#because alex goes a long way to make them live the plot of a saw movie

[rescuefield-arch1]

people saying that from rev2 on claire hates kids piss me off

[devilfic]

❝right place, right time❞

VIII. whatever keeps you around.

parts: previously / next plot: bruce has a proposal for you. pairing: battinson!bruce wayne x gn!reader. cw: surgeon!reader, secret identities, slow burn, brief discussion of slight suicidal ideation/martyrdom, drug (and the injection of drugs) mentions, you will not guess what trope I managed to include in here. words: 6.9k. a/n: plotting this series makes me feel like charlie day pointing at a wall of red string

“…You won’t like it.”

It's clear what you have to do. You'd realized it when Gordon came to you, so of course Bruce did too. If you were going to make this right, you would have to face this head on. "I know what I have to do," you start, "I need to lure him out."

Bruce's expression shifts. Whatever you've said seems to be the wrong answer, "That... won't be necessary."

"What? What else can I do?"

"What did Gordon tell you about Dimitri?"

Your head throbs as you recall the memory, "Uh... he said he believes I'm next on Dimitri's hit list. He also said Dimitri hadn't anticipated me being at the house."

"Right, because Russo didn't want anyone knowing where he was." Bruce turns to his computer and brings up Russo's file, "After his divorce and the death of his son, he holed up and started erasing himself from the internet. As far as his neighbors know, he was constantly alone. You already know how hard it was to find him on your own, and unless Dimitri knew someone keeping tabs, it doesn't stand to reason that he found him any easier. But you, on the other hand," Bruce opens a search engine and types in your name. You're unsettled when the screen fills with results, most of them news articles from the night you'd been held hostage, "your name and face was everywhere after the gang war."

When the reporters had shoved cameras in your face and begged for you to tell them about Batman's heroic rescue, you hadn't thought twice about it, still fresh from the throes of gore and violence in the ER. Friends, family, coworkers: almost everyone you knew had seen it.

It clicks for you then, "If Dimitri planned on killing us both and I was easiest to find, why didn't he come for me first? I mean... it was me and Alex who ruined his life. If he wanted anyone dead more, wouldn't it be me?"

"I wondered the same thing. With the know-how and the right connections, anyone could find where you live just by name alone. Russo, on the other hand, is almost anonymous. It doesn't make sense why Dimitri would target Russo first."

"Do you think maybe it was a warning? Maybe he wanted to scare me."

"If he wanted to warn you, he wouldn't kill the guy in his house where no one checks up on him. Days would've passed before anyone noticed the flies in the windows."

"I don't get it."

"Do you remember how long it's been since you were taken hostage?"

Your mind lands on a weak estimate, "I don't know, a week and a half?"

"It's been over two weeks. According to the wardens, Dimitri stopped being a problem for them after the first few years. Friends with a rough crowd but he rarely got caught up in anything. Didn't have the heart to. So why, after 17 years, does he break out?"

Your stomach drops, "He saw me."

"And realized that while he was rotting away with nothing to live for, you were a hero," the word sickens you to hear, "on the front lines, saving lives, being saved. Your life went back to normal."

You grip the side of Bruce's desk with the sudden urge to vomit up everything you'd eaten today, which, frankly, wouldn't add up to much more than water and crackers.

You'd said it yourself: you'd gotten to live a life that Natalie, Dimitri, and Alex never would. Of course he wanted you dead. "So then I have to lure him out."

"And put yourself in danger? No."

"I’m already in danger, Bruce. What if he goes after the others? My parents? My coworkers? The other cops at the shootout? We have to end it now."

"This isn't the only way."

"It's the best way."

"Last time he had a knife, you could defend yourself. Barely. What if next time, he has a gun?"

"So what, you just want to do nothing?"

Bruce turns away from you. He gnaws on his lower lip, "No, I want to bide our time. Look into him more. I need to know if he's working with the Vipers again."

You watch him as he begins typing away at his computer, but you can't process what he's looking for through the haze of anger that washes over you. You lean on the desk, craning your neck up at his face to make him look at you, to understand how ridiculous he sounds, "We don't have time for that. His grudge is with me. I should meet him now and end this... either he gets what he wants or- or..."

Or what? Your stubbornness peters out. You don't know what. You see yourself standing face-to-face with Dimitri, his knife raised, ready to bury itself into the cushion of your chest. And nothing.

The you in this vision has no weapon.

"You don't think you're going to survive this." Coming out of your mind, Bruce is now looking at you, brows furrowed. He looks... mortified.

You scramble to cover your tracks, "That's not true. I'd have you there."

"But you don't want me there. You want to go alone. You think you deserve it."

"God, what are you? My therapist?" Your words flit out of your mouth in a rush, tongue nearly slipping up to defend yourself. You push away from the desk when you start feeling overexposed.

Bruce follows you, "You're not 16 anymore, this isn't some gang fight where you throw all your chips in because you can't see a year ahead of you. You've made a life. You've got people to lose, you said so yourself. I know what it's like... the survivor's guilt. You relive that day over and over-"

His words are making you feel sick to your stomach again and you lurch forward, finger in his face, "Don't you fucking preach to me-"

Almost as immediately as you'd raised your finger, Bruce snatches your wrist in his hand, yanking you close enough to be imposing, staring down at you with the same power that the Batman had used. It was so sudden that you quickly fall slack, wrist going limp in his grip.

It had completely sobered you of your tantrum, and for better or for worse, you were forced to listen to him, "Stop feeling sorry for yourself and think. You see this ending with you dead because you want to make up for the shit you did. You think that's what Alex wants? For you to bleed out in an alley like she did?" And just like that, the fire roars in you once more, but your other hand can't slap him across the face before he's caught that one too, "No future? What about all the people you've saved? Could still save? Face it now because you may not get another chance: you're alive. Do you want to be or not?"

You want to hurt him, turn his skin red and give it a place among the other bruises that glitter and glare down his torso, and as your hand shakes in his hold, you are forced to understand that you are angry because he is right.

You'd felt this same anger before. When your parents told you Alex was a bad influence on you. When Russo looked you in the eye and told you that you didn't have it in you to pull the trigger. It was maddening. He had clocked your suicide mission before even you had, had seen you in his mind's eye the way you saw yourself: disarmed, a lamb to the slaughter, a sacrifice for the greater good, a speedbump.

You could see Batman tackling him to the ground over your dying body. You couldn't see yourself getting up the next day.

After the frustration leaves Bruce's eyes, he's looking at you with something softer. You feel known, uncomfortably so, as he waits for you to meet him there.

And when you do, you hate how you collapse into him. Even more, you hate that he takes you up into his arms, holding you steadfast, as understanding as you needed him to be with all your fear of admitting it. The solidness of his body reminds you of the night he'd first held you, and that just makes you cry harder.

It feels different from last time. Where there was armor is now warm skin, the likes of which you hadn't felt in a while. If you had told your past self you'd one day be standing in Batman's cave, hugging Bruce Wayne and crying over the permanence of your mistakes, you might have diagnosed yourself with head trauma.

You screw your eyes shut in a vain attempt to put the tears to rest, your freed hands practically clawing at Bruce's warm back for some purchase, some stability. He doesn't seem to mind. He just holds you closer.

After a few minutes, you force yourself to speak, sniffling away the last remaining tears you'd allow yourself to shed, "You said I wouldn't like it. Your plan. What is it?"

"To disappear."

You wrench yourself back. Bruce is dead serious. "What?"

"I've considered it from all angles-"

"What do you mean, 'disappear'?"

"All but one of the prisoners Dimitri broke out with are still missing. How do we know they're not all working together? How do we know that you luring him out won't draw them out too? You were the easiest target before, not anymore."

"Say what you mean, Bruce. What do you want me to do?"

"I want to hide you here," he winces as he says this, as if aware of his words only now that they're out in the open, "with me."

"You're shitting me."

After a while, Bruce's face hardens, "I told you you wouldn't like it."

Liking it or not liking it was nothing. You'd advanced past "like". You were firmly out of your depth here.

You slip out of Bruce's hold and he lets you, standing rather awkwardly as you rub a hand across your mouth. Despite earlier, it now feels uncomfortably dry. You glance at Bruce and then at his screen, the tab with your name and face plastered all over it hovering in the background. "You want me to disappear off the face of the earth while you track him down. Leave my home, leave the people I care about, abandon my job. You want me to hide."

"I don't know how else to protect you. Not until we figure out what we're up against." Bruce watches you spin away, scoffing into the air, "You noticed it when you fought him off, didn't you? Something was really wrong with him."

You see flashes of Dimitri's feral stare, the way he staggered and swung. He was like a rabid animal in a cage. "Of course there was, he was trying to kill me."

"Beyond that," Bruce insists, "he wasn't right. I've seen it before. He was on something."

"Most people are these days. I wouldn't be surprised if he'd... I don't know, gotten his hands on drops or something-"

"It wasn't drops. Gordon told me."

"The detective?"

"He said they found a syringe with traces of venom in it. Dimitri's shooting up. That's why he was so strong."

Your mouth drops open in disbelief, "Venom? Great. Somehow worse than Drops."

"If he's on that drug, he's definitely addicted. It also means you won't stand a chance against him. This is why I'm telling you to stay here," Bruce steps forward, eyes imploring yours. You're dumbstruck by the heavy earnestness there, "stay in the tower. Hide here for a few days. Let me handle this."

"If he's on venom, it means he doesn't think he can handle you on his own," you wring your hands, flitting through images of the Dimitri you remember, "he was always really small. Even at fourteen, he hadn't really sprung up. He was scrawny and small and couldn't defend himself. Suddenly Gordon's saying he's almost twice the size of what I remember. Have you ever fought someone on venom?"

"Once or twice, somewhere between fixes. Why?"

"General has this kind of... sedative that we use when we get patients dealing with the effects. It's not perfect, but it does help calm them down enough to help them. Maybe we can use it to help him."

"The strain is constantly changing," Bruce watches you deflate and clears his throat, "but if I can get that sedative, I can use it as a base to make a new one."

"You need clearance to get your hands on that stuff. I'm going with you."

"What part of disappear do you not understand?"

"One, I never agreed to do that, and two, if Batman gets caught stealing from a hospital, that'll make you public enemy number one. You need my help, so let me help you."

Bruce is looking away, rolling his bottom lip between his teeth even as you zero in on him. You're getting flashbacks of that same Bruce from when you'd first met him here in this tower. All tender-eyed, even as he tries to put on a face for you, "And I need a drink," you rub your temple next, catching a glimpse of Bruce watching you from his peripheral, "You've got those, don't you?"

It turns out Bruce has plenty. There's a whole cellar full of them, the kinds you see in MTV Cribs with the low recessed lighting and mahogany shelves gleaming with polish. It makes sense for him to have it, but less so when he tells you he doesn't actually drink any of it.

"You weren't drinking at the party, either. Even though everyone else thought you were." You brush your hand along the shelves, careful not to knock any bottles loose. "Is that a trick to keep people spilling secrets? Or to keep from spilling your own?"

Bruce hovers near the entrance with his arms folded and back pressed to the wall, carefully watching you peruse his selection, "Maybe I don't like the taste."

"That's good. Men in Gotham die from alcoholism at a higher rate than any other city in the state."

"Really?"

"Really. You don't smoke either." Bruce blinks at you, "Just get shot at. And stabbed."

He says nothing.

Your hand lands on a red aged older than your mother and you stand to the side, looking expectantly at him. You're afraid that if you try to pick it up, you might knock down the whole row.

Slowly, Bruce pushes himself off the wall and glides over to you, grabbing the neck of the bottle in one hand and looking to you for approval. You try not to shrink yourself when you nod.

You follow him out of the cellar, flinching when the lights dim behind you and the door rolls shut all on its own. He guides you to the kitchen where night still hangs over Gotham outside the window, but the time on the stove clock warns of early morning soon.

Bruce pulls out two glasses and fills yours with wine and his with cranberry juice from the fridge. You could almost laugh at the pairing.

Once he slides your glass to you, you take a seat at the island and take a sip, "I need to ask you something. I get now why you refused me at the station, but then you came back. Why did you change your mind? I mean, neither of us knew Russo would be dead when we got there. Were you just going to let me hate you?"

"Yes." His simple response draws a quick, stifled laugh out of you.

"Are you always this... chaotic?"

Bruce leans his elbows on the countertop, hunching in on himself, "I always meant to tell you who I was. I just didn't know when. And I didn't mind if you hated Bruce Wayne, but... you trusted Batman. I didn't want to break that trust. Even if it meant telling you earlier than I planned, I wanted to give you some closure."

You think about the fear that had paralyzed you back then, thinking that Bruce Wayne was some big, bad criminal hiding behind polite society. Then you think about the real man, hiding behind a mask. You fidget uncomfortably, struggling with feeling somewhere between grateful and nauseous. Your eyes catch the stitches on his shoulder and you itch to wipe away the dried blood that had dribbled from the cut, "You said you were looking for Dimitri when you got that. Did you..."

Bruce catches your eye when you fail to finish your question. "No," he answers solemnly, "which is only part of our problem." He stands to his full height, flexing bruised knuckles against the counter, "I ran into one of the guys that broke out with Dimitri tonight. That's who gave me this. Dimitri isn't working alone."

You frown, "Is he trying to shake you? Why leave clues at all?"

"Because these people want me dead. The guy from tonight? I booked him a year ago for trafficking women. Earlier led me to a fringe group of Falcone's."

"You've been looking for Dimitri all day?"

"I haven't stopped since we found Russo. I couldn't."

You rub your arms, feeling the room grow chiller by the second, "So... so he's leaving clues to people who hate you. To keep you occupied." Bruce nods. "So he can get to me?"

"After last night, he knows the Batman is on your side."

"Dimitri wasn't out when you got on the scene. Do you think maybe he's taking venom because these guys warned him about you?"

Bruce smirks, rolling his eyes as he takes a sip from his glass, "As a precaution, sure. And now he has reason to believe I know you. If he's going to go after you, he's going to shoot up each time."

"That stuff is nasty. You're big and scary when you're on it but as soon as the effects wear off-"

"You deflate like a balloon. It's also stupid expensive, so he's either got real generous prison pals or he's being used. It's why I need to know if he's working with the Vipers. They might be supplying him."

How you'd gone from an ordinary surgeon to a detective in the span of mere weeks was beyond you. You're beyond just treading water. You're diving into the abyss.

Your brain struggles to make real what is before you. Bruce, still shirtless, drinking delicately from a glass as he watches the night sky shimmer from the kitchen window. And you, sitting across from him, cracking open one of his family's expensive bottles that, frankly, puts your pantry vinos to shame. Playing vigilantes like schoolchildren. Except the blood on you both is very real.

Your arm throbs at being remembered for once tonight. Bruce notices you touch it, "You need to get some rest."

You know he's right, and you're not arguing for the sake of arguing when you say, "I can't sleep yet." But he can tell there's more on your mind as he waits silently, almost egging you on to lay yourself bare. You swear you're not arguing just for the sake of arguing, "And I don't want to disappear. I want to be alive."

Bruce says nothing. The silence isn't humiliating like you'd think it be, even if the first few seconds leave you feeling just as laid bare as you thought you would. No. It feels acknowledging. Understanding, even.

For the first time, you look at Bruce and feel like you understand him. If he was really Batman, then he would know better than anyone why you would want to put yourself in danger. But beneath that, with the meager knowledge of who Bruce Wayne is, you also think you understand him too.

He'd mentioned the survivor's guilt. While he'd played a much more innocent role in the whole ordeal, you couldn't imagine the weight on one's chest knowing that two people you love didn't get to go on but you did. It's a lot to ask of a child barely coming to understand the mortality of one's own keepers.

The choice to be alive for someone like that is a deliberate choice. Constantly made every morning.

"There is another way," Bruce muses, "but you'll like it even less."

"Don't leave me hanging."

"We could go public."

"What?"

"You said disappearing would mean abandoning your life. And it would. No one could know where you went, who you were with, but there's always the chance someone might slip up. It's the safest option but it's not what you want. So don't hide." Bruce's eye contact is deep and unwavering. Compared to earlier, he seems to trust you're willing to listen this time, "Be mine."

For the nth time tonight, you are rendered nearly speechless. Nearly. "Are you fucking with me?"

Bruce's eyes narrow, "No."

"Did you just... proposition me?"

"I made a proposal."

"You're asking me to date you."

"Publicly. Batman has more enemies than allies, but Bruce Wayne has the people. If you and I are publicly linked, it tells everyone looking for you that the world is watching. It makes you more visible, as well as anyone who comes after you."

"You haven't slept," you reason, "clearly. And you're delirious."

"I haven't slept, no." But he looks fairly sober for someone who hasn't slept in a day. He is a different breed, this Bruce Wayne.

You peer out the kitchen window and see the black sky dipping into a blue horizon, "Then sleep on it and come up with something better."

Bruce rounds the island until he's standing beside you, looking down at your barely touched wine, "There's some spare rooms upstairs. You can take your pick." It dawns on you that you may not be going back home any time soon. "You know your way around."

You suppose you deserve that dig.

Then he's leaving you, glasses abandoned, home for you to explore. You don't realize how thick the air had gotten with him right next to you until he's gone.

You half-expect Alfred to pop up somewhere nearby, but there's nothing. This far up, there is no city to listen for, no neighbors slamming doors. You are in a cold house all alone. You suddenly wish he'd stayed to keep you company, even if the weight of it was beginning to take its toll on you. Left alone, you only had the sunrise.

You watch until the sky has all but chased the night away, and then you head upstairs.

You didn't think you'd get much sleep in a stranger's bed, but you're being roused by a sharp, successive rapping at your door several hours later. It jolts you awake, kick-starting your heart, and you clumsily tumble out of the million thread count sheets to open the door.

Alfred stands there fully dressed for the day, one hand tucked in his pocket and the other still raised to knock. Upon seeing you, he lowers his fist, "Morning," he starts, looking away as soon as he meets your eyes, "breakfast is ready. Come get it before it's cold."

He does not give you a choice in the matter. He's already limping toward the staircase without another word.

After you get your heart to settle down, you follow after him, preening yourself as you pass hallway mirrors and portraits of the Wayne family through the generations. You hadn't come down this hallway when you'd found the terminus elevator, so you stumble to a stop in front of a portrait of a young Bruce grinning ear to ear.

It startles you. His eyes are soft, a gentle humming blue untouched by wrinkle or darkness. He must've been especially young here. Glancing at a nearby portrait of his parents, you find him the spitting image of his father. You look around and realize there are no portraits of Bruce at this age.

Bruce. He might be at breakfast, and the mere thought of having to discuss what occurred last night almost turns you right back around to the guest room, but your stomach rumbling begs you not to. You still walk quietly, peering around corners in case your stomach changed its mind.

You find you're cautious for naught when the only person standing in the kitchen is Alfred, chopping up fresh fruit.

"I hope you don't mind that I moved your things," he gestures with his paring knife to your surgical tools neatly congregated on the counter, "I cleaned them too."

"Oh. You didn't need to do that."

"There was blood, so I'm afraid I did." Alfred places a bit of pressure on "blood", and you quickly take note of his short tone.

Still, all the same, he then gestures to the island and implores you take a seat in front of an empty plate. Without asking, he begins pushing steaming hot food onto your plate, "Tea or coffee?" He asks, barely looking up at you.

"Uh, coffee is fine. Thanks." You watch Alfred pour you a mug and wonder if the awkwardness with him is any more preferable to the awkwardness with Bruce. Alfred is passive-aggressive, Bruce is... aggressive. You remember how the latter had left off your night together and find yourself feeling warmer toward Alfred. "How long have you been up?"

"Since 6, although I woke a few times through the night."

You wince, "Sorry."

"No need to apologize. I did think Bruce had invited you over under different circumstances, so... not as alarming, all things considered." Your grip on your fork slips and it clatters to the marble. Alfred barely reacts.

"He needed stitches." Is all you can get out.

"Yes, I'm well aware."

You glance up at him, "You saw?"

"When he first arrived home, yes. I was the one who helped stop the bleeding."

You stare at the coffee sweating in your cup, recalling something Bruce had mentioned last night, "Bruce said you were the one who used to stitch him up."

"Yes."

"If you were there, why-"

"It's what he pays you for, isn't it?" Alfred almost snaps back at you, slicing a strawberry into quarters with more edge than needed.

You recall something else next. The softness in Alfred's face the day you first came here, arguing with Bruce in the very room next door. You'd wondered what it had all been about.

"I've done alright, haven't I?"

"He said something else too," you start, careful as you choose your next words, "about how much you worry about him." You fiddle with your mug, pretending not to feel the heat of Alfred's eyes on you, "I think the reason he hired me is because he was worried about you."

You just catch the tail-end of Alfred's frown, "Worried about me? Why?"

You probably aren't close enough to either of these two to laugh about this, but you do anyway, "Isn't it kind of obvious?"

"Nonsense. We always discussed... if it would come to it, that if he were to pursue this life further, that he would recruit professionals who might aid him in his work. It was the natural thing to do."

"Maybe, yeah. But would he have really needed me if you weren't already doing everything else for him? You've taken good care of him this long. I mean, the aftercare you gave his bullet wound was exceptional. I accused him of talking to other doctors."

Alfred busies himself with scraping his strawberry halves into a bowl, "It's basic knowledge. You learn that kind of thing in the service."

"Or when you invited me to watch you two spar. You know his body probably better than he does. You're fantastic, Alfred." You couldn't say you weren't also trying to butter him up to better his feelings toward you, but you were speaking truth all the same.

In a very British way, he rebuts your compliments and spoons some fruit into a glass, beginning to layer some yogurt over top them, "Regardless of reason, you are here now, and I'll have you know that every part of your contract covers this. Wayne Enterprises will exhaust every possible legal tool at our leisure if you speak of any—any—of this to anyone. Master Bruce's identity is safely guarded, and regardless of his trust in you, I will not hesitate-"

"Whoa, whoa, hey. I would never tell anyone. Not after all Batman has done for me." You press a hand over your heart for emphasis, "He is just as much my patient as Bruce Wayne is, and he didn't have to pay me to take care of him."

Alfred still stares you down like a guard dog, paring knife still clutched in his fingers. After a moment, he looks away from you and points at your plate, "Eat. It's getting cold."

So you do. It's good so you say as much, counting any point toward his affection as a good thing. If you could get Alfred to trust you, you'd call that a win.

