#but some of these episodes I've looked at what I think they're trying to say from so many angles

[tevantarlos]

Feel free to ignore but I just have to get this out. I know this sounds mean but I´m happy that

a) Tim and Oliver lurk in fandom like no other and are seeing what people say about them and

b) Oliver had months of reprieve from the deranged people that make his following because they were turning all their guns on Lou. In fact he gained popularity because they convinced themselves (with his help, I add) that he is their champion and actually wants Buddie to happen. What does he think will happen now, when in a couple of weeks Buddie still has not happend? There is no Tommy standing in the way anymore and we will go right back to accusations of baiting and of people calling him fat and bald and almost too ugly for Eddie (yes, that happend). And when this happens and he has another whiny outburst on SM I will laugh until I fall over.

They droped the ball with every other LI before because they were to chicken shit to even try putting a stop to the endless harrassment. I think Megan West was the most egregious example of just leaving someone hanging and even encouraging the shit that went on online. They had a chance here, for the first time, to try to get out of this toxic Buddie brew they are in. If nothing else the way the relationship with Tommy was received, the way it garnered press by outlets other than glorified fan blogs like "Fangirlish" and gained them a new audience and the move to ABC all presented an opportunity to combat the toxicity by simply taking the fandom monopoly away from the crazies. But they just did not have the balls and now look at their pathetic attempts to make Brad happen on their IG. Engagement is low and what it there is the usual idiots screaming for Buddie and nothing else.

I hope it was worth it. I don´t see the show getting a 10th season, maybe not even a 9th. The spin off will be cheaper to produce, Peter talked about quitting before and the ratings trend downwards since S6. Not to mention the writing is absolute shit since Tim is back.

Maybe Oliver hopes that Callum Blue is the kind of guy that can get him a job after 911 gets canceled and is worth sucking up to. Last time I checked he couldn´t even get cast on a Hallmark movie so why not try, right? Buddie fans will not follow him either way, I hope he knows that.

Hey, hon. Thanks for the ask. Sorry I haven't posted this or replied before now. I haven't logged into my computer in a few days, have just been doing everything on my phone, and I didn't want to try to reply to this on my phone, that would takes ages.

I've been in the 911 fandom since two months after the last episode of season 1 aired. Oliver and 911 shot themselves in the foot by not shooting this Bvddie bullshit down from the very beginning. They've spent years leading Bvddie fans on, purposely having scenes with Buck and Eddie that cause the lunatics to see things that aren't there, because it gives the show more engagement.

Oliver and 911 know that Bvddie fans will never stop watching the show because they're so sure that at some point, 911 and Oliver will give in and make Bvddie canon because 'it's what they deserve'. At least, that's the bullshit I've read a lot of on Twitter and other places. What Bvddie fans don't understand, is they aren't owed shit.

I learned this the hard way when I was in the 100 fandom. I, and many other Bellarke fans thought that since we were loyal fans of the show, we'd be rewarded by getting Bellarke eventually. But just like Bvddie is never going to happen, Bellarke never happened. The writers and show runners had no interest in going there. They just liked to bait fans. Just like 911 does, with Buck and Eddie.

I personally feel like Oliver was relieved that all the hate was getting thrown at Lou and not himself, and he got a break from those assholes for a few months. But now that Lou and Tommy are gone, they're just going to go back to harassing him because Bvddie isn't canon and never will be, and those dumbasses can't cope.

Oliver knows that if he ever truly tells the Bvddie fans that it's never going to happen, he'll lose a large majority of his fan base. So, he just doesn't say anything. He encourages their twisted thinking and doesn't put them in their place when they're being assholes. Neither does Tim, so it's a monster of their own making. (The Bvddie fandom)

I can't speak on anything to do with the actresses of the other LI's. For many years since I started watching the show, I didn't interact with other fans much. The only time I did, was when I wrote fanfiction when I was a Bvddie shipper for 2 years, but after I found out what a bunch of toxic assholes they were, I ditched that fandom and am so glad I did.

Yeah, I check out the 911 IG page every few days because that's all I can stand. I can't look at it daily. All the Bvddie bullshit on every post claiming 'Bvddie canon, season 8!' It makes me roll my eyes so hard it hurts. Also, the way those idiots talk, like Buck and Tommy weren't in a relationship, like Buck is Eddie's one true love, and the other father of Chris.. God, I can't help but tell them how stupid they are for believing that. Especially since Ryan said in an interview that Chis has only one dad, and Buck sure as fuck ain't it.

The show will be lucky if it gets a season 9. This season is just not good, and I mean that honestly. Putting aside the BuckTommy of it all, it's crap. They focused too much on that Brad character which was a fucking waste of screen time. They traumatized Henren and their kids, had a plot that ended like within 5 minutes with Ortiz, had a decent start for Gerrard being a bad guy and dropped him for BRAD! Who the fuck cares about fucking Brad? No one.

When it comes to the IG posts, the first few days and maybe weeks after the BT breakup, both fans and GA made their feelings about the out of the blue breakup known, but after fighting the stupid Bvddie fans in the comments for a few days, most people backed off. I've gotten messages from people on IG who are BT and GA fans, who said that just like a lot of my comments on the IG page, their comments were removed for supporting BT, and for dishing out some of the bs that the Bvddie's have been doing for years.

Which once again shows that the people who man the 911 IG page, are catering to the most toxic assholes in the fandom. Every fucking post on the 911 IG has bullshit about Bvddie going canon, but people who talk about BT, or who even dare to criticize, in a nice way even, who criticize the plots being cut off, making no sense, the characters doing things that are out of character, they get deleted. But yet the lunatic's comments remain on the posts.

IF the show gets renewed for season 9, I'm betting it will be the last. This season so far has just been a shitshow. In terms of the writing for the show, and in terms of the Bvddie fans taking being complete assholes, to the highest degree imaginable.

I don't give a shit about Brad the character or his actor. I hate the character, he fucking annoys me. I didn't find any of this plot funny, just irritating and I want him gone. The mains were pushed to the background this season for Brad, some dumbass that's not some great character, but some idiot.

Also, Oliver is like a child. He only cares about praise and ass kissers. He says what will cause him to look good. I remember there was one time a few years ago, where he had some contact with a Bvddie fan and when the fan said that he was a dick for leading people on about Bvddie if it's not going to happen, he snapped back and said that he was just an actor doing this job and to stop being so mean to him.

In my opinion, he's a fucking moron who did it to himself. Him and Tim. As I said above, they could've gotten the assholes under control or even gotten rid of them from the start by being honest and just saying their stupid Bvddie is never going to happen. But no, they're too worried about ratings dropping, so they throw in Bvddie scenes every now and then to keep baiting those fans and they eat it all up.

Every time Buck and Eddie share a scene, those idiot's are all, "It's happening! Bvddie canon, y'all!" And then nothing ever happens, and those assholes get mad at being baited once again. It's been 7 1/2 seasons. If Bvddie were ever going to go canon, it would've happened by now.

[monstermoviedean]

i know i tend towards "hand me messages on a plate" in terms of what i want from media, and that's not where everyone falls. totally get that. i do appreciate and enjoy room for interpretation of meaning and i support show don't tell, absolutely. but sometimes (and especially in late seasons spn) i feel like they're not showing anything and they're not telling anything. and when it becomes a persistent pattern, i'm left asking, if you're not showing and you're not telling, is there anything there at all?

[mychapel-004]

I think the most interesting and under-explored part of gf canon is the formation of the blind eye and I'm tired of pretending it isn't: a long post

Because hear me out here, if we really take a look at the timing of the only concrete source we have (mcgucket's video diaries), it doesn't... line up at all?

The clear implication here is that he started making the diaries after the first portal incident on January 18th 1983, so this would be our "day one"

"For the past year I have been working as an assistant for a visiting researcher... But something went wrong. I decided to quit the project, but I lie awake each night, haunted by the thoughts of what I've done... Test subject one: Fiddleford."

But this makes no sense. We know from J3 that the memory gun was actually invented after a series of traumatic events with Ford, months before he left the project. Further, the timeline the video diaries set up of the blind eye show that he began to deteriorate and founded the blind eye on day 22, which would be February 9th, but in J3 the blind eye is already a full blown cult by then.

In addition, where is he in this video? we know from TBOB that he isn't on good terms with his wife after Christmas of 1982 and he likely didn't leave GF after the portal incident, but he was living with Ford up until this so where is this room? If he had somewhere else to stay, why only stay there now?

Now, realistically the answer here is that the lore was changed and slightly retconned between the writing of this episode and the publishing of the book (which alex discusses in some of the commentary for this episode when discussing fidd's character), but I think a more interesting theory to solve this contradiction can be found in the source material.

If we play this all completely straight, there are two options here, both involving Fiddleford lying in his diaries. this isn't entirely new to the series, unreliable narration is a big theme, especially in Journal 3 and TBOB. the only real explanations are that:

A) Fiddleford was lying about this being the first time he used the gun, meaning this video diary takes place after the portal incident.

B) Fiddleford was lying about leaving the project, and was filming these diaries while still working with Ford.

Now, either of them is plausible, but ultimately Fiddleford is a scientist. He has dedicated his life to engineering, and it seems to be his lifelong passion considering it's one of the only character traits that he continues to practice after losing his mind. Would a man who is this talented, this dedicated, really lie about testing results in a video diary he chose to make?

