters of genre and medium, and I have to wonder, again, why people mad that a fantasy story is leaning heavily on fantasy story norms, or why D&D has combat, are still showing up to the fantasy D&D story. To return to the Italian restaurant, which is getting a lot of terrible patrons in this metaphor, it feels like a lot of people are showing up to this restaurant because they heard it was good, but then becoming furious it won’t serve them peanut butter and jelly. People who are not familiar should still be welcome, but that lack of familiarity needs to be accompanied by an openness and desire to learn, rather than the entitlement that is so often present.

[msnihilist]

Person Who Has Never Watched the Reboot Decides to Liveblog Alien-X-Tinction

First scene and I already hate Max's voice. #NotMyGrandpa

idk what alternate universe this is yet, but I like 1) that Ben is sad :), and 2) that his Omnitrix looks like that??? It really sells the idea of a prototype 🥺

"resistance will only beget pain" — villain who is smart enough to know that Ben doesn't know what "beget" means

"you always try to interrupt" okay, ouch, I actually love that angst (I already know who the Alien X is and what he's been doing to alternate Bens (I'm only watching this because the Wiki page for the special was interesting to me), so this is lovely :3) Max always tries to save his grandson and he never succeeds </3

Side note: evil Celestialsapien is a cool idea, and I like that this one is taking a "hands on" approach. It's about the thrill of the hunt :) And loving making people suffer

"oh, no, not again" LMAO, the dimension-hopping Max sounds soooo mildly inconvenienced

WAIT, DID THE ALIEN X RIP OFF BEN'S ARM??? I can't tell what happened here?? Fuckin' kid's show censors 😭

Max's face when Ben hugs his grandpa…… I love suffering 🥺

"you'd think I'd be used to it all by now" coming from a man who lost his grandkids and tortures himself by watching it happen again and again in other timelines hurts so good 😭 😭 I also love that they let Max cry about it. It's a small thing and it only lasts a second, but in the Classic continuity, Ben only cried on screen TWICE, both when he was 10. Letting an aged man hurt like this without making a joke about it is good to see <3

Back in the Real Timeline, I guess, lmao. I love that Gwen is tied up and just looks so bored with the whole affair

GWEN'S VOICE?? #NOTMYGWEN (I like that Zombozo is voiced by Drakken, tho)

Hm. I kinda like this angle with Ben's frustration. He feels like he's not living up to his full potential as a hero because he always has Gwen and Max helping him. It's different from when Ben would get cocky in the OG, and I think it's an interesting point, too :p This blatantly isn't about being a hero, it's about the thrill, which is something that ten-year-old Ben consistently struggled with

Still hate reboot Heatblast, but whatever

I definitely don't like how the fights are animated? It feels... slow. And I get part of that is to build up suspense/show of Alien X's abilities, since this show is aimed at a younger audience who wouldn't be familiar with the Classic continuity, but still :/ I don't like the flat camera angles and the hits don't have a lot of weight to them

Love that Alien X is killing off Ben's, though — something Eon was always too pussy to do

I hate this art style, but I appreciate that the writers are trying

I love villains who are obsessed with Ben Killing him, hunting him down, whatever. Watching villains shove aside whatever or whoever gets in their way to pursue Ben with single-minded fervor always hits good.

This fight between Ben and Alien X, up until he loses the Omnitrix, is probably my favorite fight in the special. Alien X was at his coolest and Ben really gave it his all, no matter how badly he got beat in return.

"there's no omniversal road-side service that drops out of thin air" — man who has forgotten that this is Ben he's talking about

BRO, THEY'RE PLAYING THE ALIEN FORCE THEME SONG WHEN OLDER BEN STEPS OUT OF THE PORTAL 😭 Okay, even though AF had kind of a lame opening, I'll admit: that was pretty hype

Holy shit, wait, the reboot has been going on for five seasons and this Max STILL hasn't told his grandkids about the Plumbers??? I hate him, worst grandpa

LMAO, Maximillian calling Ben a stubborn brat <3 AF Ben looking away in embarrassment because he knows it's true (he literally JUST tried to walk off and go it alone for?? no reason, literally), I love them. They're a family in every dimension

I think it's cute that Gwen already likes teenage Ben <3

Alien X: "You're in the wrong dimension." Ben, who's relaxing nonchalantly waiting for his plan to pay off: "Is that why my keys don't work?"

I MISSED AF BEN SO MUCH, HE'S SUCH A DRAMA QUEEN 😭 HE LITERALLY TRANSFORMED JUST TO GET UP THERE AND HAVE A DRAMATIC ENTRANCE

AF BIG CHILL DESIGN + VOICE, MY BELOVED!!! They even kept Ben shouting out his transformation's names, nreulgneklge. That's some attention to detail that almost makes me forgive the art style <3 (almost)

"little me," omg, he's such a fuckin' dork

I love that when Bens get together, they literally just love each other, it's so so sweet <3

"I should rethink my prior mercy." "Your generosity will not go unappreciated… or unpunished." ngl, this guy is a sick villain

Okay, this made me love him. And Gwen's faith in him is sooo <3 Truly the best cousin of all time

"Are you okay?" "Better now that you're back, cuz." Ben and Gwen are so fucking cute in the reboot, I love them 😭 🥺

I love that Gwen 10 goes, "And, yes, we're [Gwens are] better" and then fucking picks Ripjaws for a fight in a rocky desert, sfbrygbrku. She's such a dumbass I do love her Ripjaws design, tho!! Love that they avoided the Omniverse problem of making the female aliens excessively feminized. ALSO OG HEATBLAST, MY LOVE

OV Ben ruffling younger Ben's hair 🥺🥺

AHAHA, OG Ben immediately assuming that this Gwen is also a magic user, pfft. Even in a dimension where they don't get along as well, he's got so much faith in his cousin <3

Gwen's little watch tech is like her UAF powers!!