The tension in the air dissipates over time, and after you've licked your plate clean, you and Alfred are sharing coffee together. "Bruce isn't joining us?"

"I've stopped expecting him to be awake this early." You glance at the clock that reads 10:12. "He has adopted a near-fully nocturnal lifestyle."

"The night that he crawled through my window, he was there at the hospital the next morning like nothing happened. He doesn't do that often?"

"Before last year, it was a rare occurrence. While he's dedicated himself to his role more recently, if he can avoid it, he will."

You think back to what knowledge you do have on Bruce's charity work and his friendship with the Mayor. You'd worked shifts just as long, but you couldn't imagine showing up to work mere hours after getting shot in the stomach and having to put on a brave face about it. You almost feel bad for calling him out on it in front of everyone.

But then again, if you hadn't, would you even be sitting here?

You swirl the last vestiges of coffee in your cup, trying to picture a world in which you'd gone and found that empty office to nap in instead of toddling behind Rudy and Em and Alfred and Batman. The Batman.

The novelty of it brings a fresh wave of dizziness over you. You had been exposed to so much information over the course of the last 12 hours that it hadn't fully settled in on you what Bruce was. You didn't think that your brain would process it even if he was standing in cowl and cape right in front of you.

"I suppose you'll be staying with us for the near future, if Bruce has anything to say about it," Alfred stands from his chair beside you and puts your dishes in the sink, "shall I inform your security detail or would you like to?"

You don't know what to say to that. "I'm... I think I should talk this over with Bruce first. It may not need to come to that."

The butler shrugs. "I'll be attending to some house duties for the rest of the morning. Should you stay for lunch, let Dory know, hm?" You give him a weak nod and watch as he makes his way from the sink and heads down another hallway out of sight.

Not too long after Alfred leaves you, you hear the doorbell ring. Bruce hadn't mentioned to you that any guests would be here today, but then again, the two of you had had more important things to discuss last night. You check your reflection in the glass of the kitchen window, wondering if there were any hidden doors in the bookcases that could hide you from whatever Wayne Enterprises exec that was coming to talk business, but you wouldn't trust yourself not to break something in the process.

You hear two pairs of footsteps approaching from the elevator and turn to see who it might be. You first recognize Dory, fluttering between frantic small talk and making sure not to trip in her kitten heels as she guides her guest into the living room. You stiffen as soon as you see him.

Detective Gordon catches your eyes instantly, his own widening. Dory says something about going to fetch Bruce before she quickly ascends the stairs, leaving you and James staring at each other across the distance. In one hand is a notepad and pencil, and the other fixes his tie, almost as if at a loss for words. He greets you, hesitantly leaving where Dory had left him to approach you, "I saw the boys out front but... I didn't expect to see you here."

"Me neither." You reply. "Is everything okay?"

James glances up at the stairs as he passes underneath, "That depends. I followed up on your request."

Shit. Of course a cop would do their job when you least expect it. You slip out of your chair and rush to meet him halfway into the kitchen, "Did... did you find something?"

"I can't say much right now. I'd like to talk to Mr. Wayne, but-" The sound of Dory's heels clacking against the wooden stairs makes James lower his voice, "-you being here complicates things."

Bruce is wearing a shirt this time, thankfully, though you're not expecting him to look as put together this early after what Alfred had said. He towers behind Dory's much smaller frame in a pair of loose black pants and a matching turtleneck, looking in a fashionable state of undress as he pads barefoot into the room. With hair slicked back and stubble freshly shaved, he doesn't look like someone caught unaware. He's fixing the sleeve of his sweater when he extends a hand to Detective Gordon, bright smile and all, "Detective James Gordon, to what do I owe the pleasure?"

"Mr. Wayne, I'm sorry for dropping in unannounced. If this is a bad time, I can come back." James gestures to you.

Bruce's look at you is empty, devoid of any detectable emotion or thought. It strikes you as unsettling, the same way a cashier at the end of their shift isn't really looking at you, "Oh, no. I was just on my way to work when I felt unwell. I called my doctor over but it was nothing to worry about. A little stomach bug, is all."

You do look like you'd just come over in a rush. You're still in your lounge clothes from the night before, and your medical supplies are still in the kitchen where Alfred had left them. James seems to notice, but he doesn't look any more relaxed. "That's good to hear. I don't want to keep you too long, but truth is, I have some questions I'd like to ask you if you have the time."

"Is something wrong?" James glances between you and Bruce, something the latter doesn't miss, "is it sensitive?"

"It's about the party you threw here the other night, Mr. Wayne. For Mayor Reál. I hear you invited quite a few Gotham politicians to celebrate the passing of the mayor's new bill, correct?"

"That's correct."

"And I understand you're quite invested in Gotham politics in general, much like your father."

"I am. My mother and father were very interested in the city, and Mayor Reál breathed new life into that for me after the election. I do what I can to support the cause."

"And that cause is...?"

Bruce takes the skeptical tone on the chin, smiling wider, "A safer, fairer Gotham. For everyone."

This Bruce was nothing like the Bruce you had all to yourself. He taps into that persona from the party with ease. Watching him is like watching a performance. "That's good, good. I notice you try to make an effort with charities in the city, donations and the like. You recently donated a new wing to Gotham General."

"I did. Increasing access to medical care for the citizens is important to me. My doctor, a talented surgeon at General, knows this well." You flash a timid smile when both Bruce and James look to you.

"And you also financially support politicians in Gotham."

"Occasionally. Anyone I feel has Gotham's best interests in mind."

"And have you found members of Gotham's political parties to be unusually forward in requesting your support, Mr. Wayne? Perhaps a little too pushy, maybe."

Bruce wears confusion well, "Not necessarily. I'm not easily pressured into doing things I have no interest in."

"Of course. How about any attempts to win over your support? Publicly or otherwise."

"I'm not sure what you're asking, detective. I'd love to help, but I don't think I have the information you're looking for."

James nods, holding his chin high, "My apologies. I should've been clear from the beginning. My question is: have any politicians or members of law enforcement offered you anything in exchange for your financial or public support? I have reason to believe there may be someone with high clearance exchanging confidential information with civilians. Especially ones who can pay. I'm just looking for a lead."

James frames his question well, even though any fat cat familiar with the cops could see the hidden question. Bruce frowns, tilts his head, shaking it slowly, "That's awful. I don't currently know of anyone doing such a thing, to me or anyone else. But I can keep an eye out. I can only imagine how dangerous that might be."

"Exactly. We'd like to nip it in the bud as soon as possible."

"Of course. Do you have a card? Perhaps I can contact you if I hear anything."

James fishes out his card and hands it over, "I don't want to put you in a bad position, only pass along what you know if you feel safe enough to do so."

You notice Bruce is flicking the business card between his fingers as a fidget, though he keeps his attention respectfully on the detective. "Absolutely. Thank you, detective. Dory can show you to the door."

The detective nods and follows Dory out of the room. As soon as the two are out of earshot, Bruce's expression softens as he presses his back into the counter. You wish you could sink into the floor. "To be fair," you begin, "I didn't think he'd find anything."

Bruce side-eyes you, "That was you?"

"I thought my criminal boss was going to blackmail me to keep his secrets."

"Criminal boss." You think he's trying to mock you, but his eyes are surprisingly guilty when he looks at you, "Alfred wasn't kidding. I really didn't handle this well."

"No, not really." You don't mean to kick him while he's down, but you can't lie either. Even now, you were still making meaning out of this whole thing.

By all means, you've gone from knowing nothing about him, to understanding even less, to fearing him, to this. With Batman on the other hand, you'd felt nothing but loyalty and trust in him up until the very last second. Now they were both the same person, and the meager hours of sleep you'd gotten hadn't cleared all that up just yet.

You wonder who you're supposed to see now. Batman or Bruce Wayne? Why was the line separating them blurring the more you thought of them?

"So, did you ever come up with a better idea?"

Bruce does not offer one. You'd dreaded that.

"You already know what I think. No matter how we go about this, there's going to be something. So what do you want to do?" Bruce's eyes follow your ever minute expression, laser-focused on you. "Whatever you choose, I will keep you safe. I promise you."

He feels so staunchly Batman in this moment, even with the soft voice of Bruce, watching over you. Through all your uncertainty, this you believe him on.

And you're exhausted, you find. Your arm is beginning to throb again. You crave the reprieve of a bed but not your own, to your surprise.

"I'm going to trust you, Bruce," your voice wobbles as you say it out loud, "I'm going to trust you like I trust Batman."

Bruce holds eye contact with you for a few moments, "Okay."

"Can I ask... why are you dressed so nice?"

"We're going to get the sedative."

"You're going as Bruce?"

"It's the middle of the day. Yes, I'm going as Bruce. I'm not letting you out of my sight."

You fluster, suddenly reconsidering this entire plan. You'd pictured Batman skulking on the rooftop while you Mission Impossible'd your way into the medicine cabinets for what you needed. Walking in with him—the real him—would draw attention you didn't need, "You're only going to make me look suspicious."

"I'm your patient, and more importantly, I'm a donor."

"You will stick out like a sore thumb."

"That means when people are looking at me, they're not looking at you." You open your mouth to argue but he's already cutting you off, "Do you want me to drop you off at your place or do you want me to send someone to get your things?"

You're aware of what he's really asking.

You heave a sigh, "Drop me off. I can't promise Judith won't hurt someone if she finds a stranger in my house."

a/n: mj stop having the reader move in with bruce when their life is put in imminent danger challenge impossible

[c-eceliaemerson]

𝒞𝑒𝒸𝑒𝓁𝒾𝒶 𝐸𝓂𝑒𝓇𝓈𝑜𝓃

Pronouns: She/It Birthday: 23rd January 1908 (109) Species: Vampire Turned: 1930 (physically 22) by Chris Andrews (accidentally) Affiliation: Evil - Unaffiliated Location: Outside the dome (Recently escaped The Institute, Nevada)  

So Who Is She? What Happened?

Sister to one notorious vampire- Charlie Emerson- Cecelia Emerson shares his same dark and twisted past. They were both born into 'not having a very good time right now' and for Cece, it never got much better than that in her human life.

She had an abusive father and a mother that wasn't much better. Mother made it her life's mission to keep Charlie and Cece apart, but Cece was the only person he ever really cared about: not including Chris Andrews.

For all her life, she was sheltered underneath the proverbial floorboards (Mother Knows Best.mp3). And then... in a shock, horror! Their father commits suicide. Well, that was the official story anyway, but it didn't take long for the rumour to spread that Charlie had killed him (and he had).

Cece wasn't shedding any tears. The scandal however was too much for Mother to bear! The drinking became worse and worse. Charlie couldn't deal with it, so he was out as much as possible. And Chris- her sweet Chris- wasn't around so much.

1920s in their hometown, Chicago, the next tragedy to strike happens. The Andrews family home burns to the ground with Corey, Alex and Chris Andrews inside. It is the single most devastating day of Cece's life. And Charlie's who can no longer stand to be there for her anymore.

Without anyone around, the abuse was solely directed towards Cece at home. She wasn't brave enough to run yet, but she did sneak out and try to live her life to the fullest. Meanwhile, Charles was a mess, but who could blame him?

Then one fateful night, she sees the should-be-dead Chris Andrews in the flesh and what the hell!? He's alive!? They had a sweet exchange, but Chris ended up feeding her his blood and compelling her to forget the interaction. So, she goes about her night and brings some boy home, literally just to piss off her mom.

Pissed her off too much. Was murdered.

The first person Charlie killed as a vampire was Esther - their Mother. He had planned to go home, kill his mom, then take his sister away from that awful place. But soon after brutally murdering his mother, he found Cecelia’s body in the basement.

He buried her under a tree in Graceland Cemetery. In a way, he was glad that she finally had her freedom, but it tore him apart that he hadn’t known his mother had killed her. If he had, he would have made the woman suffer all the more for it.

Charlie's want for Mother to suffer is probably what caused him to torment his victims. Because of her, he doesn’t rush deaths anymore. He draws them out and makes them last as long as possible.

Back to Cece, cue the Plot Twist: she wakes up in her grave!! She suddenly remembers what happened with Chris-- he was a vampire and he fed her his blood. She died with his blood in her system. Cece returned home from the grave, saw her dead mommy, tried to find Chris again. Then she caused absolute carnage as a newbie for a few days... Until The Institute nabbed her.

Cece has been a prisoner- has never been free- since 1930... Until now.

Wanted Connections

tba

[practically-an-x-man]

✨💼🎯❤️✂️🍎💀🎓 for Madison Ophelia and Gia

Thank you so much!!!

Ask Game for Someone's OCs

✨- How did you come up with the OC’s name?

Madison: Her first name was just picked because I wanted her to have nicknames - I wanted her changing her name/nickname to represent the different stages in her life, where she goes by Maddie as a child, then exclusively uses her full name after running away from home, then is called Mads by Alex as a symbol that she's found another home. Her last name, Douglas, comes from the Gàidhlig "dubh" and "glas", which directly translates to "black gray" but less-literally means "dark river", signalling her connection to water and her aquatic mutation.

Ophelia: It was a combination of several things: alliterative O's to connect her to her father and the superhero trope of alliterative names, the name Ophelia to reference the tragic character in Hamlet and represent all the grief in her life and that her death was sparked by her own action (and potentially as a piece of long-game foreshadowing to Charybdis, with her madness), and her first and middle name (Jo) both being literary references as a connection to her mother.

Gia: Her first name was mainly picked just because I liked the way it sounded (technically it means "God is gracious" or "gift from God" which I suppose could be linked back to her clover, but I didn't plan it that way), but her last name is derived from a Greek salutation meaning "may you live forever" - fitting, don't you think? I was actually pretty proud of that one.

💼 - What do they do for a living?

Madison: At the moment, she's a full-time X-Man and doesn't really have a personal source of income outside that. Later, once she soft-retires to settle down in her own place, she'll make money selling wood carvings and ornate carpentry pieces.

Ophelia: She's a biomedical engineer who primarily works in prosthetics, and later acts as the face of Denarii Technology and Proceedings (AKA what used to be Oscorp, but rebranded and no longer military-focused)

Gia: She owns a flower shop in Hell's Kitchen!

🎯 -What do they do best?

Madison: She's a fantastic survivalist - drop her anywhere, she'll make it out alive.

Ophelia: Problem-solving, in a technical sense. She's great at building a machine to fix what needs fixing, and troubleshooting that when it goes wrong.

Gia: Appreciating the little things. Despite her anxiety, she is genuinely happy about the small pleasures in her life, and she's an optimist at heart (when the anxiety and PTSD doesn't interrupt that, at least)

❤️ - What is one of your OC’s best memories?

Madison: When her older brother first got his driver's license, the two of them went driving around to look for Christmas presents for the family - they stopped for hot chocolates on the way, went through all kinds of gift-shopping gymnastics to avoid the other one discovering what present they got them, and then Johnny crashed into a snowbank getting out of the parking lot (everything was fine, it was just surprising and hilarious)

Ophelia: Winning the state robotics competition in high school and going out for ice cream afterwards - it was both an incredibly happy memory on its own and one of the last times she saw both of her parents alive and happy.

Gia: Visiting her grandparents and extended family in Greece for the first time, swimming in the ocean and hearing her grandmother cluck about riptides and sunscreen, getting into a splash war with her siblings and cousins until her eyes burned from the saltwater...

✂️ - What is one of your OC’s worst memories?

Madison: Excluding the absolute worst of the worst since that's a big plot point... being captured by the Brotherhood and having her mutation enhanced. She was physically struggling since the cell was so cold it put her into torpor, mentally struggling because having her mutation enhanced gave her some dysmorphia and depersonalization issues, and she either expected to die there or escape and have to rewrite her life entirely (since she expected to be cast out from the X-Men). It was torture for her in so many ways.

Ophelia: When Officer Stacy came to her door to tell her that her father had passed away. For one thing, her mother had died only a few months before that, so she was already grief-stricken and now newly orphaned, but she was also closer with her father to begin with and it was utterly devastating to lose him. It literally changed the entire course of her life, in a way.

Gia: When HYDRA cut off her leg in an attempt to see if the clover would regenerate it. She doesn't remember much from her time with HYDRA because of the trauma, but she remembers that. It was the most painful thing she's ever experienced, and to her represented a turning point in her life (she could, and does, pretend that her clover didn't change her life, but she can't ever get her leg back).

🍎 - What is the OC’s relationship w/their parents like?

Madison: Moderate. She grew up in the 50's, so she always felt stifled by expectations of conformity. There was a lot more strain once she became a teenager, since they expected her to play into traditional gender roles and expect to become a housewife for someone, and that's never been how Madison rolls. Still, they weren't bad parents, and she genuinely does love them.

Ophelia: Incredibly close, to the point that losing them absolutely devastated her.

Gia: Very close at first, but it fractured after her younger sister's leukemia diagnosis and eventual death. It was never really the same after that, and only fractured further after everything with HYDRA.

💀 - Does your OC have any phobias?

Madison: Not really. She gets incredibly protective of her family - we're talking protective like a wild animal, she goes feral when they're in danger - but this isn't exactly a phobia.

Ophelia: Not a phobia either, but she's definitely a lot more wary about the multiverse after everything that happened with Charybdis. She's also a lot more wary of herself - Charybdis is a version of her, they're the same person at the core of it, and she's inwardly terrified of going down the same path as Charybdis.

Gia: Strangers. After HYDRA, she develops a strong case of agoraphobia, particularly with the anxiety that HYDRA could still be watching/targeting her through undercover agents, and anyone she encounters on the street could be one of those agents.

🎓 - How long have you had the OC?

Madison: Since 2020, I think? I started writing her story in mid-2021, but I think she was marinating in my mind for a while first.

Ophelia: Since December of 2021, after No Way Home came out.

Gia: A few months, since somewhere in the realm of November or December of 2023. I was in rehearsals for Little Shop of Horrors at that point, and all that time being cooped up in the puppets got me thinking about the codependence between Seymour and Twoey, which led to me thinking about an OC who's also linked to a plant (to both the success and detriment of their life), and Gia was born

[sortasirius]

What the Fuck Happened to the SPN Finale?

Okay so here it is, my Charlie Kelly style manifesto.

Before I get into it, I recognize that I will look like this to many of you, and that’s okay, I understand:

Secondly, your personal Takes about the writers don’t interest me, I don’t need to hear them. This, as I’ll explain, is going to remain a writer positive blog, and that’s the end of it.

Third, and most importantly: some of what I’m going to talk about is fact, and some is highly educated speculation. I will notate what is speculation, just so there’s no confusion or hot takes in my inbox that I’m a conspiracy theorist or stirring shit up for no reason.

A list of what I’ll be discussing

The episode in regards to the rest of the season

The episode issues: length, editing

Scene placement and speculation of scenes cut

The scrubbing of Jack, Cas, Eileen

Network involvement and general timeline of when things were cut

Misha: theories on where he was, official company line, why we can’t expect to hear anything directly

The silence of the cast post episode (in Misha’s case, mid episode) and what this might mean

Jensen speaking with Kripke about the ending: why it doesn’t mean what you might think (also why kripke remained positive on the ending)

Walker, and why this episode had a major shift

Why the network would do this or get involved

Why the writers of the show simply aren’t the bad guys here, and what I “want” out of this post, since I know it’ll get asked

This is very long and under a cut, but I hope you’ll give it a read.

The Episode In Regards to the Rest of the Season

So, I’ve discussed this already here, but it’s the most obvious thing to me, and that’s the way this episode simply doesn’t fit with the rest of the season.

These people in this room have, truly, been nothing but consistent when it comes to their arcs, especially this season, and the marked dropoff in quality for the finale episode is just too sus to discount to me.  Dabb’s whole focus has been character-based.  In his seasons, we’ve moved far away from MOTW and bro-codependency, the found family taking it’s place.  Does it really sit right to anyone that that was all thrown away in literally the last episode of the entire show?

This is speculation on my part, but as a writer myself, there is no way I would be happy or willing to stamp my name on something that I didn’t think would, at the very least, wrap up the season+ character arcs that I and my team had been crafting.

And before anyone comes in here saying, “well GOT did that!”  Bruh.  The writing was on the wall for GOT long before the final episode.  You could tell that the showrunners just wanted to be done (not only from the plot, but from the fact that they lobbied for a shorter season).  Miss me with that, it doesn’t apply here.  Andrew has, besides Singer and J2, been with the show longer than anyone.  He cares, he is meticulous and detailed, and this ending feels worse than anything Bucklemming has ever written, let alone Dabb.

Additionally, I’ve seen a lot of people say that Dabb was never behind Destiel, that it was all Bobo and Meredith and no one else.  That is reductive to the point of insult of the work Dabb has done to get this greenlit.  This man did not write the s13 Dean grief arc to be slandered like this.  That being said, YES, Bobo and Meredith were the leads on the DeanCas arc this season, but ANDREW IS THE SHOWRUNNER, TO GET EVEN THE CONFESSION APPROVED BY THE NETWORK HE WOULD HAVE TO HAVE THEIR BACKS.  AND HE DID.

Finale Issues

So, now that we’ve gotten the fact that this episode doesn’t hit on any of the major themes the show was barrelling towards all season, let’s discuss the fact that the episode is just...weird.

Not only is it shorter than any other episode (I think with the intro and the credits/crew thing at the end, it was around 38 mins), but it was also...idk, 90% filler?

One of the lovely humans in the POLOL server did the legwork here, and broke it down:

This is weird, y’all.  Most series finales are LONGER than normal (Lost, SOA, Longmire are the ones I can think of off the top of my head), and for the final episode to be this?  I saw more than one person point out that we only really needed 19 episodes, what was the point of 20?  AND THAT’S EXACTLY IT?  WHAT WAS THE POINT OF THIS FINAL EPISODE IF THIS WAS ALL WE WERE SUPPOSED TO GET?

It simply doesn’t make any sense, the first half of the episode was rushed, a final monster hunt gone wrong, but in the second half?  Nothing really happened?  Sam lived his entire life and Dean just drove around.  It doesn’t make sense to have all the emotional arcs left unaddressed in an episode that definitely needed some kind of spark.

Here’s the speculation I have: the episode seemingly went through a lot of changes between the initial inception of the final season and when we actually got it, but I think it would have been passable (as in, we wouldn’t be sitting here asking each other why each arc feels incomplete) until the editing room got ahold of it.  The only think that makes this episode make sense is network fuckery.  Truly, that is the only thing.  It explains the weird, cuts, the rushed pacing of the first half followed by nothing in the second half, the double montages of “Wayward Son” back to back, and Dean just...driving around for the last half of the episode.