If he had used the gun before, any kind of result he is trying to observe would be ruined. It would be a pointless venture, since we know for a fact that by the time he leaves the project he has used the gun on himself, Ford and other civillians multiple times. It's a complete failure of the scientific method, and I don't think it makes sense for the character we know, the man who quadruple checks his own calculations just to be sure they're right.

However, the other explanation feels like something he might do. We know he invents the gun after the Gremloblin incident likely sometime in August, and seems to use it immediately as evidenced by J3, on both himself and Ford. We know from the audio commentary that for Fidd, the memory gun is very much an addiction, it's something that he uses to curb his anxiety and appear like a better partner, to try and keep himself together until the project is over. But ultimately, he's known something is wrong with the project for a long time, and Ford mentions his tendency towards self destructive anxiety when Fidd rips out his own hair after Ford reveals the tip of the weirdness iceberg to him.

All this to say, I think it's far more realistic for Fiddleford to lie about leaving the project rather than his results. He knows that something is wrong, that he should leave and be with his family, and on the other side of that we know that Bill is using this anxiety to whisper into Ford's ear that Fidd is unreliable and will leave. He's been through a severely traumatic event with the Gremloblin, trapped for days in his worst nightmares, to the point where he is prepared to cause himself potential brain damage to un-see it.

But despite all of it, he doesn't leave. He is determined to stay, maybe out of loyalty, maybe out of fear for Ford's safety, maybe he needs the money from the project for his family. He has a wife and son who need him and we know that he feels guilt for his treatment towards them, he even cites them as his sole reason for backing out of using the gun immediately before he does it anyway, and uses it on Ford to cover his mistakes up. Fiddleford is a man who is wracked by anxiety and shame and is such a bad way by this point that he is absolutely willing to self-destruct and lie to just get through this project.

I think he absolutely would start documenting his use of the memory gun, even if that meant lying that he had followed his instincts and left the project when he should have done. After all, he says himself that he wants to use this gun on a wider scale as a therapy tool, assuming the gun doesn't turn his brain to mush, surely the tapes of his initial testing will need to be peer-reviewed? He's presenting the reality he wishes was true, the one where he is brave and stands on his principles and doesn't fall into step beside Ford on his path to destruction.

So, where does this leave the timeline?

Finding exact dates is difficult, mostly because the only concrete numbers in J3 are few and far between, but we do have the dates of the tapes to go off as follows. This isn't concrete but it's a fun way to recontextualise the events of J3:

Day 1:

First usage of the gun, followed by it being used on Ford

Sometime after the Gremloblin incident, Fidd's arm is either healed or on the mend from the incident as his cast is gone, so likely towards the end of August.

Note on the cast: It could also be gone as a result of him removing it too early, he doesn't seem to take a lot of time to recover from the incident before he gets back to work in fear of disappointing Ford.

The room he is in is likely his bedroom in the Shack, or whatever location he initially uses to form the blind eye, maybe a room in the museum? The "probability of failure" graph in the back is the same one that he shows Ford the night before the Portal test, albeit a bigger version, meaning he has likely been tracking the output results for a while.

Day 5:

Still exhibiting postive results, no deterioration yet.

Day 22:

First signs of mental deterioration

First mention of the blind eye, Fidd draws the symbol onto a notebook but it is already scribbled in the background over a diagram of the portal. The blind eye symbol is first mentioned in J3, when Fidd hands it to the carny who becomes the eventual leader of the cult, so this diary likely takes place after he has begun using it on other people.

Official formation of the blind eye as a group to help people forget traumatic memories.

His room in the shack is in a state of disarray, his plants are dead and there are handprints in oil or ink on the walls. Notably, he seems to be connecting the idea of a single eye and the portal despite not being aware of Bill at this point, which I'll touch upon later.

The carnival is likely in September according to the timeline by @fordtato

Day 74:

Slight physical deterioration, more physical anxiety

It seems that Fidd has been regularly using the memory gun at this point, to erase even minorly distressing images from his head, and his anxiety has taken a nosedive. Likely explanation is that this diary is after the bunker, where he had another severely traumatic experience (kidnapped by a shapeshifter and reduced to mute from anxiety) and seemed to become obsessed with doomsday planning. During the bunker arc he also used the gun on multiple workmen and Ford once again.

Likely takes place in October/November

His room is a complete mess by now, with the walls covered in papers and "Help Me" scrawled on the walls.

At this point in J3, Ford has made his deal with Bill and is allowing him to possess his body whenever he pleases. Bill has also sucessfully driven a divide between the other two by making Ford doubt that Fidd will be able to make it to the end of the project, and Ford describes his frustration with him.

According to Ford, Fidd is just as agitated and nervous before the portal test as he was during the Gremloblin attack, and obsessively checks and rechecks his calculations, causing Ford to worry for his resolve.

In between this diary and the next are the stolen pages from J3 that are in TBOB, which give us slight insight into Fiddleford during this time but not much. We see that he tries multiple times to reach out to him the only way that Fidd knows how, through invention and creation, with the snowglobe and the six-fingered gloves. Ford, however, treats them carelessly as a result of his increased attention to his muse. At the same time, he tries to visit home but is kicked out by Emma-May after he forgets to get her a Christmas gift. This is played as an example of his connection with Ford, him remembering two gifts for the man and none for his wife, but if he really is suffering from his use of the gun at this time, the forgetfulness makes even more sense and his argument with his family means he doesn't have a support system outside of Ford who is paying all of his attention to the project. After this, Fiddleford is more reclusive than ever as he spends early January compiling a thesis for Ford to publish

Day 189

Physical deterioration is in full effect and he can't hide the result of his addiction any more, even just to keep up appearances.

His arm is broken, likely due to the car accident he mentions accidentally causing, but its the same arm he broke during the Gremloblin attack and could be a result of him taking his cast off too early for it to have healed right in the first place which could explain why he wears it for so long.

Significant mental decline as he has started exhibiting signs of brain damage or swelling (decreased vocabulary, forgetfulness, loss of motor functions) however, he is seemingly lucid enough to question if the memory gun is causing negative side effects.

There are actually bottles visible in the back of the room, possbly referencing the addiction metaphor being used here

This would take place after the portal test, likely late January. Ford is at the height of his paranoia, Fiddleford has left the shack and taken every trace of his research with him except his college picture with Ford, and the blind eye is a fully established and seemingly self-governing cult.

Day 273

At this point, Fidd has relocated to a motel and is seemingly completely mentally gone, ripping out his hair and developing his hunched posture. This likely takes place after the blind eye takes his memories, or he continues erasing them himself. It's possible that the blind eye continues visiting him and taking his memories even after he is ejected as a member, or at least until they forget who he is after using the gun on themselves too many times.

It appears to be snowing outside? Which doesn't line up with either the canon timeline or this timeline, so potentially the days on the video diaries could be incorrect assuming he isn't filming them every day, or has lost so much of his mind by this point that he isn't labelling them right and has lost track of time

The final two entries are a similar story, serving only to show us the end of his decline and him eventually becoming fully homeless, retreating to the junkyard he lives in for the next 28 years (jesus, he really deserved that mansion).

Ultimately though, this timeline asks a lot of interesting character questions.

Why did Ford not realise how bad Fiddleford's decline was becoming? Maybe a mix of circumstances, he was falling deeper into his worship of Bill at the time, to the extent that he was regularly being possessed and judging by the lack of journal entries at the time, very pre-occupied. We also know that Fidd used the gun on him at least twice in canon, and possibly used it more than we know in order to convince Ford he was okay.

If Fiddleford was erasing parts of Ford's memory, did Bill know? Personally, I feel that Bill was aware but knew that ultimately it would serve him. Fiddleford, without ever encountering Bill at this point, created the blind eye symbol which is eerily close to Bill's symbolism, how would he know that when we know Ford is possessive of his muse and doesn't share anything with Fidd about it? How does Ford have visions of Fidd in a red cloak without ever knowing that the cult and Fidd are directly connected? My thoughts are that Bill, who we know has erased Ford's memory himself before when he stole the journal pages we see in TBOB, was using most of this as fodder to drive a divide between the two, mentally creating associations in both of their minds so they stop trusting the other. Chess but with troubled gay men.

All in all I think Fiddleford's decline is such an interesting way to approach a theme of addiction, particularly a high-functioning addiction. If this really is how things played out, we know that throughout his use of the gun and even 30 years later when he is considered a write-off, the one thing he maintains is his engineering prowess and his smarts. It makes sense that even when actively using the gun and hiding it from Ford he would be able to keep up in terms of building the portal, especially when we know he secretly hired workers. It's also a great example of someone drawing others into their addiction, even if it was unintentional and he didn't believe they would be hurt in the long run.

I feel like sometimes there's a lil bit of a push to see Fidd as a naive or morally good character even through his mistakes and to demonise Ford in response, but ultimately both of them are very morally grey and have their own vices that they develop and grow from.

Anyway, interested in this idea?

Well, good news if you are or my condolences if you hate it and want me dead, this is also an au I'm working on and writing at the moment! My fic link is below, the introduction is up right now and the next chapter will be coming out tomorrow with updates every few days now I've finally gotten this post out. The tag for this fic is 'Geiger counter au', hopefully I'll be able to get out some other headcanons I have for this idea because it's been floating around in my head since J3 came out.

Thank you for reading!

