#bc no we should not be expecting & accepting every new release to be broken. this is not okay.

[iniquity-fr]

ancients were a mistake for 5000 reasons but the fact that they keep releasing with a hundred bugs and gene errors to the point people are accepting this pattern of broken releases is pretty abysmal

[random-mha-thoughts]

Name (Todoroki x Reader)

Pairing: Todoroki x fem!Reader

Anon asked: “suggestion for Todoroki angst : he got in an arranged marriage with S/O because of his dad who offered a large amount of money to her family for this. Indeed it’s not what they are both looking for but Todoroki really acts cold, is sharp, openly criticizes her (a bit OOC ik) ... S/O is hurt but is still trying to be a good wife around the house to make the best of the situation and hide her insecurities. It’s just an idea, if it does not inspire you I hope you will find something better!! xx

Genre: Angst. Just...angst. I’m so sorry in advance plz don’t hate me

Warnings: Grab your tissues, this is a long roller coaster that’s only going downhill OH GOD I’M SO SORRY

Word count: 3,059

Tags:  @yuki-osaki​ @liviitehe​ @iamsoftsodonttoucheume-blog​ 

a/n: (Submission 1/3 for my post asking for todo angst ideas!  Thanks for the ask anon!)

Um. This is...depressing.  Really depressing and really intense.  I didn’t expect it would turn out this way.  But it did.  I had 2 other endings, but I instinctively wrote this one.  I actually had to stop and cry for a few minutes because it was just really painful I mean, I know I said I was ready to but I didn’t actually mEAn it

I tried a different style for this, but I think it suits the story well.  It’s 3rd person limited because I wanted you to experience everyone’s feelings in this (gotta maximize on the angst yknow) and half past tense bc of reasons you’ll find out.

God I’m afraid to post this. Is it bad that I love it, I honestly spent so much time writing this, but it hurts sO mUch?? Y’all are gonna hate me, you’re gonna kill me, oh no, just read the thing already, I’m hiding.

Buy me a coffee?

Shoto didn't know how to react to the news.  It's not that he had his eye on anyone in particular, or that he was even interested in marriage for that matter.  But because he proposed it, the man who had spent his entire childhood controlling every aspect of his life, he refused to accept any other intrusions from the man he should call "father."

The strange man across from his father spoke those words so casually.  "So Endeavor, when are these two tying the knot?"

At first, he thought he had misheard or misunderstood.  And then his father responded just as casually, "The date is set for next month."

The normally calm and collected boy almost burst the entire room into flames.  He clenched the silverware so hard his knuckles turned white and his teeth ground together, but he couldn't say anything in front of his father's guest and his daughter for fear of shaming himself.  The girl across from him offered a sympathetic look, but he turned away, already preparing the earful he's going to give his father.

-

"I want nothing to do with this!" he whirled on Endeavor as soon as they were home.  "You've made my life a living hell controlling every single thing!  And now you even want to control my marriage?!"

"I'm doing this for you!" Endeavor bellowed right back.  "For the Todoroki name!  For your future!"

"This is all for you!  I want no part-!"

"If you don't agree, you'll never see your mother or the siblings again."

The calm threat was enough to drench Shoto's wrath into submissive fear.  The flaming monster in front of him proved once again that he hasn't an ounce of sympathy for his blood.  He's learned that family is the only thing keeping his son under his thumb and he still actively exploits that weakness.

All the boy can do is swallow and walk away, retreating to the outside world to escape his bitter reality even temporarily.  Shoto doesn't have outbursts often, but there are times when the straw finally breaks the camel's back, and this is one of them.  All he can do is run until he can't run anymore, reaching somewhere secluded enough where he can burst out in flames and ice without hurting anyone, finally getting to a forest where he can do exactly that and scream to his heart's content.  It's the only thing he can do that is under his own control.

In the month that followed up to the wedding, Shoto barely spoke a word to anyone, choosing to isolate himself.  He only came out when he absolutely had to show his face at functions to the bride's family and look presentable.  His mind was always absent, the time flying in a blur of colors and white.  Thankfully, his father did the preparations, so all he had to do was go along with everything.  Shoto was simply playing a role in a play or movie, he was an actor who deserved an award for being in character for a month.

The night of the wedding, he and his newly-wedded wife were whisked away to their new home, being alone for the first time together.  He didn't even know what she looked like nor did he care.  As soon as they walked through the door of their already-furnished house, he released a heavy breath, brushed past her, unbuttoned his tuxedo, and - cold as his ice quirk - instructed, "I'm going to bed.  Don't come up tonight."  It was the first time he had ever spoken directly to her.

His wife, through this entire ordeal, was patient with him.  She didn't want this arrangement either, but she figured they could at least talk and come to a mutual agreement.  The entire month, she never pushed him to speak to her.  She anticipated that he would be rational about this, as she was told by her family, and that they would be able to talk things over when they were finally alone.  Just as she was going to speak her mind the way she had rehearsed it many times, he dismissed her.  She was hurt, but she understood.  He's exhausted after a whole month of stress and preparations, she rationalized, He just wants to rest.  I wouldn't want to talk to a stranger after all that either.

Resolving to try again tomorrow morning, she undressed (with great difficulty), crept into the master bedroom for her clothes while Shoto showers, retrieved her pajamas quietly, and retreated back to the living room.  The girl searched all the closets for a thick enough blanket and settles down to sleep on a couch, the exhaustion putting her right to sleep.

The next morning, the new Mrs. Todoroki woke up bright and early to make breakfast for her husband as an olive branch.  She toiled away in the kitchen, somewhat making a racket even though she wanted to stay quiet so Shoto can sleep.  Just as she finished setting the table and had to face the question of how to wake him, the boy padded down from the room.

"Oh, morning!" she smiled brightly at him.

He murmured a greeting back only to be polite, his face devoid of any real emotions other than coldness.  He sat as far away from her a possible, thanking her for the meal halfheartedly and digging in without another word.

After waiting a few moments to let him satisfy his hunger, she cleared her throat.  "So, um-"

"Your tamagoyaki needs more soy sauce and butter," he stated bluntly.

She blinked at the harsh comment.  It was shocking he said anything to her at all, and the first thing he said was an insult.

"And the miso has no flavor," he continued in the same tone.

The girl finally gathered her wits.  "I'll do better tomorrow.  Thanks for the feedback, I guess?" she laughed nervously, trying to erase the immense tension Shoto bled into the atmosphere.  When he didn't respond, she tried again.  "I know this isn't something either of us wanted, but that doesn't mean we have to live here like enemies.  We could be friends, or even just roommates!"

"I'd rather be strangers," he interjected harshly.

It felt like a stab in the heart.  Here she was, trying to make their lives somewhat bearable together through their common misfortune, and all he wanted to do was live like ghosts in the same house.

Shoto placed his chopsticks down firmly, glaring her straight in the eyes with the iciest hatred she's ever seen.  "Just to be clear, I want no part of you.  You live your life and I live mine.  You can have the bedroom to sleep at night if you want, but it's mine when I come home to shower and prepare for bed.  We will not sleep, talk, or breathe near each other as long as we are in this house."

She dipped her head in defeat, unable to bear the weight of his stare.  "C-Can we at least have our meals together?" she asked feebly.

It's something he respected, coming from family values no matter how broken.  It's the only exception he made to their less-than relationship.

Months passed and she kept her end of the bargain through a suffocating routine.  At first, the girl was kind, trying to get him to open up to her somehow without overstepping her boundaries.  She made excuses for him constantly.  He's just tired.  The least I can do is leave him alone.  I can't comfort him anyway, I'm a stranger.  He's still upset about the whole thing, he'll come around.  She even begged her boss to let her leave a little early every day to make sure she had ample amount of time to get home, shower, and prepare dinner before Shoto returned.  When he did, he wordlessly showered, sat down to dinner, nitpicked at her cooking, finished eating, and went to sleep on the living room couch, all without even sparing her a glance.

But as every day passed, she grew more weary and worn in her efforts to please him.  She tried to fix every little complaint Shoto had about her cooking or the cleanliness of the house or the laundry, but nothing seemed to satisfy him.  She tried to hold onto the silver lining.  At least he never touched me wrong or took advantage of me, she would think bitterly.  He has the decency not to take his anger out on me.

Then the dark thoughts closed in as he continued ignoring her. Surely, Shoto's only disgusted with his father, he doesn't harbor hatred for her personally.  Then she would remember the hate and disgust in his mismatched eyes the first day of their marriage.  She realized no matter how desperately she tried, he wouldn't show her any signs of warmth or appreciation.  No more did she try to make conversation with him during meals or greet him when he came home.  There were days she thought, Why should I even try?  He wouldn't like it either way.  What's the point of getting up today?  Maybe he'll even criticize how I sleep.  But she still rose out of bed every morning and carried out her routine because it could always be worse.

A sliver of hope came in the form of Shoto's birthday.  The girl figured if she did something just a little special, he would acknowledge her even the tiniest bit.  She spent days beforehand researching and testing out the perfect cold soba recipe because she knew it was his favorite.  She lit some candles on the table and bought a small cake for them to share.

When he came home, she was sure he would notice and say something, but he didn't; he went straight up to the bathroom as he usually did without a word.  Though she felt the glimmer lessen in her heart, she didn't give up.  For the first time in a while, she verbalized her thoughts to him.

"I made your favorite for your birthday!" she chirped as he sat down, setting the plate and a cup of dipping sauce in front of him.  She was so eager for him to try it because she was confident she'd gotten it right this time.  If she were a dog, her tail would've wagged in anticipation as he slurped the noodles into his mouth.  She waited patiently for his feedback, leaning forward in excitement as he swallowed.

"The noodles are slightly overcooked.  And the dipping sauce is too strong, you didn't add enough water."

Her hopes came crashing to a halt.  She couldn't even muster anything else to say as he hastily finished his dinner and rose to leave.

She stood up, heart hammering in her chest.  "What about the cake?"  Anything, something!

"I don't want it."  He turned his back to her.

"I got it for you!"  It was the first time she explicitly stated her intentions, the first time she made herself vulnerable.

"You shouldn't have gotten it at all.  It was a waste of time.  Why did you even try?"  The calm and cold words stung her as he got up and left her in the dining room alone.

His words echoed against the empty walls of the dining room.  She looked down at the cake he disregarded, feeling cold and dizzy.  She took a shaky breath in and out before resting her head on the cold glass table to stabilize herself.  The voice stabs through her even as she closed her eyes to block them out.

It was then she felt bluntly in her mind.  He hates me.  

-

The girl feels nothing but numbing cold, both on her face and inside.  Rolling up to sit, her neck and back cry out in soreness from sleeping on the table, pale light greeting her from the nearby window.  Her face feels strange, and she trudges to the bathroom mirror to check why.  She knows she should be preparing for work, but what's the point?  Her reflection reveals lines across her cheek, probably from sleeping on the edge of the table.  She shuffles to the kitchen because she should probably start breakfast, but why should she?  Leaning against the counter, she can't bring herself to move anywhere.  Her brain buffers as she tries to force herself to think of what to do now.  She doesn't feel sick, but there's a dull, cool feeling in her limbs that she can't face.

The phone rings, catching her off guard.  Glancing at the number, she doesn't hesitate to answer.  "Hello?"

"Hi, baby.  It's me."

Her eyebrows relax, appreciating the sound of a familiar voice.  "Hey, Mom.  What's up?"  She knows her voice sounds weak, she's hoping the woman can't hear it.

"I'm just checking in, you haven't called in a while.  Is something up?  You don't sound good."

"I'm...fine," she stumbles over the word.  "How's dad?"

"He's doing well.  You sure you're not sick, sweetie?"

"I'm not."  She leans her back on the counter.

"Is Shoto there?  How is he?"

And just like that, she feels something dislodge in her throat.  "He's going to work, he probably left early."  She doesn't know, there hasn't been any rustling in the house.

Her mom is silent for a while.  "Tell me the truth.  What happened?"

The sound of her mother's stern voice moves something in her chest.  "It's nothing, I just made a mistake."

"Doing what?"

"I tried making Shoto's favorite dish for his birthday yesterday.  I put so much time and energy into perfecting it for him to enjoy it, but I fell short again."  She laughs bitterly, tears starting to fill her eyes.  "He didn't even want the cake I got for him, he said it was a waste.  I shouldn't have bothered with it."  She blinks and a tear slides down her face.  "I don't know why I was expecting something different to happen, I'm so stupid."

"Honey, where is this coming from?  What's going on?"

She wipes her face, but more spill out of her eyes as she slides down the cabinet onto the cold floor.  "It's just a little frustrating when you're sharing a house with someone you're married to and they barely acknowledge you.  I mean, I expected there to be problems at first given the circumstances, but I didn't expect this."  Her voice shakes with every word.  "God, what did I do to deserve this?  I've lived in this house for 5 months, and never has he even said 'thank you' to me.  Hasn't breathed a word of appreciation to me.  I do so much for him.  I've bent over backwards for him just to make everything done the way he wants it, I've worked my entire routine, my entire life in this house to cater to him, but all he does is complain!"  She sobs into the phone, curling up into a ball as tremors wrack through her body.  "I'm just so tired.  I don't know how much more I can take.  I've made so many excuses for him, but I just can't do anything right.  Why am I even still here?"

Her mother is silent on the other line.  "My baby, if I knew this would happen, I wouldn't have allowed this marriage.  I can't believe you're going through this."

The girl can't formulate words or think anything coherent.  She drops the phone out of her hand, wrapping her legs to her chest as the tremors continue in waves, muffled whimpers the only thing escaping her lips because she's afraid to cry out loud despite being in an empty, lonely house.

-

Shoto heard something he probably shouldn't have, but he definitely needed to hear.  It bothered him for the rest of the day.  It was a sobering slap in the face that made him feel shame and regret, a hard-to-swallow pill that sat in his stomach the entire day.

On his way back home, the sound of her sobs echoes in his mind.  He curses his behavior from the past few months.  At the very least, he made a lady cry, and at the most, he's been a complete asshole.  It's all his fault, that is something he's completely aware of and is ready to take full responsibility for.  All this time, he was stupidly neglecting her out of spite for his father, but he broke her in the process.  He's angry that he had to hear her crying to realize that.  The only thing he can do now is hurry home to profusely apologize for what he's done and hope they can start over new and she forgives him, which he's prepared for her not to do.