Scene Placement and Speculation of Scenes Cut

Before I get into this section, the info of the shots in the episode I have come from a source that @occamshipper​ got a week or so before the finale.  She’s talked about this here.

So here’s what Min was given:

1-5: 1 INT MEN OF LETTERS – DEAN’S ROOM Dean is greeted by Miracle

6-10: 6 INT MEN OF LETTERS – HALLWAY/SAM’S ROOM Sam has his routine

D1 1 11-15: 15 EXT FARM HOUSE Establishing

N1 1/8 16-20: 19 Dad’s journal, marker, drawing of masked man in journal.

21-25: 23 INT IMPALA – PMP Driver picks the music

N2 1 3/8 1,2 26-30: 28pt2 INT BARN: A face from the past

28pt3 Sam and Dean say goodbye

28pt4 Shot early for technical reasons, presumably the overhead shot

N2 31-45: 41 INT MEN OF LETTERS – SAM’S ROOM Sam’s alarm goes off D4 1/8 1 46-60: 56 INT N7glasses for Sam, laptop.

So...it all fits right?  It all tracks with the actual episode, where it lands, etc.  The issue is between shots 29-40 which were apparently “too big to spoil.”  Uh.  Where are they?  And where’s 28 pt4?

After Dean dies, the next scene is Sam burning him, then shot 31, the shot of his alarm going off.

So.  Where are those 11ish shots?

PLUS we have the boards, which are scenes we KNOW were actually shot:

As well as scenes for 20 that were shot in 19.

It’s just...weird, it’s weird and again hits on the fact that the episode is so short and like 80% montage.

The Scrubbing of Jack, Cas, and Eileen

So now we have to reckon with the fact that Eileen was last mentioned by Sam after she got snapped by Chuck, Jack’s last mention is that he’s off being God somewhere, and Cas’ last mention is a ~knowing look~ between Dean and Bobby.

I’m sorry, make it make sense:

????????  That’s the end if it?  They don’t need to be discussed after this???  It’s just simply not something a writer would do, they would not introduce these characters, these arcs, without thinking there’s going to be some kind of follow through here.

So not only were three major characters (including two leads and both of the original characters’ love interests) completely wiped from the finale episode, it was as though Sam and Dean never even needed them, which just...ain’t it.

So why Eileen and Jack too?  Why not just take Cas out of it if they were afraid of the gay?  Because, ultimately, the episode went back to Kripke’s original story: just the bros, they only need each other and no one else.  They don’t want anyone else, they don’t need anyone else.  Easier to go back to something they knew was successful than trust the writers and their audience and take a big leap.

Alex even said he shot for 20 with “some of the guys” here.  What happened to that footage?

The complete 180 of it all still shocks me, I still cannot believe that we were essentially at the finish line, and the network just stopped short, and decided to go run another race, at the expense of the arc of this fifteen year legacy show.

Network Involvement and When Things Were Cut

Okay, now into the juicy stuff.

So I’ve pretty well established that network fuckery is clear, but how much did they get involved, what was the original intent?

Well again, we may never actually know what Andrew’s original script was, but I think, at the least, it would involve Dean speaking his truth to Cas and Sam living a life with Eileen.

Now, it seems today, that Misha said that Jimmy Novak was supposed to be in the finale in one iteration of the script, and while initially my brain was like “that truly makes no sense and he’s either straight up lying or telling a half truth,” I think what may be happening is Misha talking about as much as he can right now.

So Jimmy right.  Weird as fuck.  Why would he been in the Roadhouse and not Cas?  My current thought (this is about as reachy as I’ll get) is that Jimmy had no lines, could he have been in the Roadhouse as a red herring, like it said “Jimmy” in the script but it was just Cas in human clothes, a way to get around the network saying Cas couldn’t be in the final scene.  Also, you’ll notice that Misha didn’t say that Cas wasn’t supposed to be in the ep at all, just Jimmy in the last scene.

All this to say, there have clearly been multiple versions of the script, getting lighter and lighter with Cas and Eileen as the network pulled further and further back.  Remember, Dabb has to get things approved before they get shot, and if the network kept asking and asking and asking to cut Cas and Eileen, he had to find a way to work around it.  Granted, I still think that if we had been able to get a Dabb script that wasn’t torn to shreds in editing, it wouldn’t be so bad.  It may not be what a lot of us wanted (Dean speaking his truth to Cas and a reciprocation), but doing everything he could to give it to us in subtext or visual clues.

Plus, in all honesty, my man can’t keep his story straight anyway.  He said twice in his panel that the Empty and offscreen Heaven ending weren’t his original ending either.

In addition, remember that Jensen did ADR post episode 18, AND said in a meet and greet last weekend that Dean’s reaction to Cas’ confession was “cut down.” (Source here).  Many of us clowns got excited when we first heard about ADR, because we thought it would be upping the ante on Dean’s reaction, but I remember being a little sus when it was just crying.  My speculation on that is that they cut out Dean actually SAYING something, @winchestersingerautorepair​ spoke about that here.

The biggest sins were, in my opinion, committed during editing, where the network got too gun shy and sliced the episode until it was nothing but a heartless bro-fest of a finale, not mentioning anything about the other major characters that we all love, and letting the boys just suffer in separation until Sam died and finally joined Dean in Heaven.  The editing came by cutting all the major emotional beats between anyone other than Dean and Sam, leaving the skeleton of the story intact, just shorter and less...poignant than it was ever supposed to be.

Misha

We know Misha was in Vancouver, we know he quarantined, but we also know he wasn’t in the final scene, when he spoke about being in the last moment of the show months ago.  We were not crazy, he was there, he quarantined, and, in all likelihood (speculation but fitting with the timeline), he actually may have shot something (not much, but something).

I have sources here, here, here, and here showing where Misha was at that time.

Remember, the man was completely open about coming back until they finished shooting (look at this thread).  The switch happened, just like everything else, halfway through them shooting.

Please also remember Jake Abel posting his “Where’s Misha” video here.  Jake isn’t malicious, he isn’t being nasty here.  Misha was there, and everyone that’s trying to convince people he’s wasn’t just...isn’t telling the truth about it.

This is one of the things that makes me really mad, because they’re literally attempting to gaslight people into thinking, “oh we were totally wrong he was never supposed to be there” WHEN HE WAS THERE, WE KNOW HE WAS THERE.

So we’ve already heard from several people (Meghan Fitzmartin, Jay, a PA on the set of 19 (WHO WAS NOT WORKING FOR 20), Misha himself) that this was all down to Covid restrictions.  Ultimately, as this post says, we’ve heard FIVE versions of where Misha was.  None of it makes sense, but the Covid protocol seems to be the company line that others are repeating.

You may ask: why?  Why lie to all of us when we have questions?  Why, in Jay’s case, say that we’re all spreading false lies to stir up trouble, when we just have questions and things that do not make sense.  Simply?  Warner Brothers is absolutely massive.  These people have their careers to protect and are likely all under NDAs.  They want to work for WB again and don’t want to burn bridges, including Misha.  It sucks, but that’s why it’s unlikely that we’ll hear someone come out and say, “yeah we’re lying to you.”

Silence of the Cast Post Episode

So this is...probably the worst part of all this, at least in my opinion.

The guys had all been pretty excited about the end of the show (especially Jared, but Jensen’s panel last week was Jensen as happy and jokey and positive as I’ve ever seen him.  He was so excited about episode 18, about what it meant for Dean and for Cas, and I just cannot buy that he would have been that excited unless he thought there was something more in the episode.

Misha live-tweeted the episode, and was watching it with his kids.  It’s well known that Misha and the kids don’t watch the show because it’s too scary, and let’s ask ourselves, why would he have them watch an episode that he’s barely even mentioned in?

He also stopped live-tweeting at a very specific point in the episode (Dean’s death) and has not mentioned Supernatural since then. 

None of them, not Jared, Jensen, Misha, or even Alex, said anything about the episode for nearly 36 hours, when Jensen posted a salty photo on instagram.  It’s just...not what you’d expect for the end of a 15 year show, when the cast and crew are so close to the fans, so close to each other. 

My theory?  They didn’t know.  They thought Misha was, at least, going to be in the episode in some way, and when he wasn’t, they decided not to say anything.

You really think that Jensen “Heller” Ackles would have been so excited about the end of the show last week if he thought Cas wasn’t going to be in it at all?  Nah son, doesn’t make any sense.

Even today, in Jared and Misha’s panels, they seemed sad and...more than a little careful, both saying that there were things they couldn’t say, both talking around things that we all have questions on.

Jensen Speaking with Kripke

So this is where a lot of people are getting fodder to take shots at the writers, saying that Jensen hated it from the beginning, but I don’t think so.  I actually think I know what Jensen went to him about, and it wasn’t the lack of Cas or the weird pacing or the montages (which I don’t think were there when Jensen got the script); I think it was the manner of Dean’s death.

I know a lot of people were upset about that, upset with how...normal it was, coming off an episode where they literally beat God.  I actually didn’t mind it, I thought it was an interesting thematic take to be like: you can be a hero all your life, but sometimes shit happens, and you just die.

But imagine how hard that was for Jensen to read.  He would run to Kripke for that, because for him, Dean dying by being impaled by a piece of rebar had to be tough to swallow.

So, why didn’t Kripke say that?  Why didn’t he say, “oh well he had a problem with Dean’s death, none of that other stuff was in the script.”

Guys.  Why would he get involved?  He’s not going to burn bridges any more than anyone else is.  He said the ending was good because it’s the easy thing to do, it’s simple, will cause him no problems in his career, and he can just ignore the people trying to engage with him on it.

Walker

Something else to talk about is the major shift this episode had from the rest of the season: the shift from Dean to Sam.  I am NOT saying that Sam isn’t important, he definitely, absolutely is, but it was DEAN who really needed to wrap up his arc, Sam just needed to move on, get married to Eileen, become the leader he was always meant to.  So what changed?  What was with the shirtless scene, the Austin number and random case there, most of the episode being heavily Sam focused, going through his entire life in a montage?

Anyone else notice the 375 Walker promos, or Jared’s little spiel about Walker and how he hoped SPN fans would “come along for the ride.”

It’s...kinda obvious?  CW wanted to appeal to who they think the key demographic of SPN and Walker is: rural areas in the South.  It would explain a lot, why so much editing, why so Sam focused, the Austin number, the number of Walker promos, all of it.

I’m not saying this is fact, I don’t know that it is, but it is a little suspicious that even in Jared’s panel today, he talked A LOT about Walker and how he hopes SPN fans will watch it.

Why Would the Network Get Involved?

Simply put: $$$

If they think Walker can be the new SPN, and that those crazy SPN fans liked it originally, it’s a lot safer to go with the “original intent” of the show than do something risky (like making one of your two original leads queer).

And?  They don’t care.  They don’t care that the episode didn’t make sense, they don’t care that all the emotional arcs were left hanging, they don’t care by (potentially) smashing together two of Dean’s monologues (one to Sam, one to Cas) that it came of as...gross. ( @curioussubjects​ wrote a beautiful post showing how part of that death speech was likely meant for Dean here).  They don’t care, they never have, they just want to make their money and move on from the too-loud fandom that fought for representation too hard for too long.

It can’t help but feel insidious, which, honestly, it might be, but it really all comes down to the next cash cow, which, they think, is Walker, even at the cost of the fifteen year legacy show.

The Writers and What I Want

So here it is, all this weird, sus shit laid out on the line.  And you know what?  To me, there is no way to blame the writers, because they didn’t want this.

I don’t think Dabb and Bobo would have gone ahead with the confession in 18 without thinking that there would be some closure to that arc, they wouldn’t have done that not only to the fans, but for the sake of their own story as well: no writer wants to start something that they can’t finish. (And this applies to both Cas and Eileen).

Here’s a basic rundown of what I think happened: they had a clear arc from 18-20, ending in reciprocation at some level from Dean, Sam marrying Eileen, Hunter Sam as the new Bobby, Dean in heaven with Cas and big roadhouse reunion at the end. Covid prevented a good amount of that. Network had to stare at big gay 18 for six months, got cold feet. Thought about Walker, target audience and alienation of the rural areas if it went full gay. Misha quarantined and likely shot something (not much), he was then cut by execs and went home. They likely added in lines referencing Eileen and Cas to make it clear but more subtextual. They wrap, editing gets it and hacks it to pieces, so we get a shorter episode that’s mostly montages and jarringly bro-centric with nothing else. Arcs are left hanging. Dabb gets episode but it’s too late, there’s nothing he can do. Actors aren’t told so they can continue to do positive PR for the ending, they all found out at the same time we did: hence almost complete silence about the finale.

And you know what?  They warned us.  I talked about it here, but they’ve been telling us all season that Chuck wasn’t the writer, he’s the network.  I don’t think, still, that they thought it would be cut up like this, into something so unsalvageable that it’s been panned by almost everyone, even people who didn’t care much about Dean and Cas.

Finally, a masterpiece can be ruined by editing, and while I’m not sure even the script they ended up shooting on was a masterpiece (due to the network meddling already), but to me it’s blatantly obvious that it’s no one but the network that caused this, that took away closure for Dean, Cas, and even Sam.

So what do I want?  Nothing really, there’s nothing we can do, but I wrote this mostly to show people that the writers are not your enemy.   In fact, to the people trashing them?  You’re doing exactly what the CW wants you to: blame the obvious targets, blame Misha, blame Jensen and Jared, blame Dabb.  Scream and yell at them on Twitter and about how the show is ruined because of them.  The network keeps their engagement levels high, they don’t get as targeted for their behavior, and just keep moving along.

Just, please, think about who did this,  Mourn the show, be angry, but not at the people who fought tooth and nail for this for literal years, not the people who wanted it more than we did, not the people who cannot say anything because of their careers and the NDAs they’re bound by.

Someone is going to spill eventually, but until then, we just have to wait, and continue to be loud.

[kylie-writes-stuff]

“wife”

pairing: corpse husband x reader (female)

words: 1,714

requested?: no (send some in tho pls :) )

plot/summary: felix invites his friend, y/n, to play among us when they need an extra player. her and corpse get along well

authors note: so this isnt that good and i know a lot of corpse fics use a similar plot. i just wanted to try to write for corpse. hopefully things i write for him in the future are better. let me know what you think tho! also i really wanted reader to be best friends with karl bc i love him sm. uh every swiggly line is like a small time skip. this was written late at night btw and i didnt take much time to go over it

⭒☆━━━━━━━━━━━━━━━☆⭒

You sat up from laying down when you heard your phone ring. You looked at the caller ID.

Felix.

"What's up Felix?" You ask with a small yawn.

"Aww, how sweet," You hear in the background.

You giggle and ask, "Is that Sean? Hi Sean!"

"Yeah, we're playing Among Us and need an extra player. You down?" Felix explained.

"Sure, just give me a few minutes. See you soon, whore"

"Bitc-" You hang up before he can finish.

You got up and turned off your TV, going to get ready. 

⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒

You quickly tweet out that you're going live and say something on your insta story as well. You start your stream and slowly watch people flood in.

"Hey everyone! How are you guys doing?" You wave and smile, reading the chat.

"Everyone doing good, awesome! And i'm sorry to anyone having a bad day. I hope i can brighten it a bit!"

"Okay, sorry i didn't give you a further notice. I didn't even know i was gonna stream. Felix invited me to play Among Us so... here we are!"

You quickly join the discord and pull up the game, putting a cover over where the code goes.

"Hello?" You ask as you join the call. A chorus of greetings came your way.

"(Y/n)?"

"Karl!" You smile brightly.

Karl Jacobs was a good friend of yours. You would play on the Dream SMP sometimes. When you would, it would mostly be you being stupid with Karl and Alex, also known as Quackity. You were even a well know citizen of El Rapids.

"LET'S GOOOOO!" He yelled, making you laugh.

"Hey (Y/n), do you know everyone here?" Sean asks you.

"Um," You quickly scan through the names, "no, i don't think so."

You recognized names but you only personally knew Felix, Sean, Karl, and Ethan.

"Oh my god! Your voice is so cute!" Pokimane exclaims.

You giggle softly, "Thank you Poki!"

You're voice wasn't high pitched or anything like that, you just always spoke very softly and calmly. You were also a bit quiet.

Felix introduces you to those that you didn't know.

"There's one more person we're waiting for," He says.

While everyone waits, you and Karl run around each other's little characters and make jokes between yourselves. You mute yourself to read donations every once in a while.

You hear the discord chime, signaling that someone joined the call.

"WAIT CORPSE! DON'T SPEAK YET!" Felix yelled. "We have a new player. This is my friend (Y/n), say hi to her"

"Hello (Y/n)," Corpse said. You were taken aback by how deep his voice was but you didn't show it.

"Hi Corpse! Nice to meet you!" You said happily.

"Okay, how is she not freaking out?" Bretman said, making everyone laugh.

"Uh, (Y/n), do you mind letting me have black? It's cool if not.." Corpse asked gently.

"O-oh sure, no problem." You were usually black with the pink flamingo hat, but you ran over to the little computer and changed your color.

"Simp," Ethan mumbled, knowing you never switch from black.

"Thank you," He said, then the game started.

The word “Imposter” appeared on your screen in red, yours and Corpse's characters underneath.

As the game started, you thought no one could hear you so you spoke to your chat. "His voice was so deep, what the fuck? Holy shit that was hot, i'm gonna-"

"(Y/n)," Rae laughed, "You know we're playing proximity chat, right."

You blushed as you realized and said "Ha, anyways..." and ran to start faking tasks.

You ended up in electrical with Karl. "(Y/n)! My good friend, my buddy, you would never kill me right? Haha..." He said.

"Of course not, Karl! My good friend, my buddy. Why, I'm not even imposter," I said as i quickly dipped into the vent and back out, making him laugh.

I decided to show him because I knew Karl wouldn't say anything, and it's funny.

"Oh that's good then. Are you sure you're not imposter?"

"Mhm, pretty sure," You said, going back in. As you came out, Sykkuno walked in and froze.

"Uh, (Y/n)?"

"Fuck... Karl run! Go!" You said, Karl starting to leave. You walked closer and quickly killed Sykkuno then vented to security.

"That was close..." You told your chat.

You saw Corpse as you made your way around the map and walked into navigation.

"Hey, Corpse, how ya doing?"

"Ah you know, good. Just being crewmate and all."

You stifled a laugh, "Oh yeah I feel that, buddy."

"Yeah because there's no way that i'm imposter. No way i could be faking tasks and there's no possible way you could be the other imposter" He said quickly.

"For sure. Hypothetically speaking, though, if you were imposter, how many people would you have killed by now?"

"I would say probably around two."

"Interesting," You said right before a body was reported. It was Sykkuno's. Felix and Rae were also dead.

"WHAT!" Corpse yelled.

"Where was the body at?" Sean laughed.

"Uh I found it in electrical," Bretman said.

"I'm pretty sure Karl was in there earlier."

You calmly said, "It's not Karl, I was with him for most of the round."

"How do we know the two of you aren't imposters?" Sean asked.

"I was alone with him, he would have taken the chance to kill me."

"No, he's your best friend."

"He's also ruthless,"

"TRUE! SO TRUE!" Karl yelled.

"So skip?" Corpse asked.

Everyone agreed and the voting was skipped.

The next round, I spent with Ethan. He was pretending to be mad at me because Sean said Karl was my best friend.

"What happened to Blue Boi Buddies, huh?!" He exclaimed.

"Neither of our hair is even blue anymore!" You argued back.

You were in reactor with him when Corpse and Poki walked in. He hit the lights and you took it as a sign to double kill. He killed Poki, you killed Ethan, and the two of you made your way to electrical to help fix lights.

You and Corpse went the opposite direction of reactor after the lights were fixed, Karl going with you.

Poki's body was reported. That double kill only left you, Corpse, Sean, Karl and Bretman. You only needed two more kills.

"I still think it's Karl and (Y/n)," Sean said quickly.

"I was with (Y/n) the whole time," Corpse said, "In fact, I think it's you."

"That does make sense. Why so quick to accuse others, Sean?" You ask.

"It's not me!" He yelled.

"I actually agree with Corpse and (Y/n)," Bretman said.

"I was with you!"

We all voted for Sean, him voting for Karl. Sean was ejected.

When you load into spawn, you wait for the kill cool down and kill Bretman, saving Karl.

"Victory" appeared on your screen.

"God damn it!" Sean yelled.

"Good job, (Y/n)," Corpse said lowly.

You smiled, a slight blush on your cheeks, "You too Corpse."

"Their voices go together and they're a fuckin dream team? What have i done...," Felix sighed.

⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒

A few more games went by. Most of them you and Corpse spent together, whether you were both crewmates or if one of you was imposter.

You really enjoyed his company and you actually got along with him pretty well.

⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒

"(Y/n), before we get serious, I have one question to ask you." Corpse said as both of your characters stopped.

"What's that?" You giggled.

"Do you know Bingus?"

"Bingus? As in, our lord and savior, Bingus?"

You could hear the smile in his voice, "It's settled, you're my wife now."

This made both of you laugh and your chat go crazy.

⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒

Eventually, people had to start leaving. You said your goodbyes to everyone and left the discord call and the game.

You set stream to where it was just your face cam.

"Guys, what should we do now?"

You saw some people asking what time it was for you.

"It's 3 AM right now... I’m not tired though.” You had been streaming for a few hours; You never even noticed how late it got.

People in chat were yelling at you to go to sleep, making you chuckle.

“How about we do a quick QnA, then at 3:30 I go to bed. Deal?”

You watched as the chat filled with questions. They obviously seemed to like the idea.

“‘Who is your best friend? Karl or Ethan?’ Neither, Alex Quackity. Next question.” You answered quickly.

You laughed, “I’d like to clarify that that’s a joke, i love all my friends equally.”

You answered more questions. Some were from new viewers asking basic questions, some were about future streams and videos. 

“‘How do you feel about people shipping you and Corpse?’“ People are already shipping us?” You laughed, “I’ve said before that I’m okay with shipping, as long as the other person is too. I think it’s funny.”

You continued to read chat. “Wait, we’re trending?”

You checked Twitter and “#(your and corpse’s ship name)” was trending in the US.

You laughed as you scrolled through the tag, “Oh this is so funny.”

“Fanart already?! You guys are so talented!”

You read chat, looking for more questions. You saw people telling you that it’s 3:30.