[halohalona]

Netflix and chilling with logan ( fluff ofc)

Old Enough!

you invite Logan to watch a cute TV show

Logan Howlett x reader

ok i was sifting through my netflix looking for inspo and rediscovered this gem of a show, i recommended it if you're looking for something cute to watch in the background.

second logan fic, again it's been a while since i've written something so bear with me

warnings: none, just pure fluff, this one's a little longer than the last

It was a saturday. You had nothing in particular going on and decided to watch something on Netflix to pass the time. After a minute of scrolling, you come across this show called "Old Enough." Reading the show description you thought, eh why not, it looks cute, and put on the first episode.

After the first episode you got hooked. I mean who wouldn't?? Little kids doing errands on their own was so adorable. You were about to start the eleventh episode when Logan walked in, beer in hand.

"What're you watching?"

"Old Enough." you answered without looking away from the tv. "It’s so cute! Come, sit and watch."

Logan makes his way to you and takes a seat, an arm resting behind you on the couch. "So what's this about?"

You pause the show before turning to him. "It’s a show where children run errands in Japan. In this episode, the two boys are supposed to cross a bridge to pick up some fish from their grandma in Tsukiji, cross the bridge again to pick up some diapers for their baby brother, and then buy yogurt from the supermarket."

"Children running around alone? Are they sure that's safe?"

"First off it's in Japan, it's pretty safe there. And second, they're not completely alone, there's a camera crew with them. They're just keeping their distance so they can run the errand independently." You unpause the TV.

"I don't see how this would be entertaining." just as Logan said that one of the kids pointed to the camera saying: Oh! There's a camera!

You giggle as they pan to a shot of the cameraman looking absolutely defeated. It didn't stop there though. The kids then noticed the other cameras and adults around them, and being the kids they are, asked what the "box" one of them was holding did. The man they asked also looked defeated.

After the crew member answered one of the boys then pointed out their matching rain boots then continued on to their destination.

You haven't heard Logan speak in a while. You look up at him and see him trying to hide his laughter as the boys in the show (each holding one end of a bag, by the way) walk into a pole, the bag in the middle getting caught on said pole causing the two boys to crash into each other.

A smile made its way to your face, and as you leaned in on his shoulder you couldn't help but think about what it would be like as you and Logan sneakily followed your own kids as they did their errands.

[dinogoofymutated]

Hi. Could you please write some Gambit fluff headcannons? The Gambit Nation is struggling right now and we could all really use some fluffiness from the man himself.

Btw I'm absolutely OBSESSED with your writing. Like, seriously amazing.

Gambit/GN!Reader

I Know you sent this in forever ago after that one godforsaken episode of 97' and I'm so sorry I'm just now getting to it!!! It's been sitting in my drafts for forever and I've just been struggling to come up with fluff hcs! TBH, It started as general fluff and not a whole ass storyline and eventually i just got too far deep to stop! This isn't even as fluffy as I was quite expecting, but once i started writing it just came out and atp I couldn't stop. It's been a rough night, but this really just turned Into being Remy's comfort person HCs.

TWs: rocky family life mentioned. Sneaking out, underage drinking, so on. Smooth timeskip to adulthood. very much fluffy with a lil bit of somber tones. Not enough to be angst tho.

Think about being Teens with Remy Lebeau. The late nights, sneaking out, ranting to each other in the streets and alleyways of New Orleans.

Getting into fights with your parents/guardians or siblings and wanting nothing more than to just shrivel up and disappear. Curling up underneath your blankets with a pillow wrapped around your ears trying to just block out all of the bad thoughts when you keep hearing a persistent Tap, Tap, Tap. And then a much more obvious pop! Against your window.

You know who it is before you even unwrap yourself from the comfort of your bed, opening your window with a lot less energy than you usually have. You're tired and sad, but the face of that Cajun boy your parents don't like always makes you smile.

The red-eyed teen's smirk falls when he sees the rough state you're in, right before ducking back behind the trashcan when a light turns on in your parent's bedroom. Eventually, it turns back off again, and by the time he's back on the sidewalk you're ready to go. He helps you out of the window much more gentlemanly than a thief and a scoundrel probably should, but he's nothing if not a sweetheart. (And a loverboy, but you wouldn't realise it then.)

"Ah, hell wit' them. S'not like they worth your time anyway." Remy's got an arm wrapped around your shoulders, a beer in hand as the two of you lean against the wall of a particular mausoleum. -Course, you had offered whatever ghosts has resided there the first sip as a courtesy, so you're definitely not cursed, right? Not that Remy was even worried about that, but he puts up with your superstitions to comfort you.

"Don't say that, please." You whisper, rubbing your tired eyes. He frowns, knowing that he wouldn't know the first ting about how "normal" families work, but he doesn't quite get why you worry about what they think so much.

"I don't get why you stay, Cher. Not when they treat you like this." You can feel the rumble of Remy's voice through his chest, and find yourself tucking yourself closer into his side. He sets his head on top of yours when you do so.

"What other choice do I have? They're my parents." You whisper, fidgeting with some strings at the hem of your sweatshirt. In hindsight, maybe wearing pajamas to a graveyard wasn't the best choice. You hear Remy chuckle after a moment as a thought crosses his mind, and he swirls the bottle slowly, a few times, before he hands it to you.

"Well..." He starts, giving the words a moment to rest. "There is one option..." You take the bottle from him, cocking a eye as you sit up a little bit to look at him.

"And what's that?"

"Run away wit' me."

He's smirking when he suggests it, a playfulness in his eyes. If only you knew just how serious he was.

"Remy LeBeau!" You scold, unable to fight back your smile as he chuckles at you.

"What? S'not a bad idea, no? No thieves guild, no drama, Jus' you an me." He laughs when you give him an incredulous look and take a dramatic sip from the beer, only to make a face at the taste directly afterwards. Damn, was it rancid.

"Don't get me dreaming, Remy." You mumble. There's only a little bit left it the bottle, and you decide it's better suited for the graveyard. Remy complains about it, trying to fight you for the rest of the beer. The two of you are a couple of idiots to be laughing this loud in a place like this, and even bigger ones to start play-fighting, but neither of you really mind.

You were each other's safe space. The one person the other could run to as the world falls apart around them. Life as a teen was never easy, especially not when you're mutants- but at least you had each other. But as his life was being consumed with the thieves guild, and the prophesy that came with it, you saw less and less of Remy as the years went by.

When you did meet again, it was under the roof of one Professor Xavier. The others were nervous and distrustful about this ex-con entering the team, but you never doubted him for a second. Your person was finally right where you needed him once again. Your Remy. And as smooth as he is around the team, you knew it was a wall, almost an act. Something to befriend the others- but you knew Remy, and you were grateful that after all the years that had passed, he still came to you when he needed you the most.

"Long day?" You ask. Remy hums in response, plopping down onto the bed next to you. You set your book to the side when he rests his head in your lap, soothingly running your hands through his hair as he sighs in content.

"You know it, ma chérie." Remy says in your lap. You can't help but blush at the name still, despite how many years he's spent calling you by the words. Remy's eyes are closed beneath you, giving you the freedom to fully take in the features of his handsome face whilst keeping him unawares. His stubble is growing in, and he's got a few new freckles and scars from your years seperated, but he's still the same wild, reckless kid you fell in love with as a teen. He hums as you brush your thumbs across his cheekbones, catching your hand and pressing it to his lips, leaving a kiss there. He then kisses your inner wrist before holding your hand to his face.

You still don't really know what to say when he does things like that.

"Can I ask you something?" You ask after a moment.

" 'Course, Cher."

"Would you still wanna run away with me?" When the last words leave your mouth, you can feel Remy frown. His eyes open about halfway, your hand still in his hold as he presses it to his face.

"What brought this on?" He asks, and you only shrug, looking away from him as your thumb idly strokes his face.

"I dunno. I was just thinking about it." His skin on your own is starting to feel too warm, your nerves becoming unignorable. Remy cocks an eyebrow at you, before he smiles. Not a smirk, a real, genuine, smile. He takes your chin in his hand, and moves your head so that you're looking at him again.

"If you needed me to run away with you, Belle, I'd do so without looking back." His words make you smile brightly, holding onto the wrist of the hand that holds your chin. You lean forward to press a kiss to his forehead, but Remy moves. He sits up just slightly, and before you know it, Remy Lebeau's lips are pressed against yours in a sweet kiss.

Remy chuckles at the surprised face you're making when he pulls back, sitting up a little further so that he can press his forehead to your own, leaning into your space.

"You' always known me to be an opportunist, Cher. Can't help but steal a kiss here an there." Remy says, and your laugh is partly from disbelief, surprise, and outright giddy joy.

"Please tell me you haven't been waiting to say that since we were kids." You ask. Remy smiles brightly in return.

"My poker face 'not good enough for you, huh, ma chérie?."