Of course OG Ben would get pissy about someone picking the same alien as him 😭 He's so chronically ten years old

"But I'm not your Ben." "You're all my Ben." Okay, maybe this Max is actually the best one 😭 🥺

Jeez, that tragic backstory was pretty fucking brutal. Vilgax straight-up just vaporized Gwen and Max. I love the idea of an evil Ben who's lost everything, though. His Max and Gwen are dead, what more can they take away from him? Eon could never

LMAO, MAX JUST FORCIBLY ADOPTING EVIL BEN AT THE END. Ben is so unenthused, he's gonna get loved whether he wants to or not!!

Okay, just finished it. Final thoughts? It was really cute. Is it good enough to get me to watch the rest of the reboot? No. It's definitely not as hype as some of UAF/OV's high points, probably in part because I still can't get into the art style and also because the fight scenes just aren't as good.

It had pretty good pacing! I was surprised by that, I thought 45 minutes was gonna be too short, but it ended up feeling right. (Also, I'm upset to say that Max's voice grew on me. Gwen is on thin ice.)

You can tell that this was made with a lot of love, both for the characters and for Ben 10 as a whole. It really does feel like a love letter to the fandom, and for that, it was a good watch :)

Final score: 7/10, not NEARLY as bad as I was expecting, worth a rewatch <3

[nyxronomicon]

Part ii: Strangers

ex-husband!Geto x fem!reader

reader: she/her pronouns, wears a skirt/dress, tits & vagina pet names: my love note: I use MC in the place of y/n because I prefer it cw: religious themes, yandere!Geto, fake boyfriend scenario

masterlist | ao3 mirror

"Remind me what happened between you two again?" Choso was a new friend, so he knew little about the divorce.

"He was just so manipulative." You sighed. "It was a whirlwind romance. I couldn’t get enough of him. It was like he couldn’t do anything wrong. And I was so stupid, I let him convince me I didn’t need friends, that I didn’t need family. He kept lying to me to alienate me from my friends. Gojo was the only one he’d let me interact with other than himself, and that was only because the two of them have known each other since high school. He made me feel worthless without him."

"He doesn’t talk to me anymore if it makes you feel any better." A laugh erupted from Gojo, who was also at your house talking through the situation. "Remind me why you married him?"

"I was feeling a lot of pressure to get married. Settle down. It really wasn’t bad until after we got married." You shrug. "And I really loved him. I just… I can’t go through that again. Not after I’ve finally learned to love myself again."

"Then don’t go." Choso took a sip of wine.

"I think you should go." Gojo grinned. "And I think you should bring a partner."

"Are you crazy ?" You stared at him in shock. "You want me to tell Suguru Geto, my kryptonite, that I’m seeing someone?"

"Just ask if you can bring a plus one, see what he says." He shrugged. "You and I both know how possessive he is about you. He’ll probably self-destruct," Gojo giggled.

"Alright, and if he says yes, then what do you suggest?" You opened your phone, looking at the last text message from your ex-husband. The date, time, and location of his last sermon. This weekend.

"Choso will have to go." Gojo smiled at him, taking a sip of his wine. Choso’s eyes got big, and he shrunk back a little.

"I don’t know if I’m qualified…" He mumbled into his glass.

"Think about it." Gojo started talking with his hands. "I can’t go because Geto and I have been friends for a long time. He would know something’s fishy right away. But you." He pointed at Choso. "Geto doesn’t know you."

Choso didn’t really have a response, so he took a gulp of wine. "I guess I can do that. If you want." He looked at you.

"This plan is insane." You sighed.

"You want Geto to know you’ve moved on? Show him you have, even if you haven’t. Otherwise, when he moves back to the city, he’s going to be all over you again, just like he used to be." Gojo finished his glass of wine with a smug grin.

Despite the fact that Gojo loves messing with people, he was right. Geto had his heart set on you, he said as much over the phone. The only way to really get rid of him is through a ruse like this. And if you had to have a fake boyfriend, Choso wasn’t a bad choice.

You quickly typed on your phone as the two men waited with anticipation.

-

Geto's phone chimed. He was relaxing for the evening, hoping he'd hear from you. He'd already booked the hotel room just to make sure he'd have one. The place was across the street from his house, so he'd know when you arrived.

He smiled seeing the text was from you and immediately opened it, figuring you would have ghosted him if you didn't plan to come.