“Okay fine, a deal’s a deal. I hope you all have, or had, a great day and I’ll see you guys later. Depending on what time it is for you, you should also get some sleep. Stay hydrated, love you!” You ended stream.

⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒⌒

You scrolled through Twitter as you laid in bed, liking fanart and dumb memes. Also replying to a few of your friends’ tweets.

karl :) @/KarlJacobs_

@/(your username) what the honk ?

*clip of you saying Quackity was your best friend*           

You liked the tweet and replied, “karl no,,, look away,,,”

You continued scrolling, feeling your eyes get droopy. Your eyes fell closed but quickly opened when your phone vibrated. It was a DM. 

From Corpse.

You two had followed each other earlier.

Corpse: hey (y/n), just wanted to say you’re really cool and i’d love to play again with you soon 

You smiled, a light blush spreading across your cheeks, and replied.

You: i’d love to, corpse

Corpse: ok, see you soon ‘wife’

You: back at ya, ‘husband”

Corpse: :)

You: :)

[anasticep]

Why Julie and the Phantoms is a masterpiece of a show. Part 2. Heroes and Villains or Let that foil shine

NOTE: Thanks again for your kind response to Part 1. I never expected that. It being my first tumblr post and a first meta in quite a long time I was blown away. I read all the tags, some were really hilarious. About having more than one brain cell xDDD I laughed so hard. It means a lot.

NOTE2: Please remember that the gifs are made by me, so don't crop, edit or give as yours.

Part 1.

Before diving into meta, I have to mention that the Villain of the story is actually one of the best in the decade. He’s cool, evil from the start, we understand his motives and we certainly are not supposed to love and make excuses for him. The writers made sure of that. So back to the main topic.

A foil is a character who contrasts with another character; typically, a character who contrasts with the protagonist, in order to better highlight or differentiate certain qualities of the protagonist

Foils in literature are not necessarily antagonists. A friend can be a foil or sometimes even a thing, a song. Whatever can make a good and real contrast to the protagonist. But it’s not very simple to use this author’s device and not fall down a deep hole. Because you have to make sure you did just the right amount of work to make it understandable for a reader, the things you want to contrast are definitely there and still you don't waste a character. On TV it can be even harder given limited air time. And, well, I don’t come across this device being used in full very often nowadays. It’s usually good and evil fighting for the plot. That’s why I personally appreciate JaTP so much.

Caleb is clearly a foil to Luke. As much as I’d love to say that Julie also has one, that’s not entirely true, at least not this season. Carrie is not her foil though it may seem so, and I really think that’s cool as Julie’s journey is being presented through her own demons and I'm going to cover that next. That being said, of course Caleb doubles as an antagonist plotwise, but I personally consider him being written more as a contract to Luke so we could see and appreciate his character and journey better.

1. Origins

Caleb and Luke have extremely similar backgrounds. They are both natural performers. They know how to deliver, because c’mon, “Now or Never” is something and so is “The other side of Hollywood”. Stage is their natural habitat, their element, power. Although they channel this power from completely different places.

Let’s start with our little ball of energy. It’s emphasized TWICE that he doesn’t care about the money aka the physical side of art.

All Luke wants is to make music. Connect with people. He is so happy just to be heard despite him loving to perform. Making music is what makes him feel alive and basically that’s enough. I think if there was no “hologram” magic at all, Luke would have still been extremely happy to make music with and for Julie. Because that’s the way he is.

But Caleb doesn’t know that. He knows, and I’m standing by that, right away that Luke is the one to aim at. Because we always feel the similarity in people. If Luke said yes, Reggie and Alex would have followed. So Caleb recognizes the passion and shoots at them what he thinks is appealing. And, oh boy, he delivers.

“The Other Side of Hollywood” is a perfect song to emphasize Luke and Caleb being foils for each other. Follow me here:

But these lines come from very different places. For Caleb the only thing that matters is himself. He owns the show, he IS the show. It’s about being famous, drowning in applause, admiration. Look at how he performs. Confident, yes, but still very much in control. He must keep his perfect face. No flaws, no real emotions, no real connection (Did you miss ME? I did too // This band is back). Whereas Luke is simply living the best time of his life each time he performs. Is it just jamming? Bring it on. Doing fun riffs? He’s all for it. He doesn’t care how he looks (though who could deny gorgeous sweaty Luke), he owns the show just because he is a natural.

So back to the business. Caleb immediately puts the boys in his own shoes:

On the other side we live like kings // Your soulprint on the walk of fame on the boulevard of your wildest dreams // I got your glamour, got your gold, got all you’ll ever need

And, I mean, he is not that wrong. You can see the appeal on the boys’ faces. They are young, passionate, handsome, talented musicians. Of course they wouldn’t deny fame. Of course they would want all that to some extent. And Caleb is very sure he pulled the right strings.

Watch me make a move, I’m your number one choice

Also I have to mention, as we are talking about TOSOH (IKEA name again) and it being a foil for Luke, thy lyrics still don’t forget about what is important for Reggie and Alex (we’ll talk about that just a bit later):

Welcome to the brotherhood -> Reggie

Where you won’t be misunderstood -> Alex

Then again, lots of foreshadowing in the song, if you listen carefully the lyrics are stressing the true colors of the offer:

A tomb with a view

Man, what a metaphor. I would have run out of there the minute I heard this line. But our boys share one brain cell (I can’t get over how funny this is) and it’s currently taken by Julie, so I don’t blame them.

Disappointment is huge. Caleb read it all wrong. So we are moving to the next point in our Heroes and Villains essay.

2. Recruitment

It’s very cool that Caleb offers the boys to join his band right after Luke offers Julie to join Sunset Curve. They both are going out of their ways to get that (although have different budgets apparently. But look, they live in a garage). Luke made a hit with a bunch of Julie’s not very well structured lines (I love Flying Solo with all my heart as a song, but as a poem it just looks weird to me) to impress her, and we all saw the show Caleb had thrown to impress the boys. Plus food. And fancy dancing. But here is where contrast comes again.

Caleb offers to join the band, yes, but only as backup singers. It’s his show, remember? It’s only about him. He doesn’t care if they are even good. He wants their magic under control.

Share the spotlight with ME / How do you like MY new band?!

Luke offering Julie a spot in the band is a completely different story. He saw what she is capable of. He instantly knows she must be the key to a new sound, a new level. And he, a natural performer, frontman, lead guitarist, steps back and gives the spotlight to Julie. To think about it, he could have just got her magic under control by giving her simple lines, incorporating piano in the songs and that’s all. They would be visible, he would still be a center of attention, and Julie herself wouldn't mind that much. But that’s not who Luke is. Yes, there is a funny scene of “Hey, I’m your lead singer” and “you don’t have to be mean”, but it’s just messing around. Because right after that he finishes Flying Solo, writes several other songs with Julie, seeks her approval of Sunset Curve songs and basically follows her around like an adorable excited puppy.

Moving on and back to the rejection. Again the writers are mirroring them. Julie quits the band & the boys decline the offer. What does Luke do? Well, he tries the way he knows: books a gig, makes Reggie and Alex sing in perfect harmonies and does his puppy eyes thing. And it doesn’t work. And Luke goes to reflect and then probably try to come up with a plan. But something tells me he would not have haunted Julie until she joined them.

What does Caleb do after the initial rejection? Puts a cursed stamp that leaves them no choice but to join HGC. You don’t need to say more.

But in fact the more I think about it, the more I suspect Caleb also not possessing enough mental capacity for a human being. Like, if it wasn’t for Willie, how would they even know? Has Caleb planned to simply show up one day and casually explain? Look, foils in everything.

“You’re in a tough spot… So, you wanna join the band?” | “Looked like it hurt… you know where to find me”

But we sidestepped a bit.

3. Pulling the strings

After the song Caleb comes out to consolidate his success. What he does is clever and, btw, that’s the only time he becomes Julie’s foil. They are stating basically the same thing.

Again, Julie is concerned about the band and the boys, while Caleb is only concerned about having them under control. But they both are pulling basically the right strings.

What is interesting, Caleb actually impressed the wrong person (and that person is our sweet Reggie). Luke follows the string Julie pulled. Although the offer is tempting, he insists twice that they are in a band already directly to Caleb and then in Eats&Beats he says "It's like Julie said, we have a new band, a new sound». No matter what Caleb promised, Luke is not affected at all although Caleb’s offer is a very-very safe choice.

Speaking about using friends as foils, Alex and Reggie also serve as contrast characters for Luke at some points. Luke’s indifference to money is first stressed through Alex who is clearly the chief accountant for the band. His lines about not getting tips, living in a garage and «it’s a little bit about the money» are waved aside by Luke. Reggie is clearly the most affected by the whole Bobbie thing. His lines «I don’t care what Julie said, I’m glad we scared Bobbie», «So we’re gonna forget about getting back at Trevor?» are getting a clear contrast by Luke’s «It’s what Julie said, we have a new band, a new sound» and «He has to live with that guilt».

While editing the article I realised a very cool thing I haven't noticed before. How badly Luke wants to go on tour. And again that's another thing Caleb offers as if reading his mind. That's actually brilliant, to think about it.

Caleb is a VERY good reader. He tests the waters with a speech about disappearing from stage and going around the world and all dreams coming true. Still he doesn’t know the boys and especially Luke, so his phrase “no real connection” doesn’t register that much.

But he learns. Remember the lines I’ve marked before?

Reggie is afraid they will not be together after they cross over. He is in desperate need of a family. So wouldn’t it be nice to spend the rest of your afterlife with your brothers? (Reggie's main insecurity is loneliness, feel of a broken family. That's why he is the most concerned about crossing over. Will his family stay intact?)

Alex is insecure, and not being understood by the people closest to him will always hit hard. So welcome to a place where you won’t be misunderstood. And actually we know there is a guy you like and find comfort in. (Alex's insecurity is growing up in times when he could not truly be himself even with his family and for sure not believing he would ever be able to find someone meant just for him)

That mirrors the whole Luke’s beach speech perfectly. Only comparing them we can truly appreciate why Luke is the leader. He shuts down his own demons to make Alex and Reggie remember that they are not alone (“and I believe in you”. sorry. Olicity fan).

Caleb makes them suffer to get what he wants. But this time he is careful with the words aimed at Luke. Yes, he repeats his words about vanishing and applauses BUT he makes sure that his words about CONNECTION are the key words for Luke. Intense look, calming voice, touching - these are all elements of hypnosis. And Luke is in a daze. (Continuing the parents' thing, for Luke the main insecurity is not managing to connect with his mom. Maybe that's such a big thing for him: through all these people he wanted to find that connection with her)

4. The Hero’s journey

That’s the best part actually but I won’t be saying anything new or that you don’t know. Luke is made of lyrics and music. That���s his soul, heart, that’s the feeling running through his veins. He doesn’t need anything other than that in his life. Playing for eternity is “a gift no musician would ever turn down”. But he actually does turn it down. As well as his dream to go see the world with his band (is there covid in jatp universe?). He is the one who resists the hardest to the pull. Luke, who always has a guitar in his hands, doesn't want to play. Because it’s not only about the music now. He has this amazing girl in his afterlife who was willing to accept them for who they were, helped Luke battle his own demons, eased his pain and made him open up. And it doesn’t make sense any longer without her anymore. “And you’re a part of me now till eternity”.

Caleb, being Luke’s foil, completely misses the whole point of connection. It’s not in his nature. His house band are just recruits (Just so happens you’re in luck we’ve got a vacancy). For Luke his band is his family (We are the only family we ever gonna need). The Connection theme is one of the main in the show. And it’s so cool to show it focused through Luke whose best way of interaction is a touch. But not being able to touch Julie Luke has to find other ways, although it’s not that simple for him. And Julie backs that up: We connect in so many other ways. They literally touched each other's souls. Without knowing she put a stamp of her own on Luke, Alex and Reggie. They’ve never felt loved enough, appreciated enough, supported enough. They’ve only had each other. And Julie’s stamp is love. And for Luke (as well as Reggie and Alex) from now on this girl is worth dying for all over again.

_______

So yeah. I hope you enjoyed it, as I for sure enjoyed writing. There is gonna be a part 3 about Julie and a few honorable mentions of parallels of the Pilot and the Finale (I hope at least to do all that). I’ve also figured very very cool connections in the songs and I can’t wait to share.

Also as I was heavily speaking about The Other side of Hollywood, @catty-words has a wonderful meta on rain metaphors here (sorry for tagging, if you don't want to be tagged), check it out if you somehow missed it. It's super clever.

[keykeylocke]

Start-Up Review

Warning: Spoilers

Rating: 1 / 3 

This drama made me angry. I didn’t even watch the last three episodes. I rebuke everything that happened after the 3 year time jump. Han Ji-Pyeong deserved better.

Summary

Seo Dal-Mi is twelve years old. Her parents have recently divorced. She chooses to stay with her father in Korea, while her older sister In-Jae moves to America with their mother and stepfather. 

Dal-Mi’s grandmother, Won-Deuk is the owner of a hot dog shop. With her mother leaving, Grandma becomes concerned about Dal-Mi. 

One day Grandma meets an orphan named Han Ji-Pyeong. Ji-Pyeong has aged out of the orphanage, but cannot find an apartment to rent, because he is only 17. He won’t go to college for a few months and needs a place to stay in the meantime. Grandma offers him a place to sleep in the back of the hot dog shop, unbeknownst to her family. 

In exchange for her kindness Ji-Pyeong agrees to write letters to Dal-Mi posing as a student her age, named Nam Do-San. A name they chose from an article in the newspaper. Grandma thinks these letters will cheer up Dal-Mi who is dealing with feeling abandoned by her mother and sister. It works. Dal-Mi feels comforted by Ji-Pyeong’s letters. However, when Ji-Pyeong goes to college the letters suddenly stop. 

Fifteen years later, Dal-Mi is feeling unfulfilled in her life. She longs for the comfort she felt from her pen pal and first love Nam Do-San. She goes on a search to find him, but who will she find, Han Ji-pyeong who wrote the letters or Nam Do-San the young math genius whose name Grandma and Ji-Pyeong randomly found in the paper?

Song Suggestion: Lie by BTS Jimin

Grandma and Ji-Pyeong were caught in a lie.

Also did anyone think the male hacker twin looked like Jimin. His hairstyle and his colorful sweaters and earrings were giving me Park Jimin vibes.

Likes

-Kim Seon Ho’s acting. I was already a fan of his, because I watched him in 100 Days My Prince. He is actually the only reason why I considered watching this drama. I saw him in the trailer and decided to watch it. 

-Good visuals. All the shots filmed near the Han River looked so beautiful. It made me want to visit Seoul one day.

-The secret of the letter made the story interesting. As a viewer you wanted to know when and how Dal-Mi would find out. (Although the letters were a good plot device. I sometimes felt like I was watching the most elaborate episode of MTV’s Catfish.)

-I liked that this drama took on social topics like suicide, how techological advancements can negatively effect older workers, and how companies can take advantage of young workers with passion pay.

Dislikes

-3 year time jump. It didn’t seem like any character grew over the three years. 

-Ji-Pyeong being blamed for Yong-San’s brother’s death.

-The letters were not discussed by Dal-Mi and Ji-Pyeong or Dal-Mi and Grandma. They became insignificant for several episodes. Then, at the end of the series Do-San uses it as some sort of power grab between him and Ji-Pyeong.

-Do-San fighting Ji-Pyeong. It was not Ji-Pyeong’s fault that the deal with 2STO fell through. Do-San never actually told the rest of Samsan Tech that Alex met with him privately and tried to recruit him to 2STO by himself.

-Samsan Tech constantly complained about Ji-Pyeong when he only told them the truth about their company. Ji-Pyeong told them they didn’t know how to market Do-San’s technology and make it profitable. He was right. They literally used his idea to form a nonprofit type of service. They were helping the visually impaired, but they were not making money. Ji-Pyeong also said they would never find an investor for the company. He was right about that too. They only got Morning Group to invest, because they blackmailed them and 2STO did not invest in Samsan Tech, they dissolved the company.

-I hated Dal-Mi’s relationship with her mom and her sister. The abandonment she went through as a child was never really addressed (from what I watched).

-Dal-Mi and Do-San were relatable, because they were both sort of underdogs trying to make it. However, they never seemed to grow throughout the show. They showed a lot of immature behavior throughout the entire series.

-The love triangle was overused. If Dal-Mi wasn’t going to end up with Ji-Pyeong why string him and the audience along until basically the last episode. Also why do we get In-Jae showing interest in Ji-Pyeong for two seconds. This drama had 16 episodes. Was there really no time to explore that potential connection?

Favorites

Favorite Characters

-Ji-Pyeong: He had such a compelling story as an orphan who overcame adversity and became successful. He loved grandma. Although he did yell at her a couple of times. He was so conflicted, but just like BTS V he is a Good Boy. He fell in love with Dal-Mi because she is so much like Grandma. She is very kind and giving. He really is a sweet guy who seems really confident, but is actually very lonely.

-Grandma: I wanted to contact the Pope and suggest that Grandma become a saint. She took Ji-Pyeong in when he was homeless. She fed him, gave him new shoes, and started a bank account for him. She became Dal-Mi’s sole guardian and never complained. Then, she took in her daughter-in-law and gave her a job so she could escape her abusive husband. She had to suffer through the devastating loss of her son, but put on a brave face for Dal-Mi. (It was nice that she sort of gained a son through her relationship with Ji-Pyeong.)

-Do-San’s Dad: He showed how tech can negatively affect older people. Although he seemed like he was putting a lot of pressure on Do-San, he just really wanted his son to be successful and live a good life.

Favorite Scenes

-When Do-San’s dad shows up at Sandbox and says his little speech about how older people like the slow pace and younger people like fast paced technology, but both are needed in society not just one. I think this is true.

-When Do-San tells his dad that they don't have to be each other’s pride and joy. They can just be father and son. This is the way a lot of people feel about their parents, but they may never say it. It is a beautiful scene.

-Any scene where Grandma calls Ji-Pyeong Good Boy or holds his face.

[cloudshapedpatch]

sing me a lullaby (don’t tell your boss what to do)

a super indulgent, tooth-rotting fluffy Julie and the Phantoms one shot.

julie can’t sleep so she goes to her boys for comfort. no plot. just sugar.

or! read on ao3 here

* * * *

Some nights, Julie could sleep like a rock. The band had found she was a surprisingly heavy sleeper, and could fall into a deep REM cycle within minutes. She was notorious for being able to fall asleep anywhere if she was tired enough. 

Tonight was not one of those nights. 

After many hours of tossing and turning, 3 relaxing YouTube videos and maybe a few too many melatonin gummies, Julie gave up on sleep. 

Her go-to solution to any problem nowadays was to see her boys, so without much thought, she slipped into her favorite funky monster slippers and made her way out the front door. 

The cold night air slapped her cheeks with a little alertness, and a little sense. If she went out to the studio, she was sure to stay up all night. Alas, it was still 2 in the morning, and her better judgement had set with the sun. She didn’t have anything really important to do tomorrow, right? 

She opened one of the studio doors and squinted against the lights, too bright in contrast to the darkness of the house.

“Jules! What are you doing up?” Reggie was the first to notice her arrival, standing up to guide her to the couch (giving up his own seat and opting to sit on the floor in front of her; she failed to notice in her fatigued state). 

“Couldn’t sleep,” Julie mumbled, rubbing her eyes. 

“Jeez, you’re shivering,” Luke was always quick to worry about her, “Why didn’t you grab a coat?” 

Alex had already taken off his pink sweatshirt and laid it in her lap before she could answer. As she slipped it on, she noted that while it was not warm like a living teen boy’s sweater should be, it was still warmer than she was expecting, and she was glad to have a little bit of extra heat. 

After having taken a couple of moments to recover from being outside (she’d admit, it was colder than she was expecting), she went to answer the boys’ questions, but giggled at the sight of them. Alex and Reggie had sat themselves down right at her feet and Luke was seated on the armchair next to her, all looking like curious puppies waiting for a treat. 

“Well??” They said at the same time, only filling Julie with more mirth. 

“Nothing, I just knew coming in here would make me feel better.”

As soon as the words left her mouth, she knew she should have changed her wording. Luke stood up and was demanding she tell him who hurt her feelings, Reggie had attached himself to her legs, resting his cheek on her bare knees comfortingly, and Alex was halfway out the door, saying he’d figure out how to make a cup of tea. 

A fit of giggles later, Julie explained she just couldn’t sleep and was doing fine emotionally. It was only after the boys had sat back down that Julie asked what they had been doing before. 

“Just a little bit of lyric writing. Can’t play with the melody until everyone leaves for the day tomorrow, but it works for us.” Luke shrugged, looking toward his abandoned notebook on the piano. 

“Ooh, let me help!” 

“Uhh…” Reg and Alex said together, in their usual harmonised way, looking anywhere but at her.

“Look, Julie,” Luke started, and she already knew what he was gonna say, “You got school in the morning. You shouldn’t be writing.”

“No no no, it’s fine! Writing will tire my brain out, you know?” They didn’t look convinced, so she continued, “My thoughts are running a mile a minute, let me get ‘em out on paper. Please?”

All three boys looked away from her then, mumbling about how difficult it was to say no when she pouted. Finally they gave in, and they led her to the piano to pore over the notebook. 

Of course, they only got a few lines down before Reggie was throwing wads of paper at Alex, and Julie played Never Gonna Give You Up as softly as she could while simultaneously keeping her laughter down (the boys were fascinated that she knew the song since it had come out when they were young, which prompted a short lesson on memes and Rick Rolling. Reggie was especially enthralled by this). 

Luke gave up writing and went to the dart board, where Julie had hopped off the piano bench and challenged him. Not being one to back down, he and Julie played while Reg and Alex cheered them on. Alex humored her while Reggie was convinced no one could beat Luke at darts. He was right, but Julie didn’t mind so much, especially after Julie got to over-exaggerate her pity party and receive a nice long hug from her opponent, sharing an amused look with Alex while Luke rocked them back and forth. 

“I could go for some nachos right now.”

“You always want nachos, Reg.”

“Again, Reginald?”

It took Julie a moment to think through his statement (hey, it was past 3am, she had brain fog to wade through). Ever since the night they opened at the Orpheum, the boys found they could do other small things besides touch Julie, like eat, and much to Reggie's delight, take showers. 