Honestly, he deserves all the hate from her that he's shown her.  After everything she's done for him and all the effort she's put into their imbalanced relationship, he wouldn't be surprised if she yelled at him and called him all sorts of names.

Shoto walks through the door, the atmosphere different.  The house is quiet as usual, but it's more eerie than he remembers, as if that means anything with how aloof he was.  He slips into the bedroom and changes quickly, returning back to the quiet dining room where his dinner waits for him at his place.

He tentatively sits and spares a quick glance at the girl who's supposed to be his wife.  Her eyes are still puffy and she's tugging at her sleeves.  It seems she's avoiding him and he was avoiding her before.  He questions how things should start.   When is the right time to speak his piece.  Would she listen to him now?  He decides to take a bite first and chews slowly.  I guess a 'thank you' is a good place to start-

"We're getting a divorce."

He stops suddenly, almost choking.

"You don't owe me anything, and I don't want anything from you."  She isn't looking at him, voice calm and collected.  "Besides, it's better this way since it's what you wanted."  She rises from her seat smoothly.  "I've already packed for the next few nights.  I'll have some workers come in the following weeks to clear out the rest, and the papers will be delivered promptly."  Her footsteps recede from the room.

Shoto turns around to call out to her, and his minds comes up blank.

He never even bothered to remember her name.

~

Sequel?

Sequel!

[gra-sonas]

What do you think would have happened if pll and rnm would have cross over ( the characters) ?

I can’t speak for the other PLL characters (I’ve never actually watched the show apart from most of Tyler’s/Haleb’s scenes), but this is something I sent in as a question for Tyler for the Pretty Little Wine Moms podcast!

In Rosewood/#PLL, Caleb had to deal with some pretty bad people, in #Ravenswood he had to deal with the supernatural. How would he handle traveling to #RoswellNM and finding out 👽s are real? And how would Caleb and Alex get along?

I really hope that they’re going to ask him the question (or one like it) and we’ll get an answer from Tyler himself. 🤞

As for myself, I think Caleb coming to Roswell would be super fun. Thanks to spending time in Ravenswood, he’s experienced in handling paranormal/supernatural events. I think he wouldn’t be too surprised to find out that aliens exist. 

~*~

Caleb and Alex meet at some IT/hacker conference, both stopping in their tracks when they realize how much they look alike. Caleb manages to play it cool, but Alex is freaking out internally. What kind of fucked up alien conspiracy is this, he thinks.

It takes Caleb quite a bit convincing that he’s in fact a real person, that he’s not some weird clone, and that he wasn’t set up to meet Alex. Once Alex has performed a solid background check, he relaxes a bit. They go out for a drink that night (being hit up several times bc people would love to “fuck with the pretty twins”) and they get along splendidly. So splendidly in fact, that at the end of the conference, Alex invites Caleb to come and visit him in Roswell. 

When Caleb and Hanna (and their son Aidan) arrive in Roswell, they fit in with the pod squad crowd right away (Isobel and Hanna become best friends on the spot, and Aidan is instantly smitten with Rosa, who’s at first slightly irritated, but enjoys being “the favorite aunt” very quickly). 

Only Michael’s a bit weirded out at first. Caleb really looks so much like Alex, but after a while, he relaxes. Caleb is very much his own person, and while he’s pretty damn gorgeous, he’s no match for Alex’s good looks (in Michael’s humble opinion). He’s also ridiculously in love with his wife and kid, and Michael decides to just roll with it.

Shortly before the Rivers/Marin family is about the travel home, Caleb pulls Michael aside.

“Don’t you think it’s about time you propose to Alex?”

Michael is startled. He’s been getting along with Caleb quite well, but they haven’t talked all that much, and for sure not about something personal like his relationship with Alex.

“No offense, but I don’t think that’s any of your business, Caleb.”

“I know, Michael, and I apologize for being so blunt, but we’re leaving soon and we didn’t really have a chance to talk.”

Michael nods. “Apology accepted. Still none of your business.”

“You know, when Alex and I went out for a drink that night at the conference, we got hit on several times because people thought we were twins. You know what Alex said every time?”

“He said no, obviously, but I know that.”

“Michael, he didn’t just say no, he said ‘I’m engaged’ or ‘I have a fiancé’ every time, while I showed people my wedding ring.”

Michael is stunned and is voice a mere croak when he speaks again.

“Engaged?”

“Michael, he talked about you almost nonstop that night. How much he loves you, how happy you make him, and how he hopes that things will calm down enough one day for you two to have your happily ever after. But you know how things are, they never really calm down. So why not just ask him now and marry him? You two are amazing together.”

Caleb smiles at Michael and squeezes his hand. Michael swallows around a huge lump in his throat.

“Oh, okay, that’s interesting. I mean, that’s good to know. Not that I didn’t know. That he loves me, I mean. I just never dared to hope that marriage would be something he’s interested in.”

“Believe me, it’s something he’s definitely interested in. Talk to him. He’s told me a bit about your story, and how hard it’s been for you to start communicating. But take it from someone who almost fucked up the happily ever after with the love of their life: talk to him, and marry him. You won’t regret it. Marrying Hanna’s been the best decision I’ve ever made.”

Michael pulls Caleb in for a quick hug.

“Thanks, man, I really appreciate your advice. Guess it’s time to unearth the box with the ring from the bottom drawer at the Airstream.”

“You have a ring for him and haven’t proposed yet?”

Michael blushes and looks sheepish all of a sudden.

“I bought this ring more than a decade ago. There never seemed to be the right moment to ask him.”

Caleb’s eyes, so similar to Alex’s, are soft and Michael’s sure he spots a tear in one corner.

“Oh Michael, please go get that ring, and then get your man. I expect an invitation to the wedding!”

“I can’t promise you that, if he says yes, I’ll insist we get married right away, but you’ll be invited to our one year anniversary party I’m sure Isobel will insist on hosting next year.”

Caleb laughs.

“I really like the way you think, Michael. I wish you and Alex all the best and all the happiness.”

Michael winks at Caleb and walks back over to Alex who looks at him, one eyebrow raised in question.

“What was that about?”

“Oh, nothing, he just gave me some interesting advice. What do you think, should we bid our goodbyes, get takeout from the Crashdown and make a trip out into the desert for some stargazing?”

Alex’s smile softens and he leans forward to kiss Michael.

“I’d love that.”

An inexplicable calm washes over Michael in that moment. He’s no longer afraid to propose to Alex because he knows that Alex will say yes.

They say their goodbyes, drive by the Crashdown where Arturo hands them a large picnic basked (Alex winks at Michael when he’s about to ask “I messaged Arturo while you were busy saying goodbye to Aidan.”), and they’re on their way. They stop at the junkyard, where Michael retrieves the well worn dark green velvet box from the bottom drawer at the Airstream, and drive out into the desert.

It’s been a beautiful day, and it’ll be at least another hour before the sun will go down. Michael takes the two folding chairs from the back of the truck (Alex laughed when Michael had shown him the chairs but Michael’d been unfazed “We’re not getting any younger, Alex, they don’t take up much space and we’ll be so much more comfortable.” He’s been right, of course.), unfolds them and places them side by side, facing the sun. Then he puts the picnic basket in front of them and gestures at Alex to sit down.

Once Alex sits, Michael pulls out the velvet box from his jacket pocket and drops down on one knee in front of Alex. Alex’s eyes grow wide and there are tears glistening. 

“Alex Manes, will you do me the honor of going to the court house first thing tomorrow morning and getting married to me?”

Alex laughs (and cries a little at the same time), bends forward and throws his arms around Michael’s neck. He kisses Michael’s face over and over until their lips finally meet. “Yes, a million times yes,” Alex whispers into Michael’s mouth, and Michael feels like he’s about to burst into a million pieces, he’s so happy.

They kiss for a while, reveling in the knowledge that they’re about to take another important step together. When Alex finally pulls back, he looks so happy, Michael can barely believe that he’s the reason for it.

“Please, show me the ring, Michael.”

Michael hands Alex the box and Alex runs his fingers over it. The box looks like it’s been through a lot. Like Michael’s been holding it quite often. Alex swallows.

“Michael, for how long have you had this?”

Michael squeezes Alex’s hand.

“I bought it the day you left for basic training, right after my release from jail. You remember, Kyle’s hub caps?”

“Oh, I remember. I was furious with you because of that for way too long. But Michael, you bought me a ring. On that day. Even though I left. I had no idea.”

Michael can barely stand seeing more tears form in Alex’s eyes. He takes the box from Alex, opens it, and takes the ring out. It’s a simple silver band that reflects the sun beautifully. Alex is mesmerized. Michael lifts the ring and show’s Alex the engraving on the inside.

A + M ♡ forever

it reads. Alex swallows when he thinks back to the broken boy Michael was a decade ago. And yet he bought this ring and got it engraved with what amounts to a love confession and a vow in equal measure.

“Michael, this is the most beautiful, precious gift you could’ve made me. It took us so long to get here, but we made it. Through a thousand ups and downs, through trauma and heartbreak. And yet here we are. A bit older, a bit wiser, and even more in love than we were a decade ago. I can’t wait to marry you tomorrow and call you my husband for the rest of my life. I love you.”

Michael slips the ring on Alex’s finger and kisses it. It fits and looks endlessly perfect on Alex’s beautiful hand. They are both crying now, kissing and laughing and hugging. It takes them a while to calm down. 

They spend the evening out in the desert, they spend the night in their bed in their house, and the next morning they head over to the courthouse and get married. 

When Alex puts one of his old silver rings on Michael’s finger (no time to buy a new one before the ceremony), it looks like it was made for Michael’s hand. They decide that they won’t buy other rings, the ones they have being a perfect echo of their past, and a beautiful promise for their future.

***

Caleb’s phone beeps to notify him of a new message at 11:07am the day after they left Roswell. Hanna’s driving, so he pulls out his phone and checks his messages. It’s from Michael. A photo of two hands clasped together, silver rings reflecting the sunlight. The message is short.

Best decision I’ve ever made! Thanks again, and see you next year!

[probably-writing-x]

Innocence never looked so good

Valerio x Reader

Request by anon : I love your writings🧡🧡they’re what keeps me busy during this sucky time. If you’re still taking asks, I was wondering if you could write about Valerio and him meeting a new transfer scholarship student. At first he’s not really interested bc she’s pretty innocent but then he ends up falling for her. Kind of like Guzman and Nadia I guess. I mean you could honestly write it anyway you want and if love it 🥺 this was just ask. If not it’s understandable :))

Gif is not my own

Requests are open🤍

“So is this how it works here?” It was a boy from the back of the class that spoke up, “You just dish out scholarships left right and centre?”

He was a tall, slim boy with wild dark curls being his typically distinctive feature. You were more drawn to the sharp structure of his face and how he seemed so nonchalant about his extroverted personality. He was leaning back in the chair with his legs on top of the desk and his arms stretched out like he was opening himself to the world.

“Valerio, not now,” The teacher rolls his eyes, “(Y/n) is just as deserving of her place here as any of you are. I expect you to make her welcome as you would do with any paying student, understood?”

You swallow the lump in your throat and blink a couple of times at the intimidating crowd in front of you. You weren’t the most confident at the best of times so starting a new school was already an experience you feared - let alone when that school was filled to the brim with rich kids that you’d never fit in with.

The only spare seat in the class happened to be beside this Valerio so you walk your way over and stand awkwardly beside his desk.

“Can I sit here?” You ask quietly, forcing yourself to remain calm, “Please?”

He lets a smirk dance across his lips as he trails his eyes up and down your form, tapping his pen on the table with one hand, “Okay, (Y/n).”

Valerio swings his legs down and shuffles in his chair to make room for you beside him. You set your bag down beside you and pull out the books that you needed for the lesson, along with your pencil case.

“Fuck,” Valerio says a little too loudly, “She really is a nerd.”

You blush furiously at his comment but keep your head down nonetheless, scribbling down the date and the title of the lesson.

“Valerio!” The teacher warns, “Do I need to tell you again that your father’s money can easily be replaced?”

He rolls his eyes as a stunning girl from a few rows in front turns around and glares at him - an evident warning behind her perfected eyes.

Valerio ignores you for the rest of the lesson, spending half of his time staring out of the window and the other half trying to see how far he could rock back on his chair.

- - - - - -

You’re sat next to Valerio in that class every single day and every day is the same. You wait for him to move his feet from the table, you sit down and get on with the work and he finds any way possible of avoiding the work. It continues like that again and again every single day.

“I don’t think I’ve ever seen you with your hair down,” He comments as you sit down on one random Monday morning.

You’d managed to make a few friends at Las Encinas - the other scholarship students really. But you tried your best to remain under the radar.

“I don’t ever really think about it,” You shrug, tucking a stray lock behind your ear as you scribble down the date.

“It’s nice.”

It’s weird to hear Valerio say anything remotely close to a compliment, even if it was something minor. But you find yourself looking at him with a little frown.

“You don’t think I have it in me to be polite?” He cocks a brow, “I’ll have you know I’m a gentleman, (Y/n).”

“If you say so,” You shrug and it’s like the tiniest spark of fire he’s ever seen from you. It takes him aback a little even if it shouldn’t. You were always so passive, and yet you’d had that tiniest fraction of sass in your words then that threw him just a little off balance.

He watches you a little bit more that day, wanting to know the person behind who you were when you sat beside him.

- - - - - -

The next morning, Valerio is still in his normal position in the chair as you come in but there’s a rose left on your side of the table.

“What’s this?” You question, picking it up to make space for your books.

He shrugs and shifts his legs, as usual, “I have no idea.”

“Well, you must’ve seen who put it down,” You comment, turning it over in your hands, “Who was it?”

“Can’t have been me,” He pushes himself off from the table using his firmly planted hands so that he rocks back on his chair, “I’m not romantic enough.”

- - - - - -

There continue to be little moments like that. A week later, he left a book on the table that he claimed was a brilliant read under his own recommendation. Next, it was a new notepad from when he saw you were coming to the end of yours. Sometimes, it would just be a note where he’d scribbled a poem quote that he liked. And, oddly, you found yourself looking forward to each day where you may or may not find a little gesture given from the extroverted boy that sat beside you. He didn’t show any interest in you outside of those moments, ignoring you in every other class, never acknowledging you in the hallways - but that one class every morning was his slight moment with you where he did show that side.