MC: Can I bring a plus one?

Geto's world shattered. Again. And just after he'd messily glued himself back together. He knew this was too good to be true. 

Geto: You didn't mention a boyfriend over the phone. 

He fired off the message without half a thought. He was seeing red. He would not be friendly or cordial to anyone who dared to lay a hand on you. He would not allow them in his sacred halls. 

MC: It's kind of recent. But he's good to me.  

Geto took a deep breath. Were you actually seeing someone else? Something in your voice over the phone the other day told him you weren't quite over him. This was unexpected. He felt sick to his stomach. The thought of losing you to a stranger was something that he'd never let himself consider, if only to preserve the sliver of sanity he still had. 

No, this had to be some kind of game. He knew you still hung out with Gojo; you were probably just going to bring him to make sure Geto didn't try anything. He was a fool to think you might let him get you alone so easily. The important part was that you'd be attending. That you'd walk into a church for him a second time, this time to hear his words as he preached to the congregation. 

That was how Geto would have to win you back. His very last chance. The miracle he was hoping for. 

-

"I think he's upset." Admittedly, you couldn't say you knew him anymore, but this is exactly what would have ticked him off while you were dating. Geto always wanted you alone. He wanted you reliant on him. And he hated when you spent time with anyone else.

"Don't worry about it." Gojo responded. "He's pissed, but he'll come around. It's his only chance to see you."

"Does it matter?" Choso chimed in.

"I just feel like I've hurt him so much already." You poured yourself another glass of wine.

"Not even close to how much he hurt you." Gojo was uncharacteristically serious as he spoke. "Never forget that." Gojo was the only one that had been there through it all. He saw how Geto treated you and even spoke to him on your behalf a few times, although it didn’t really change anything. He helped you through the divorce and cut his ties with his old friend.

Your phone chimed, and you looked at Suguru's response.

Geto: Of course. I'd love to meet him.

"Oh my god." This was unexpected. You thought he'd try to change your mind. Manipulate you into coming alone. You knew that was what he wanted.

Gojo looked over your shoulder after your reaction and grinned. "Looks like you're going to church."

[dollywheeler]

October 7th, 1996

Dear diary,

Will gave us back our assignments today and he really liked it! I can't help but feel like his opinion is biased though, which is kind of a bummer. I mean, I'm glad that I got a good grade and I'm proud of it so I feel like it deserves the grade it got, but... I don't know. I feel like it would have been more satisfying if it had been graded by someone who hadn't spent Friday night fondueing marshmallows with me at his own dinner table.

Same happens in English now - I always take pride in my essays, but it's hard not to worry that Mike's taking it easy on me, even when he said he wouldn't.

At least I gave Will the copy of Morning Glory after we already got our grades back because that would have been even more damning. Which is exactly why I waited until lunch to pass by his classroom and hand over the tape I'd made as promised, away from prying eyes. Danny walked with me - I'd told him all about our dinner on Saturday over the phone - and in hindsight I probably should have known to expect Mike would be there as well.

They were having lunch together at Will's desk, and through the window I could see them startle as we knocked, but quickly smiled and waved us in when they noticed it was me. As soon as we stepped into the classroom I could tell that Mike was sizing up Danny, even though he already knows him from his English class, and knows he's perfectly smart and polite. He didn't say anything and his expression didn't give anything away as he shifted his attention back to me.

I have to say it's kind of weird having that kind of ... consideration? It's sounds strange and might not make sense but... I've never had a brother before - not like that at least. As annoyed as I want to be over him scrutinizing my life - which he still has no business doing by the way and if he even tries to meddle I will strangle him - it feels nice to have someone watching out for me.

Not that I need protecting from Daniel of all people - he's the sweetest, most considerate boy I know. He's always smiling and it's genuine. I've never met anyone who seems so genuinely happy and kind at all times. It's kind of amazing to see.

But anyway, I gave him the tape and after he'd thanked me I just had to ask Mike if he'd seen the painting Will had made in class.

He'd given us this new assignment - we're back on paint, thank god - and Will had used the projector to show us some new techniques we could try out. He'd started drawing a face from memory and it slowly became obvious that it was Mike - or well, Mr. Wheeler for everyone else in the class. He paused and blinked for a second and then he added antennae and turned him into an alien, making everyone laugh. I don't even think he'd realised what he'd been drawing until he'd seen the whole picture, turning him into an alien to make fun and distract everyone. I wish I could draw like that though - just get lost in a trance and see where my mind ends up. I feel like it would help clear up a messy mind.

Anyway, after he was done with the sketch and actually got around to showcasing the paint techniques - using blues and greens to stick to the alien theme - it actually turned out really cool.

As expected, Will squirmed in embarrassment as I brought up the painting but he pulled it out for Mike and Danny who of course thought it funny as well. And seriously, Will is crazy talented - even this silly five minute painting was insanely well done.

We talked for a while, but Daniel and I still had to get lunch so eventually we had to join the others in the cafeteria.

By the time we got to seventh period English, Mike had hung up the painting in his classroom. He even had a frame for it and everything!

Seriously, where did he get that thing on such short notice?

Love, Holly