She just giggled and grabbed Reggie by the hand, starting the short trek to the house, knowing the other two would follow. For a moment, she had forgotten what she was wearing, but stepping back into the cold night reminded her. She had walked out of the house wearing her pajama shorts and a short-sleeved crop top, and she was drowning in Alex’s hoodie. Her face heated at the thought of all the boys seeing her in nearly nothing but the large pink sweatshirt, playing off the color in her cheeks as windchill.

But she should have known the boys wouldn't have behaved.

Because while nothing the boys said would be able to be heard by her father or brother, the results of their actions were definitely audible. Alex was trying to heat the queso, but he spent too much effort trying not to drop the jar that he forgot about the spoon, which clattered loudly to the ground. All four froze in terror until Luke burst into laughter because some cheese had splattered into Julie’s hair, and she replied by smudging some cheese onto his nose. And after the ensuing cheese-throwing war, the kitchen was not a pretty sight. The mere thought of her dad coming down to see his daughter covered in cheese, alone, in the middle of the night, in their equally messy kitchen brought shivers. She’d surely be back to seeing Dr. Turner three days a week. 

The boys did their best to clean, but mostly entertained Julie while she wiped up the mess and carried the plate of nachos back to the studio (how long does it take a band of three dead teen boys to make a plate of nachos? apparently, 38 minutes) before they flopped on the ground in a big pile. Julie laid with her head on Luke’s chest, who had his head on Alex’s lap. Reggie laid on Julie’s legs and she ran her hands through his surprisingly soft hair as they slowly worked through the plate. 

“Hey Julie? Will you sing me a lullaby?”

“Are you serious?” Julie turned her head slightly to see him more clearly. She almost laughed, but then saw the look in his eyes, and couldn’t tell if he was serious or about to tease her. “Luke, you guys don’t even sleep.”

“Aw, c’mon Jules,” Reg begged, “You have such a nice voice.”

“The voice of an angel.” Luke added. Julie pushed all thoughts of the song she never let herself write down, yet constantly played in her dreams, and hoped that they couldn’t see the flush creeping down her neck.

“Fine. But only because I love y’all.”

Alex wiggled excitedly from under her as she cleared her throat and started to sing A Thousand Years (Julie was sort of glad they had died 25 years ago. She would virtually never run out of new material to impress them with, and Christina Perri was a classic). At some point Alex had laid down too, and Reggie had closed his eyes as Julie kept scratching his scalp as she sang. Luke ran his fingers over her shoulder as if he were strumming his guitar. And everything was alright.

A large yawn took over Julie’s voice just as she finished the song.

“Alright, time for bed, little miss.” Alex joked, poking her tongue as her mouth opened in another yawn. 

She swatted his hand away yet made no effort to get up, instead choosing to nestle further into Luke’s neck. “Sorry, can’t, Reggie fell asleep on me.”

Reggie cracked one eye open. “Nice try. We don’t sleep, remember?” Reggie climbed off her and grabbed her hands, pulling her to a stand. 

The blood rushed from her head down to her toes, causing her vision to turn dark and her balance swayed. Before she could catch herself, Luke had scooped her up into his arms. 

“Come on boys. We got a girl to tuck in.”

“Yes sir.”

“At your service.”

Julie played off her wheeze as a snort of amusement, burying her face into her hands. A few moments passed and they didn’t move, so she peeked out from between her fingers, only to see all three boys looking over her like she was exactly what they asked for for their birthday.

She yelped in surprise which only caused the boys to laugh. Julie huffed and crossed her arms, pursing her lips to keep from smiling.

“Oh, lighten up, boss. We’re going now.”

And then he was smiling that smile that he usually reserved for when they were alone or on stage. She snorted (for real this time, but still in an effort to keep her composure) and poked his cheek. 

For the fourth time that night, the cold night air whipped at her legs and face as Luke and the boys carried her to her bedroom. Reggie made an offhand comment on how absurd it would look if Ray woke up and saw his daughter floating around the house, and Julie had to slap her hand to her mouth to keep from laughing aloud; the boys all laughing loudly without restraint didn’t help.

And finally, once they were in the safety of her bedroom, they did exactly what they said they would. Alex tucked the pink hood inside the sweater so she could lay on it more comfortably (“You look all cozy, you can sleep in it for tonight.”), Reggie pulled back the covers and fluffed the pillows. 

Julie felt like a princess, being pampered by these boys who had crashed into her life and nestled their way into her heart. Luke even laid her down, hand supporting her neck, and all three of them literally tucked her in. 

“Hey guys? Will you sing me a lullaby?”

They groaned, mumbling together about karma, payback, and song recommendations. Eventually they settled themselves on her bed and sang her a song she didn’t recognize, one that must have been vaguely popular in the 90’s. It was soothing, and she felt the tugs of sleep start to take her under.

She must have dozed off, because she awoke to some shuffling, opening her eyes to see the boys tip-toeing out of her room.

“Luke,” 

She hadn’t meant to say it out loud. She had been thinking of him (and the fuzzy lingerings of a dream lined the edges of her mind, one with Luke and a magical dance and that sweet smile of his). But all three boys stopped, before Alex pushed Reggie through the door with a wink.

“You okay? Need anything?”

Her words failed her, heart full and eyes nearly brimming with tears. She scooted over and pulled back the covers, patting the sheets next to her and avoiding his eyes.

Just like she knew he would, he made no comment but slid into the bed and let Julie resume her earlier position on his chest. With a flick of his wrist, he pulled the covers back over them both and wrapped his arms around her back, keeping her close. 

Idly, she noted how much she liked laying on the boys (and especially him) because they were the perfect cuddling temperature. Not too hot, but not cold. Plus, she reasoned with herself, if he was nervous, at least he wouldn’t overheat the bed. 

Wait. Nervousness. She was sure Luke could feel her pounding heart, beating like thunder against his too-quiet chest. He didn’t say anything, just rolled her curls between his fingers as they laid in comfortable silence. 

Her thoughts began to wander, instead of relishing in the moment like she longed to do, but thoughts of all the boys had done for her, not just tonight, but in all the months she had known them. 

And then his thumbs were running over her cheeks, whispering soothing words and lifting her face, locking their eyes. Her cheeks were wet. She must have started crying.

“Happy tears, don’t worry about it.” 

He looked back at her quizzically.

“I was just thinking about how grateful I am that you guys are in my life.” She bit back the ‘especially you’ that fought to escape.

“We’ll always be here, Julie. You’re okay. Just go to sleep. I’ll wake you around 6? You’ll need to take a shower.” Luke took his hands out of her hair to show her a bit of cheese he picked out. 

Julie covered a laugh again, resting her head back on his chest, relishing in his company and willingness to do whatever she asked. And she fell asleep, for real this time, with his fingers in her hair and soft hums pulling her into the best sleep she’d had in a while. 

And never had she felt happier than that morning, Luke softly singing her into consciousness while Reggie brought her a cup of hot coffee and Alex picking her outfit for the day. 

Bonus:

Julie came home from school later that day exhausted but overjoyed. Flynn had teased her endlessly, but she was too happy to care.

Like she did every day, she said hello to her family before going into the studio to do her homework.

But her brain short circuited as she opened the door and found all three boys jumping up from their seats to greet her, Luke wearing Alex’s pink hoodie. It was a little small for him around the arms, not leaving much to be imagined. Julie felt her eyes grow wide, her brows climbing higher, but unable to fix her face or look away.

Alex, never one to miss a cue, nodded his chin towards Luke. “He insisted on wearing it today cause it smelled like you.”

Luke sidestepped to him and whacked him with the back of his hand, but the message had been received. She’d think about that later. For now, she had math homework and a cuddle pile with her ghosts to continue. 

[im-like-if-a-girl]

*THE* mean-girl-dean-girl's Supernatural reboot MEGAPOST!

I'm gonna stick a little "keeping reading" here because hoooooo boy, this is a very long post.

Let's start with

Plot

Season 1

Dean kills John while they are out on a hunt in a crime of passion, but Dean doesn't remember because he blacked out. Cue Dean going to Stanford to get Sam and tell him "Dad's on a hunting trip... and he hasn't been home in a couple days."

The audience doesn't know what happened to John, but slowly figures it out with Dean and Sam as Dean slowly remembers what happened that night.

The entire first season, the boys are following the trail John left and fighting monsters as well. They find out Dean was with John, Sam realizes Dean has an unreliable memory, they have heart to hearts about their childhood and the fire, they find John's body, "how could you kill Dad?" but maybe Dean didn't kill dad, whooaaaaaa, misdirection.

It was actually good ole yeller eyes (Azazel) and he made it look like Dean killed John.

Okay, now let's move on to the first episode

Not sure how the opening would work, I would like the story of the fire to be revealed over the course of the first season, but maybe the opening scene could be a little bit of an establishing character relationships and backstory, idk, I haven't thought that far yet.

I'm thinking maybe it's like, Dean gets back to a motel room covered in blood and he listens to a voicemail on his phone from John saying he was on a hunt or something, I don't really know lol.

HOWEVER

I do know that after the intro rolls, we get a scene of Sam waking up to his alarm and "Nine to Five" by Dolly Parton starts playing.

Y'all know where this is going.

Cue a montage of Sam's normal Stanford college life (him sitting through lectures, walking through the campus with friends) spliced with scenes of Dean absolutely slaughtering a nest of vampires (or some other monsters, whatever works best.)

But

Now onto

Characters!!! (And descriptions)

Dean Winchester

Some lovely person on this site made edits of Dean with platinum blond hair and it made me feel some kind of way so we're doing that, homie's gonna have platinum blond hair

Side note about the hair, later when the brothers are running from the FBI he dyes it a dirty blond/light brown (insert jackles hair color controversy here) as a disguise.

He also gets tattoos because we were robbed.

Speaking of tattoos, concept: when Dean comes back from Hell, all of his tattoos are gone. His body is a clean slate, devoid of tattoos, scars, etc. So he gets his tattoos done all over again, which he doesn't mind because he made some bad, drunk tattoo decisions in his youth.

(And before you ask, yes, he does get one for Cas, either a bee or Cas's name in enochian, something cute.)

Dean goes to therapy after Sam gets sent to the Cage.

It's actually court mandated because he got in trouble, lol, he would never go to therapy on his own.

Along with the hair, Dean gets to be the grade A twunk we all know he is.

Sam Winchester

His hair gets longer in every scene he's in

No jk, but imagine

King of Microaggressions

Sam starts off like the sweetheart he is in season 1 but in later seasons he starts enjoying killing a little too much...

It's that demon blood, ba-by!!!

He brings up issues of morality to Dean, i.e. killing monsters who aren't hurting anyone. (Yes I know this is contradictory to my previous statement, but these two facets of Sam can and will coexist.)

Sam and Jess's relationship is explored further, meaning we'll need to start with a different inciting incident, but that's fine, I think everyone can agree fridgings are *(thumbs down)*

Sam doesn't truly know what happened the night of the fire until later, and then he understands why Dean is so protective of him.

Jess

She gets to live beyond the first episode

She is also trans

No, I don't feel like I have to explain myself and I won't 💜

She urges Sam to join Dean in a search for their brother, kind of gets pulled into the hunter lifestyle by association lol.

She dies on a rusty nail after fighting vampires on a routine hunt with Sam

No jk!!!

But imagine....

She's amazing and I love her and Lucifer also uses her as leverage against Sam and possesses her because I think that'd be cool.

She supports Sam 100% and also she and Dean are buddies, pals if you will.

She meets Cas Thee El and immediately she Knows, that is a homosexual.

She dies still so that we can have a Saileen Endgame but she's not dying the first episode or in a fridging. Not on my watch.

Castiel

He gets to keep his raw, light-fixture-exploding power.

I want more of that "I pulled you out of hell, I can throw you back in" energy except over dumb shit like Dean not cleaning up after himself.

He looks like a Dilf in every scene he's in, yeah, that's right, dilf with a capital D for *(GUNSHOTS)* *(gets sent to horny jail)*

Claire

She gets pink hair

And more time with Cas

And maybe a nose piercing

Feel like she should be able to kill a couple angels onscreen, punch a couple homophobes

She gets to meet Jack and teaches him swears and fun slang words.

She deserves it.

Jack

I says "that's my baby and I'm proud."

Jack starts off as a baby, but like Amara he grows up super quickly.

Like, baby to 11 year old in a couple days or less.

This is because Jack's emotional age on the show is on par with that of a 5th grader.

It's at this point when he's a young kid that he runs away from the Bunker and shenanigans ensue.

It's also at this point that Dean threatens to k*ll him.

(Still not sure if I want that in my Supernatural (threatened infanticide? In my Supernatural? It's more likely than you think) but we'll see. We'll see.)

Throughout a majority of season 13, Jack is like an 11 y.o. kid

Season 14 he's like a 16 y.o. teenager

Season 15 he's 21, you get the picture.

Listen, I love Alex Calvert a lot. He's great.

But Jack is a child and should be a child.

Kelly Kline

Kelly, baby, stay right where you are, you're perfect.

Eileen

SHE DOESN'T DIE

SHE GETS TO BE IN THE FINALE BECAUSE SHE'S AMAZING AND I LOVE HER.

BLURRY WIFE WHO? I ONLY KNOW SAILEEN ENDGAME!

She teaches Claire and Jack swears in sign-language. Castiel is not impressed.

John

J*hn W*nchester stans, DNI.

He's dead.

We only see him in flashbacks and only sometimes hear his voice in voice overs.

He's not "down the road" from Dean in Heaven, in fact he instead gets to wander around in some Purgatory like Hell for the rest of his time :)

People who get to say "fuck" on the show:

Cas (but only Once)

Jody

Bobby

Now onto other things

I want more of

Ghostfacers

(they need more screentime because I love them)

Dean/Benny

We know they had a thing.

They definitely had a thing.

Demon Dean

Again, I feel like more should've been done with this. All that build up for what, 2 episodes? was not utilized well at all.

Dean's Bisexuality

Straight Dean truthers DNI, my Supernatural is a show about love and being true to yourself

You think Supernatural is a show about 2 straight brothers fighting monsters?

Naw bitch, this is a show about the Gay Experience

He will get to have relations with men on this show.

Of course, only after John dies does he, y'know, display it. Maybe he kisses Cas on his dad's grave just to fuck John over, make him roll in grave.

We all agree John would be/is a homophobe piece of shit, right?

Okay, glad we're on the same page.

Dads

3 men and a baby with Jack is what I'm saying.

I love it when the Trio are father-figures to younger troubled characters they see themselves in, even better if it's like reluctant-but-loving father figure, oh, that trope gets me every time :'^)

Dadstiel and DadDean are my favorites, but I like it when Sam plays "Uncle Sam" to kids too lol.

"Fellas, is it gay to want a tight knit family with your husband, his son, his vessel's daughter, your brother, his wife, your cop mother figure and her wife and their adopted daughters? Asking for a friend."

Garth

Biggest flaw of Supernatural was underutilizing Garth.

I will never not be bitter that Garth was only in like, 7 episodes out of the whole 15 season series.

Every episode with Garth gets immediately 5 times better.

I love Garth.

Follow ups on characters who had entire episodes featured around them and then just... vanished???

This is mostly about Jesse, the magic kid whose imagination ruled an entire town like, his daddy was a demon and nothing came of that kid??? Only one episode about him?? No follow up???

KID CAN MANIPULATE REALITY AND WE'RE NOT GONNA GET A FOLLOW UP ON THAT?????

Uh, there was that one episode with Ennis the guy whose girlfriend was killed by a monster? I think?? Who we never see again, that was weird.

Tamara from season 3, episode 1.

And of course-

Cassie

She was so cool, and then we never saw her again :////

She gets to be a badass.

Religious imagery

As a former Catholic school student who has become for the most part, disillusioned with religion, religious imagery in TV shows like Supernatural make my brain go "brrrrrr."

Fun episodes!!!

Like, after season 6 or so, there's a drop in funny episodes

I'm talking Changing Channels, The French Mistake type stuff. (Scoobynatural is an outlier and should not be counted.)

So anyway

In my version we would have more fun episodes

I'm thinking

GENDER-SWAP EPISODE, BABY!!

(why they didn't do that in the original, we'll never know.)

An episode where Dean gets to wear eyeliner

That's it, end of post.

I want less

Racism

Yeah I feel like this is self explanatory, nearly every reoccurring character in SPN is white, and black side characters normally die in the episode they first appear in, or they'll be featured as a villain (Uriel, Raphael, Billie, etc)

Also there's a lot of... uh... asian fetishism featured in the show (what with "Busty Asian Beauties) that's really gross, also Kevin was a bit of a stereotype...

Also also it's super yucky how they kill the gods from other religions like???? Uh??? That's super disrespectful, let's not do that????

I know Supernatural is like, inherently racist because monsters are a separate race that are seen as some dangerous "other" that must be eradicated by hunters in a form of genocide-

Okay we won't get into that but

Still

Stop killing all your POC

Fridgings/Unecessary murders of female characters

I know Supernatural starts with a fridging, so this will be a hard thing to remedy, but

One death that really pissed me off was the death of Charlie

Yeah, that was pointless and we're not doing that. Charlie gets to live and be an awesome aunt to Jack.

And also Claire

Charlie Bradbury Superiority

Charlie and Garth get to meet because they're nerd/geek solidarity.

British Men of Letters

I fucking hate these guys

They're "litcherally" the worst.

The worst part is that the actors they have playing the British AREN'T. EVEN. BRITISH.

And you can tell

Uh, and that's all for now, I'll add more later.

tag list for people who liked my "if this post gets one like I'll post my SPN reboot masterpost" post.

@darianyunidi @sarasidlesaid @crazybananaalpaca @playfulpanthress @ultfreakme @fififeelsmellow @heller-char @luna8eaton @princessmeganfire @insanebot109 @queenofnightsnow @mongoose-underthehouse

Thank you for the support, hope the wait was worth it.

[popculturebuffet]

The Owl House: Enchanting Grom Fright: Happy Valentine’s Gays

Happy Valentine’s Day owl ladies, gentleman and non-binary folks! It’s time to finish off this holiday in proper style with a LONG overdue review of enchanting Grom Fright and even longer overdue coverage of the Owl House.  The Owl House was one of the best debuts of last year if not THE best, only in contention because Close Enough also started last year and looks to surpass regular show in terms of quality. But with stunning animation, tons of representation, and colossal worldbuilding. And given how i’m on record for thinking Star Vs went so far down the tubes they bumped into where Cthulu is sleeping, it’s nice to have another magic based show that seems to be on the right track: carefully building i’ts world, supporting cast and for today’s topic main romance. It also rather than just obliquely hint one character was bi and the other pan, actually goes out of it’s way to have a bisexual protaginst with a gay love intrest. As my good friend @jess-the-vampire has brought up quite a bit, star had plnety of options. .but no willingness to actually campaign for any queer rep, the way Gravity Falls head Alex Hirsch tried to, he still gets credit for trying, and Owl House creator Dana Terrace gets full credit for. 

Terrace got her start working on Gravity Falls in line production before working her way up to directing for ducktales, being instrumental in how Webby was animated and how she moves and acts, and being the director for several classic season one episodes including “Woo-Hoo!”, “The Spear of Selene” , “Day of the Only Child!” which was one of my faviorites from season 1 and “The Beagle Birthday Massacre!”. And while I can’t 100% confirm she’s the only part responsible for starting Weblena, given she was director on an episode where a lot of the romantic subtext was in the visuals, she certainly helped so thank you Dana. Thank you a lot. Their adorable. Point is she’s a talented lady and wasn’t satisfied with directing, so she pitched her own show, combining tons of ides and stuff including of all things, Pokemon Red. I checked the article wikipedia had sourced, it was one of her happy childhood memories as it was one of the last things her dad gave her. Awwwwwww. That’s as sweet as it is painful. She’s also currently dating Alex Hirsch, something I was entirely unaware of but find also adorable. Point is i’m glad I looked into her as she’s a very nice person, and very much my kind of weirdo and i’m happy for her sucess and her singuarly weird show that sprung from that sucess. 

Now that part of it’s out of the way the episode itself was an uphill battle as you’d expect. As anyone familiar with this blog is aware, but just in case your new, you tend to hear me bitching about Disney’s handling of queer represntation a LOT

For the most part Disney’s pretty bad at it: There was the string of “FIRST GAY CHARACTER IN AN X” they had going for a while.. that consisted of a character I dind’t realize was gay, a kiss I didn’t see, and a talk with a character who I honestly wouldn’t of been looking for had disney not patted themselves on the back with some giant sized hands because htey saved some pym particles for that occasion. Ducktales was unable to have Penumbra come out as gay more clearly because I don’t know Ducks can’t be day.. but they can be IMPLIED to be gay or pansexual as hard as the crew possibly can so they win anyway. Pixar was able to have a gay lead character for one of it’s sparks shorts out and even focused on him coming out of the closet and it’s very good and something I WILL give Pixar credit for... but not Disney Plus who go out of their way to not mention the lead being gay.. despite the fact the short opens with a gay space cat riding a gay space dog out of a rainbow and then it being revaled our lead is in a relationship not long into the short. My point is the idiots who won’t watch this for having gay characters are just going to turn it off, who cares what they think, why are you like this Disney. They need to do better, and be better and i’m getting tired of this shit.

That being said... this episode is a step in the right directoin as despite having to get past one obstructive asshole, not her words but damn if it isn’t the truth, as the rest of hte execs were fine with having a gay character, Terrace fought hard for it and WON, having a clearly gay character, and a clear road to a gay romace as the lead one, all because she wanted some representation in her works. So to honor this, I present this review in honor of love, effort and saying screw you to not having represntation because money. Join me under the cut and allt hat. 

We open in the owl house, in the owl house, duck dodge push and shove, it’s how we show our love in the.. you get the point. Luz is learning yet another Rune, this time plant runes.. and already something I love about the series pops up: the fact Luz’s rise in skill is gradual but noticable. Each spell noticably improves in potency with time,  going from simple lights to shaping them into simple constructs, and learning to control or time her spells and glpyhs so they launch she she says so, with each one getting more powerful the more she learns. And on top of that osmething I just noticed on rewatch of this episode is her tecnique in finding them evolved, something I dind’t notice the first time because I hadn’t fully caught up and checked this one out to see if Disney would actually let them go through with it.. and they did. Point is her first spell is found by accident, her second by realizing how her magic works fundemntally, both require skilled deduction and on the fly thinking and casting, so she’s already pretty skilled.. but now sh’es ACTIVELY seeking out a new spell here for the first time. She knows how she gets them, she knows each school is tied to a form, and she likely got the plant from williow since that’s her thing and she’s a saint. A demon but also a saint. They can have those too. It’s what I assume relicor is. 