It’s a number of weeks later and things had started to deteriorate for you yet again at home. Your parents were what you’d call ‘missing in action’ - where they reprised their regular roles of being shitty parents by abandoning you with no knowledge of when they’d return. Normally, it would be for a cheap holiday they’d booked and not told you about, or because their drug-fuelled minds had considered it a brilliant idea to head off to somewhere unknown. Whatever it was, it always circled back eventually. And you’d be left alone yet again.

This time, it had meant that you’d barely been sleeping. So you’d decided to show up to school early and you found yourself sitting in the class before anybody else had even arrived.

When Valerio walks in, he stops in his tracks.

“The introvert, the woman of routine, breaking the cycle?” He gasps, sauntering over to you with all levels of confidence as he always managed to hold.

You must’ve looked an absolute state. Your hair was pulled into a bun, your eyes darkened by the purple circles that carried their weight, your clothes weren’t as neat as you tried to keep them and every part of you felt a little detached from your normal self.

Valerio strolls around your chair and flops down into the one next to you, “What caused the change, (Y/n)?”

When you don’t respond to him with a polite or sassy response, and he’s instead met with silence, he frowns and leans toward you in his chair.

“Is everything okay?” He asks, quiet and cautious like he was saying it with genuine care.

You run your hands over your hair to smooth it somewhat and look at him with the most forced smile you had the energy to give, “Yeah, I’m fine.”

With that, you go about all the parts of your normal routine. Pen out, books open, date in the top right hand corner. But there’s something about the shaky breath that you release and the way that your eyes seem just on the verge of pouring that makes Valerio struggle to ever take his eyes off of you. He’d never felt so serious in one of these classes. And it wasn’t an important topic or a test he should be trying to pass. It was because this girl beside him had a lot more than her passive exterior showed - and he couldn’t imagine just how much she’d had bottled up inside this whole time.

- - - - - -

The next morning, and the next and the next, you’re sat in that class before him again. There was something about being at school that made you not feel so alone so you’d been making the most of the hours you could spend here. Valerio expresses concern every morning by asking if you were okay and you even start to notice him steal glances in your direction every time you were in his class or you passed him at school.

This one morning, he comes in to find you practically half-asleep at the desk. You don’t pay attention to when he sits down and your books are already open but they’re empty and lifeless on the desk.

“No date this morning?” He nudges you, noticing how your appearance had changed day by day. Deteriorating little by little.

He’d even noticed how your lips seemed a little bit more chapped and your hands seemed drier and less youthful.

You flinch from your daze and try to shake it off, “Yeah, right. Um, what are we doing today?”

And it’s odd how much his heart drops at the question. This wasn’t you. This wasn’t the girl he’d grown so used to seeing every single morning in the same light. That light had dimmed. And he felt it within him that he couldn’t possibly let that light dim any more without at least an attempt at reigniting it again.

- - - - - -

When you come into school early the next morning, it startles you to turn on the light and not be alone in the class. Valerio sat at the desk with his feet up on the table and a proud smirk on his face.

“I beat you,” He comments, “Eventually.”

You wish you had the energy to respond with something witty, but it had been near enough ten days without your parents now - ten days of being alone in the flat without heating in the middle of winter, with the broken fridge and the oven that never heated up properly.

“Hey, we have a test coming up next week,” Valerio comments, “Do you mind helping me study?”

“A test?” You frown, having no recollection of anything being mentioned, “Yeah, yeah, I guess that’s okay.”

It pains him. You were clearly going through something that went beyond the realm of school drama. And yet you’d still agreed to help him with no real reason to accept his request. You could’ve easily said no. You had no obligation to help the boy who was yet to put in an ounce of effort to any day at this place. But he knew that no part of your good heart would have it in you to say no when he’d asked for help.

“Great,” He grins, “Shall we say your place tonight?”

“I-“ You stop yourself, “Could we not go somewhere else?”

“Lu will be at mine, school will be closed, and it’s too cold to go anywhere outside,” He explains, “I’ll meet you there for six.”

“How do you know where I live?”

“I have my ways.”

Those ways consisted of his actions this morning whilst he was waiting for you to make your early entrance to school. He’d broken into the filing cabinet of the school office until he found the file that belonged to you, not looking any further than at the address in the top right hand corner - he’d hope that your meeting with him tonight would tell him the rest of the information that the file couldn’t.

- - - -

At just past six, there’s a repeated buzzing to try to get into your flat and you let Valerio up cautiously. This all seemed very weird. Why had he bothered? He was Lu’s brother - if he needed help with studying why wouldn’t he go to her.

He comes into your flat, still dressed in his school uniform as he smiles widely at you, “So this is your humble abode.”

You roll your eyes, “I’m guessing you didn’t expect much from the scholarship student.”

“It’s nice,” He pokes his head around every corner, “It’s quaint. Are your parents out?”

You scoff before you can stop yourself, “You could say that.”

He looks at you like he had a million more questions to ask but you interject before he can continue. He sits down at one of the seats on your dining table.

“So, I haven’t really prepared much for studying, I figured we could just go through the content and then see which bits you struggle with the most-“

“(Y/n), are you okay?” He cuts in, showing more compassion in that one question than you’d heard from anyone for a long time.

You swallow the lump in your throat, “I told you I’m fine. Can we please just get on with studying?”

“It’s me, of course I didn’t come here to study,” He rolls his eyes, “You can talk to me, you know?”

“Why would I do that? So you can go and tell the rest of them that the new scholarship kid actually has a kind of shitty life at the minute?” Your anger bubbles and you’re not really sure what causes it, “I’m not one of you guys and I know that.”

“Is that really what you think of me? You think I’ve come here to humiliate you,” The look of realisation on his face makes you instantly beyond guilty.

“How could I not expect that?” You sigh, “You said it yourself on my first day.”

“Things have changed since then, (Y/n).”

“Have they? Because you’re nice to me every single morning for an hour, and then the rest of the day consists of you acting like I don’t exist - I see it Valerio, I’m not an idiot,” You shake your head, “Why would I assume that much has changed?”

“Because I care about you (Y/n),” He sits upright and you can tell he cares about what he’s about to say, “I see you every morning and it’s like I’ve seen you go through this whole change since the start of the year. You became more confident and you came out of your shell, and then it all seemed to drop recently. I made up the fact that we had a test and I went into school when it was still dark so I could find your address, and then I walked myself here just so I could come and see you outside of that stupid desk at the back of the class.”

You stay silent. That was true. You couldn’t take for granted the fact that Valerio had been nice to you recently, and conscious of how much you seemed to deteriorate. You watch as he lights up a cigarette and takes a long drag.

“What’s this then? Valerio’s got feelings for the scholarship kid? I don’t think Lu will be impressed.”

You watch his lips curl into a smile and how his teeth flash bright against his dark curls, “I think she’d be surprised about me having feelings for anyone.”

And just like that, it’s probably the most genuine smile youve had in weeks.

[sneakerdoodle]

I was going to release this as a long video essay but devices and software had conspired against me and eventually drained my patience, so here it is in the written form. My magnum opus. My 15 pages long analysis of the three Infinity Train seasons currently out. 

1. Introduction

So for starters, I watched Infinity Train way too late, only a few weeks before the release of Book 3. And it immediately gave me MANY many thoughts, head full... Needless to say, when the first 5 episodes of Book 3 were released I was HYPED. So hyped that, being on a vacation out in the countryside, with better connection only availble upon climbing a nearby hill, I made some. sacrifices. To get there after dark, when everyone else was sound asleep.

[id: two screenshots of separate discord messages by someone with a handle “fern”, one reading “ also i decided to not risk bothering people/dogs by opening the gate, so i jumped the swamp instead, except i didn’t actually cover it, my foot got stuck, i barely saved my shoe, and i need to do that again to get back bc i am locked out”, another reading “well” with a photo of a person’s legs covered in black dirst from feet to knees. end id]

And by the rules of friendly bullying, I am now destined to have that night haunt me forever. Naturally.

[id:discord chat search results for the word ”swamp” (38 results found), cropped so that a part of one message is readable, saying “... KNOW it was the SWAMP that embraced ME, not the other way around”, another (by someone with a handle “Fleur” saying “you already DID embrace a swamp”. end id]

[id: a message from the same person saying “he asks ‘how was your swamp’”. end id]

[id: a message from the same person saying “big words coming from mx. soggy feet” with an angry red overlay. end id]

And, well. The first two Books had left me with a sense of assuredness, the underlying motif of them appearing empowering and infinitely comforting, and I was excited to get another supporting pillar in season 3. Another story to turn to in time of need to remind me that I have the power to make my life a better one, that it is never too late to make something of where I am. And, well, it's not that Book 3 didn't continue the topic of personal choice and growth, but the story it told added... let's say, more weight to the idea of personal development. 

That is perhaps only natural: narratives need to grow, to develop, to take the themes explored in them further, deeper with every coil of the spiral. And a more, grave, exploration of them will only bring them closer to life. But in the aftermath of Book 3 I had to deal with a certain sense of powerlessness, not being able to fit it into a neat system, put it on a shelf in a shiny frame of witty analysis and call it a day. But, quite ironically, I believe that this exact feeling of unending change and death of comfort is the exact thing the show wants us to get comfortable with. And that's what I want to talk about here. Infinity Train's core narrative of an individual versus the wrold, individual versus change. The very concept of personhood, the relationship between the person and their environment and the way to approach it that is shown as perhaps the most productive. 

I’ll start with my Many Thoughts on the first two books to explain what I thought was the underlying message of both of them.

2. Book 1: The Perennial Child and the Unproducitve Protagonist Complex

Book 1 establishes the core elements of the narrative wonderfully, the writing is smooth, effortless, beautiful and takes you on a wonderul, deeply impactful and bittersweet emotional ride. We have Tulip, The Perennial Child herself, who has to renegotiate her relationship with the world, with life, change, and other people's power to bring said change. Tulip is also to learn true connection and make peace with its price.

The narrower narrative of a story centered around a divorce is a perfect gateway into a broader one, so let's explore the specifics of the foremer first. Tulip's mindset is the mindset of a child from a dysfunctional family. The notion of blame is very strong in her perception of the world. On one hand, she sufferes from a misplaced sense of responsibility for the way things are, as she admits in her conversation with One One. That is the most natural for someone who grew up in an unstable environment, with parents whose relationship was not harmonic and healthy.  A child caught in the middle of adults' anger and argumments internalizes that anger and those arguments as something having to do with them. And that's what we see Tulip go through, with her having to listen to her parents fight because of her needs. 

[id: a screenshot from Infinity Train Book 1 showing younger Tulip, a read-headed girl, sitting between her two parents upset as her father is telling something to her mother angrily. end id]

Tulip also has to step in as a caregiver to a suffering adult, tucking her dad in at night; the dialogue emphasizes that their usual roles are being reversed in that situation. Growing up in the middle of constant conflicts, having to provide care and comfort and stability to someone who was supposed to take care of her, had naturally resulted in a  deeply ingrained painful perception that Tulip is the one responsible for her environment, is the one to blame when it is “broken”, and is the one who should step up and fix it, make it right.

Then, on the other hand, there is the notion of blame Tulip puts on others, specifically her parents. Here, we see the same mindset but reversed: Tulip feels caught in the middle of their divorce and demands that they make it right, make it work, for her sake. She needs her family, she needs stability, she needs her parents to work out their schedules, she needs to get to the game design camp. And she is prone to seeing her parents as people who are cruelly destroying her life and her family for no apparent reason. 

I am not calling her entitled, of course; ideally, stability is exactly what parents need to provide their children with. That is their mission. And when they fail, it is more than natural for children to feel hurt and betrayed. In a way, they are. Tulip's agony over her parents' divorce is never mocked nor undermined in the show, either; it is shown with the deepest compassion. So this is not so much about calling her feeligns invalid, but about looking for ways to redefine the situation in a way that would help Tulip heal. The way out of her  agony seems to be to abandon the mindset that puts her at the center of her family life – and at the center of the world, in general. Things are not that simple; people have reasons for behaving the way that they do outside of how it affects her; and avoiding and rejecting that truth hurts her, first and foremost. Feeling like the center of the universe isn't so much selfish or arrogant or toxic; it's just painful, and Tulip needs to step out of it, for her own sake.

[id: screenshot from Infinity Train Book 1 showing the two adults from before, Tulip’s parents, with exaggerated demonic features, surrounded by flames. end id]

An important thing to discuss is that the notion of “blame” can only exist if there is indeed something wrong with the world. Let's go back to Tulip's defining conversation with One One, in which she gets to say some incredibly important words: “It's not your fault the car is this way.There isn't a fault, it just is.”. “No fault” can mean “no one to blame” as much as “there is actually nothing wrong with the world”. The words “It just is” carry this simple and raw reality check that forces us to accept the way things are, with no emotional withdrawal or avoidance of it. 

The world simply is the way it is, and even if the way it is hurts us, it doesn't mean that what hurts us is wrong. 

I would like to suggest that the Unfinished Car itself, the residents of which continue adapting to their unconventional reality and genuinely thriving in it through acceptance and flexibility, are here to emphasize that. We may not like the way things are, but that doesn't mean we should go looking for someone to blame and force to “fix” them, be out ourselves and others. We shouldn't ferociously attack what hurts us with wrenches, kicking and screaming and tyring to get it to Work Already. Sometimes the only thing we can do is to accept the reality of it, let go, and see what we ourselves can do to feel happy and content in the present circumstances.

Making peace with the way the world is, renouncing responsibility for it outside of her personal decisions, is exactly what Tulip gets to learn on the train. Being half-abducted by it during a time when Amelia has taken over and no one is there to give a nice welcoming message with specific instructions, Tulip is deeply distraught by the mysteries surrounding her, and infinitely frustrated by her seeming inability to 'logic' her way through the challenges. She boards the train as a girl whose main need is to create a semblance of control over her environment, through understanding it. 

[id: two shots of Tulip’s sketchbook where she is tryng to figure out train’s puzzles. end id]

She is at the center of the universe, she is responsible for the way things are, and it is up to her to figure them out.

That is a lone, individualistic journey of a single person who only wants to deal with their own life, their own problems, and Tulip does not welcome any companions at the beginnig of it. It makes sense for her to seek solitude: she feels overwhelmingly responsible for her own little personal world, just how unbearable would it be to let it merge with other people's lives, for her to suddenly be at fault when those she cares about are hurt? Not to mention that new people are new unknowns, new factors that can make her life harder, more confusing and painful. For a person stuck in her desperate desire for control, it makes a lot of sense to prefer to deal with her problems on her own and expect others to do the same.