[lesbianmarrow]

augh. rewatched btvs 5x22 scene where spike & buffy go to buffy's house to get weapons before the big showdown. them having to retrieve weapons is such an amusingly flimsy excuse to have them go to her house so we can have the scene where she invites him in + he promises to protect dawn + "i know you'll never love me" speech. i love a paper-thin excuse to put 2 characters in a room together. especially when those characters are buffy and spike!!!!!!!!!!!!

it really is so striking the way spike refrains from asking buffy to let him in even though he would be perfectly justified in doing so as it's obvious that buffy has forgotten he's not allowed in. i think part of it is that he wants to make it clear that he will respect the boundaries she has set with him. but i also think part of it is that he doesn't wanna feel the pain of being rejected again, because that fucking hurt. if he doesn't ask then he doesn't have to hear her say no again. it shows how head over heels he is for her and how much he has changed since the beginning of the season, when he was challenging her boundaries so much.

spike's expression when he's walking thru the doorway......it's so endearing and some really great acting from james marsters. first surprise and disbelief, then glee which spike is trying very hard to restrain because these are grave times. and yet he can't help feeling so joyous that buffy trusts him. he glances as the doorway like he's thinking "ah yes what a nice house" which makes me laugh because it's so stupid but also sweet. i think it's him trying to play it cool and doing a not so good job of it. there's such a lightness to him - it reminds me of the feeling when you think you did something to upset your friend a few days ago and you're anxious that they've been angry with you all this time and you finally gain the courage to ask them about you and it turns out they were never angry or upset at all. the giddy relief you feel.

and then there's that little moment of tension where they're standing so close together and you think something might happen but then spike breaks off and goes to the weapons chest and starts rambling about what they should take. it's so notable that it's him who gets nervous and moves away. so different from the way he behaved with her in fool for love, getting up in her space and trying to make her admit she had feelings for him. he's accepted that she'll never love him back, and moments like this where it feels like maybe there could be something between them are too painful, so he disrupts the moment. moves away.

jumping to the end of the scene - i love that buffy is on the stairs when spike does his little speech. she's physically above him. "you're beneath me." not only that, she's ascending, just as she ascends at the end of the episode, accessing a level of heroism that spike will never be able to meet. rewatching this part, spike's expression really surprised me. when he says "i know you'll never love me," he doesn't look at all bitter or resentful. his face is open, understanding, compassionate, and thankful. because that's what this speech is - he's thanking her for treating him better than he deserves. he's so grateful for the respect and trust she has given him. it has been truly transformative, as we've seen. only he doesn't get to the actual thanking part, because he cuts himself off, saying he'll wait for her down here. i think he cuts himself off because he realizes that this isn't what buffy needs to hear right now. she's got an enormous battle to prepare for, and a sister to save, and spike's feelings simply aren't important. so he stops mid-sentence for her sake. i think we're meant to understand that the only reason he started to say this at all is that he really thinks he might die tonight and it could be his last chance to let her know what it has meant to him to be treated like a person capable of doing good.

i've focused on what's going thru spike's head in this post bc i think buffy is a lot harder to read here. which is interesting bc sarah michelle gellar as buffy is so expressive that usually you can always tell exactly what buffy is thinking. but when she's with spike in these episodes toward the end of season 5 it's difficult to tell how she regards him. i think a lot of the time even she doesn't really understand how she feels about him. their relationship is so paradoxical. she relies on him but she reviles him. she wants him around but she finds him intolerable. i might rewatch the scene again and make another post about what might be going thru buffy's head, but for now i'll leave it at saying that i kind of love how spike's feelings for buffy are crystal clear to us and buffy's feelings for spike are much murkier. spike started out as this cool mysterious antagonist, whereas buffy has always been the protagonist and we're constantly seeing things from her point of view and being made to understand how she feels. so it's kind of fun to see that flipped a little bit. and it also rings really true for me how buffy in this moment is like, i have 5 billion things to be worrying about right now, i cannot even begin to process whatever feelings i may or may not have regarding spike. and with all of that said........there really is a softness to the way she treats him in this scene. and it's nice.

anyway. these two ✌️ gonna go jump off a tall tall tower

[tealvenetianmask]

Thoughts about Striker being a "supremacist:"

On the surface, he's sort of a social class activist/ Robin Hood archetype. I think he truly thinks of himself this way. But when Blitz calls him a supremacist, who's he a supremacist against exactly? It's imps. This guy hates imps (and also identifies as one, even though he's clearly some sort of hybrid, which is interesting).

Let me show you what I mean. The short version is that he's the self-hating minority bigot trope, and it's executed really well.

"Blue Bloods"

"Disgusting, rich, pompous goetia"

"Some of us have everything we care about taken away by fuckers like you."

"You don't get to talk over me. . . all you ever do is try to talk over us."

"Once I split your neck open and let you choke on your own blue blood, you won't be worth any more than the tomb stone you'll be buried under."

So . . . first, he doesn't actually say a lot that's solely about royals, and ALL of the quotes above are about how royals look down on people like him, NOT about any inherent flaws that they have. They're about class, not race, unless you count "blue blood" as race. I don't. It's tied directly to money. "Disgusting" comes up in reference to Blitz's relationship with Stolas, but the words "rich" and "pompous" follow immediately. Striker hates royals because he hates that society places them above him.

Imps

"Pathetic."

"You little things aint worth the cleanup."

"Oh I remember how easy you are to choke the life out of, little one."

"Blitz, come on. You know the two of us are superior to most of our kind."

"I still think it's embarrassing. You're wasting a lot of potential relying on a weak little . . ."

"Vermin"

I think that this is where Striker's worldview comes into clearer focus. He thinks that Moxxie and Millie (and by extension MOST imps) are inferior to him. The word "vermin" is particularly telling. There's something visceral about his disgust for "lesser" imps.

I think Striker worries that they reflect who he really is. I think he truly believes that imps are inferior to higher class demons, and he fears that if he doesn't prove himself to be special (through violent dominance), he's vermin himself.

Notice how in the image below, his edge over Moxxie is all about size and physical strength- the things he implies throughout the episode make him the superior being. Look at that wide smile. He loves the feeling of being superior.

Relationships between imps and royals

"You are so above sucking on a disgusting rich pompous goetia . . ."

"kill the unkillable . . . starting with the one that treats you like a plaything."

"Blitzy"

"You two are both embarrassments to our kind for meddlin' with blue bloods to begin with. But at least loud mouth here has the sense to only fuck his rich bitch, instead of being a little purse dog."

"This worthless little pet reeks of his over bloated master. I'll at least enjoy getting rid of him."

Striker clearly sees these relationships as imps lowering themselves. It doesn't seem to occur to him even for a moment that these relationships might involve genuine care because he sees all interactions between social classes as being about power and "who wins."

Notice that despite in theory caring about the power dynamics, Striker puts most of his shaming language on the imps in the relationships, and uses demeaning language to do it- "embarrassments, purse dog, little pet," as if they're at fault (for being used, in his view . . .?) and should be ashamed.

I thought about delving more into why Striker sees Blitz as closer to his own level, and I think it comes down to the things he values (physical strength, willingness to kill, detachment/independence), which are not the things that we the audience end up liking the most about Blitz. He misses the point of what actually makes our boy great, basically. 😍

I've spent a lot of time reading and watching videos about real life white supremacists because I like to be miserable, and . . . yeah, this character really shares their view that some people are inferior to others, and that the traits that make them inferior are inherent and immutable. The people he hates just aren't the ones he'd have us believe he hates.

[johannesviii]

Nearly every time I've rewatched Infinity Train Book 3 since I first saw it in February, I saw more parallels and narrative echos, and infodumping my friends about them isn't enough anymore

I figured I should do a post about this one because I don't think I've seen a post about that specific thing yet, and I love this show's writing, and. idk. I just need to praise it I guess

So, the most obvious part first:

Grace became everything she hated about her parents

When Grace mentions her mother in the Debutante Ball Car, it's made pretty clear she's trying to distance herself from her mother as much as possible, and at this point, we realise retrospectively that Grace's room in the Mall Car in episode one was full of sports clothes - it seems she tries to avoid things reminding her of her life before the train. And of her mother. And yet-

She tries to control everyone and everything around her, and makes people do what she doesn't want to do

And she decides what's cool and what isn't

She makes people kneel in her presence, like her mother towers over her in her mind's eye

Obviously she constantly lies to get what she wants, and her dad does that in her tape

When her younger self looks up, she looks right through adult Grace, and it's actually her parents she's looking at! Her younger self is metaphorically seeing her parents where her adult self is standing!! I still can't get over this shot

Also I feel the need to mention her mother has the same voice actor as her in her tape and even if it might be to cut corners in the budget, that feels significant (and to be fair, sometimes you can cut corners while making meaningful choices at the same time)

Now you might think I'd have nothing to say about Simon on that matter, since we don't see any flashback of his life before the Train, and we know next to nothing about his parents. But I think it's very telling that the only actual backstory we get for him is his backstory with The Cat.

Because-

Simon became everything he hated about The Cat

Ok I never see anyone mentioning this, but hear me out

First, we have no idea if Simon knew The Cat was routinely invading people's privacy through their memory tapes, but he sure has no issue doing the exact same thing

But that doesn't stop there. He also collects things obsessively

And makes kids collect things for him as well, by the way

He thinks he's above others, but he immediately switches to victim mode when it comes back to bite him

HE. ABANDONS. A CHILD. WHO WAS UNDER HIS CARE!!