I miss that goblin demon bat man. Point is it shows an evolution in Luz’s thinking: while it’s a subtle thing she took a more proactive approach this time even if it took a lot of practice.. and it pay soff as by the time of her next rune, while it’s once again sorta handed to her she has less time to learn it, almost none, and finds it singed onto a ball.. and learns it effortlessly to the point where by the next episode it’s a crucial plot point. IT’s subtle but clever character progression, and stuff I really enjoy, showing our hero going from a bit inept but not helpless or incomptient.. to a force to be reckconed with and far more clever and strategic than yo’ud expect given her sometimes reckless and almost always happy go lucky attitude. 

Luz worries teaching King about the internet was a bad idea because he gets excited about a literal cat fight which .. yeah... it was a bad idea but not because of that.. but because next he finds someone saying the earth is flat and she wisely yanks it away. It’s.. very sad that the absolutley maddening and easily debunked flat earth theory is still RELATIVLEY more sane than the stuff we’ve had pop up during the trump era and the cornoavirus pandemic. 

But one of the main conlficts of the episode pops up as Luz’s mom messages her and Luz can’t bring herself to tell her anything and just sends a thumbs up.  I do think this episode helps even things from the pilot a bit as it was a bit lopsided: While I got that Camillia was genuinely struggling with how to deal with Luz, and was offered an out and had to take it... the fact she sees NO problem with the normalcy camp, which comes off intentioanlly or not a sa parallel to conversion camps or camps to make autistic kids “Normal”. And as someone whose both bisexual and autistic, I naturally relate to luz way more as someone whose intrests sometimes just don’t quite fit with everyone else, and who dosen’t get how bad some of their actions were.  THat’s why this episode feels like a necessary course correction: Luz is shown to genuinely love her mama and feel guilty.. but we see camilia genuinlely loves and supports her daughter a bit more. While it was clear from the pilot this shows it more, with her genuinely just wanting to know her daughter’s okay and checking up on her, and giving me the feeling that possible consequences or no if something bad WAS happening or she didn’t hear from her for a long time, she would’ve drove up there to get her. It feels like the writers realized the implications they accidently created and wanted to fix it, though I can’t say for certain. But if so good on you for course correcting, not every show does that. 

But King encourages her, telling her she’s doing the right thing by lying and to “trust the demon on your shoulder”. Keep this in mind for later, but that joke is great on it’s own. But soon i’ts time for school and Hooty.. barfs out Luz’s books for her. 

I haven’t been this disturbed since.. (Looks at the clock) About 2 maybe three hours ago when I watched a man have, if apparently shorter than the oriiginal cut as I wanted to see everyone else’s reactions dammit, sex with hiis car which was possesed by the mad ghost of his dead wife. Because that’s the kind of stuff i’m into when i’m not reviewing stuff. And before that Tinky.. just everything about tinky. 

I do not have enough time to get into TInky here or why he exestially horrifies me. Or why Jeff blim is a living god. I will save that for a proper review if I have the time tomorrow. Point is I saw a lot today and that still tops it. Willow and Gus are likewise grossed out and want to leave. 

Cut to school where Luz wonders what’s with all the decorations.. that remind me of this honestly

And frankly given the whole state of the boiling isles it REALLY wouldn’t surprise me if the decorations were indeed well cooked faces. But i’ts Grom time, which means elaborate gromposals (Some Dude asks Skara out with a beating heart and an elaborate medical proposal.. which.. points for effort. And for using an actual heart. Couldn’t get one for mine. ), dancing and someone being chosen for Grom Queen. WHich Willow hints isn’t as nice as that sounds. Before we can get into that though Amity bumps into them and gets into a tizzy before meekly greeting “Luz.. and Co”. which.. not going to lie.. is my faviorite gag of the season. Just htw way she adds them and just the way Willow and Guz both smile widely at it as if to say “That’s us!”. Amity drops a note and snatches it back. This will be important later, you all know why, point is Amity becomes Grom Queen.. and is heavily depressed with Luz following her to find out why.  At the gym.. she does indeed ifnd out why: Turns out Grom is not some mutation of an earthname but is based around a horrifying entity lurking beneath the isles, Gromethious the Fear Bringer, who emerges from his slumber once a year and must be fought back and brings out his target’s greatest fears. Just like groundhog day only with less time loops and rodent abuse. Amity is scared of hers, and i’ll obviously get into this more later, and Luz simply suggests asking bump to opt out and Amity appricates the support. Awwww. 

Luz heads home and we find out Eda is chaperoning and King is mcing. Eda is also rocking a suit. Just damn girl, damn. But Luz considers taking her place.. and gets laughed at, with Eda assuming she’ll have to save her and King just being kind of a dick. I mean he’s a loveable thoroughly cuddly dick but he’s still a dick... just more like a stuffed plushie of one.  So basically exactly like Tinky. Look I mention him more than once in this review he dosen’t put me in the bastard box. It’s a great system.  Naturally this makes Luz more determined than ever to prove herself and she finds Amity in the night, with Amity having been unable to get out of it.. and Bumps a resonable guy, he just wants a substitute and no one wants the job.. except Luz who galdly volunteers and insists ntohing scares her before the giant spider on the back of her head proves otherwise. Because of course it does, spiders are fucking terrifying. Kill then all.. except the pokemon ones. Galvaltula are sweethearts. As are Ariadoses. Sweethearts who can elctorcute or poison you but still. 

So the next way Luz begins preparing.. and by that I mean it’s time for training. Sadly we don’t get an episode of Luz and Amity getting trapped in an 80′s fashion montage... I mean yes Rise of the TMNT also did that plot the same year, but we had two diffrent plots about someone getting trapped in an eldtrich sitcom and a THIRD this year, all entertaingly unique. Though we do get Luz pulling out an otter suit that’s adorable and she sadly still hasn’t worn yet. “This one says i’m an otter, with a dark side”. She also got thrown out of a school dance for.. wearing an otter suit. Okay the other things we saw in the pilot were understandable but htis is just.. baffling. Who cares what you wear to a dance as long as it isn’t horribly racist of nothing at all. 

Damn you flanders and your glorious ass. Point is Amity shows up and threatens hooty’s life because.. he’s hooty. The fact he isn’t dead already is a testiment to how badass he is and how much money he’d cost Eda to replace. Owl Tubes don’t come out of a stygian hole in the unvierse every day you know. That’s only every three years. It’s basic styigan owl tube science. 

But Amity wants her to be ready and that she’ll have to face her greatest fear.. and cue hooty popping up, poking amity in the face and asking if she wants to know her greatest fear. Really he can clearly hear everything in the house given he heard that, so he heard the death threat he just chose to ignore it. That.. was a mistake. And by mistake I mean we get a hilarious cut to the outside of the house as Luz tries to stop her love intrest from murdering her second mom’s tube monster. The result is some bandages and an eyepatch. To be fair that last one was just flaring up from a  previous beating. 

For this solem task of training, Amity has brought in her local disaster bisexuals.. aka her twin siblgins Eldric and Elmyra, whose greatest fears are dying alone and being stuck with Eldric. Both understandable. They conjur luz’s greatest fears which are.. some of the funniest shit I heard all year.. and also very relatable. Human souls in cat bodies, which is genuinely terrifying good job Luz, Jerks on the internet who mansplain things, relatable, and soy milk. 

But Amity knows this is just the openign act. it needs to be something deeper.. so while Luz dosen’t realize it’s probably her mom issues she brings up her issues with her other mom: that Eda dosen’t think she can do this. Hence we get a giant eda putting Luz in a babychair. Before we can unpack how wrong that sentence sounded, Eda comes out, and marvels at how hot giant her is. But she’s quickly distracted from sex with a giant version of herself, which is not an easy feat, by the relization “Wait Luz is going to fight grom isn’t she.. fuck i’m going to have to save her”, though Luz holds firm on doing it to prove she’s fine and dosen’t need to be saved constantly. it’s a good conflict. Eda IS right that Luz is not ready for this alone, that she’s overcompensating and that Eda would, in normal circumstances be the one to rescue her. As we’ll see it’s not her who does it but still, were this any other foe she probably would be. But Luz’s motivations are equally understandable: She wants to help her friend not have to do this and she wants to prove she can do it. She just wants her mentor, the only person in her life up to meeting her that GNEUINELY supported her in magic to respect her. To have faith in her and actually see how far she’s come. And given how her own mother writes off her dreams, if not unrealistically, and before this she had no friends or support system to speak of outside her mom, it’s easy to see why this is so improtant to Luz: she just wants to make the one person in her life whose ever support her actually think it was worth it when in truth Eda already thinks it does and just dosen’t want her to die. 

She’s just not good with talking to her or not condescending to her as her own ego is stacked sky high, probably because the whole curse thing meant Eda was an outcast by default and the system wants to either chain her to one form of magic and one only or shackle her to them as a hired goon. Her ego, while justified, is also a defense mechanism: a way to shield herself from the fact almost no one cares about her and one of the few people who DOES, dosen’t care what she wants or needs. Once the curse happened she lost just about everything and had to rebuild and thus build up walls around herself and kept everyone else at arms length till Luz changed her for the better. It’s just a tragic clash of two wills both with similar problems but both unwilling to talk about them. 

But with time up, our heroes need to get to the diggity dance. So they indeed do and we get some fun sight gags, Willow makes corsages,  that one girl with the cresent head somehow ended up with Mathomule and is not happy, as anyone who ends up with him should. And it’s time for Luz to face her destiny.. in a tux with a tutu because of course, and Amity likes it because also of course. 

IT’s time to rumble, with King getting nervous due to eda’s prodding about mcing since his co-mc gus is really good at it, and introducing our champion.

No wait sorry he’s still trapped in Mojoworld. no it’s still Luz who shows off a seasons worth of skill by easily dispatching the first few fears and saying to grom let’s finish it.. before grom puts a tentacle on her head. 

It’s to downlaod her fear.. which is Camillia. Granted we could all see it coming but still Luz obviously can’t fight her own mother or her own overwhelming guilt.. her mom did hurt her.. but she gets why and just loves her and wants her to be proud but dosen’t know what to do: tell her the trutha nd possibly loose a happy and fufilling life or wait until it all blows up. It’s a painful choice. So luz and king end up running. King runs first because he can’t handle it and Gus talks him back into the groove while Luz runs away because she can’t fight her own mom, understandable, and Gus encourages king to lead the crowd which he does. Amity and Eda follow Luz. 

So Luz is backed down, facing down a monster tha’ts going to go on to everyone else next if she fails... and Eda prepares to interfere.. but it’s AMITY who faces her fear and dives in. And we find out just what her fear was as grom turns into a humanoid shape and rips the letter in half.. it was a grom invitation. Though conviently the who it’s adressed to was ripped out. 

And yeah not going to save this one: It’s Luz. You know it I know it I didn’t even hide it in the intro. Even before the reveal in a bit it was obvious. But it also makes perfect sense. I’ve avoided talking about her character arc up to this point because I was waiting for now. Amity’s growth is the third major arc of the season behind Luz’s slow learning of magic and eventually induction into hexside and eda’s curse, which I lump in with Lilith chasing her since both were mildly entertwined and then entirely are once the reveal hits in the finale. When we meet her she’s an outright bully.. but we slowly see there’s more there. That she’s not really HAPPY or content, is contstantly under pressure by her family name, is outright bullied by her own siblings who don’t understand her. So Luz coming in, seemingly only being intrested in magic because i’ts neat.. understandably bothers her. She’s not a great person, bullying her old best friend because tha’ts what’s expected and being close with outright bullies because of that.. but it’s through Luz she starts to grow, realizing Luz is genuinely nice and genuinely sorry for any trouble she caused Amity, and evne then both cases were causaed by Amity’s own dickishness and outside forces, so it’s easy to see why she defrosts faster. Her siblings realize they’ve genuinely hurt her, and actually try to be good siblings from then on and help her, and slowly Amity learns to truth luz, trust in her, and accept her... and thus accept her feelings for her. There are gradual hints she’s growing attracted to her.. but her walls had to come down first, and it wouldn’t of worked from the outset. The show cleverly has the two build a genuine friendship, two opposities who work well together, so when feelings do happen it feels natural. It’s not “I’m in love with this person because I have to because you can’t be friends with someone your attracted to” bullshit or anything like that, cough star vs cough, it’s just well built catching feelings. I’ts how this kind of thing SHOULD go: niether went in intending for this to happen.. it’s just happening. 

And Amity’s reluctance is painfully understandable, as Luz is the ONLY friend and support she has. Sure she and willow are patching things up, but WIllow would understandably choose luz over her and she’s terrified of loosing the one good thing in her life. Of course Luz would either say yes, and probably will some day, or let her down gently, she’s nice.. but it’s also understandable to be afraid that someone won’t take the reveal well. I’ve been there trust me, it’s easier when you let it out even if you get rejected, but I get it being hard to let out because you don’t want to loose a friend. I did not, and niether would she, but I can see why she wouldn’t want ot take the plunge. At least not yet. We’ll see this summer hopefully. 

But we do get a shiptastic, gorgeously aniamted scene of the two dancing an fightin gin perfect synch, combinging luz’s new use of plant magic with amity’s mastery of abominations resulting in the two utterly decimating grom, likely in part because with two fast moving targets he can’t get a lock on and likely nees more fear and mass to attack multiple targets at once. Or just more tendrils. it’s a quick, beautful sequence that’s utterly glorious, being framed as romantic as any hetero scene of the type and rightfully so. A triumph and well deserving of this praise. 

Our heros have won, get crowns, and King gets praise. All is well.. except Luz drops the crown once she gets home because she feels like she failed and feels lost about her mom.. though at least king gets it “I’m king and queen, best of both things!”. You tell em sister. 

So we end with Luz genuinely responding to her mom, with some montage stuff as we see Gus and Willow poke a fear blob, willow fears bugs, understandable and Gus fears clowns... 

Also understandable. Though I didn’t put up a bug picture because

And Amity looks out folornly into the night. Camilla responds to Luz.. and mentions letters.. which while Luz brushes those off.. we see someone sent them. And by someone I probably mean king since we now know only eda and him had acess to the portal, and given he was actively encouraging her to lie.. yeah i’m supscious. But we’ll see next season. For now this episode is fan fucking tastic, showing off tons of character development, being representative and sweet as all hell.. and being really funny. Tons of great gags in this one including the turtle guy from an earlier episode being forced to be adisco ball.  This is easily the series best so far and if you haven’t checked it out, please do it’s fantastic as is this show. Check both out. Until the next rainbow i’ts been a pleasure. Tommorow more disney shenanigans this time with pete. And also more of this possibly we’ll see what I get done. 

Goodnight everybody!

[lambourngb]

he’s got a smart mouth but a good heart - Michael Guerin

It’s Day 2, celebrating characters, and much to my own surprise, at the end of season 2, Michael Guerin decided to move into my brain and take up residence. Obviously I still love Alex Manes (He lives first and foremost in my brain since 1x08), but there was something about how Michael buried his own pain about his mother to help everyone in season two that rang pretty true to my own life right now. I didn’t always like what he was doing in season 2 but I understood it.

Anyway, when I find a story that celebrates how complicated he is, I cheer and rejoice- so here’s a few of the stories that I have gone back to again and again.

Truck stop knives and other assessors of childhood @angsty-aliens (13,200) I can’t lie, I love a good trope story, and I especially love a good sci-fi trope story, so this story hits all of my buttons. It takes our two science nerds, Liz and Michael, mucking around, and accidentally creating a version of Michael- but not just any version, but the child who hitchhiked to Fosters ranch, completely over humans and desperate to find his family. The kid who was feral from neglect and abuse... he was the cutest thing and the most mortifying thing that ever happened to Michael to be displayed and shown. This story takes the de-aged trope and turns it on its head, and oh yeah, there’s a sweet backdrop to Michael and Alex getting together.

Implicit Memories of You by @ninswhimsy (3464) - So this is an amnesia story canon-divergent story set after 2x11 basically, where they use the mind erasing drug on Michael. I know, I’m reccing this about Michael characterization, but it’s so solidly him after all the memories are stripped away and he’s acting on instincts, locked in a room to torture Alex with before death. There’s so much going on in so few words, something that Nin is a master at, especially the ephemeral remembrances of his mother that Michael has- oof right in the feels.

Maybe this time (he’ll stay) by @hannah-writes​ (7700) This is a sequel to one of my favorite stories I recced last year, dealing in alternative timelines where in one world, Michael is lost and alone and has pushed Alex away, and in another world where Alex came home from Iraq in a flagged draped coffin. It answers the question, what about Mikey? Where’s his happy ending? The confirmation of the multiverse means there’s an Alex out there who needs him- and through trial and error, Michael finds him. The world building in both stories is top notch, because for every action, there’s a reaction and reason shaping Michael.

Constant as the northern star by celzmccelz (53,000) - don’t know the tumblr here - This is an Mpreg, and it starts solidly after 1x13 and goes AU from there. But what if in the 100 mile drive home from Caulfield, Michael and Alex share a grief-induced moment of insanity where they fall back into their oldest language- sex for comfort, and then Michael does everything he does in the finale, including turning toward Maria, what if there was a souvenir? Despite the trope of mpreg, this is just how I see Michael, deeply in love with Alex but unable to trust that Alex feels the same depth in return. The friendships in here are also top-notch, from Kyle being a baby-doctor, to Isobel having her own Max-related spiral unable to let go of her brother only to refocus on Michael, to Liz fucking off with Rosa for the first half of the story because she’s caught up in her own grief (which turned out to be canon!). And there’s a whole plot here! With Jesse Manes being the worst.

Leave the light on by @sabrinachill​ (36,900) - Confession time- I love fake dating as a trope, I know, shocked right? But I especially love it with RNM because Malex are exes by 1x03. Mattie nailed the dynamic of pining and the assumption of unrequited love so well in this story. Although the POV switches here a bit between chapters, (and Alex is fabulous) what I really really loved was how she wrote Michael, in love but convinced that he’s messed up too much for Alex. Aware of his faults but not in a sullen way, but an acknowledgment that he was in a bad place and Alex hasn’t always been the best remedy him in the past. It was a very mature take on the “give me another chance” trope in Malex reunion stories, where both sides had a share of blame. The plot was suspenseful and tight (how do people do that???) with a climax that honestly shocked me! I really enjoyed rereading it while I prepped my rec-sets, and I won’t be surprised if this story isn’t mentioned by everyone doing ‘Creators Week’. It’s worthy of all the love.

Temporary wounds by @prouvaireafterdark​ (7800) - How many times can I rec this story? Hopefully you’re not bored by my adoration of this Lynne.  So even though it’s set post-season 1 with the assumption that Michael/Maria will fizzle out while Alex/Forrest date- it’s actually perfectly set for season 3 (an author who is psychic??). As a rule, I hate jealousy as a trope, but this story has the only type of jealousy I want to see on screen- where Michael wonders what was missing inside of him that Alex didn’t want to be public during their long affair (even with the acknowledgment that Alex was too scared before)- like that type of sad pining is my catnip!

The first who ever did by nostalijinks (33,000) post season 1, but really it also stands pretty well after season 2.  There was an interview during season 1 I think that talked about how all Michael really wanted was to be a hero to Alex (the way he stepped in front of Jesse as a kid)  but he thinks he failed at it since Alex enlisted. That failure soured him in ways but he never stops trying, for Alex. This is a really well done 5 times plus 1 story, with an overreaching arc of reconciliation between Alex and Michael, starting as teenagers, then as adults while Michael is with Maria, then as friends, real friends, trying to support Alex as Alex dates. The whole emotional journey of maturity that Michael takes here is so well done, where there’s no real villains in the friend group. I just love it. I wish the author had written 100 more like this one, but as a standalone work it’s epic.

The person that you’d take a bullet for is behind the trigger by @iwontbeyourmedicine​ (25,000) Ly has a very large body of work, that you could spend days paging through on AO3 or tumblr, but this one hits two of my kinks hard- the amnesia story line and true love conquers all. So three fandoms ago I was huge into Steve/Bucky, that iconic moment in Cap 2 where Bucky breaks through the brainwashing has never left me. This story takes my love for that moment, and makes it Malex. Alex gets programmed by his family and set loose on his friends, on the aliens and it’s a shitshow bloodbath since he’s really fucking good at kicking ass. Michael is caught between keeping everyone safe and trying not to hurt Alex, and the tension is just top-notch. I love how it’s not an immediate fix either, the way they circle each other in the aftermath, wanting to come home, but home would be a totally new step for both of them. Just chef’s kiss good at joining action, angst, and romance together.

Into the palm of your hand by @haloud​ (5900) hal is a treasured friend, so I am admitting some bias here, but we both enjoy talking about how wonderful and sad Michael is and how desperately we enjoy poking at that softness and then wrapping him up with love again... so this story was written pre-shamegate (and if you know what that means, I’m sorry) but it matches my head canon of what the history of hiding does to someone. The internalization of believing maybe there’s a reason behind the hiding that has nothing to do with homophobic townies. Alex has an ex boyfriend come to town, and he doesn’t tell Michael. And omg the journey hal takes us on with Michael’s spiral and Brave Little Toaster act was so wonderful and painful and real. The communication between these two was top notch as they worked through a road bump from the past, and let’s face it, once we get our malex back, these things are going to happen, and it will either tear them apart or bring them closer together- I prefer to believe it will be closer together.

There is beauty in a failure by @jule1122​ (2400) There’s been a few Greg and Michael stories to pop up on my radar after 2x10, and this one was one of my favorites. This is a Greg who pulls no punches in exposing his brother’s past to Michael, but also gives Michael the space to work through what he wants. It’s an AU from 2x12, that allowed Michael to break up with Maria for basically the same reasons that Maria used on him in 2x13. The way Michael is able to what he wants and communicate it Alex in the end- so good! We can only hope to see something similar in season 3.

I don’t know what to think (but I think of supernovas) by @queersirius​ (3900) This story is a delight from start to finish- I mean frustrated cursing turns the console on into a hologram who then takes the most pleasing form to Michael’s eyes? SIGN ME UP for those shenanigans. I fucking loved how Isobel saw it first too. And then the comedy of Alex discovering it? And what happens afterwards? Oh it’s so delicious. Now of course, full disclosure, this light-hearted romp through the feels also inspired me  to think up a much much sadder version of Michael building an AI for companionship considering how isolated he ended up being at the end of Season 2 and we all know Michael needs friends, badly.