Meeting One One, who is the first to care, and Atticus, who is there to dispense his pearls of wisdom about the resources we find in each other, the value of friendship and its ultimate worth in the face of responsibility and risk of loss that comes with it, is what helps Tulip find comfort and humility in her relationship with others. She is simply one of the many people influencing each other's lives; she is not at the center, not at fault for the pain that comes to others, even if they were hurt through their association with her; it was their chocie to lend her a hand or a paw, and they had the right to make that choice.

Similar humility of being just one of the many is found in Tulip's relationship with the world at large, too, shown through her relationship with the train. First, she is frustrated and impatient, trying to figure out the most rational logical way to proceed in her attempts to control what happens to her next. Then, as she finds joy and connection, things become easier, she finds a rhythm that works for her, as seen at the start of “The Ball Pit Car”. And then soon after that, in swoops Amelia, ready to wreck havoc and quench Tulip's progress by trying to kill one of her friends and turning the other into a monster, and pinning it all on her. 

Losing Atticus is far too big of a blow, and so Tulip gives up her lessons and falls into fatalism, feeling like she has no control over her fate, like she will never be allowed to make it off the train.

But the core component of Tulip's character is her ability to “bounce back”. She loses her progress quite tangibly, with the number going up – and yet reverses that development rapidly, when she gives it all another try and subsequently learns the truth about Amelia. Finding out that the current self-appointed conductor who has been terrorizing cars and threatening Tulip and her friends is just a person, Tulip asks a very important quesiton: “What's stopping me from doing what she did?”. She stops interpreting her surroundings as alien, hostile and created to act against her, in weird incomprehensible ways that seem to be mocking her attempts to find a shred of logic to them. Instead, she takes full control of her own actions and starts using her environment to her own benefits, much like Amelia did. But Tulip takes it a step further and approaches it in a healthier fashion. Where Amelia is desperately trying to make the world do her bidding, Tulip states a simple objecitve: help her friend, - and looks at her options.

Tulip steps into her power when she realizes her choices and actions matter and have full weight. That restores her faith into being able to help Atticus. She cannot control her surroundings fully, she cannot control how other people behave, and trying to make herself responsible for it is unfair to herself and others and hurts everyone. She can, however, make her own choices and use her own skills to strive to perserve what is important to her.

Once again, that mindset is directily opposed to Amelia's. In Book 1, Amelia is stuck in the constant attempts to recreate her life, to change the world around her, to bend her environment to her will instead of growing internally, accepting the change and adapting to it, taking responsibility for her own feelings and not for what surrounds her. The key motivation in the prison she has created for herself is grief. Unwilling to let go of the world she once shared with someone she loved, not wanting to accept the passing of something that was incredibly important to her, Amelia stagnates, rejects the thought of progress, of healing, of moving on. To start to get over such a loss is to create distance between yourself and what you are mourning. When you move on, you leave it futher and furher behind with each step. And so Amelia decides to stay exactly where she is: in the depth of soul-shattering suffering. Symbolically, she never even leaves the pod she was delivered to the train in, stays at the very beginning of her recovery journey, turns her pain into her armor until forcefully broken out of it by Tulip. 

The two characters are perfect for each other as counterforces; even more so, the very environment that Amelia has created, the one that frustrates Tulip with all the unanswered questions and mysteries, is the exact one that would motivate this girl to grow. This is something to keep in mind when approaching Infinity Train's narrative: Amelia is a perfect antognist to Tulip, and it is through encountering her that Tulip grows. Amelia's mistakes result in Tulip's progress.

A key moment in the two characters' confrontation is Amelia's offer to give Tulip a car of her own, where her and her family can be pitcture-perfect and happy in the exact way Tulip wants them to be. By that point in the narrative Tulip has already had to face the truth of her family situation, the reality of it, it not being anyone's fault nor her parents' whim, sad things simply just happening for reasons outside of anyone's control. And with Amelia's offer, she has to come painfully close to the truth that she has just started making peace with once again. She has to really internalize the fact that her real parents were not happy together, and wouldn't be happy in this simulated reality; and if they were, they would not truly be the people she knows. 

Tulip acknowledges the painful and beautiful truth of life: if you want to be surrounded by real people you can love, people that can love you, you need to give them the freedom to live their lives, freedom to hurt you, to walk away, to change the life you share, to have their own personal feelings that might be different from the ones you wish they had. They need to have freedom to make choices. It is scary, and it hurts, but that is the only way to have something real. While Amelia is obsessed with molding her environment in the image of her perfect life, and failing miserably, Tulip realizes that to reunite with her parents she needs to accept that, as long as they are in her life, things can change between them; and that is okay. That is the only way love can exist. With the risk of loss and pain, not any less worth it for that.

At the end of her journey, Tulip has learned the nature and price of connection, and her place in the complicated, irrational, incomprehensible world. She gets to accept that things don't need a reason for happening, that there is not always someone to blame and demand reparations from. She gets to accept that she is just one person -  but that realization gives her so much personal power. As just one person, she is free from the weight of the world she used to carry on her shoulders; as just one person, she has the full scope of her personal skills and power to protect herself and those she loves, to change with the world and adapt to it, once she starts treating it as a friend and engaging with it on its own terms. At the end of her arc, she truly gets to say that she is ready for everything: she learns a whole new way to approach life that makes handling change much less painful.

She is a protagonist that gives up the protagonist complex, telling her she is the central point of the larger narrative. And through that, she finds peace and flexibility.

What is fascinating is that the narrative itself then supports that idea by removing Tulip from the center of the show. In the next book we follow the arc of Lake, my beautiful perfect child. And with it being centered around the idea of Lake's personhood and them transcending the role of a denizen, that decision could not have been any more metatextually perfect.

3. Book 2: Cracked Reflection and the Relationship between Personhood and Connection

In the first season, Lake is a side character that appears for just one episode, contributes to the protagonist's journey and is then gone. But as the story shifts and focuses on them, we see their struggle as they try to break out of the role of a 'supporting character' and prove their completion and worth outside of their contribution to someone else's story. Their intial place in the narrative and their initial position within their own story echo each other beautifully, and this is the exact kind of writing excellency that has me absolutely hooked. Thank you Infinity Train.

Quite interestingly, the idea of personhood is explored in relation to the theme of connection. Lake shares their journey with Jesse, and the two character arcs mirror each other, dealing with the relationship between personal freedom and external bonds. 

Lake and Jesse operate under the same false pretense that to connect to people means to be what they want you to be, that in order to have friends you have to sacrifice who you are, what you want. They approach this false predicament from the opposite ends: Lake by avoiding any connection altogether and Jesse by readily caving in to peer pressure, adult pressure, just... general imposion of everyone else's expectations, because he suffers from the compulsive need to be liked and accepted. Lake refuses to fit in and is left to deal with their horrifying situation alone, Jesse hurts himself and those he loves in order to fit in.

It's very interesting how the narrative connects reflectiveness to connection. 'Empathy Goes', the song about friendship that Jesse sings, starts with lines “When I look at you, I see me” – words that take on a quite literal uncomfortable meaning for Lake. 

[id: a screenshot from Infinity Train Book 2 of a small girl looking at her reflection in a reflective child (Lake)’s head, Lake unamused. end id]

Then the thematic core of season 2 – Lake's conversation with the dying Sieve, in which the latter torments them – introduces the thought that, by befriending Jesse and helping him grow, Lake became what he needed them to be; became his reflection.

That is, of course, not true. The idea that Lake had simply fulfilled the role of a denizen is disproven by the fact that they are the protagonist of Book 2 that goes through the same journey as Tulip, meeting the exact people and creatures and foes that influence and challenge them in the most important ways. At the end of the day, their victory was not changing their external circumstances but their internal approach to them.

As this awesome person has pointed out, that to get off the train, Lake had to embrace their reflectiveness. However heartbreaking was their enraged plea to have their personhood recognized, they never really did change One One's mind. In his perception, they remained a denizen, “so good at helping”. 

The truth is, however, is that yes, Lake has helped Jesse - by being themselves unapologetically, by not fitting in, by showing him that that is an option, and in that life, you can still be loved and cared about – because Jesse without doubt cares about Lake very deeply. 

But Jesse has helped Lake, too, has changed them – by giving them connection and recognition, by showing them they can be accepted and loved without the need to change who they are, without the need to tailor themselves to another person and 'mirror' them. At the end, the two get one escape for two people – because their journey was a shared one, because their paths cannot be separated, because they have influenced each other equally.

 And much like Amelia was the perfect person to challenge Tulip, One One with his inability to think outside of the algorythm and acknowledge Lake's personhood, was perfect for challenging them and putting them into a situation where they had no other choice but to accept, acknowledge and appreciate the connections they have made, and the fact that those connections define them - partially.

Reflectiveness represents bonds, letting other people into your  life, letting them influence you, teach you something, ask something from you – and, fascinatingly, that seems to be a part of what defines us, gives us personhood. Are we just what we do for other people? No, obviously not. Are we simply what separates us from others, what makes us unique, who we are completely on our own, with no regard to what unites us with other people, what they bring into our lives and what we bring into theirs? The answer Infinity Train provides appears to be no, once again. 

Lake names themselves – finds a true, real name that they identify with, when they embrace their reflective nature and see themselves in a body of water that, yes, lets the world in, reflects it, while also undoubtedly having a life and depth of its own. Personhood, real, full human experience seems to be the subtle dance of individualism and connection, both what defines us as separate from others and what tethers us to them.

I mentioned how Lake's journey being similar to Tulip's is a part of what validates their personhood. That's one of those fascinating things in Infinity Train's writing: how the intial split of the cast into the passenger and supporting denizen characters appears almost like commentary on the protagonist complex, with Tulip actually having to internalize the idea that the world and her life are not centered solely around her, are not all about her happiness and growth, that some things happen just because they do, not because they have something to do with her. 

Then, opening with a lead that needs to outgrow the protagonist complex, the show moves on to that character's narrative foil and shows them grow into the central point of the narrative, fighting to have the world recognize them as the main character of their separate, independent story. And to us viewers there is no doubt that Lake is a person of their own and has full rights to personal protagonism – they  are the one we are watching, whose struggle is  the focus of the Book, they are who we sympathise with in the story. 

This wonderful meta decision really drills in the idea that every single character we only ever catch a glimpse of is the main hero of their own journey, and has a full life and full personhood outside of the role they play in the story we watch unravel. At the same time, as per the rules of narrating, we only see the people and events that serve the current protagonist's growth. Through that, and through being an antalogy that unravels by latching onto a secondary character time after time, book after book, exploring their own journeys and inner worlds, Infinity Train creates a breathtaking polycentric model of reality, in which every single person is the main character on their own path, with people around them contributing something of value to that path – and the main character contributing something to theirs, becoming in turn a secondary supporting character in someone else's story. 

Tulip and Atticus are a wonderful example of that: embarking (hehe) on the same journey for different reasons, helping each other, accepting the responsibility that comes with being each other's friends and companions, welcoming the pain that comes with connection and at the end aiding each other in their quests. And Jesse and Lake are much the same. 

The idea of companionship being the escape is only directly introduced in Book 2, but it had already sprouted in Book 1. The themes of connection, renegotiating one's relationship with the seemingly hostile world, and coming to terms with everyone's place in it as one of the many, but having endless personal power over our own narrative, are constantly and continuously present in the show, with the differnet smaller plots and character arcs beautifully overlapping.

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Analyzing all of this in the past, I felt incredibly secure and confident in the seeming underlying lesson. That there is no reason to fight the world at large, the things that are outside of your or someone else's control.  And that doesn't mean “not standing up to those who are hurting others”, as shown in Tulip's confrontation with Amelia, Jesse's confrontation with the Apex. It means that some things, like where you have come from, what the relationships of people around you are, and who you have lost, cannot be changed, and our subconscious attempts to fight them only hurt us in the end. 

The idea of our boundless ability to find resources in ourselves and people around us, learn from people that surround us, accept their help and offer them ours, find love once we accept the change love brings; the idea that we always have the ability to thrive in our current circumstances, once we accept that we ourselves are getting in our own way, out of the unwillingness to let go of something we hold dear; the idea that we can always, always bounce back, that it is never too late for any of us, and that true companionship will always be there to give us escape... 

The idea of the world as our friend, with its own will and wishes, something that is not to be controlled and bruteforce- reasoned  through, but something to engage with... 

These all gave me strength, held me up, and gave me a new paradigm that allowed me to look at the reality from a place of comfort and assuredness. The paradigm of the complicated web of life where everything is in its place, where our shortcomings create valuable lessons for someone else, where our choices, even if they hurt us and others, create lessons, as established by Sieve,  have their place in the big picture, like what we see with Amelia's mitakes and Tulip's progress. 

Then, the idea that in that big picture, you are exactly where you need to be, always, because you always have the only thing you need to grow and recover and thrive – you have yourself and the people around you. How infinitely comforting this is, how solid.

And then Book 3 has arrived. And holy shit y’all.

4. Book 3: Cult of the Conductor and Trust vs Control

And once again, this season has not necessarily disproven all of the aforementioned stuff, just... put a lot more emphasis on the reality of pain people have to endure. In this book we had to witness simultaneously a recovery – within Grace's arc, - a descend – within Simon's, - and an actual, raw trauma, that Hazel had to suffer through on screen. We had to watch Simon murder Hazel's caregiver and repeatedly make her feel unsafe, and Grace withdraw herself and leave Hazel alone because of her ungoing identity crisis. We have to come uncomfortably close to the reality of the pain that shapes people, and with how horribly we all can hurt each other. That pain is no longer obscured by the passage of time, it's not something in the character's past. And that is... very rattling.

But, once again, the constant running themes and motifs remain. Once again, the show tackles the idea of change, of connection and the relationship between the individual and the world. 

Regarding the latter, what we see with the Apex is the protagonist complex projected on a group. The Apex myth simultaneously places them at the top of the world – hence the name – and makes them the poor victims of the evil False Conductor that of course seeks to destroy them and targets them specifically. Grace and Simon developed the idea of themselves and their group as the sole people for whom the train exists, as well as the chosen deliberate targets of the entity that had taken over their environment, instead of accepting that maybe the world does not revolve around them!

Upon meeting Amelia they learn that they are not chosen, that they are not on the train because the outside world did not recognize their value, that there was never someone at the top who had their best needs in mind, and that the entity that calls the shots now does not actually know anything about them besides the fact that they exist.