And. Uh. They both dig their heels instead of trying to change, too

Don't get me wrong, on some level I would have liked to know what Simon's parents were like too. I would have liked that a lot. But there's a good chance it wouldn't change anything, because everything we need to know about his background to understand why he's Like That™ is already in the show

But yeah, Grace and Simon both pretend they found freedom on the Train, and both distance themselves from parental figures who are at the source of their trauma, claiming they're different and better than them - and yet they are both subconsciously repeating patterns that caused at least part of their problems and/or trauma in the first place

And since they decided that making numbers go up was good, as long as they stick to that idea, they are bound to never escape from that self-perpetuating loop of harm and trauma

And I love it

And I hate it

[fixyourwritinghabits]

No Such Thing As Filler

Okay, so yes, this is another post based on something I saw that irritated me, but it seems like this idea keeps coming up, so I need y'all to internalize this. There is no such thing as filler in good writing. None. Do not approach your work thinking you have to fill space in a story, I will beat you with this wiffle bat. Don't ask me where I got the wiffle bat. Don't even worry about it.

The idea of filler comes from a very particular place - when an anime or TV show has to fit in a certain number of episodes, but doesn't have enough content (hasn't caught up with the manga, the source material isn't long enough, etc) to cover those episodes. An episode has to be written, but the characters can't really progress, and so are given something else to do. Many a trope has come from these episodes, and they're sometimes necessary. Filler in this context is something that makes sense.

The dark side of filler is the idea that you need some space between Big Event 1 and Big Event 2 in your story, therefore you need throw anything in there to take up space and make your word count. This is a mistake I've made and I've seen plenty of other writers do it too, but it's a huge waste of your time. You do need something between those big action scenes, but you should always be writing to accomplish something.

Instead of thinking of that writing as filler, try to approach it with three things in mind:

Move Forward With Character Development and Backstory - Your characters barely survived a huge gunfight, and they won't encounter the big bad again for another few chapters. How do your characters decompress from that gunfight, and what does that say about them? Did a cocky character go in guns blazing, only to be deeply shaken by how a real fight works? Did that fight spark a moment of deep trauma for the main character that they have to reflect on afterwards?

Filling this space with meaningless scenes is a huge waste of opportunity. Think about how to dive deeper into your characters.

Move Forward With Plot and Subplot Development - The bad guy beat the heroes to the stolen gem, but they left behind a clue to why they want it. However that clue could reveal some painful truths about the protagonist's beloved great aunt... Carmen Sandiego???

A major goal following a big action scene is having the characters figure out what to do with what they've learned and what to do next. It's where romance subplots or secret relative subplots make progress, when truths are revealed and next steps are taken. You can absolutely do this in any setting - a flirty conversation while at the battling cages, a tense moment of feelings while hunting down a wayward chicken - but your main goal is making progress for both the characters and plot.

Move Forward With Worldbuilding - Worldbuilding has it challenges, believe me. You don't want to write a chapter on how an airship works only to have to cut it later. But you should still try to flesh out your world, and you should do so with the perspective of how to use that worldbuilding to your benefit. Maybe a critical scene hinges on the main characters knowing how that airship works, or that lake your main character often stares at is the setting of the big Act 3 Boat Battle. The weather can play into both perspective and emotions. Knowing what the main character's house and car looks like can reflect a lot on their personal character or backstory.

When you're struggling with a scene or a chapter, rather than writing filler, take a few steps back and think. What can you establish with your worldbuilding? What can you reveal about your characters through their dialogue and actions? What subplot could you explore or add in these between moments?

Filler from a fandom perspective - Now let me make this clear - if you're writing a fanfic just to have a cute moment between the characters you like, or you really want to force everyone to do that weird Twilight baseball scene, that's fine. You don't need a grand goal to achieve for every story, there's no need to justify your fanwork in any way other than you wanted to do it.

But I'd also argue fanwork doesn't fall under the filler label either - something you create, be it a character snapshot or a 'what if the gang meets Slenderman' parody, isn't taking up meaningless space. It's something fun you did that you and others enjoy, and there's nothing wasteful or pointless about that.

[tangents-within-tangents]

Hot take:

Crosshair does not have the Imperial disillusionment and redemption arc of The Bad Batch

Emerie does.

Crosshair has an arc for sure yes but it's not that.

I was thinking about this scene:

and how it got right what this scene kinda didn't:

(It was so close but then bad writing decided to undercut the moment with a joke rip)

And I think it's really interesting that these characters who were more or less raised into the Empire/First Order and chose to leave it are all directly asked why.

But take a look at Crosshair's answers in comparison:

Different context for the asking, yes, but still, compare that to clones like Howzer, Cody, Slip and Cade who left or turned against the Empire because they knew what the Empire is doing is wrong and they weren't just going to blindly follow orders:

Crosshair - Loyalty, Purpose, and Survival

Crosshair didn't choose to join the Empire (though the show isn't very clear or consistent about how much control the inhibitor chips have) but he did, for whatever reason, choose to stay. By the end of S1 we know his chip has been removed and as he definitively says "This is who I am." There were likely still other influences on his decision, but listen to how he talks about the Empire in the S1 finale:

Hunter: Crosshair, I've seen what the Empire is doing. Occupying planets and silencing anyone who stands against them. You know it's not right. Crosshair: You still don’t see the bigger picture, but you will. Hunter: Can't you see they're using you?

Crosshair: We’re not like the regs, we never have been. We’re superior. The Empire can’t protect the galaxy without strength, this is what we were made for. Think of all we could do, together!

Crosshair: You all are meant for more than drifting through the galaxy. It’s time to stop running. Join the Empire, and you will have purpose again.

Hunter: They destroyed an entire city! Crosshair: They did what needed to be done. Kamino, regs, the Republic, that time is over. The Empire will control the entire galaxy, and I am going to be a part of it. Hunter: Don't fool yourself. All you'll ever be to them is a number.

He undeniably knows what the Empire is doing, but he does not care. In fact it sure sounds like he actually supports it and finds self-meaning in it. Hunter spends those episodes trying to convince him it's wrong, he doesn't change his mind. In the end they offer him an out and he doesn't take it.

Wrecker: You coming with us? Crosshair: None of this changes anything. Hunter: You offered us a chance, Crosshair. This is yours. Crosshair: I made my decision.

The next we see Crosshair in "The Solitary Clone" (S2:E3) he follows orders and shoots the Desix governor, right after Cody heartbreakingly tries to do what's right and find a peaceful solution.

Cody: Tell me something, Crosshair. This new Empire, are we making the galaxy better? Crosshair: We’re soldiers, we do what needs to be done. Cody: You know what makes us different from battle droids? We make our own decisions, our own choices. And we have to live with them too.

After this (glorious!) conversation, Crosshair stays. Maybe this began to seed some doubts, but he actually smiles a few scenes later when Rampart assigns him another mission. It seems like for him it truly is as he said in S1:E1 (chip not enhanced yet but still influencing him enough for his brothers to notice he's acting strange):

Crosshair: Republic, Empire... what's the difference.

Crosshair: Orders are orders.

This unethical mission that finally pushed Cody over the edge does not change Crosshair's mind about the Empire, at least not enough for him to take action.

But what does?

Mayday: And here we are, the survivors. Combat troopers stuck babysitting cargo shipments. Crosshair: Mission’s a mission. Mayday: Yeah, I used to say the same thing.

Mayday: After all the clones have done, all we’ve sacrificed. We’re good soldiers, we followed orders. And for what?

This mission has nothing to do with how the fascist Empire treats the galaxy, it's about how they treat their soldiers. It's about how Mayday loyally fought and served his whole life and Lieutenant Nolan let him die

Lt Nolan: He served his purpose as a soldier of the Empire. Crosshair: You could have saved him! Lt Nolan: Perhaps you didn’t hear me, he is expendable, as are you.

Crosshair thought he could find purpose within the Empire, and Nolan shows him exactly what that will be.

His turning point is accompanied with this powerful visual of the ice vulture, a symbol (and threat) of death, and also set up within the episode a symbol of survival:

Mayday: Vicious creatures, but you have to admire ‘em. They find a way to survive.

This critical moment (that gives me chills, oof this episode is a masterpiece!) comes right after Nolan calls him expendable and directly threatens him:

Lt Nolan: And if you speak to me again with such disrespect I'll see to it you meet a similar fate, clone.

then Crosshair sees the vulture's shadow and turns to Mayday's dead body (ahh visual storytelling my beloved) then makes his decision:

Crosshair turns against the Empire not because he believes Hunter was right about this:

Hunter: I've seen what the Empire is doing ... You know it's not right.

but because he was right about this:

Hunter: All you'll ever be to them is a number.

Redemption (both in fiction and irl in my humble opinion) comes with making amends and reparations (which is why death 'redemptions' bother me so much but that's a rant for another time). Unlike Emerie, Crosshair never explicitly denounces the Empire or his own actions within it. He never says anything to specifically show if and how his views have changed from what he said on Kamino. He makes amends with his family (sending the warning message, helping Omega escape, making up with Hunter) but that's about it. The most we get in terms of acknowledgement is this:

Crosshair: I thought I knew what I was getting into with the Empire. I thought I was being a good soldier. Hunter: Nobody really understood what was happening back then. Crosshair: I’ve... done things. I’ve made mistakes. Hunter: I have regrets too, Crosshair. All we can do is keep trying to be better, and who knows there just might be hope for us yet.

Which is nice and all but it's more about them making up as brothers so it's way too excusing tbh ("no one knew what was happening back then" ummm? "The Empire will control the entire galaxy, and I am going to be a part of it" remember? And even if at first Crosshair was being controlled by the chip, the fact that he chose to stay after it was removed* means he condones and is therefore still accountable for those actions).