Innuendo by the Roswell anon (6000) written for @bisexualalienblast​  the roswell anon is my favorite treasure in this fandom, I could pretty much list all of their stories as examples of some very fine Michael Guerin characterization. This one was one of my favorite post-season 1 fix-it fics though, because it has some of the most real 28-30 year old guy dialogue I’ve come across- from the crude jokes, to the sharply self-deprecating observations- this is Alex and Michael stripped down, all edges but what’s left is fatigue and love. The resolution at the end, where Alex observes that yes, Michael has tried the last 10 years but this is their first chance to try together- to pull in the same direction? It just lays me flat on the ground with how true that is to canon.

Whenever You Want to Begin, Begin by @foramomentonly (3200) - this is a sequel, and the first story is dynamite- don’t get me wrong- but it moves from the hopeful side of an ending to legit Happily-Ever-After here, and I devoured every word. First of all, having Michael turn to photography as a way of self-improvement is fucking genius. Photographers are always at the center of every happy event, but never the focus, and that screams Michael to me, the way he lives on the outskirts of the 9-5 job and literal outskirts of town in his trailer. The other thing is photographers are revealed by their work, and that’s also something I head-canon with Michael just in the mundane- he’s good with his hands, he wants to leave a car better than he found. Anyway, this story is gorgeously written, moves a bit like a really good bottle of wine- heavy but soft, as you watch Michael become Alex’s friend, and even more importantly, Alex becomes Michael’s friend. Fantastic- I’ve read it about four times now since it was published.

[from-a-reckless-writer]

Dude, what do you think about the ending of PND? It feels... meh for me. Like there's something missing, y'know?

I saw this ask on Tumblr mobile and I thought of answering it right then and there and then I went: NOPE i have to pull my laptop out for this one because I AM GONNA WRITE A LONG-ASS ANSWER TO THIS ASK. So to the people who does not give a shit about this (except for u anon who has been my constant companion along this whole ride) just scroll past. 

SO THOUGHTS. 

I liked Pearl Next Door better than Gaya sa Pelikula because the acting was better in Pearl Next Door. It didn’t feel staged. And I think that’s partly because it was so RELATABLE i GUESS? Like Gaya sa Pelikula was very aesthetic and it’s dialogue was more heart-wrenching but you can see how IDEAL the writing was. LIKE IT’S A VERY IDEAL SITUATION THAT WOULD NEVER FUCKING HAPPEN IN REAL LIFE. But it works and it’s fine and it’s nice and I liked it. Because it’s a fucking BL show and it’s okay for it to be written like that. AND ALSO COME ON, I KNOW HOW FUCKING TALENTED JUAN MIGUEL SEVERO IS. HE’S LIKE MY HERO. 

But in Pearl Next Door the characters were people that you will meet or you have met or you know they can be your friend and LIKE I TOTALLY SEE MY FRIENDSHIP PLAY OUT ON THE SCREEN. Because yes, that is how you act when you’re hung up on somebody. So acting wise I liked Pearl Next Door better and directing wise too. But cinematography and music? That goes to Gaya sa Pelikula. I mean come on, Pat Lasaten is in charge of their music so makes sense right?

ALRIGHT SO, I’M FINALLY GONNA ANSWER THE ASK. 

What are my thoughts with the ending? I think since it’s the first of it’s kind, they were trying to reach every concept out there and incorporate it in the story. LIKE I THINK THEY WANTED IT TO BE AS HEALTHY AND AS FLESHED OUT AS POSSIBLE BECAUSE THEY WANTED TO PRESENT A SERIES WHEREIN THE LGBTQ+ COMMUNITY WAS REPRESENTED IN A HEALTHIER WAY YOU KNOW? Like it wasn’t sexualized or nobody got discriminated. I mean aside from the whole ‘Karleen doesn’t date bi girls’ bit. But yeah the ending kind of, mm how do I put this? Missed its mark? Because I was expecting them to get together. But then nothing happened. I think they were reaching with that ending but it didn’t really work. It would’ve been better if Karleen and Pearl got together and then the plot for season 2 would be them trying to navigate Karleen’s trauma and having that affect the relationship she has with Pearl until both of them comes to the conclusion that Oh, oh shit she needs therapy. Like I think they wanted to push in that therapy concept so bad to show that THIS IS WHAT WE SHOULD BE DOING. But it kinda looked forced. So yeah I wished they didn’t do that. I wished they would’ve just made Karleen and Pearl get together and then maybe a teaser of a brand new romance for Alex. BECAUSE ALEX FUCKING DESERVES BETTER THAN WHAT PEARL DID TO HER. She needs a brand new girl to shower with love or to shower her with love. Anyway yeah, I think if I wrote Pearl Next Door for season 2, I would’ve made Karleen and Pearl get together and then their love story would be paralleled with Alex pursuing a brand new relationship and then shenanigans would ensue naturally and maybe they even go on a double date so yeah. 

That was a long-ass answer. I’m so sorry. That was an entire essay and y’all probably don’t care but THIS IS LIKE THE FIRST TIME IVE BEEN INVESTED IN AN LGBTQ+ SERIES AND WELP THE WORDS JUST CAME OUT. Anyways I dunno when I’ll be watching Game Boys but when I do, I assure you that y’all will know. I’d prolly just start live spamming for no reason and you’d all just be like:Oh so she’s watching now I guess. Anyways, uhm yes hope that answered your question anon. 

[fandompitfalls]

Fandom, Misogyny, and the Struggle for "Clarice"

Originally posted 2/24/21

There’s a quote that, summarized, says, in order for a woman to be seen as an equal to men, she has to work twice as hard. And never more what that brought to light outside real life than Valentine’s Day weekend when CBS aired the premiere of Clarice.

In 1991, Silence of the Lambs, a runaway hit thriller staring Jodie Foster and Anthony Hopkins came onto public consumption and introduced the world to the phrase “quid pro quo” and the name Hannibal Lecter became a well-known name.

In 2013, a series by the name of Hannibal staring Mads Mikkelsen and Hugh Dancy premiered on television and was immediately embraced by the fandom community.  Dating long before Silence of the Lambs, the show features a BSU consultant by the name of Will Graham who is called into service because of his unique ability to profile serial killers.  He develops a professional and later, a personal relationship with Dr. Hannibal Lecter.

In the beginning the question of Will’s mental state was brought up, the reason Lecter was introduced into the series, he was hired on assess Will Graham after cases to make sure his fragile mental state was not deteriorating.  It allowed Hannibal to get close to Will and manipulate him in an attempt to turn Will into a killer like himself.  The show ended after three seasons and during those seasons, the show’s creator, Brian Fuller, made cinematography magic with his sets and scenes, a lot of them gruesome yet exquisite.

Hannibal became fandom’s gory darling, the relationship between Will and Hannibal being the main fodder. This was furthered by the support of Bryan Fuller’s comment in Collider stating that he saw Hannibal as being in love with Will Graham. https://collider.com/bryan-fuller-hannibal-silence-of-the-lambs-interview/

Just this past week, a new twist on the Silence of the Lambs timeline premiered with Clarice. Clarice takes place a year after Silence of the Lambs and the Buffalo Bill murders. She is pulled from the BAU and sent to a task force run by Ruth Martin, the mother of Buffalo Bill’s only surviving member, Catherine.  Created by Alex Kurtzman and Jenny Lumet, Clarice is not affiliated with Hannibal, the Series, in any way, rather, it is a telling of Clarice Starling’s story after the events of Silence of the Lambs.

Here’s where it differs. And remember, this is only the first episode.  By the time I post this, there will be two episodes out.

In the opening scene, Clarice Starling is sitting in a therapist’s office.  The therapist, a man with no name as of yet, is trying to get her to tell him about her feelings regarding the one-year anniversary of the Buffalo Bill murders.  He even has a copy of a magazine that features her on the cover with the title “Bride of Frankenstein.”  The more he pushes the more she holds back, telling him the rots answers that most FBI therapists want to here.  Finally, she mentions the magazine was bought by him as a trigger to see if she would break and he tells her that he thinks she’s not stable enough to go back in the field because she refuses to use to the “survivor” in relation to her encounter with Buffalo Bill.  She is not a survivor, she was never kidnapped, she was an FBI agent doing a job.  He also cites her relationship with Hannibal Lecter, insinuating that it was more personal in nature than he thought necessary.

Before he can put her at a desk, she is called back into the field by Ruth Martin and put under the team led by Paul Krendler, a man who Clarice “upped” in the movie when she was a trainee.  He doesn’t want her there, insists on a profile after seeing the first two bodies and when she can’t give an accurate one because she doesn’t have all the evidence, he tells her she had to tell the press it’s a serial killer.

It’s already shown that Clarice has a bit of trauma with press conferences and this is something that keeps coming back.  The press want Clarice and Paul Krendler just wants her to be the face of his team and tells her that she will say what he tells her to say.  Clarice is not taken seriously by Krindler, by anyone else in the office, (there’s a scene where men from the other unit that share an office, coat her desk drawer with lotion and leave that lotion and a basket in the drawer and then laugh about it).  Clarice is blocked at every turn by men, even her therapist calls Krindler and tells him to bench her because he’s worried about her mental state.

The first time we meet Will Graham, his mental state is mentioned as tenuous, yet the FBI have no problem throwing him right out into the field.  Clarice was a trainee who managed to catch a serial killer, and somehow she’s considered too “fragile” to be put on any cases other than desk jobs.  In fact, throughout the entire first episode, the only person on her new team to take an interest and believe what she says is Thomas Esquivel, an ex-special forces soldier turned agent who believes in what she says.

From the first moment of this show the misogyny was right out on view, there is no hiding that all of the men in this show do not like Clarice because she’s young, she’s a woman and they are intimidated by her talent.  Her only support comes from Agent Esquivel and her friend and former trainee Ardelia Mapp.

I mention the misogyny because it’s not all on the show. It’s from the fans as well. The first time I was reminded the show was on was when I noticed Hannibal was trending on Twitter. The day and time frame Clarice aired its premiere, Twitter was lamenting that they wanted a season four of Hannibal.  While researching for this blog, I used IMDB to get names and plot points.  And came across this comment about the premiere:

“Can we bring back Hannibal, please?

12 February 2021 | by [redacted]

And by that I am of course referring to the excellent series featuring Mads Mikkelsen's amazing portrayal of Dr. Hannibal Lecter. That series had great style, fantastic atmosphere, and stellar directing, editing, and acting. They planned to tell the ultimate Hannibal Lecter story but only were able to make three seasons out of a seven season plan. So, here we have a Clarice Starling series that had been in the works for years but didn't get the train running till now. So the premiere - Meh. Rebecca Breeds makes a very good Clarice but nothing else is up to her level. The cinematography isn't bad but the atmosphere is lacking, the characters are none too memorable, and the storyline isn't attention grabbing enough. I give it about a season at least.”

I don’t know the time when this posted, but I’m not surprised by the comment at all.  Comment and review bombing seems to be the way that fans express their “disappointment” about their old shows not getting anything…or rather, their favorite male characters not getting more screen time.

On the same page, the below link was posted.  This was one day after the first episode of Clarice premiered:

Clarice: Season Two? Has the CBS TV Series Been Cancelled or Renewed Yet? 13 February 2021 | TVSeriesFinale

A freshman series about a female criminal profiler who is pushed down, ignored, harassed because of her sex.  It’s almost a case of life imitating art.

I was going to leave this post as it was and post it today but last week the second episode aired which showed Clarice pushing past childhood trauma to face down a cult leader and a corrupt government system thereby earning Krendler’s respect and her position on the team.  And while Thomas Esquivel told her that a team is only good if each of its members understand that they can trust and support one another, thereby hopefully foreshadowing that this team will eventually accept Clarice as one of their own and in turn she will do the same, it took her risking her life by going back inside the compound, disregarding orders and singlehandedly getting the information needed to put both the cult leader and head of the County Sheriff down for the count for Krendler to finally see her worth and decide to keep her on the team.

I liked Clarice.  It was hard to watch at times, not only because of the trauma she is dealing with as well as the survivor, Catherine, calling her and harassing her, but because of the anger I felt watching Clarice get stepped on time and time again by the men in this show, only to get up and do her job.  Her final speech she makes at the end of episode one about her grandmother is inspiring and gives the viewer a bit of a “in your face” to the men behind her, especially Krendler…even though we all know he’s going to make her life a living hell when they get back to the office because she didn’t follow his rules.  That said, this show is very much a procedural, much like CSI or Criminal Minds. The series follows the format of the movie.  This is not Hannibal.  It’s not trying to be Hannibal, It is trying to be Clarice.  And, as the quote goes, it’s going to have to work twice as hard to even get one half of the respect it deserves.

[hotcoffeecoldmornings]

(This shit is long so bear with me.)

Can’t Eat, Can’t Sleep, Reach for the Stars

I haven’t felt this way in awhile. This ‘can't eat, can't sleep, reach for the stars, over the fence, world series kind of love.’ 

It’s hard to describe. The last time I was all-consumed like this by a TV show and a ship, that TV show was The 100, that ship was Clexa, and my world was, quite honestly, turned upside down by it.

I used the first two seasons of The 100 as background noise as I wrote my Master’s Thesis in 2015. To be honest, I didn’t really know exactly what was happening until Bodyguard of Lies (an episode anyone reading this post probably remembers well) came on. And a passionate kiss between two world leaders left me speechless and shocked. I was blindsided by it, unaware that that kiss would be the beginning of not only finding myself, but also accepting myself, and then finding a chosen family I never knew that I needed because of it.

There’s been alot of (okay, not a lot, but more) f/f ships on TV since then. Maggie and Alex. Nicole and Waverly. Elena and Syd. Kat and Adena. Anissa and Grace. Stef and Lena. Karolina and Nico. And the list goes on… While each of these ships is equally important, and each one represents another push towards more inclusive storytelling, there was never a ship that hit me as hard as Clarke and Lexa did.

Until now.

Harold, They’re Lesbians

Gay. Witches.

Motherland: Fort Salem said the words. And I fucking came running.

Okay, so it took me a few weeks… Thank you, twitter timeline, for finally getting my ass on board. It’s not that I didn’t want to start the show. It’s that my anxiety-ridden brain had other plans for me in mid-March. Like spending the majority of my time researching a global pandemic and then crawling into a depression hole because of it… Or something like that.

But nonetheless, I’m here now. And I’m fucking staying.

I knew I’d love this show. The concept of witches peppered with the idea that sexuality is irrelevant is honestly my one and only weakness. So I went into episode one with high hopes. And I sure as hell was not disappointed.

Episode 1 gave me even more than I could’ve asked for. We meet three uniquely powerful individuals, who all come from three uniquely interesting backgrounds. Abigail Bellweather, born into a lineage of the most powerful and elite witches Fort Salem has ever seen. Tally Craven, the last one standing in her family’s long-line of service, selflessly choosing to say the oath when she didn’t technically have to. And Raelle Collar, who has an unparalleled set of powers, combining her mother’s Christo-Pagan ways with those of the seeds learned at Fort Salem.

Rounding out that already brilliant cast is Scylla Ramshorm, the ‘sexy weird’ Necro who may or may not be evil (but we love her all the same). General Sarah Alder, the original witch who signed the Salem Accord, selling out every future witch to the United States Army, and whose ego quite often gets the best of her. And Anacostia Quartermaine, the Bellweather Unit’s Drill Sergeant who has a peculiar fondness (and leniency) for Raelle Collar.

The fact that this television show is entirely female centered (like, we’re talking 60 seconds of male screen time in the pilot), is what separates this show from most. Men exist in the world of Fort Salem as characters to exclusively propel the female leads forward, which is a stark contrast to the majority of shows right now.  And not only is the entire main cast female, the main lead is gay. And honestly, the sexuality of every character on the show is questionably debatable as well. Except for Abigail, who quite clearly is into any and all men, and Tally, who grew up on a Matrifocal Compound and ended up in Fort Salem as a virgin. Which, of course, no shade to her, but it did strike me as odd when Abigail immediately assumed Tally’s virgin-ness when growing up in an all-female world was brought up.

So let’s start there, shall we?

 The Heteronormative Narrative (or not…)

Something I did find puzzling about Motherland: Fort Salem (and the only thing, really) is how they portray sexuality, relationships, and love. In regards to sexuality, Eliot Laurence, the creator and executive producer, has been incredibly forward in interviews with the narrative that ‘your sexual preference doesn’t matter in this world.’ Which I appreciate to the fullest, trust me. But pardon my slight hesitation when I hear that line, because I think we’ve all been burned by it once before.

Motherland: Fort Salem has done a tremendous job of this. They’ve allowed characters to own their sexuality without question. It was never a thing when Raelle started dating Scylla. At Beltane, everyone went off with whomever the dance paired them with - even if that meant the same gender, and even if that meant three or four or five of them. Sexuality, in regards to same-sex partners, is never a character arc in this show, and it’s never there to create a plot point. 

HowEVER, there were a few things I noticed that confused that fact. 

Like I said about Abigail in the very first episode, when the Bellweather Unit is meeting for the first time, why was Abigail so quick to question Tally’s virginity after learning she comes from a Matrifocal Compound? If there are no heteronorms in the world of Motherland: Fort Salem, then why is it assumed that losing your virginity is related to relations with a man? Even though Tally is (well… was) a virgin, why would that question be brought up? If roles were reversed and it was Raelle living on the Matrifocal Compound, the conversation would’ve gone strikingly different, and it would’ve supported this heteronormative narrative that I thought we were trying to avoid. I’m just going to blame this one line on how badly Abigail wants the D, so sleeping with a woman wouldn’t even cross her mind.

But then what about the idea of this ‘five-year marriage contract’? It’s simply about producing a child, so I assume a woman could never have that sort of thing with another woman, and that those women could never add to their lineage (unless they entered into a five-year marriage contract simply to reproduce). Doesn’t this, alone, signify a heteronormative world without even meaning to do so? While they accept LGBTQ+ relationships, how do they actually fit into the society and culture that this show has created? Wouldn’t the gay witches be seen as almost inadequate in carrying on the gene if they don’t have a child? (AmI just thinking too much into this...?)

But then again, the whole concept of ‘love’ in Fort Salem is rather insignificant itself. As Gerit mentions, no one is supposed to spend their life with just one person. Witches are committed to one another in five-year partnerships to reproduce, and then that’s it. So in a way, I understand that nobody, no matter what their sexuality is, really gets to experience this fairytale ending that we’re used to seeing in a (*cough* heterosexual) ship on TV. And in a way, I also think that’s what makes this show all the more fascinating. Eliot Laurence gave everyone a level playing field by just removing the idea of a happily ever after altogether. In Laurence’s world, witches are meant to train and fight and die for their country. Love is their weakness. But what’s so compelling about that is even though love is their weakness, he made sure that love also manifests into their greatest strength.

From what I’ve seen in interviews for Laurence, every single thing has a purpose. So I’m quick to let this go, and see where he takes us. He’s been building this world inside his head for nine years, so I know that there’s so much more to this story than what can be told in a 10-episode season.

 But Back to the Lesbians

Anyway, back to love. Specifically gay love. I wish I could put into simple words my obsession with Raelle and Scylla. 

From the incredible chemistry that Taylor Hickson and Amalia Holm share on-screen together to the directors and writers who’ve portrayed their love story so magically, Raelle and Scylla are truly something special. They’ve taken the place of a ship this queer fandom lost when Lexa was killed. It’s a ship that you want to hate, because every part of this story tells me to hate Scylla. She’s Spree. She’s vindictive. She’s dangerous. Yet every part of my brain tells me to love her. And to love them together.

I don’t like easy stories. I want stories that make the ending worth it. I want hardships and pain and hurt and work when it comes to love. Which is why I like the story of Raelle and Scylla. There was a spark between them in their very first scene together- a spark you could feel through the TV. It was believable and real. They come from similar backgrounds of loss and solitude, and that’s what originally bound them together. And over the next seven episodes, we watched their relationship grow. We saw their vulnerabilities, their growth, their passion. But now we’re going to see the hardship. The pain, the anger, the betrayal. 

I appreciate that they’re not skimping on telling any part of their story. The two are special together, and so far, this show has proved that.

 She’s Special

I want to break down Raelle Collar before bringing up anything else, because, well, obviously she’s the main character, but she’s also got a lot going on. The fact that Raelle channels her power through something other than the typical ‘seed’ is something that will be of importance to why she’s so powerful. Petra Bellweather, herself, claims that Raelle’s mom, Willa, used unconventional methods that delivered incredible results. “She was the fixer every unit wanted to deploy with.” 

While all witches in Basic Training are learning about utilizing their extra set of vocal cords to create magic songs, Raelle can do it in a way that’s reminiscent of where she grew up- Chippewa Cession. In the very first episode, she makes note that her family was there before it became a Cession. Aka, before the land was given to the Chippewa tribe in exchange for their magic.

Raelle comes from a line of witches that all have more unique abilities than what’s taught at Basic Training. She uses a combination of Native American spirituality/Christo-Paganism skills during her days at Fort Salem, which brings up questions (and judgment) from other witches. It seems as though that kind of magic was the way witches used to do things before Sarah Alder released her song into the world and created a vocalizing army with it. Raelle’s peers look disgusted when they see her still using the same ways witches once did. It’s particularly noticeable when she heals people, and recites Matthew 7:7, “Ask, and it shall be given to you; seek and ye shall find; knock, and it shall be opened unto you.” The entire theme of the Book of Matthew, in regards to Christianity, is about prayer. Asking and receiving. That God will provide you with what’s needed, and nothing more. But when it comes to Paganism, it’s about the law of attraction and return in our universe. It outlines that there is no life without balance - that all prayers can be answered, but they’ll be answered with things that are taken from elsewhere. All prayers almost have a consequence. Just like all magic has a consequence. 

Raelle’s power, at least what she knows of it up until now, is based on a consensual balance, bringing the theme of Paganism’s Matthew 7:7 into the type of witchcraft she practices. She can heal someone, but what she heals them from will be transferred onto her. Balance. Consequence.

Bringing General Sarah Alder back into this, this is the same type of magic that she traded for back in the 1700’s when she granted the Chippewa Tribe the entire length of the Mississippi River. In exchange, she gained the magic that could keep her eternally young. But just like the magic that Raelle does, this age defying practice has consequences too, and requires balance. Every 50-60 additional years that General Alder adds on to her endless life, a young witch must be sacrificed to take on those years, and must stand by General Alder the rest of her short-lived life. 