The theme of connection makes a comeback hand in hand with the motif of empathy, with the book opening with Jesse's song 'Empathy Goes'. And that's what's being explored in Grace's and Simon's respective arcs with relation to denizens: their ability to show compassion and recognize someone else's personhood.

The narrative is multi-layered here. On one hand, what is being explored is a group mentality, a cult mentality that paints the outside world as simultaneously inferior and hostile, and we can see Grace and Simon accidentally inventing some pretty mean propaganda techniques. Whew, those kids. But then on the other, the idea of denizens as projections, 'nulls', incapable of actual feeling, only pretending to be real people... this brings to mind such complicated and staggering concepts as philosophical zombies or the idea of the world as something that is simply a projection of your, you currently reading thinking person, brain, where nothing is real except for your own consciousness. And since it is simply impossible to possess others and make sure they are indeed living breathing feeling creatures and not just NPCs in one wild, wild dream, empathy becomes a fascinating choice. What we're left with is 1) believing that other people do in fact feel what they say they do, 2) treating them with respect just in case or because being mean feels bad, or, 3) you know, deciding that we're on top of the world, and are the Apex predator, and everything exists for us, and we can do whatever we want with people around us.

It's interesting to see this mindset as a group mentality, but it makes sense, too; with the Apex we get to watch what happens when a group only recognizes the personhood of those that are a part of it. The thing is, there is no actual empathy within that group, either; we see that once Grace stops fitting into it as smoothly. To the Apex, she becomes a 'void', a nothing, something hollow, devoid of status and power and therefore rights and feelings that need to be respected. Simon's approach is “whatever I do not like is not real”, so by proxy, the new version of Grace is nothing, and should be erased.

This lack of empathy can be tracked deeper and deeper down to Simon as the extremely tyrannical leader, his refusal to recognize the personhood of anyone who does not agree with him. It is natural for us all to act as if what we believe is correct; otherwise, why would we believe it? But Simon takes it to the extremes, refusing to even for a second consider an alternative point of view, and ends up locked in a mindset in which he is the only person entitled to the ability to see the truth, and everyone else somehow is inferior and incomplete. That's the protagonist complex, that's the experience of a person who considers themselves at the center of the world. Why would he out of all people be the keeper of truth? He simply does not ask himself that, because he does not stop to think about the existence of others, or their experiences.

However, it wouldn't be correct to say that Simon is completely devoid of empathy. It's just that his version of it is extremely self-centered and unable to discern between his personal situation and someone else's reality. As my awesome friend @buttercup-bug​ has pointed out, the relationship between Grace and Hazel and Simon and Hazel is built on extending that limited, conditional empathy. As they have noted, the golden and silver masks at the start of the season that are performing the song 'Empathy Goes' represent the two of them, the golden one directly intersecting with the one Grace wears, and in general gold and silver matching their color schemes. 

The position of the masks matches their position on the stage, as well: they are the two leading figures in the big messed-up play that is the Apex, removed from reality, avoiding it, living in their own little world. They perform that reality in different ways, Grace leading with smiles and emotions/emotional manipulation, Simon being more uptight and serious. 

[id: two shots from Infinity Train Book 3, showinng first a scene with halves of two theatrical masks, a sorrowful and a laughing one, surrounded by undefined actor creatures; then Simon and Grace, two young people, Simon white and blonde, Grace black, with shortr dredlocs, wearing a golden masks, holding hands with each other and two other kids in a curtain call manner, with fire raging behind them. end id]

Now, returning to the empathy motif: as it was pointed out to me, the two extend their empathy to Hazel in their own ways, representing their relationship with the inner child. Grace relates to Hazel as a lonely young girl seeking connection with other children, and engages with her in a fun, upbeat way, making it so they enjoy each other's company and spend time together like friends do. That helps her get closer to Hazel, get genuinely attached and through that let Hazel influence her worldview a bit, and be there for Hazel through harder, less fun things as well, till.. a certain point.

Simon, on the other hand, sees himself in Hazel as someone stranded on the train and under the care of a denizen, and automatically perceives Tuba as a threat. And he expresses his empathy in a direct, serious, violent way, by doing what he thinks needs doing: by getting rid of  Tuba without making time for smiles and fun times. 

Grace is the leader, she engages with people emotionally, making them feel needed and special and through that keeping the group together. Simon is the general who leads the army in what he perceives as the Apex's attempt to protect themselves. His approach does not leave much space for bodning. And it makes sense for him as someone much more focused on safety to have his understanding of denizens as dangerous run deeper, be more at the forefront, in his focus. He’s the one calculating the “danger levels” of encountered denizens. And of course the incident with The Cat makes it much more personal. I think it's fair to assume that both Grace and Simon must've had some unfortunate run-ins with the inhabitants of the train, with Grace being initially so set in her belief that denizens are dangerous because they are unpredictable, and you never know what they will do next. Though the only time we actually see her endangered is by the steward that Amelia had reprogrammed. Either way, the two had started off feeling endangered by the unpredictable and unreliable creatures surrounding them, and probably, in their attempts to find a reason to trust each other and feel safer around each other in a dangerous and confusing world, decided that passengers must be inherently good, denizens must be inherently bad.

There is, however, no actual trust in that, none at all between them. 

I'd say that “trust”' is the core motif of season 3. Infinity Train tends to adopt an aphorism that keeps reappearing throughout a season, pronounced by different characters or in different contexts, highlighting the thematic movement and change and the development of the theme within the plot. In Book 1, it was the collocation “bounce back”, as the core of Tulip's character. In Book 2, we had “You can't spell 'escape' without 'companionship'”. In Book 3, our boy Roy introduced the phrase “Teamwork starts with two people trusting each other”. Simon's horrifying rendition of it emphasized the idea that not everyone counts as a person, so not everyone is deserving of trust. You can only rely on those who fit your narrow criteria of one. 

However, even when Grace and Simon were on the same side of the barricades they've built with their own hands, they could never actually trust each other. Their bond and their care for each other were extremely conditional, hinging on the ultra specific image of a passenger, and influenced by the power hierarchy they had created. 

We see that Grace is reluctant to trust Simon or the Apex with the changes happening to her, with her number going down, because she didn't want them to think “less of her”. Her personal  issues, her fear of loneliness and abandonment and the idea that she needs to be something specific, someone who is always strong and right for people to stick around her, have certainly played into that. Grace is so used to comforting herself through saying the world is mean to her because she is special; she wears her “special” status as a mask, she has the highest number, she is “so good at the train”, and that's what keeps others around her in this reality, keeps them needing her. But it's not actually about her as a person. But it is also just the system the two have established. Numbers are power; one's number going down is their failure. 

The amount of trust only diminishes as the plot progresses, with Grace's perspective shifting but her not being able to trust Simon with those thoughts and feelings – quite understandably, since he remained adamant about his beliefs till the very end. Grace could never truly trust Simon outside of the invented value system they've been existing within for many years. And that is reflective of her constant inner struggle, not being able to trust anyone with her self, without any myth explaining why she is awesome and irreplacable. Hazel was the first person who spent time around Grace while also falling out of the equation, not being influenced by the Apex propaganda, and that is why their bond was so life-changing to Grace – aside from the aforementioned grounds for empathy.

Now, was Simon ever able to truly trust Grace? I think he desperately needed to, and facing the fact that Grace has in some ways betrayed that trust by keepings things from him was one of the things that played into him going off the rails. (...That pun was not intended. ) 

As it was pointed out many times by many viewers, Simon seems to know quite a lot about funerals, which means that he probably had to attend one as a kid. Then, his relationship with The Cat seems to be a metaphor for neglectful parenting due to an addiction. The Cat is a collector, her treasures seeming to be extremely important to her. The voice in which Simon says the words “She is collecting again” hints on a long, ongoing problem. Then in the memory of his meeting with Grace, we see that The Cat had actually probably endangered him on one of her car crawls. Overall, Simon's childhood seems to had been an extremely unstable one, with nothing and no one he could truly rely on, with parental figures either dying or neglecting him. It is similar to Tulip's struggle, but most likely running even deeper.

We see Simon continuously leaning on Grace, which at times causes her frustration: she snaps and asks bitterly if she always has to tell him what to do. When Grace starts behaving weirdly, starts changing, acting in a way that Simon can't understand and is not used to, he probably feels endangered, like his life is growing incomprehensible and unstable once again, like things are slipping through his fingers and out of his control. 

But at the end of the day, not one of them was truly relying on the other. Grace never trusted Simon to just stick around because he liked her, she needed the upper hand, the leading position, the idea of being “very good at the train”, and the system in which they should stick together as the passengers threatened by the dangerous environment and “the false conductor”. Simon never truly trusted Grace as we should trust those we love: with the freedom for them to grow and change and still remain someone we can feel safe and happy around. Instead of taking that leap of faith and relying on her to do right by him, he was in fact leaning on the system they've created, clinging to it desperately to the very end. People may change, but the system will stay the same, as long as he doesn't reconsider his worldview, and he had decided to never abandon it, whatever happens.

The lack of trust is warranted by their treatment of each other. How could Simon rely on Grace if she had never shown him her true self? How could Grace trust Simon with her genuine self if he needed her to be something very specific and unchanging? Their bond, while being something that helped them through the lonely existence in a weird, dangerous place, was in fact incredibly, tragically toxic. That is not something that people acknowledge easily. These two held onto their semblance of friendship for dear life, but that only worsened their respective problems, made them less and less capable of actual genuine friendships.

Both of their characters are very complex and convincing, and before I speak directly of some less pleasant parts of them  I want to establish that I love Grace and am so very proud of her, and glad to see that a Black woman character did not remain an antagonist and got explored deeply and compassionately. And that while I was absolutely enraged by Simon's actions throughout the season, I can also appreciate the depth and complexity of the show's writing in his arc, and the tragedy of it, and I do feel for him quite deeply. 

It is also worth mentioning that, even tho they are on the older end of 'kids', they are both kids still, with their formative years spent in unfortunate, unhelpful environments, and the age of growth and self-discovery happening in an actual cult, even tho it is one they had locked themselves into.

So now, to what can be perceieved as the darker parts of their characters. A unifying element of both Grace's and Simon's characters are their desire for control. Both scared of what life would be without it, they bend over backwards to make people behave in the way they need them to. 

Grace does that through emotional manipulation, she directs her entire demeanor into making people see her as the most knowledgable and powerful, someone they need. She makes them want to be a part of the gang, telling them that it makes them special and brave, as well as making them belive that the outside world means them harm, which is... a classic cult tactic. She hides the truth from them when the truth threatens her position and bonds with them. In the culmination of her personal growth, she admits the reason behind it: she did everything in her power to not be left alone. She tried to control the way other people see the world, and through that control how they see her, thinking that that will make them want to stick around. But her manipulation was what kept her from creating genuine connections, so after she first fell out of her own equation and then pushed Hazel away in the last desperate attempt to fit back into it, there was no one left around her. She made people need her cult, not her person. She never let them know the real her that would make them want to stay. The truth is that people change constantly, and we can't eternally push ourselves to live up to a specific expectation, so any attempt to keep people around with anything else than our genuine self are simply doomed.

Simon does not have the same talent for manipulation that Grace does, despite his attempts to use her own techniques on her when trapping her in her memories. 

[id: screenshot from Book 3 showing Grace looking at Simon, who’s sitting next to her with a grave expression on his face. end id]

Lacking subtlty, he seeks to control the world around him through brute force. We see him repeatedly grabbing Grace in an unsettling, scary, invasive and violent manner. He is unable to influence her mentality like she influences the mentality of other people. He can't act subtly, through emotion and manipulation. And his desperation to control the world and force it to work in ways that suit him get externalized through physical aggression. 

That does not excuse him, nor does his desperation warrant sympathy, but the idea of his shows of power being actually signs of powerlessness seems... captivating, reassuring somehow. People who lash out at us do so because they don't actually get to control how we feel, and never can. They can influence and wound us deeply, but they can never actually fully control us, they don’t get to rewrite us.

...Buuut back to the character analysis. Much like Grace who at the start was holding the position of “whatever doesn’t pleases or entertains me gets wheeled” (perhaps a reflection of her “never needed them anyway” attitude seen in how she feels about her failed attempts at friendship), Simon also denies everything that doesn't suit him, not just the value of it but the reality of it, too. Despite all reason, he refuses to believe that he had been living a lie for the last uhh number of years. If something isn't working the way he wants it to, if someone is behaving in a way he doesn't like, he deems them broken and wrong. As Grace points out, her memories are only a true and reliable source to him as long as he likes them, and once he doesn't, they must be lies. 

Simon is the very embodiment of stagnation, complete lack of flexibility – out of his compulsive need to control the world, to have it remain the same and stable, after the turbulences of his childhood. He is very, very much like Tulip – but he is not given a chance to 'bounce back'. Amelia, another example of deep stagnation and refusal to accept the changes in the world, is allowed that decades after boarding the train. She might never leave it, but she can still make an effort, she can still grow, bit by bit. Simon never makes it to the point where he is ready to accept the reality and start making peace with it.

I assume that for the biggest part of the show he is simply constantly triggered. He spends time with Grace, like they used to, before the Apex – but they met and started travelling together right after The Cat had abandoned him. Then they encounter a child who has no one but a supposedly unreliable denizen taking care of her – another thing to remind Simon of his own neglect. Then they straight up bump into The Cat, and Simon learns that her addicition is still active, that nothing has changed, that what happened to him wasn't enough for his parental figure to reconsider her ways. Then things start changing, Grace starts behaving differently, abandones the 'passenger-denizen' binary and makes him feel more alone and directionless than he probably has been in years. 

But after he traps her in her tape and returns to the Apex, there is at least a couple of month for him to get out of the spiral and reconsier. All Of That. and yet he doesn't. At this point his actions are not solely motivated by the very unstable state he was in – which is not to say that he wouldn't need to take responsibility for them either way. But a certain amount of time and distance from it all could have been used for reflection, and yet Simon stays firmly in his position of clinging to the system and revelling in the ultimate control he had found by becoming a leader. He creates a myth of Grace as someone who is worthless because she is unfit to be a leader. He paints himself as more reliable and powerful through the firmness of his beliefs. With him, you can always know what the rules are going to be, how to be the best. Perhaps, in his twisted horrifying perception, he was giving the Apex kids the stability he'd never had.

Going back to the question of why Simon was not given the opportunity to bounce back... Obviously, a core element of his character is his refusal to change in any form, and that’s on him. But with making peace with change being a big theme in the show from season 1, with Amelia doing the same for decades and eventually getting to a place where she had finally accepted it... This is a heavy and fascinating narrative decision.