There's also a bit of self-destructive guilt:

Crosshair: Omega, don't risk anything for me. I belong in here.

Crosshair: Omega needs you both. So I’m doing this alone, it’s what I deserve. Hunter: Don’t even think about plan 99, Crosshair. Omega needs all of us.

(which thank you Hunter for pushing back on the death redemption bs and oh look is that a wrap up for the purpose thing?)

But there's no action taken on his part to make up for what he's done or to stand against the Empire (aside from the bare minimum of help with Tantiss, only after it became personally relevant, which like yeah he had trauma to deal with but still).

While I do think the implications/follow-up of Crosshair's turn should have been handled better in S3 (like rip Howzer! he deserved an apology, but that's a rant for another time), I don't necessarily** think this arc is a bad writing choice. It's just saying different things than we expect:

Maybe Crosshair's story is not about standing up against an unjust system, like we see with many other characters (who deserved more screen time but that's a rant for another timeeee). Maybe his story is about how even those who are loyal to the Empire, who actually believe in it, still suffer under and within it's rule. Not to garner sympathy, but to show that there is no winning.

Crosshair has another 'so what changed' convo in S3:E14 with Rampart, in which they draw parallels to each other:

Rampart: You used to believe good soldiers followed orders. Crosshair: Depends on who's giving them. The Empire betrayed us both. Rampart: And you think you can fight them? That's not you. You're like me, loyal to no one but yourself. Crosshair: I've changed.

(note how he says who's giving the orders, not what the orders are)

"Loyal to no one but yourself" describes Rampart much more than Crosshair, since we often saw Crosshair pride himself as a loyal soldier of the Empire whereas we saw Rampart abuse power to be self-serving within the Empire (like when he killed Wilco to save face). But they were both betrayed either way. Vice Admiral Rampart, snively Imperial opportunist through-and-through, shouts "I was following orders!" as he is arrested for the Empire's purposes. (Edit: and where Crosshair rejected the Empire and found new purpose fighting for his family, Rampart was still self-serving in the finale. He still tries to gain power for himself and he gets his comeuppance).

Even Hemlock, the final boss immoral Imperial scientist, who has to be benefiting the most from this system, echoes the expendability idea:

Hemlock: What I am working on is beyond your understanding. Something so vital to the Empire it makes me indispensable.

Then there's CX-2, also set up as a parallel/foil to Crosshair (fight me), who in the end is discarded as no more than a weapon, a tool that served it's purpose, showing us what would have become of Crosshair if he had stayed.

There is no winning in the Empire. Loyalty is not rewarded, it "doesn't go both ways." Everyone has to fight for their value. Even high ranking individuals** who for a time benefit from the injustice, in the end are just pawns to be used up and cast aside at a whim for the Emperor's gain. Even people who are motivated by self-interest alone cannot survive within this system, the only viable option in this galaxy is to fight the Empire and dismantle that system. (unless you conveniently find a magically safe island to hide away on but that's a rAnT fOr AnOtHeR tImE)

Which brings us back to...

Emerie - Cooperation, Compassion, and Choice

(Okay this post has already gotten away from me but I still want to talk about her to show the contrasts.)

Emerie may not have been given a lot of screen time to really flesh out her development, but there is a lot that is pretty clearly implied with her:

Crosshair: They’ll never turn her [Omega] over. Hemlock: They don’t have a choice. She is a clone, and therefore Imperial property. *Camera cuts to an angle more centered on Emerie’s face*

Crosshair: Give me your access card! Emerie: It won’t get you outside!

Emerie: I tried to warn him what would happen if he did not cooperate with the Doctor.

Emerie: Prisoner? Omega, you are no such thing. It will take time to adjust, but you will acclimate. It is far safer in here than out there.

Emerie: You should go back to your room. Crosshair: You mean her cell?

Emerie: Why children? Hemlock: Children are easier to attain and more agreeable to the subjugations. They are unaware of why they are here and what they possess.

Emerie: They're children. Like I was... Was your plan to discard them too? Nala Se: The Empire will keep them in order to control them.

We don't know a lot about Emerie's background, but it's clear that she had a lot less choice than Crosshair and less opportunity or ability to leave. Unlike Crosshair, we never directly hear Emerie's views of the Empire (and she was most likely 'taken under Hemlock's wing' before the Empire even came to power), but lets look at how she talks about the Tantiss:

"Remain calm. Cooperate and you might survive."

"Don't make this worse, Crosshair! There is no escape!"

"All of us serve a purpose here."

"The Doctor will inform me, if it's necessary."

"It's best not to ask questions."

"Escape is not possible, Omega. This is for your own good."

She honestly does the best she can within the system she is also trapped in. She tries to help Crosshair, Omega, and the vault kids in the only way she knows how (warns Crosshair about the hounds and security, tries to protect Omega from Hemlock, tells Scorch his "actions were extreme" with Jax, insists on overseeing Bayrn's retrieval, double checks his m-count (to give him an out), and tries to find out where he came from). When she gives Omega, and later Eva, the doll, I think it shows just how little she really is able to do here (and it's kinda heartbreaking imo).

The framing of this shot especially (after Jax's escape attempt) visually shows how Emerie herself is trapped/imprisoned:

Despite the fact that very little of this is Emerie's fault, she has very little power and she is doing all she can, the narrative does not excuse her role in the Empire:

Nala Se: What will you do, Emerie? Emerie: There is nothing I can do. I don't have that kind of power. Nala Se: Don't you?

Emerie: I- I was doing my job. Echo: Yeah, I’ve heard that before. You’re a clone. How can you be part of this?

These fighting-the-Bystander-Effect conversations parallel these exchanges:

Hunter: We made a choice, and so did you. Crosshair: Soldiers follow orders. Hunter: Blind allegiance makes you a pawn.

Crosshair: We’re soldiers, we do what needs to be done. Cody: You know what makes us different from battle droids? We make our own decisions, our own choices. And we have to live with them too.

which did not change Crosshair's mind. And honestly, all respect to Echo's disappointed mom glare™ but I think it's clear Emerie had already made her decision, she just needed help to actually be able to do anything about it. When she stopped Echo, with her voice wavering on the verge of tears (ahhh v good voice acting), she clearly had no intention of turning him in. She's on her own in the Empire's most secure facility with very little resources, if she had tried anything on her own she most likely would have failed and been killed

Omega: Emerie, you don't have to do this. Emerie: (sigh) I’m sorry, but I do.

but as soon as she is enabled by an ally, she immediately turns around to help: giving information and getting Echo through security, helping the kids escape, and giving Omega the tablet that allows them to free the other clone prisoners.

Where Crosshair's turn is accompanied by the symbolic imagery of the ice vulture, Emerie's is the removal of her (literally rose-tinted!) glasses:

Symbolizing how she has shed her previous views/indoctrination that altered her perception of the Empire and blinded her to it's wrongs. It's disillusionment.

Emerie's story shows us that even those who are raised and indoctrinated into this system can, should, and will escape (with needed help). Even those who did not choose to be apart of the Empire and are not making the decisions still have the responsibility and ability to act on what they know is right.

Emerie, whose name means 'Home strength' 'Brave' and 'Powerful', and "reflects the importance of leadership and authority in the workplace".***

While Emerie is only in one more scene after her turn, so the wrap up is a bit rushed, she still very simply does what Crosshair does not:

Emerie: Because I was wrong about this place. And I'm trying to do the right thing.

Echo: I’m sure Senator Chuchi would find what you have to say very helpful for our cause. Emerie: I have a lot to make up for. I’d like to help out however I can.

She admits wrong, takes accountability, commits to making amends, and leaves with Echo to go take on the Empire (which hopefully we will get to actually see more of some day).

So, in short, she's showing us how redemption is done right!

---

Notes:

*Whether this writing choice was good/logical/in-character or not is another discussion entirely, but I'm going off of what we were given, what the show is presenting in the canon text and (reasonably inferred/intentional) subtext. Crosshair is pretty multifaceted and I could only touch on so much here. There's a lot of ways to interpret his character/choices, but I tried to avoid the realm of speculation or fanon explanations (even if they sometimes make more sense lol).

**History and political theory are not my area of expertise at all, so I have NO idea how well this aligns with real-world fascism stuff and therefore what implications this storytelling choice could have. I think the message of like 'if you think you could survive or gain power by doing what the Empire/fascist system wants you are wrong' could be good (like how everyone is actually harmed by the patriarchy type of a thing), but I hesitate bc maybe there are those who would benefit, since it's a hierarchal system, right? If anyone more knowledgeable than me has incite to share, by all means

Either way, I do think it works in-story and in-universe though. It's just in the execution. The main problem (even from a strictly theme/character arc stand point) is the lacking follow-up/consequences for Crosshair in S3. Like you gave your character accountability by removing the chip and I think that's great setup for an arc but you gotta follow through with that and actually hold him accountable!

***I'm always curious when clones have 'normal' names, like why did they chose the name Emerie of all things? So I looked it up. Idk how reliable sources are for name meanings so take it with a grain of salt but it's still fun. Fits pretty well, and clones names have definitely had significant meanings in the past (like how Rex and Jesse both mean 'king') so I'm pretty sure it was intentional.

Anyway, thanks for coming to my tedtalk

[magicalrocketships]

pretty much every day i just think abt small!max saying "daniel, my daniel" when he sees dan. it's with me forever!! ok that's all

Okay, this awakened something in me, and I've missed Go Small! Max. Thank you, anon!