But where does the balance go?

Adil is such a great addition to the cast because he sheds a light on something so crucially ignored on campus. All magic has balance. This is teased throughout the season, like when General Alder hits turbulence on her way to The Hague and jokes (but not really jokes), “I assume I have one of you to blame for that.” Or how Raelle soaks up her ‘patients’ illness. But it’s not truly smacked in our faces until Adil says it.

As Abigail is flaunting her ability to *one day* “grind iron into ore and mountains into dust,” Adil drops a truth bomb on her. “All that weather you fight with has a cost. Floods. Failing crops. Famine. Every war, people starve.” She’s quick to reply that the good they do far outweighs the bad. But to who? Certainly not to Adil and his people. Meeting him is going to give our recruits a serious insight into just how consequential their ‘work’ can be. He’s going to play a crucial role in realizing how manipulative and egotistical General Alder has been. 

Not only is weather an issue, but plagues. “Like the one attacking my sister.” Adil and Khalida come into the storyline because Khalida is sick with a deathly black webbing wrapped around her body. When they first make it to the Military Outpost (somewhere in the dessert between Russia and China?), the Soldier who meets them at the gate yells, “they’re here.” So were they expecting them? 

Raelle eventually is the one who heals Khalida, (by using her Christo-pagan means) but instead of taking up the illness like it usually does, instead, it infects the giant mushroom that Raelle touched earlier. 

The balance of Mother Mushroom.

I go back and forth between theories for the giant mushroom growing under Fort Salem. But today, I’m convinced the mushroom is attached to General Alder’s vitality. And consequently, the entire vitality of Fort Salem as well. In one episode, Berryessa reminds us that all life on campus is directly connected to Alder. And if what Scylla says in My Witches, that “life becomes death, which becomes life again,” is relative to the life on campus and how General Alder parallels that, then this theme of balance throughout the series is more prominent than we realize.

The giant mushroom living under campus is clearly important. It has hands and replicates faces and takes on diseases and Izadora is not a fan of  anyone touching it. So yes, you could say this fungi is a main character now.

But. Why?

“In the kingdom of plants, mushrooms occupy the underworld. Nothing ever really dies.” Mushrooms have an entire underground network of language to one another. And they are responsible for the breakdown and decomposition of death so that organic matter can become something else. Necros have an obvious connection to this ecological process too, so they must have a connection to the continuous process that General Alder goes through to support and sustain life on her campus. 

I think that the “Mother Mycelium” signifies each and every consequence that Fort Salem has accumulated. It holds the hurt and death and pain and regret of everything General Alder has created. And now that the Mushroom is infected with whatever plague Khalida had, I think it’s going to wreak havoc on Fort Salem. Magic is based on balance, and I think massive consequences are coming to make up for years of disparity. 

One last thing on my mushroom-thoughts, is when Helen Graves said “the dead make excellent eyes and ears.” An underground network of mushrooms all connected to recently dead organisms would certainly be a great way to gain insight too. Scylla mentions that she needs something recently dead to grow her deathcap, so does this Mushroom need to be constantly “fed” with death to continue the creation of life? 

Does Alder know about that? Are the mass-murders that the Spree are doing related to this? Killing hundreds of people at a time would definitely be a good way to keep the mushroom o’ death fed. Is Alder behind the Spree!?

 Sexy Weird 

Speaking of Spree... Can we talk Scylla now? First of all, what the hell is this girl’s timeline? When we first meet her, she’s a cadet (second year) in War College already, meaning she would’ve had to enlist on Conscription Day the year before Raelle. Yes? In Mother Mycelium, we see that she *might* (still don’t believe it) have been the person behind that first Spree attack on Conscription Day of this year (so when Raelle, Tally, and Abigail enlisted), so was she at Basic Training for an entire year before deciding to become Spree? Did she enlist knowing that she would eventually be Spree? Does this ever get addressed in the show?

Since we’re here, I might as well say there’s no way Scylla did that. I’ll never believe it. And I’m using my one semester of Greek Mythology in college to tell you why (who knew that class would eventually come in handy)

In My Witches, when Tally, Abigail, and Glory first meet Scylla, Tally makes it clear that ‘Scylla’ is a Greek name. Okay. Greek. Cool. Mythology. Let’s go. I already knew that Eliot Laurence doesn’t waste any minute of screen time when it comes to plot development and storytelling, so my meta brain did a little digging.

In Greek Mythology, Scylla was a sea-monster who haunted the rocks of a very narrow strait, opposite of the whirlpool of Charybdis. The monster’s purpose was to lead ships and boats towards the whirlpool, which was lethal to all who attempted to pass. Scylla was used to lure boats towards Charybdis, but was never meant for actually destroying them. Scylla was a fear tactic, not a murderous monster. In poetry, it’s often said that Scylla isn’t a monster at all, just born into a monstrous family. In conclusion (from my 4 months of Freshman-level Greek Mythology and a little refreshment on Google) I think Scylla is simply being used to lure people to the Spree, but not actually doing the mass-murdering that is being shown in the episode. 

What I do know is that Scylla Ramshorn is absolutely Amalia Holm. Mainly because I refuse to accept that Raelle is falling for the red head (sorry, red head). But also because at the end of the Pilot, when Scylla (in red head disguise) looked into the mirror, the balloon was her reflection, and it followed everything that she did. But in other scenes, when Scylla’s face is the normal Scylla face, she can see her own reflection. So the redhead girl is unimportant. Plus, IMDB says she never appears again this season... 

We Are The Spree 

As much as I hate to believe that Raelle’s mom (or Aunt!) is alive and leading the Spree, the connections between the two entities do add up. Both (Spree and Collar’s) are against the authority and power that the Witch Army has over populations of witches. They’re both against General Sarah Alder. I believe they both use spoken word magic rather than just vocalized magic. When the Spree carry out their attacks, they’re whispering words under their breath, not singing any song. Which is reminiscent of how the Collar’s do magic. Additionally, it would make sense as to why the Spree would want Scylla to bring them Raelle. And I still can’t get over the conversation between Raelle and Tally when Raelle explains her family’s combat charm. “A bowerbird’s foot. They love anything blue.”

Blue? Why. WHY. 

Maybe Willa Collar was captured by the Spree? Or the Aunt was? Or the Spree needs Raelle to heal someone? 

One last weird very unthought out theory goes with the other Biblical verse Raelle recites - Isaiah 43:2. “When you pass through the waters, I will be with you; and when you pass through the rivers, they will not sweep over you. When you walk through the fire, you will not be burned; the flames will not set you ablaze.” The fact that all Spree attacks have happened with something to do water- in the snow, at the pool, on a cruiseship. And the fact that the last line of that verse is literally, “you will not be burned; the flames will not set you ablaze.” This type of witchcraft has to relate to how the Spree does magic. Right??

Now I’m re-talking myself into the fact that the Collar’s might be somehow leading Spree...

 But who’s ‘we’?

If the Collar’s are in charge of Spree then this next theory would actually check out. 

Anacostia has been a little more over-bearing with Raelle than any of the other girls. On multiple occasions, she’s said how Raelle is gifted. In fact, they all have. Even Abigail in Hail Beltane mentions that “Raelle didn’t go outside of canon, she’s naturally gifted.” They all know she’s gifted. It would make sense if the Collar’s were the ones running Spree, and that Anacostia, aka. General Alder’s head bitch, was sent to protect Raelle from ever joining them. Alder wants to capitalize on the powers that Raelle has, and keep them in the Witch Army. 

But I also think Anacostia could be playing General Alder. There have been too many times where she stares at Alder just a little bit too intently, and I can’t stop thinking that she might be in some sort of rebellious group too. Maybe a certain cell of Spree?

Because you can’t deny that Anacostia has also taken in interest in Scylla, particular to keep her away from Raelle. When Anacostia first caught them flying high on Salva, she told Scylla to stay away from Raelle, and it seemed as though she (tried) to use some sort of coercion magic while doing so. When Anacostia then saw them together at the Bellweather wedding, she almost sounded shocked, “I expressly told you to stay away from her.” Did Anacostia attempt coercion magic on Scylla and it didn’t work? And if she did, why didn’t it work?

That entire exchange felt odd yet familiar. Like the two have history. “Your name wouldn’t have been on the list. You’re not supposed to be here.” Particularly the “you’re not supposed to be here.” Did Anacostia know about the attack on the Bellweather’s? And did she think it would be threatened with Scylla there? Or did she know that Scylla was supposed to bring Raelle to the Spree at 6pm. And was sent to make sure Scylla never completed that task. 

I found it interesting that Anacostia was never seen fighting off the balloons like every other Witch was when they appeared. And her being at the actual wedding felt odd too. Especially if she’s General Alder’s right-hand (wo)man, because last time I checked, Alder and Petra Bellweather weren’t on the greatest terms. In fact, none of the General’s are on great terms with Alder. 

Since we’re now on Bellweather season...

Camarilla. No, not Carmilla.

There’s certainly a second threat in this show. And they were the ones behind the attack at the Bellweather’s. Not only has this already been proven by Jessica Sutton on Twitter (lols) but the clues were literally all there. They didn’t use any magic to fight. They had to use a mechanized sound machine to stop Abigail and Petra from using their powers. Then they covered themselves with gasoline and lit themselves on fire before the mother-daughter duo blew them away. It wasn’t Spree. But it was meant to look like Spree. And I think the balloons were simply a distraction, so all efforts and power would be outside fighting off the balloons while the civilian waiter’s could attack. 

But who is doing this?

It’s been brought up that there are alot of humans who don’t agree with the Witch Army that Alder leads. Even the President of the United States is hesitant about them. “You, too, are bound by rule of law to the will of the American people, who have elected me to represent their interests and protect them. Don’t you forget it. Or you may find yourself reminded.” Then Tally gets confronted later in that episode by a civilian who says, “It’s witches who are committing these attacks. It’s your kind of people .” And then even later in the series, there’s talk of a “growing debate in congress to revoke the Accord and disband the army.” So you could say there are definite opinions about this Army by civilians. 

In A Biddy’s Life, there’s a shot when Raelle and Scylla are in the room with weapons once used to kill witches. There’s an undeniably important shot of the Camarilla Scythe. Camarilla, itself, is defined as a small group of people acting as private advisers to a ruler or politician with a shared and nefarious purpose to carry out secret plots. 

Since civilians are the ones that are most opposed to the Witch Army, it makes sense that maybe the President, herself, is the one behind these attacks. She’s trying to take down the most Elite of the Witches (the Bellweather’s), hence inhibiting the Army from being as successful as it’s been in the past. And what better way than to kill the most elite witches of child-bearing age. 

While this theory checks out, I can’t help but to also think that Petra Bellweather could be behind the attacks. I know, it’s a stretch, (specifically because it’s her own family that’s being targeted) but I do love that ‘good powers, bad people’ trope. And what better way to make sure nobody questions your efforts if you’re the last one they’d suspect? Petra Bellweather has been itching to boot Alder from head witch honcho for awhile. Since killing Bellweather’s is the ultimate attack against witches, this would be a great strategy to showcase that Alder is inept in dealing with these enemies, creating a fall in power. And eventually, a rise in another. A Bellweather. 

Okay, I know what you’re all probably thinking. “So you’re saying that she wanted her own daughter killed!?” Not necessarily. When you watch Bellweather Season, and specifically the wedding scenes, they put an insane emphasis on timing. And I don’t believe that that’s just because of Scylla trying to get Raelle out of there by 6pm. When you watch the sequence back, the Bellweather Unit was supposed to be having their interview with the Dean of War College, starting at 5:30ish. If the interview took a good bit, say 30-45 minutes, this would strategically put Abigail not in the line of fire (aka Charvel’s room) at 6pm when they struck. 

But on the complete other hand, Abigail was supposed to be up with Charvel at that time helping her get ready. Meaning if it wasn’t Petra Bellweather, someone perfectly timed both Bellweather’s of childbearing age to conveniently be in the same place at the same time. 

Then the fact that Scylla was meant to leave with Raelle at 6pm (the exact moment the waiter’s and balloons struck), can’t go unnoticed. Did they want her to leave with Raelle at 6pm because the Spree knew about the attack? Did someone warn them? Does this explain why Anacostia was shocked to see Scyalla. “You’re not supposed to be here.” Why wasn’t she supposed to be there????

I’m just going to tap out of this theory now. 

But One More Thing

This might be a totally aggressive theory, and I have to credit the initial spark of this idea to my girlfriend, because during my 67th rewatch of this show, she brought up something I’d never thought of before. She asked me what Scylla’s purpose of attending the wedding was, and if the person she was supposed to bring to Penelope Road at 6pm really was Raelle? 

This got thinkING. What if it was someone else???

When you look back at all the times Scylla spends talking to her balloon mirror, they never actually say Raelle’s name. Sure, we’re meant to believe that Raelle is the obvious target. But what if that’s a cover?? What if she’s using Raelle to infiltrate something else and get to someone else??

It would make sense to use Raelle to target Abigail instead- an elite Bellweather. Like I said, this is a very unlikely theory but it would definitely be a shock to literally everyone (except my girlfriend apparently)...

Has the entirety of the show been leading us down a path to distract us from something else going on!? With every other ounce of brilliance here, I wouldn’t even doubt it.

In Conclusion

I went into this show expecting to be seen and represented as a queer woman, but what I actually got was so much more. What I got from this show is the realization that me being queer doesn’t have to have anything to do with me being a woman at all. My strength, and will, and mistakes, and growth, and grace, and support, and passion, are what make me a woman. Each of our stories are deserving enough to be told just because we are women.

I’ve struggled with that fact my entire life - my womanhood.

Femininity, feminism, and female empowerment are all things I’ve only recently connected with. I was raised in the culture of traditional gender roles. My dad went to work and my mom stayed home.  It’s not that I was necessarily taught that men and women must occupy those roles; it’s just that’s all I knew. To even further confuse my adolescent existentialism, not only was my mother a stay-at-home mom, she was also in the Marine Corps. And she never really understood the fact that not all women are as strong as she is.

My mom’s a badass, don’t get me wrong. She’s one of my hero’s. She came from a family who didn’t have much, and after realizing that she couldn’t afford to go to college, she enlisted instead. Six years later, she went to Penn State on a full-ride. She’s worked for every ounce of success that she’s seen, and she’s worked her ass off for it. But because of that, she struggles with the idea of feminism.

I can’t blame her too much. I understand the mindset she’s coming from. Growing up with that being instilled in my mind was hard though. Because it was expected that I, too, grow up to be a strong independent woman. 

I graduated in the predominantly male industry of agriculture (I want to be a farmer, okay!?). All through college, grad school, and post-grad school, I worked on farm after farm after farm. And it was there that I was introduced to the idea of toxic masculinity. I tolerated comments that I won’t even say out loud. I’ve “accidentally” been touched in more ways than I care to count. And what I hate the most about it all, is that I fucking tolerated it. I’d laugh it off, and then I’d walk away, mortified at what I’d actually just put up with. And while by no means do I blame my upbringing and home life on this, I do blame the upbringing and home life on the female characters I saw on television. If Brooke Davis was constantly and overly sexualized in high school then I guess I was supposed to, too. Right??

Sure, I still hear comments that I wish I didn’t. But I’m also surrounded by people and characters who taught me to never put up with the shit I once did. Female characters are portraying a storyline that people take more seriously now. They’re persevering. And that jumps off the screen in Motherland: Fort Salem. 

It’s taken me a while to realize how Raelle and Scylla have affected me as much as Clakre and Lexa did (two characters who literally awakened my sexuality). But I think I get it now. 

I love both Raelle and Scylla. Each one. Individually. As witches. As warriors. As females. As humans. As strong female characters. So, in a way, watching this show has awakened something else in me that I’ve also been suppressing all along. My femininity. My strength. My perseverance. 

Sure, Raelle and Scylla are my favorite ship right now, but it wasn’t them being together that made me fall in love with this show. Oddly enough, it was them being apart. It’s the fact that each one stands on her own as a unique and beautifully complicated story. And it’s the fact that I, too, am deserving of a beautifully complicated story.

Last Section, I Swear 

Motherland: Fort Salem is a magical mix of intense story building, relatable character development, and fascinating cinematography, all while being told through a gender and sexuality normative opposite of what we’re used to seeing. It’s a show that encompasses female strength unlike anything I’ve experienced before, where men are the background noise who aid in pushing the plot forward. It’s a show that deserves another season. And another and another and another and another. 

It’s a show I needed ten+ years ago, at 18 years old, freshly out of high school and wondering why the fuck I never had crushes on guys like everyone else my age did. It’s the show I needed so I didn’t always wonder why I was so obsessed with Peyton Sawyer and Summer Roberts and why I was the only one I knew who thought Torrance and Missy should’ve ended up together. It’s the show I needed to learn that my femininity doesn’t make me any less tough than my male counterparts. It’s the show I needed so I never put up with anyone’s shit. It’s the show I needed to teach me that I am storm and I am fury. 

It’s the show I needed then. But it’s also the show I’m so happy that I have now.

[knickynoo]

My Top 10 Family Ties Episodes

Here it is, people. In no particular order because it would take forever for me to try to rank all these great episodes.

Also, I am for sure inserting a ‘keep reading’ because I cannot control my rambling. You have been warned. 

- “Death of a Grocer”: I consider this one a hidden gem of the 1st season for sure. Alex gives up working for sweet Mr. Adler to go sell cat toys at another store, but quickly discovers that the gig isn’t all he thought it would be. It’s a nice little bit of Alex character development as he learns that life isn’t all about climbing the corporate ladder. Plus, we see Skippy for the first time! 

- “Speed Trap”: Honestly, this entire episode is just so fantastic that I don’t even know where to start. Doing drugs is bad, people. But Alex P. Keaton on speed is one of the funniest things to ever be on television. Steven walking in on him painting his walls at 3am in a state of pure frantic energy?? Peak comedy. Also, Alex breaking into a neighbor’s garage to clean it. When he leaps over the railing in the living room. This is one of the episodes I could watch over and over again. 

- “Go Tigers”: Poor Mallory discovers that her boyfriend, who is away at college, is cheating on her. She’s distraught and interrupts Alex’s very important interview at Princeton. But, like the great big brother he is, he gives it up and walks away in order to be there for her. The loving, supportive words Alex says to her on the train ride home are beautiful. Alex is a good guy, everyone! Don’t let the snarky exterior fool you. 

- “Birthday Boy”: Alex thinks that turning 18 makes him a man who no longer has to listen to his mother. Whoops, joke’s on you, Alex. He goes out with friends after Elyse tells him not to, and the episode ends with a really great, heartfelt scene between the two of them. I love the mother/son dynamic in the series and this is truly a wonderful example of their relationship. (Plus, the whole thing with Alex invading Canada is just fantastic)

- “Philadelphia Story”: Alex falls asleep while working on a paper about the Declaration of Independence and “wakes up” in 1776. He watches Thomas Jefferson turn down the offer to write the document and has to convince him to change his mind. Before starting the series, I had seen some clips from this one online and was really looking forward to it. It didn’t disappoint. How can it, when you have this?

Steven (as Thomas Jefferson): “We hold these truths to be....obvious even to a big dope.”

- “The Real Thing” (Parts 1 & 2): Alex and Ellen. ALEX AND ELLEN. *blows party horn* *shoots confetti out of a cannon* Do I really need to say more? The train station scene is one of the best of the whole series and definitely one of Alex’s most vulnerable, in-touch-with-his-emotions moments. A lot of beautiful words are said by both of them, though I’m not sure if any of them can beat

“I’m crazy about you, I’d give anything to be with you, I can’t live without you. Okay? Gotta go, see ya.” ( Good job, Alex. A+)

- “How Do You Sleep?”: Alright, so this is a funny one but what I really like about it is that it hits home for me. I have always had trouble sleeping. Like, exhausted out of my mind, can’t think straight, but STILL not able to fall asleep until 4am type trouble sleeping. Much like Alex, my brain doesn’t slow down, and my mind spins with thoughts & worries well into the night. (Also the occasional song stuck in my head on a loop for hours. Not fun, friends.) Anyway, it was oddly comforting for me to see an episode that conveyed with alarming accuracy what an average night for me is like. And the ending scene with Elyse and Alex is absolutely precious. 

- “A, My Name is Alex”: This- I mean- listen...this episode destroys me. It is a constant barrage of such intense emotions that it’s difficult to watch at times. But it’s so good. It’s the deepest look we get into the mind of Alex P. Keaton, and so very important to understanding who he is and WHY he is that way. The scenes of “memories” in Alex’s life is so well done. Getting glimpses into how being labeled “the smart one,” “the responsible one,” etc and having so much pressure put on him shaped Alex into the absolute nervous wreck of a person that he is really puts him in a new light. It’s no surprise to me at all that this episode always makes lists of top TV show episodes of all time.

Side note: I first saw this episode many years ago when I was younger, having not seen anything else of the series or even knowing much about it. I was channel surfing & happened to catch it. I knew MJF as Marty McFly, so I was psyched to see him in this show! But there I was, with no context, watching this Alex character cry in a therapist’s office. It stuck with me, though. (That same day, I also saw the “I am a woman!” episode, lol)

- “A Tale of Two Cities” (Parts 1 & 2): Alex goes to a banking convention in Chicago with his boss and has to stay with her in her hotel room when they lose his reservation.  These two episodes are wonderful. I like seeing Alex start off as so boisterous and “annoying” but then end up being the level-headed and responsible one. The scene towards the end between Alex and Rebecca really gets to me, when Alex puts a stop to things before they get too far because he knows Rebecca is drunk and not thinking clearly. Good job, Alex. The side-plot of Steven being distraught over the kitchen being remodeled is great too. (Part 1 also has what I consider to be one of the best Alex rants in the entire series, but I won’t type it all out here because it’s too long.)

- “Be True to Your Preschool”: Alex pulls Andy out of preschool because he doesn’t agree with their teaching methods. Some really cute Alex/Andy scenes, and just a general example of how much Alex loves his little brother. Really though, one of the best parts is the mini plot of Mallory writing her philosophy paper. The assignment is to try to prove something exists, and she chooses Skippy. (which Skippy is thrilled about because it’ll settle a bet he has with his grandfather. I cannot even handle this show sometimes.) Anyway, Mallory ends up NOT BEING ABLE TO PROVE Skippy exists and gets an ‘F’. It. Is. Astounding. 

And there you have it, folks.