It's good to consider that Amelia never actually succeeded at controlling the world in the way that she needed. Among all the characters, her grief was the most hopeless, most desperate: she tried to reverse time, she tried to bring someone back to life. Unlike her, Simon achieved some at least perceived control that he had been striving for. The danger of his character is that he executed his power over actual physical people, and he felt like he could actually decide what their life was going to be, what his life was going to be. He never got to lose it all, like Grace did. He never got to face just how hollow his illusion of control was. So in some ways within his arc him not getting redemption makes sense. 

But what does it mean for the show at large, for the underlying message? It feels inconsistent with the Infinity Train's narrative to just make Simon out to be a cautionary tale of what happens to those who deny change, or a foil to Grace who did ended up accepting it; we've already established that in the show's polycentric system, every character is more than just a part of someone else's journey, has full existence and autonomy outside of that.

Once again quoting my wonderful smart friend @buttercup-bug​, I want to refer to the end of season 3 in which Grace tells the ex-Apex kids that it is not fair for her to decide for them what their place on the train is, who they are, what life is to them; and in the same way, the unconcluded story of this book can be open to interpretations, with every one of us getting to choose what to take out of the simple reality of it. Simon's story simply happened. We can take whatever lesson we need from it. 

But before we part our ways and each one decides what to think of the bone-chilling end of his arc, I want to point a couple more things out.

5. The Train as a Metaphor for Life

Something that has really fascinated me about the show's narrative ever since my marathon of the first two seasons is the concept of the train. One One seems so very sure the train inspires growth, and yet, as we have learned in season 3, he, the Conductor himself, does not actually know much about the passengers' life aboard it except their numbers. There is no established system, there is no assigning of the denizens, there is no rulebook for them, they are not aware of the specific problems of the passengers they meet. Passengers can actually die on the train, which is wild if the goal of it is to make them grow and flourish. We are so used to thinking that to heal, one needs a perfectly supportive, comfortable and safe environment, and yet the train is challenging, dangerous, unpredictable.

I think the idea here, with characters time after time having to come to terms with life being confusing, ever-changing, often painful and entirely outside of our control, is that the train is not necessarily there to soothe the wounds but to raise the stakes, challenging people in such a way that their choices and their actions and approach to the reality have much more serious consequences. Tulip learns to accept help and help others in situations that actually threaten her and her loved ones, while what she would risk in the past when shutting herself off was just upsetting some friends and family and, you know, being fundamentally alone. Jesse went from letting others bully his brother to balancing on the edge of selling Lake out, which would end their entire existence. Grace went from being a child who creates fights and eggs others on to do something stupid to being an actual teenage cult leader. The train raises the stakes exponentially, and that makes everyone on board reconsider the real price of their actions.

Aside from that and giving specific directions for growth through numbers, though, it doesn't really... do anything. It functions the way life functions: things just happen, people just behave in ways that make sense for them, and everyone has full autonomy. At the same time, we see characters encounter the exact companions that make them grow, the exact enemies that challenge them in the most important ways. To once again quote Fleur @buttercup-bug​ a.k.a. the established sponsor of all of the behind-the-scenes Infinity Train discussions, the train is both ambigious and very meta, and “acts both as a narrative arc machine in a storytelling sense and as a lesson provider in a life sense, which bridges the gap between story and reality in a really personal way”. 

That is a wonderful way to put something that captivated me upon my first watch. The train is a metaphor for life. It is contrasted against the metaphor for death or non-existence: the  lifeless wasteland through which it is constantly moving, the wasteland populated by soul-sucking parasites also symbolical of nothing other than death. The train is life that is always moving, never the same, outside of our control, bigger than us, not obeying our wishes no matter how hard we try, challenging, populated by other people that have their free will, which often hurts us. And yet, the train is a provider of companions, which are to be our escape. And they are not crafted or tailored to us, nor are we crafted for them - and yet as our paths intersect, we impact each other, and we learn from each other in incredibly meaningful ways.

When thinking about this, I've landed on two possibilities. Either the Engine or the Train – something separate from One One – is a great and omnipotent mind capabe of foreseeing how things would unravel to everyone's utmost benefit, placing the correct people at the correct places, weaving an incredibly complex web of connections in which we always meet the companions we are supposed to meet ot exchange lessons with... or it doesn't need to be at all. And I think I like the latter much more. 

The train doesn't need to be that, because, as I've already proposed earlier, ourselves and the people around us, whoever they are, are all we ever need. Wherever you are right now, wherever the Universe has put you, you are supposed to be there, not because it has some grand plan and knows something that you don't, but because no matter your circumstances, you already have what you need for growth. You have yourself and you have other people and their stories, and the connection they can offer you. (Hazel, who is perhaps the most mature character we meet – which is tragic considering how many dysfunctional adults she has to be around – seeks to connect with everyone around her who is not outwardly dangerous, no matter how little in common they seem to have. And eventually something is found, some strand of connection, creating empathy.) People around you always have something to offer. You yourself always have something to offer.

I would hold onto that idea, as well as the idea of “bouncing back”, of it never being too late to get better. And I felt a bit off-balance when Simon was not given a chance to do that. But in a way, shifitng the story from fated encounters that kickstart someone's progress, like the one between Tulip and Amelia, Lake and Jesse, gives even more weight to this concept, by putting our personal decision to change into focus. 

It's not all about meeting this one specific person who will show you the error of your ways; even more so, sometimes people who have a lot in common and mirror each other hold each other back instead of helping each other grow. Sometimes one of them changing only pushes the other further down when they refuse to accept that. And at the end, it is all up to us. 

Getting a little bit existential here, but we are fundamentally the only ones who define our lone separate experience, and we are always on our own and solely repsonsible for ourselves. Connection is always there to support us, to teach us something, and playing a role in someone's life is what makes us real and vice versa, and at the same time we are all masters of our own destiny. We do not bear responsibility for other people's actions, and they do not bear responsibility for ours. Some environments are more suited for our growth, some less, but at the end of the day the choice to take whatever opportunities we have is up to us. 

Which means that we don't have to sit around waiting for the Logical Point in our character arcs to achieve a breakthrough. The world is always there for us to engage with, to hear what it has to say. The question is, are we ready to accept it? To see it for what it is? With time it will grow louder, ignoring the truth we're avoiding will become harder, but the choice to listen is always ours. We can do it sooner rather than later. Or we can do it... never, refuse the reality, refuse change and the nature of life. Because we are the ones responsible. We can't blame the world for not delivering the needed lessons sooner in life, because even if it did, nothing would stop us from ignoring them. We can't feel entitled to endless lessons and endless comfort from people around us. We should take care of ourselves. 

Which means that, wherever we are, at any point of our lives, we can always grow if we listen, if we open ourselves up to the truth. And the truth is that  life is incredibly, undescribably complicated. It stretches across so many different individual experiences, and it does not prioritize a single one of them. We are a part of such a vast web of events and connections, and it is foolish to consider that the world is the way it is just to spite you or hurt you, or that it should change, stop and start spinning in the opposite direction just to ease your pain. 

Things happen that no one is to blame for. There is no fault in the way the world is. Nothing is broken. Life goes on, endlessly, life changes, people change, people leave, people hurt us. That is okay. We can always change ourselves, we can be flexible and open and alive, we can extend our hand to the world and work together with it in true companionship.

Life is the way it is, wild and uncontrollable, and you cannot escape it, you cannot escape change, as long as you are alive. But you can make peace with that. Through acceptance, love and connection.

Gohms, creatures dwelling in the desert that symbolizes non-existence, parasites that symbolize death, are what awaits those who choose to get off the train. Those who try to escape the endless movement and challenges of life. You cannot truly stagnate, you cannot stop moving, you cannot stop things form changing, as long as you exist. As Simon attempts to control the world, still it, for the very last time, that is what happens to him. He stops existing. By refusing change, he refuses life itself. And loses it. And maybe it's not about him never getting to arrive at a point that would tip him over and change him. Maybe it's about his choice to not take all the opportunities that were presented to him before. Maybe he could've done something very different, whether that would have changed his fate or not, with whatever time he had left.

[tarithenurse]

On my mind, in my soul - 4

Prompt: Blue, floor, Foreigner’s God by Hozier (passages in block quotes) Pairing: Loki x Burglar!reader. Content: Swearing, angst, pain (mostly emotional), arguing, sadness, mention of trauma, LEMONS (with a hint of dom/sub?)...fluff? A/N: Link to previous chapters in Masterlist (check bio or tab). If you want a tag, then just ask (yay). Please reblog if you enjoyed...or comment! Comments are nice too. When that’s said...probably a shitload of typos etc bc i’ve not proofread ‘cause I’m in a shitty place mentally after a too social weekend (so worth it though). “Resume”: (Because this takes off right where we left last chapter)  The heavy sigh rattles you to your core. “I’m sorry for this, [Y/N].” Glancing briefly, you see how he runs a hand over his face, rubbing the tired eyes momentarily. “I can only imagine what you must think of me, truly…but I need you to hear me out, alright?”

It’s not like you have a choice, really, and this conversation has started nothing like you’d expected. “Then talk.”

Holding the Devil’s Hand

Waiting impatiently for the worst too happen, it surprised you when you realize he’s sitting down on the floor as far away from you as possible. There are other options for him to sit comfortably, still he’s chosen the least threatening option. It’s on purpose…trying to make me at ease. Drop my guard. Regardless the reasoning behind it, however, the silence still hangs heavy in the air, threatening to explode if neither of you say anything.

Her eyes look sharp and steady Into the empty parts of me

“I’m not good at these sort of things…apologies.” Stalling already with a sigh, Loki settles down more comfortably in the corner by the door. “I realize that…nothing I say can make it up to you…” You can feel his eyes on your back and it paralyses you, afraid what might set him off. “I…I’m prone to think very highly of myself and my skills as the God of Mischief and Chaos. Finding that I had been tricked and by a Midgardian girl no less?” He snorts in disbelief at his own words, releasing a hot prickle of anger in your chest. “I was intrigued. Amused more than offended…”

You grab the chance as he trails off. “So far you’ve said nothing that warrants fucking kidnapping me! Either get to it or let me go now!”

“Easy, tiger,” the god smirks, “my point is…your skills, personality…you…I see potential. The few testes I arranged proved that you’re exactly the partner in crime I need for a very delicate…challenge. I’ve been spending almost every waking hour since we parted to try to find you in the hopes of…convincing you to return so I could explain myself and extend an offer I think would be mutually beneficial,” Loki’s voice lowers to a purr, “because you can’t deny that we’re good together. Although…complementing each others’ baser instinct was a bonus which I thought you had no problem with until the…misunderstanding we –“

“Misunderstanding?” Spinning to face him, all the fear’s been flushed away by anger-fueled adrenaline and you can feel the nails dig into your palms to keep your hands from shaking. Anger at him. And anger at the heat in your core at the memories he awakens. “Misunderstanding!? Are you fuckin’ serious right now??!! You hit me so hard that I landed at the other side of the bloody room!”

He’s on his feet quicker than you can fathom and you jerk backwards until you collide with the bench by the window, sending you hard on your ass. The fearful retreat stops him short. Burning indignation reigned in in the same way he returns to the far side although he stays standing.

“What you accused me of being willing to do…” Loki’s voice’s shaking with anger although he tries to hold it back, “people may never think of me as good, but I have a code if you will. Some things that I’ll never lower myself to.”

“H-how should I…” The words are hardly getting across your lips as you stutter meekly along, so you try again. “Ho-ow should I know that?” It’s hardly a victory to finish a sentence, but this time it feels as though you’ve accomplished something grand, the little thrill enabling you to continue. “Prone, held at knifepoint by a guy who was accused of all sorts of shit. And not just here on earth.”

You know from experience how good Loki’s at using his tongue, but words don’t come easy as he opens and closes the pretty mouth of his until eventually, he stops trying and withdraws into himself. Once more, the only sounds is the faint buzz from the lamps and a gurgle in the waterpipes hidden behind the rich wallpaper. Rubbing the back of your legs where you’d slammed them against the seat, you assure yourself that not even a bruise will hint at your clumsiness.

The sound of a lock makes you look up to see Loki opening the door and stepping well out of the way, granting a clear path out of his bedroom. He doesn’t look at you, so you doubt your ears when he tells you that you are free to go.

Hesitantly at first, you tread across the soft carpet, each step bringing you close to freedom yet also fanning a doubt in your mind. Five steps to the door, Loki’s standing still in front of the mirror by the dresser. Four steps, you ignore the frown and glistening trail on his cheek. Two steps, and your legs are slowing, body fighting against the logic that urges you to hurry out and down the stairs, whishing no one will stop you. One step, and a memory presents itself, uncalled for at an inopportune moment which causes even your logic to hesitate. In the doorway itself, you come to a halt.

She feels no control of her body She feels no safety in my arms

“What was it?” Don’t hear the quiver of my voice, please.

You can see the staircase from where you stand, the broad steps granting a glimpse to the hall below.

“What was what?” Loki answers flatly.

“What was the reason the charges were dropped? About your role in New York?”

Everyone had been stunned when the news leaked, and it had been the rage in the media and online where the most absurd conspiracy theories went unchecked because really, what arguments were there anymore now that it was a fact that aliens existed?

“It’s of no consequence.” Arms cross over his chest, defiant and protectively. “Just leave. Forget about this. I will not bother you anymore.”

Dimwitted, emo-loving freak, your logic begins a rant to get you from doing exactly what you end up with anyways. A few steps back, while cussing yourself to Antarctica and back, brings the reflection of the god’s face back in view. Pale and hard. A hand nimbly swipes a wet shimmer away before it reaches the sharp jaw. Don’t fucking do it. It’s a trap. He’s a trickster. A liar. The sharp sting from the teeth sinking into your lower lip shuts up the inner monologue for a moment, allowing you to breathe deeply and way the risks.

All that I've been taught And every word I've got Is foreign to me

“You’d never given me a reason to actually…fear you…despite your majorly creepy stunts of breaking in to my place and shit…” The exhale comes as a puff, that stirs the fine particles dancing in the air between the open door and you. “The rules of our…game...thing…they were never clear, but you…you…uhm…” Struggling to put the chaotic thoughts into words, you know that you’re trying to convince yourself more than him and you hate yourself for it. “You’d not done anything I didn’t want be-before I accused you of wanting to…y’know…and you hadn’t even hinted that that was something…”

Loki has gone completely still, barely even breathing as he listens to the mumbled mess, but you’re at a loss at what you actually want to accomplish. Comfort him? He’d hurt you physically. Scared you. But if anyone had said something similar to you, wouldn’t you have lost your temper? Difference is, of course, that you don’t have the strength to literally knock someone through a wall.