All earlier parts can be found in this masterpost and on AO3 here.

Five times Max calls Daniel ‘my Daniel’ (and one other time)

One. 

"No," Max says politely but with zero room for negotiation. "I don't want that."

That is a plate of sandwiches that look decidedly soggy, oil softened vegetables leaking out of a thickly sliced sourdough. 

Daniel looks up at the waiter. "Could you do some sliced bread and butter instead?" he asks, moving Max's plate out from in front of him. He finds room for it on the table next to him and opens up the sandwiches, starting to scrape the vegetables out onto the plate. In hindsight, it was a bad order. He'd seen the tomatoes and thought that Max might like them. 

The waiter comes back over with two slices of bread and a pat of butter; Daniel makes yet more room on the table to butter the bread and cut it into halves, then deposits it in front of Max. He goes back to scraping the mediterranean vegetables out of the sandwich, dumps the bread on his plate, then starts to pull out the tomatoes so that they're separate from the rest of the vegetables. He offers the plate to Max, who stares at it dubiously. 

"You like tomatoes," Daniel says. 

"Hmm," Max says. 

Daniel doesn't force him. He sets the plate down and shows Max his fork in case he wants to try anything, then eats his own pesto chicken on toasted sourdough. 

Max picks at his bread and butter, then after eating a piece, he uses his fork to carefully eat two little roasted tomatoes. He clearly considers this enough vitamins and nutrients for this meal, and goes back to his bread and butter. He does, however, drink his apple juice. 

"Is the bread nice?" Daniel asks. His sandwich is decidedly mediocre. 

Max considers. "Yes," he says finally. "Thank you, my Daniel."

Something inside of Daniel's chest shifts. He's changed forever. 

"Good," he says, his voice catching. "I'm glad."

&&&

Two. 

Max hasn't wet the bed in weeks. The nightlights had finally managed to turn frequent into infrequent into barely ever. 

Barely ever isn't not ever, though. Daniel's woken up by an insistent little hand on his shoulder. "My Daniel," Max says, sniffling. 

Daniel blinks away sleep. "What's up?"

"The bed's wet," Max says. 

Daniel sits up. "That's okay, Maxy-Max," he says. "That's okay. Nobody's mad."

Max sucks in a ragged, tearful breath. 

Daniel kisses Max's flushed forehead. "Let's go get you cleaned up."

Max tucks his hand into Daniel's, sleepy and tearful, and holds on. 

&&&

Three. 

"I didn't know where you were," Max says reprovingly, once he's discovered Daniel face down on the sofa, snoring into a Pokemon cushion with the TV on low, and poked him awake. "There's no breakfast bowl."

That is a reprimand. The rule is, no TV before breakfast. TV is allowed with breakfast, but the new rule came into force last week when Max refused to eat anything because he wanted to watch Detective Pikachu through to the end even though his tummy was rumbling. So: no TV before breakfast. 

Daniel didn't go to sleep until after four, though, and he's only out here in the living room because he'd finally got bored of watching the time tick by on his sunrise alarm clock and had resigned himself to pulling an all-nighter. He'd come out here to drink coffee and watch whatever he could find on TV in the middle of the night, then had promptly passed out eight minutes into an old episode of Friends. 

"You have to turn the TV off," Max repeats. 

Daniel obliges. He still feels mostly asleep. He rubs his fists into his eyes. 

"Hmm," Max says. 

"I didn't sleep very well," Daniel says. He doesn't look at his watch but Max likes to be awake pretty early. As an adult Max likes to sleep late, but kid Max doesn't feel the same way. Consequently, Daniel's life has flipped to an early bird timetable. His body hasn't quite caught up, though, and there have always been nights where he's stared at the ceiling for far too many hours. "Might have to be careful with me today, champ." He does finger guns to try and make it cool, but he's just tired. 

Max blinks at him. "Okay, my Daniel." He turns on his heel and disappears out of the living room, before coming back in clutching Pikachu. "You can hug Pikachu," he says. There's a pause. "Can we have breakfast now?"

Daniel laughs. "Sure can," he says, wrapping an arm around Pikachu's round middle. "What are we having today? Would monsieur like a fish? An omelette?" He does his silliest French accent. It's very bad. Max laughs. He always has the exact same breakfast. Max likes cereal. Cereal, and his milk in his own special jug. He won't entertain anything else. "A croissant, Max? A fried egg? Un oeuf?"

"No, no, no," Max says. "Cereal, please."

"Coming right up, monsieur," Daniel says, and as Max pads into the kitchen in his pyjamas, Daniel's heart skips a little soft beat. 

&&&

Four. 

"Daniel, my Daniel," Max calls, barely even waiting for Daniel to get out of the car. Daniel's been into the village to get fresh bread for lunch, and he's come back with wine for him and his parents, a few bits and pieces his dad had wanted for their dinner that evening, and a new bat and ball game for if Max can be tempted out of the pool for any significant period of time. 

Daniel grabs the bags. "Maxy-Max," he calls back, finishing off with his best camel impression just to make him laugh. He wanders around to the back of the house to the pool, where his mum and dad are — predictably — in the water with Max. "Mum, Dad. Everyone present and correct, I see."

"Watch me," Max tells him, clambering out of the pool and getting water everywhere. "Look what I can do now!" 

"I'm watching," Daniel says. 

He watches Max sit down on the edge of the pool with his feet in the water. He puts his hands above his head, shaped like he's going to dive, and Daniel knows what he's going to see. This is how he got taught to go into the water face first. His parents taught him and now they're teaching Max. 

Max tilts forward and forward until he's going into the water in a little seated dive. He emerges from the water, beaming, to Daniel's mum and dad clapping him, and Daniel cheering. Max swims over to the steps, and Daniel's waiting for him at the top of them. He gets a very wet and very excited hug. 

"Did you see?" Max asks. 

"I saw," Daniel says. He blinks away tears. He doesn't know why he's crying. "I saw, and you were brilliant."

"Good," Max says solidly, and follows Daniel inside, little wet footprints all the way after him. 

&&&

Five. 

Max is three. He's sleepy and full, a solid little lump in Daniel's lap. He's demanded three stories already before bed tonight, and Daniel's accommodating because in the morning this little version of Max might be gone. Daniel might get his seven year old Max back, or he might wake up to an empty bed and two missing cats, and Max having left to pick his life back up. 

Daniel kisses the top of Max's head. "This is the last story," he says, but he'll probably stretch it out until Max falls asleep right where he's sitting. There's no rush, anyway. There's nothing for either of them to do with their days. He turns the pages in their little book about kittens.

"My Daniel," Max says sleepily, a little garbled around his thumb. He sucks his thumb when he's three, and Daniel hasn't any interest in stopping him. He'll let Max have anything he finds comforting. He deserves the little kindnesses. 

"My Max," Daniel says softly. Max is falling asleep in his arms, his eyes drooping. It's time to put him to bed. "Time for sleep, my little Max. Time for bed."

Max is asleep by the time Daniel's carried him through into the bedroom. He doesn't stir as Daniel tucks him in, as he makes sure the nightlights are all turned on and that Pikachu's in easy reach. 

He stands in the doorway for a long time before he turns away. 

&&&

(And Another Time)

Daniel is so, so tired. His body feels heavy. His mum had gone with him to the doctor's yesterday, and they'd stopped at a pharmacy on the way home to pick up his new pills. She'd brought him a glass of water and a plate of crackers to have with the first dose. He'd downed them all obediently. 

They're not magic. He's not woken up this morning feeling happy again, or like his chest is more than the black, sucking hole where his heart used to be. 

He doesn't open his eyes. A tear escapes without his permission. He hates this. He hates feeling like he does right now, hates the nothingness, the weight of his body against the earth. 

"Hey, Daniel, my Daniel." It's Max, sleeping next to him for the fourth night in a row. He's big but he hasn't left. He always leaves but this time he hasn't. He's still here. He strokes Daniel's hair. "It is okay. I am here and your mum's here. We will make it all all right again. I promise, Daniel. You don't need to cry." He strokes his thumb under Daniel's eye, catching Daniel's stray tears. He wipes his thumb on the sheets then curls his hand into Daniel's. He laces their fingers together. "We've got you."

And Daniel, desperate, holds on. 

&&&

(thank you to Lin @andwegogreen for reading these as I wrote them tonight 🧡🧡🧡)

[bad-and-drawn-that-way]

Let me just say, I absolutely adore your writing so much!! Your More Than Anything series with Vox is honestly one of, if not my favorite Vox series!!!❤💙 I was wondering if you could do a kind of silly, fluffy imagine with Vox where they're in their early stages of flirting/crushing and the reader avoids the topic of kissing... because they think Vox isn't able to kiss with his screen? Literally before episode 8, the question in my mind was "Can the dorky TV man kiss?" And then we got confirmation he most DEFINITELY could 🤣 I just think it'd be so cute and funny for that to be something the reader was wondering as well but wasn't sure how to ask him about it without being weird lol

Oh my goodness, such high praise aaaa! I actually have a scene in my Ao3 fic based on the same concept! I'd be happy to write some awkward smoochums! This guy is such a fucking dork and I love him.

Assumptions [Vox x Reader Fluff]

You and Vox had been dating for a month and the overlord was on the verge of insanity. He knew that Valentino had much more intense needs when it came to physical affection than most, but he wasn't expecting such a drastic shift in needs when it came to you.