“Gimme one good reason to trust y’again.” The harshness you’d tried to summon is inaudible, reducing your order to a plea.

“Not that.”

Staying quiet, you absentmindedly try to rub some warmth into your arms as you wait for the man to quit being stubborn. It’s going to be a long wait, but now that the door’s open you aren’t in as bad a rush as before.

“There’s an item which I greatly desire, but it’s of dire importance tha–“

“You can take the item and shove it unless you don’t answer my question,” your voice cracks like a whip, silencing Loki quite efficiently and you notice how the god’s body tenses.

A rustle accompanies the stubborn, no, haughty answer. “I told those who need to know about…the background for New York.”

“Then there’s no more to talk about.”

You’re in the hallway, when he calls out for you, broken and beaten by his own demons. I should continue. Already, your feet are rooted on the polished wood. I should leave. Soft footsteps are drawing near, urging you to run rather than turn to face the man the way you actually do, watching his cautionary movements and the tremble of his hands, feeling the cold roll over you once more. This is a trick. Eyes meet and you have no doubt that the pain he’s exhibiting is real.

“Tell me what happened.” It’s a soft murmur, spoken into his raven hair as you awkwardly pat his back.

It takes a minute or two before he straightens up, freeing you shoulder from the weight of his chilly head but taking your hands instead to tug you gently with him back into the room.

The door closes softly behind you, no click of the lock this time at least, as Loki silently offers the bed as a seat for you. You accept hesitantly, afraid of how long or short a time is left before the trap’s sprung. A trap you’ve walked into freely this time. Thankfully, he leans against the wall by the bathroom door with his head hung low as you fidget with the hem of the purple silk, trying to find some way to soothe your nerves. Can I take the cover? The air’s freezing.

“If you ever tell anyone about this…”

He doesn’t finish the sentence. Doesn’t have to, really, mostly because even in your world there are some things that are sacred. He’s not the only one with a code. And then he begins talking about event long passed, about wrongs he had done of his own free will where not even the despair he’d felt was an excuse and no promises from neither him nor his family could right the many wrongs that had been committed. It had let to his fall. Literally and figuratively.

Then the tale takes a turn for the worse. To a darkness where words fail along with the god’s human appearance. As Loki talks about torture and pain beyond any you’ve experienced, his real form breaks free as if trying to protect him from the memories. Red eyes blur and burn in stark contrast to the ice that form around him, creeping towards you. And still you inch closer to him, to hear the words that are whispered hoarsely and to tentatively extend a quivering hand, placing it on his dark-clawed fingers.  Squeezing as he whispers the name of a Titan.

Screaming the name Of a foreigner's God The purest expression of grief

“I don’t want your pity,” he growls, trying to shake off the hand.

I know. “Good. ‘Cause you’re not getting it.” You manage to contain the sigh. “You’re still a fucking lunatic, but at least I know why…I can work with this…”

“You can…?” Eyes like blood scorch your skin.

Yeah, it’s not smart of me, though. “Gonna clear up some things if it’s gonna work…and you’ve got a shitload of sucking up ‘fore I forgive you for bashing me ‘cross the room.”

The reaction’s immediate, perfect proof that you’ve chosen the wrong words. A low frequency makes the air hum, and the face folds into that of a predator that’s both hungry and amused because it knows where to find the next meal without putting any real effort into it. Catching your wrist before you can pull your hand back, so you tug hard, pulling Loki’s on his knees before you as you scuttle back along the wide bed. Raven hair partially obscuring the smirk curling his lips, falling away grant a view of the shoulder blades oscillating under the thin, white shirt that’s stretching tight over the wider-than-normal body.

“How convenient.” The lip that darts out have an effect on more than just Loki’s lips. “I’ll do more than just…suck…up.”

Pressed up against the headboard, your only escape would be off the other side of the bed, but of course you don’t go for it because you’re a fool with no backbone to resist the silver-tongued god even now. That’s why you let him grab your ankles and pull you slowly to the edge of the bed, kissing each inch of skin as it gets within reach all the while he bunches up the thin fabric of your dress until his lips ghost across the very top of your inner thigh. A cold nose brush the soft lace as he switches attention from one side to the other, almost distracting you from the fingers that are wandering past your hips and across the expanse of you belly, straining the fabric and setting off shivers that have nothing to do with the cold of the room.

There’s a warm shimmer, a sign that you know very well already, exposing more of your body and granting Loki a chance to slither the exploring hand further until it skims the valley between the breasts to trace the delicate lace that does absolutely nothing to hide the perking nipples. Teasing and pinching them through the bra ads a lovely contrast to the feathery kisses and licks below the waist until you’re breathing raggedly, chasing Loki’s mouth with your still covered cunt.

Wide strokes of blue palms towards your hips send new waves of anticipation rushing along, and you can feel how slick your core is becoming even though the god hasn’t even touched you there. The moment his fingers hook on the panties, you can’t help but hold your breath. Glancing down between your legs to see delight warming the features decorated with lines…lines that you know from experience are practically everywhere on his body. But the green eyes are trained on the reveal happening before him as, inch by inch, your pussy’s bared.

“So beautiful.”  The words are carried on cold breath but hold more warmth and adoration than anyone else has ever shown for your body. “Perfect…and eager.”

You know somehow that you moan the moment his mouth finds your folds and begins to tease, driving you to writhing and whimpering to the precipice of release all while Loki’s kneeling on the floor between your feet. Each moan from your lips makes him hum with pleasure, sending vibrations into your core in a way that shouldn’t be possible. Every gasp and panting breath from your lungs causes him to suck greedily at your clit.

Somewhere in the process, you realize as Loki spreads your legs further, he’s removed your panties completely, but a particular strong lick that curls his tip of his tongue inside you chases any coherent thoughts away. Then you feel his fingers pushing and wiggling against the fluttering walls of your pussy, finding the g-spot and running over it again and again in slow pumps matching the pace of his lips. Teeth nibbling and tugging in a masterful feat of balance between pleasure and pain.

“Let me hear you…then I’ll let you cum.” Even when talking, Loki doesn’t let up but applies a thumb deftly to your clit. “Say my name.”

In the foggy storm of you mind, the words annoy you. That wasn’t the deal. It’s a struggle to get as far as to rest on your elbows because each movement requires coordinated use of your muscles that are trembling due to Loki’s ministrations. Finally in place, you catch his hooded, red eyes.

“N-no-o.” Your answer makes him slow down, but not stop. “You’ve no…right…to demand anything.”

You’re gasping for breath and in no condition to assert any imagined power, but pure stubbornness fuels you even as the man arches an eyebrow at you in disbelief. Lazy circles around the nerve bundle keeps you on edge, fingers slide effortlessly through the tight wetness in a way that sweep your g-spot gently.

“My dear, I believe you’re right…I did give my word.”

The low growl should have been warning enough in it’s own, but you’re too tightly wrapped in the ecstasy his adept handling has you stewing in to notice how his arms wrap around your thighs. All you know is that the world seems to shift around you sending you off the edge of the bed and impaling you swiftly around the ridged cock. All air leaves you in a warbled moan as the sudden intrusion topples you over the edge, back arching so you shoulders rest on the mattress, holding you partially in place like a safety in case your grip on Loki’s shoulders should fail. Even then, he’s got your hips in a bruising grip, lifting and lowering you effortlessly at a reckless pace without any risk of you slipping away.

Your core is spasming, sending thundering waves of heat each time the icy shaft bottoms out, ridges passing the sensitive spot each time. Sharp keens spur the god to rut into you wilder, practically shoving you back onto the bed as he leans over you to taste your skin. Lavish kisses and love bites soak up the pearls of sweat and he sucks greedily at your neck, you breasts, your mouth. The two of you share breaths through the superficial pantings, causing you to slowly black out from the mix of restricted air and the continuous orgasm burning through your body.

A cold thumb presses against your clit, rubbing tiny circles simultaneously bringing you even higher than you thought possible as Loki succumbs to bliss, your name woven into the shameless moan fanning your throat an instant before his leaves your lips as a ragged, breathy scream.

Screaming the name Of a foreigner's God …

Wrapped in Loki’s (now pale) arms, your thought are barely coherent enough to wonder if it’s a good idea to linger. He’s taken care of you gently and sweeter than you thought possible from someone like him.

Who am I kidding…there’s no one like him!

Those are your last thoughts as sleep claims you.

[acquagalaxies]

my bits for “Together Alone”

It’s incredible how much happened in just 11 minutes, as It’s difficult to even decide where to start. Hard was also to not scream every 0.5 seconds for all the things the crewniverse and miss Sugar dropped in. Since already many of us covered up a lot of the stuff that have been proposed in a marvelous way, with all the references of the case, I’d just write down some thoughts I had in mind. to join my rant about an episode that blow my mind and try to talk calm-

THEY LITERALLY CONFIRMED THE “WHITE PEARL/ONCE PINK PEARL” THEORY IN THE FIRST FEW SECONDS CARTOON NETWORK U WANT ME TO DIE I HAD A STROKE SOMEONE HOLD ME I CAN BEAR THIS WITH MY ONLY STRENGH.

Ehm. So. What is presented to us I think is something like we saw in “Jungle Moon”: one of Pink Diamond’s past memories that appears in the shape of a dream, distorted by Steven’s mind (since, is in fact a dream and not just a vision/hallucination), which is a normal thing while one is dreaming, the brain in the unconscious state works and interprets things in a little bit different way, especially when it comes to memories: in the dream world the situation can take some sort of “surreal” twist that of course changes from what happened in reality and from what you remember consciously, in this case Yellow Diamond’s massively long neck (I wonder if the crewniverse is aware of the fandom’s YD giraffe neck meme and add it on purpose).

(the fact this all could have been a dream is evident already by the very first frame of the episode, when we see all the Diamonds’ ships on Homeworld perfectly intact, this alone made me confused at first for how strange and impossible it was, since we all know Yellow and Blue had to leave their ships on Earth for their being broken at the moment due to the events of Reunited.)

Aside that, the moment I loved the most is watching the complicity between Steven and this pearl (pretending to perform their role as what they’re supposed to do/be in front of others, satisfying their expectations so said others would not have anything to argue with, like Yellow smiling seeing everything seems to be at its right place, and when they’re alone again goofing around happily) that is just an altered reflection from the memory, in this case what is really shown is the bond Pink Diamond shared with who seems to be confirmed as her former pearl.

I couldn’t hold only inside a smile, because it’s heart-warming seeing this kind of relationship with someone else, with happy moments, laughter and bubbles, you can see that Pink treated her pearl like a close friend and most important, like an equal (many gems should take this behavior as a suggestion and moral model, but it’s very hard in their so hierarchical society to treat “lower gems” as your peer). By watching first the Jungle Moon flashback and Legs from here to Homeworld, I feared the physical damage that the now-white-pearl shows is the result of Pink Diamond’s infamous bursts of rage (since the first time she is introduced in Jungle Moon, Pink seemed used to this bad temper from what is seen to us, by this “brat and capricious behavior” of going around hitting things bc your parents didn’t give to you what you’re whining for) ended bad. I’m glad to see otherwise it’s apparently not Pink’s direct fault after all instead, the two seemed to share a more than good relationship.

(little thought: the way Steven lands graciously on the floor after his juggler number sweetly reminds me a bit when the young Greg met Rose in the old temple after their conversation on the beach.)

By this carefree spirit of hers and peaceful kind attitude, even a bit childish, the other diamonds maybe thought that was the pearl being a “bad influence” for Pink, deciding after to replace her with another (that’s why it is a little heart-breaking in now we’re only falling apart while Pink is trying to have a conversation with Pearl, she probably missed that complicity and the chatty moments with her old pearl, and because she wanted them to be friends and buddies, not just servant and master, encouraging Pearl to have her own thoughts and be self-conscious).

• but why keeping a broken pearl and not directly get rid of if the society cares so much of maintain only perfectly functional gems? What if White decided to keep Pink/White Pearl to make her be a constant walking reminder to Pink Diamond of who is really the one who commands and of what could happen if she tries again to make a gem behaving “different from how she is supposed to be and do”, or treats them differently from “the value” they own (like treating Pink Pearl an equal despite pearls are considered so much less, especially compared to a diamond). That’s creepy enough, I question if White was so cruel to make Pink watching while her so loved Pearl and (only real) friend turns from that pink fluffy sunshine ball into an empty shell smiling puppet without anything else left, ripped away from thoughts and individuality, a perfect obedient servant that would never get against your authority or retort your words.

The even sadder thing is, even if Steven will succeed in “bringing” back white pearl at her old self (something still welcomed just sayin’, #save the precious), still Pink Diamond, her diamond, the gem she was made for and with she shared that bond, is not here anymore.

Pink pearl has cinnamon buns on her hair bc like them she’s a cinnamon roll herself.

another heart-breaking detail is, by hearing them laugh, the voice getting from Pink Pearl’s mouth is patently Deedee Magno Hall’s, so Pearl’s supposed-to-be true voice. I’m weeping.

Then everything, pinkish and joyful, slowly becomes a grey dull nightmare, with Pink Pearl fading away into the void. Puking hair (whatever your own or someone else’s) in a dream often is the representation of the desire of expression about something that is denied. The will of wanting to express and be yourself that instead is being repressed (by someone, some situation, ecc.).  Or can also representing, in this particular case, White Diamond trying to push outside by force Rose Quartz’s persona/facade, a fake self, away from her Starlight.

Also, we’re finally able to see White’s hands (nails rigorously polished, I adore, as the cloak, so in style). Is not such important stuff but I appreciated that.

The pebbles are so adorable, they seems to love Pink Diamond’s very much (probably she was the only one that treat them decently, since apparently the word “pebble” is used in gem language also as a not-so-kind epithet? See Peridot using it with Steven when she was released from the bubble seasons ago), and I found  somehow cute (?) hearing one of them exclaiming “Pink is moving again” (which is totally reasonable since gems don’t have total acknowledge of what dreams are and what means sleeping in general, since is not something needful to them as is resting for organic beings). Plus, they apparently became attached at Connie too, that’s so sweet. Just to add, the green male pebble (which is also incredible to see a “kind” of gem being a “he”) chilling with Steven’s phone from the previous episode is so #icon. I love these little creatures.

“It almost feels like home” just being immediately replied with Garnet underlining embittered “almost” like to precise no matter how much the pebbles make the furnishing resembling as much as they can the real ones from Steven’s house back on Earth, still is not really “home”.

That grasps my heart a bit by hearing Blue Diamond, so emotionally and happily, announced than “we haven’t had Pink in 6000 years!”, since they still believe the one in front of them is always Pink Diamond and can’t well comprehend yet this aspect is not just a form Pink shapes for her amusement (just listening Yellow saying to her pearl “help her since she seems to have so much trouble recalling her past here on Homeworld”. But time to time), and getting worried this choice would not be liked by White, labeled as one of Pink’s usual childish jokes.

Ok but, someone pointed out that, “if the Diamond don’t throw a ball from 6000 years, then what about the Cosmic Jubilee Lars crashed in?” Well good question, I guess that is categorized as some kind of another event to participate at? I don’t think from Pink Diamond’s demise they never threw any party for other celebrations (a new colonial conquering for example).

Steven in the pink diamond’s outfit is a babe. It gives me the impression he actually wears It better than his mother.

What Yellow Pearl means exactly with “accept” or “reject” the members of Steven’s court? And… what happen to the ones that has been rejected from their diamonds?

Just realizing White’s throne other being of her dominant white shade, it actually reflects the colors of yellow, blue and pink, in the spots they’re placed the other thrones. Beside than being pretty aesthetical, it’s calling me the fact real life pure diamonds, reflecting the light, could do those spectacles of colors and reflections.

“Everyone stay where they belong” and Steven immediately floats near his friends and family. Bae.   smol beam of sunshine.

I really loved the explanation of what means to have “fun”, something you like to do, could it even be a passion or a simple playtime, for the good feelings it brings to you.

The pearls interactions, and the discovering of Blue Pearl’s hobby for drawing and Yellow’s for being a model just gives me life. I love the pearls and still want to learn more about their dynamics. Still, one of the moments that gives me chills is YP saying that “her feelings don’t matter” and how proudly she actually said it. Not gonna be surprised, we all know the conditions and how the pearls are considered in Homeworld society, as I know how much YP worships her diamond and how she considers herself lucky by having the “privilege” to serve the maximum rank of all gems. But still, it’s sad hearing someone states something like that without a problem.

OK SO. Since the very first Diamond Days trailer I was curious about one scene in particular: the one in which Blue Diamond separates with such brutality Steven from the group. I didn’t want to speculate about this just because I wanted first the context of the situation, and after seeing it… it actually makes more sense. I know people addressed this as Blue having a bitchy behavior because apparently she doesn’t want a Diamond that mingles herself with other gems (that compared to said Diamond, still remain lower beings, is like don’t wanting the princess of a country to get along with the farmers and peasants), but now it’s kinda reasonable? I mean, it’s still hurtful, but since White Diamond would be there, she’s afraid the gem matriarch would not be happy to see this kind out-of-the-rules behavior, and I’m sure no one would ever want to see White angry, am I wrong? Blue someways tries to protect Steven (and everyone’s asses) from doing a mistake in front of WD that could cost them. Still, it’s just the impression all the scene gave me, maybe I’m wrong.

NO NO BLUE, I UNDERSTAND YOU CAN’T FULLY COMPREHEND THE EARTH AND THE HUMAN HABITS, HOW ALL THERE WORK, CHANGE AND GROW, THAT IS SOMETHING BEYOND YOUR USUAL KNOWLEDGE, BUT DON’T DARE TO ADRESS CONNIE A SECOND TIME AS A “PET”, ‘kay?? Maybe she doesn’t do it through malice, but I really want episodes in which Steven teaches them with kindness and patience the beauties and worth of Earth, the things Pink Diamonds saw in the nature and its creatures, what took her to re-think her colonial project to preserve all of this, how magnificent and so different can be life, the organic beings, to change their consideration of them as inferior, they (we) just have another ways to live, to think and to do, that’s all. And when it comes talking about Amethyst…

“oh boy, here it comes…”

I know millions already talked and pointed out this but, I’m so proud of the character development  Amethyst is showing to us, already from the Heart of Crystal Gems arc. She has let behind her shoulders all the struggle, the feeling out of place, “wrong”, for being so different from the other quartz soldiers (“different” doesn’t mean “wrong”, and this is a very important teaching); she matures and understood it’s as alright as the way she is, and mean words from others is not worth her consideration, her tears, anymore, while in the past the same situation and phrases would have back the reaction to burst into trembling fury or silent crying.

From this dialogue whatever, it makes me consider one thing, probably “overcooked” gems seem not to be that much of scandal and dishonor (unless, Blue would have made more fussing about Amethyst and not allowed her into the ball in the first place): as long as they are, even with their “disabilities” and disadvantages, functional and useful for the society, it���s more or less consented and accepted. To not forget, Era 02 was for Homeworld a time of crisis in the production of gems due to less resources, so it’s not so shocked to see gems like Amethyst, or our Peridot, with less compared to the Era 01 gems, but still capable to fulfil a purpose.

Blue, for goddammit sake, let Garnet alone, together alone, thank you. at least, I’m content they included in this episode more lore, talking about the other types of “Garnets” presented on this planet: the Hessonites, of which we already have some acknowledge, thanks to the name dropped previously in Legs from Here to Homeworld and the contribution of  the “Save the light” game, that gives us clues on how they look like (someone else, beside me, prays to have the pleasure to see the same Hessonite from the game in the show? That would be cool, I can’t deny);

but also the Demantoids

And the Pyropes

However, who Blue just listed apparently are not invited at the ball. I’m not sure what kind of gems the ones presented above are, but they don’t seem to be Garnets however (the designs of those on the left – the green/yellow group – are kinda fascinating, not the same in my tastes for the ones on the right, but it concerns almost the “Thomas the Tank Engine” gems. Bad design in my opinion, but good memes for that. Interesting the choice to their “skirts” resembling gears, reminding Homeworld reflects a perfectly mechanic system where everyone has its specific place and purpose, working as, in fact, a gear in this immense society, and by fulfilling that purpose, this said society moves on and on, like a huge mechanism moved by the work of every single of its components – it’s also directly/indirectly underlined by their dancing afterwards, especially in the shooting sequence from above).

Look, look how many beautiful Garnets. Jokes aside, I’m really happy having the chance to see other sapphires (other rubies would same welcomed, of course), I already get in sympathy the cheek-gem one and the other few steps behind with a similar hairstyle like our Sapphire, but shorter:

oooh look these sapphires that never saw it comiiiiing

This is a one more time love for Garnet: even if she says moments before she’d not come, annoyed and angry for Blue Diamond’s talk to follow with head down the rules, she decides to do it for Steven, as Connie suggested, to give him the maximum support at the point to stay unfused for him. This, is real love too.

Aaand now here it comes the Diamonds!! Spectacular entry on the red carpet. Yellow is particular amused about how the project of the ball turned out, complimenting with Pink/Steven for the result (if she arrives to the point to congratulate with you and said that your idea is brilliant, you really did a good job then).

(same we could say for the future episodes)

E X T R A diamonds posing the way of their murals portrait.

as it is releasing sparkles and shimmers through the throne room at your subjects. because they’re glimmering and magnificent (shine like a diamond 🎶)

Icons. I adore. I can’t blame the random crow gem dropping tears, it’s so relatable I’d do the same.

Or the other one getting thrilled by the entrance of Yellow Diamond. I can’t blame her either.

But honestly, dat blue diamond hips sway. She is so elegant in her postures, a queen.

I know it sound so out of contest in the current talking but damn, Blue Diamond’s voice is so ASMR, soft and gentle. I especially feel nice chills hearing her says “you’re doing great”. Just. Fantastic.

“White Diamond… has more important things to attend to”  but 🙃, for real bro? It’s fucking new Homeworld Era ball. Pink Diamond return!! guess it’s important???? Poor Steven, he was so hopeful to catch the opportunity to finally talk to her (comparing my reaction with his when this was announced you won’t find any difference)

“Therefore, I will be here to observe in her place.”

How nobody says nothing about? a P-E-A-R-L that has the permission to stay on her diamond’s throne and be presented at her diamond’s place in sostitution. I don’t believe is something allowed to the other pearls (owed by a diamond or another high rank gem), to substitute their master and sit on their place during these events, even for Yellow P. or Blue P., or even our Pearl in her time on Homeowrld at the service of Pink Diamond. But maybe due to being the pearl of the most important Diamond and, if it’s her Diamond that orders her, it’s understandable and accepted. Dunno buddies.

Also, among all these crowds, it makes me remember Zircon’s words at the trial of what kind of gems were once in Pink Diamond’s entourage: where are the Agates, since there’re amethysts and quartz soldiers in attendance. Wasn’t their job to keep them on the line? And those sapphires? Are Pink Diamond’s? Or, since sapphires are considered aristocratic and not so common gems, this small group represent the only and all sapphires in the entire Homeworld? Another question, if not and there’d be others to meet, all Homeworld!Sapphires are all like classical blue sapphires or exist others of different types, like Padparadscha, but without being “off-colors”?

Plus, I’m sure the green/yellow gems are not from PD’s court but from Blue and Yellow’s (tiny hinted by those two react with emotion at their entrance, and we don’t see them greeting Pink like the other group do), but… there is none White Diamond’s gems (except the pearl, of course). After all, Yellow Pearl said  gems by the Diamonds are accepted or rejected. Think about it, maybe it’s why there’re no white gems…

But seriously tho, does White Diamond actually have her own court or directly ALL the entire society with all its gems is considered as “her court”, the other Diamonds included? Since her being the Mother of all gem kind and its supreme ruler, that would actually make more sense than the other way around.

Ok now, everyone get crazy about Connie’s “clever” move to drag Steven into dancing with her. I want to say, I don’t doom Connie for, quoting from others, “have been dumb”, instead, I appreciate her effort to cheering her friend up, as he always does to her. She knows she can’t totally be part of this world (due to many things, not being a gem, living a kind of life style so different from Homeworld standards, another mind-setting, and also c’mon, she is just a very young girl, you can’t pretend) , but she wants to stay on Steven’s side and support him as much as she can, to make smile again a friend so emotionally and mentally tired and down. She believed few moments of dance, enough to raise up Steven’s moral, would not hurt anyone, and no one intended to fuse, that was accidental. Many other replied that, thinking of it, every time that they danced on screen, they fused, so how did not see that coming?. Yes, every time on screen, but all the other times, off-screen? Like, on other afternoons, and at Garnet’s wedding after the ceremony, we don’t see them on the dance floor but I’m sure they didn’t miss the occasion to dance together and have fun. Not less important to mention, it was supposed to be a call-back, as the title of the episode, at “Alone Together”, as “The question” from the previous arc did with the older episode “The Answer”.

Plus, even Stevonnie is so adorable with Pink Diamond’s outfit. Pure bae.

While watching this gesture with the hands, I like to think is Steven and Connie individually still holding hands from the dancing, just a second before realizing now the hands of one became the hands of the other as well.

Oh, and there we are. Things fucked up in the worst of the scenarios. (there’d be a lot to say in particular about White Pearl’s frown at the sign of Connie and Steven twirling happily together, but all my thoughts I collected in a separated post, giving to that theory its own space, that I’d link here). Yellow whisper with tight teeth “Pink what are you doing?” is a cause of bad news.

And then the Crystal Gems come at the rescue, with Garnet and Opal (!!! before taking her down in 0.2 seconds, why this cartoon network, do you really want, at the end of the series, people coming up with videos like “every time Opal shows up” just to be, if everything went good, two and half minutes long? Is what you really want, CN?)

But the real surprise came with her:

from the end credits of the episode it’s “Jade”, she is actually very adorable: this little missing tooth, these sunshine eyes and the gem-stones placed like two puffy cheeks make her even more sweet (judging by the combination of her dress, I was right saying the yellow and green gem from before during the entrances of the diamonds belong respectively to Yellow’s and Blue’s court). It’s admirable having the courage to do “coming out”, encouraged by the CG’s bravery, standing for what they have fate in and for what is right, even if it means getting against the society’s stricter rules and meet the judge of the rulers themselves, with all the possible consequences. I’m sure she believed Pink/Steven, by her influence dictated by her high rank status, would approve and legalize cross-gem fusions and decided to stay by this diamond side. “I knew I couldn’t be the only one” is sorrowful to hear, so away from Homeworld’s eyes exist other gems of different types that fuse for love, but have to keep it hidden to not meet an horrible fate (shattered or possibly harvested). That’s sad. Let them be.

Also, love Stevonnie and Opal staring at Garnet like “yo man, you’re the fusion expert, what about that?”, and Garnet is just idk stuff dudes.

ok but, it’s not that Ruby and Sapphire lost their wedding rings after being poofed, right? … right…? (#edit after ChangeYourMind watching: thank the Lord it didn’t happen)

Scene: *everyone poofed, delirium, everything went wrong and Stevonnie is grounded* the evil gremlin inside my head: new outfits/new intro?

Last thing, I just want to make a point about Stevonnie’s “prison”:

A dark locked place at the top of a tower. Now, some time ago, Rebecca Sugar took part on a livestream with other cartoon creators, on the occasion, while talking about different stuff, Alex Hirsch (creator of Gravity Falls), asks miss Sugar what would happen if a gem was placed in a dark room for a long amount of time. Rebecca simply replied “I can’t answer that”, surely because if she does, it could be spoiler for the upcoming episodes (this constant keeping it secret is an ongoing situation with her, lol). The fact is, we all know the physical form of a gem is a projection of light that shapes in actual matter, to allow them to interact, act and speak, and it’s from light itself a gem takes her nutriment (and not from food, like organics do).

So deprive a gem of light (whatever kind: the sunlight, the moonlight, the stars’ light, natural light or artificial light), of her only nutriment, is the equivalent of making her “starving”? Adopted as a form of torture for gems considered needing a punishment for a possible wrong action?

A gem in a room surrounded only by darkness, without even the tiniest glimmer of light, what happens when she reaches her limit and lost all the energies left? Would she became a simple, faded, inanimate gemstone as the our ones from Earth?

Bonus: Who noticed that?

Since the answer I always had the anxiety these two rubies get shattered for ineptitude towards the mission to strike down the rebels and protect Sapphire. I’m glad they’re still around then.