He knew that being in a real relationship was very different from what he'd experienced before with his fellow overlord. But he thought the two of you would have done something by now. Not even necessarily sex. (Although he'd definitely been fantasizing about that more than he cared to admit.)

The two of you had cuddled, slept in the same bed, and even h*ld h*nds, but you hadn't kissed yet and it wasn't for his lack of trying. He'd invited you on romantic dates and set up several perfect opportunities. But whenever he'd try to go for it, you'd always pull away before he had the chance.

He didn't understand. The two of you had been doing so well. You always seemed to be swept up in the little heated moments just as much as he was, so why?!

Vox had been completely distracted during his entire news segment and groaned as slipped into his secluded dressing room. If it wasn't for the fact that he caught sight of you in his mirror, he probably would have flipped out when he felt your arms slip around him from behind.

"What are you doing here?" he chuckled as he lifted a hand to rest on one of your arms.

"I missed you," you smile, squeezing him gently before letting go. "And I saw that..." you cringe. "Performance. You seemed off. Is something on your mind?"

Vox's eyes widened and he cursed himself mentally for putting on a subpar show in front of the camera. If you noticed, then the audience probably did as well. No one really gave half a fuck about the news, but ratings were ratings.

"It's nothing," Vox muttered. "It's just..."

He looks up at you with an unreadable expression and you gasp as he reaches up and gently takes hold of your chin. His brow furrows as he tucks your hair behind your ear and your heart races a million miles per second as he searches your blushing face for something. His eyes flick down to your lips and he slowly starts to lean, only for you to suddenly push him away.

"A-Anyways I just wanted to check in on you and see if we were still on for a movie tonight," you stammered.

Vox froze, not listening to your ramblings as he processed your deflection. He felt a sharp, cold sting of rejection in his chest and wondered if maybe you weren't as interested in the relationship as he hoped. His heart started to break, but then he noticed the way you were blushing.

"Why?" He asked quietly.

"Well, I just thought maybe you wanted to-"

"No," Vox grit his teeth as he grabbed you by the shoulders. "Why the fuck won't you kiss me? Every time I try, you pull away. We're dating, so why?"

You blinked up at him owlishly, your jaw hanging open before you grabbed his arms and breathed, "You can kiss?!"

Vox's brow furrowed as he looked you over, "Wh- The fuck are you on about? Yes, I can fucking kiss! I've been trying to kiss you for the past three goddamn weeks!"

You gasped before burying your face in your hands and groaning. "Oh my god, I thought... There were a couple times that I wondered, but this whole time I didn't think you could and I didn't want to be weird and..."

Vox stood taller as he processed your words. You didn't hate him. You weren't repulsed by him. You were just...

He burst out laughing, clutching his stomach as he absolutely lost it. "O-Oh my god! You're such a fucking idiot!"

Your face was burning with embarrassment. You knew he wasn't being malicious, but you were still mortified at the misunderstanding. "Oh shut up! It's not my fault you're a flat-faced fucker!"

You were about to go bury your shame into the couch, fully expecting him to hold this against you for the rest of the day, but you were barely able to take two steps before Vox intervened.

You let out a startled yelp as you felt his claws wrap around your arm and yank you back. In the split second it took you to blink, he'd trapped you against a wall. You flinched as his hands slammed against either side of your head, trapping you as he grinned down at you.

"You are so fucking stupid," he snickered.

Your face only grew warmer as your heart pounded with mixed anger, embarrassment, and something else entirely due to the position he had you in. His hand traces lightly over your cheek before cupping the side of your face as he looks at you with the softest expression you'd ever seen from him.

You gasp as he leans down and presses his lips against yours. Your entire body feels like tiny fireworks are dancing lightly over your skin. You shiver as your hands instinctively reach up to grasp at his vest when he pulls you close.

You're both breathing much harder than is necessary when he pulls away. For a moment you just look at each other with half-lidded gazes as you process the sparks that just metaphorically and literally flew. You were pretty sure a bulb went out due to the little bits of blue energy that sparked off of your boyfriend during the kiss.

Speaking of your dork, Vox breathlessly grinned as he squeezed your arms. He let out a small laugh before stepping away from you and turning as more little sparks flew.

"Fucking finallyyyyyyyyyyyyyy!" Vox yelled as he pumped his arms in the air and kicked his legs like a giddy child.

[ckret2]

Long time lurker, first time asker!

How do you keep different voices/characters in your fics so distinct? I'm writing my first longer than 2k word fic and it's... a time.

First, I'm going to link you the best essay I've ever read about How To Write Canon Character Voices—what's too much accent, what's too little, how to pay attention to word choice and the way they phrase things, etc. It's about Transformers but the skills are transferrable to other fandoms (or original writing). The original essay is down so all I can offer is the archive.org version, but it's worth it.

Second, I'm going to link you this post I wrote about how I study character voices. It's about Hazbin but it shows you the kinds of things I pay attention to when I'm learning a character voice.

Third, I'm going to offer you some extra general advice that isn't in the above posts:

Some people try to make characters sound like themselves by basically parroting their catch phrases or most common quotes. Do that and you're just gonna make your version of the character sound like a robot. (Note: if you're writing a character who only knows how to say a few quotes, that's okay lmao.) The readers already know what the characters said in canon, they're reading a fic to hear them say something new. Example: if you have Bill Cipher arrive on the scene and say "Did you miss me? Admit it, you missed me!" word-for-word, you don't sound like you're writing Bill, you sound like you're quoting Bill from That One Scene where He Said That Thing.

But... directly borrowing characters' quotes is kind of a stepping stone on the way toward figuring out how they speak. Think about things they've already said, but use those quotes as a guide for how to write them.

Example: from that quote above, we get that when Bill shows up around people who definitely did NOT miss him, he just... decides that they did and tells them so. This shows you a bit of his sense of humor (he makes jokes to annoy someone who hates him—it's not even a mean joke, just annoying), a bit of his ego (he knows he's clowning around, but even when he's clowning he's going to say something that makes himself sound popular rather than hated), his casual & familiar attitude with someone he barely knows, his tendency to just request people do what he wants (saying "admit it, you missed me" instead of something like "I know you missed me")... etc.

And I kinda already said this in the Hazbin post, but the most important thing you can do when you're struggling with a character voice is just rewatch their episodes and pay close attention to how they speak (or rewatch their movie scenes, or reread their chapters/comic issues—whatever you're writing about). If they're from a visual/audio medium (TV, movie, podcast, etc), then if need be, read transcripts to see how their voices look when written down. Type down the transcripts yourself if there aren't any—and that's also a good physical exercise to make you slow down and pay attention to how they speak. (You notice where they tend to pause in sentences when you're the one who has to decide where to put commas; you notice their accent when you're the one who has to decide whether that word sounds more like walking or walkin'.)

Pay attention to cadence, accent, interjections, sentence length, active voice, passive voice, preferred vocabulary, preferred slang, word choice, sentence length, sentence complexity, any phrases they're fond of (but again—don't overuse a phrase unless they overuse a phrase), how they tend to refer to the people around them (by first name, last name, any titles, any nicknames—and do they change in different contexts?)... Pay attention to anything you can think of. You want to be able to hear the character's voice clearly in your head—read everything you write in their voice, and if it doesn't sound like their voice in your head, change it.

[zvtara-was-never-canon]

Top 15 Maiko moments

Since I made a Kataang list, and I think it's only fair I do it for Maiko too.

#15 - Casually leaning against each other during a meal (03x05)

I'm starting off the list with the neverending trend that is "Maiko being unbelievably clingy."

I just can't deal witht he fact that these two both have demonstrated some difficulty/discomfort when other people get too touchy with them - yet you leave them in a room together and these motherfuckers suddenly think they're siamese twins.

They're not even trying to be romantic, they just... naturally gravitated towards each other and stayed in that position because it's what feels familiar and comfortable for them.

I remind you guys that The Beach is the episode in which they are at the most incompatible, yet even that episode is visually showing us "These dumbasses are so in love they just naturally act like a couple without even meaning to."

#14 - "It'll be nice to Zuko again. Won't it, Mai?" & Baby Mai's crush on Baby Zuko (02x03 & 02x07)

I know, I know, I'm cheating with this one because they are two separete moments from two different episodes, but SUE ME, I couldn't pick a favorite between them, and I also didn't want to remove the previous moment from the list, and "Top 16" just doesn't doesn't feel right.

I just love the way Mai is acting all shy whenever she so much as looks at Zuko in "Zuko Alone", how she clearly WANTS to hang out with him but doesn't really know how to start a conversation with him and feels all awkward.

And then years later, in the middle of a mission, she's just... happy that she might see him again, even if it's not in the most ideal situation. It's cute and I love it when Mai is happy and showing some of the emotions that hide behind her apathy for seemingly everything and everyone.

#13 - Grumpy dumbasses at the party (03x05)

On this one, those two just skipped several years ahead and went straight to "Bickering like a couple that has been married for fourty years, are clearly about to fight, yet refuse to get any space because WHY would they want to be away from each other? What a strange notion!"

Seriously, I lost count of how many times my grandparents had that exact same conversation when they're feeling the need to be difficult, and that scene made me have the same reaction I always have during these moments:

They're annoyed at each other, yet they just... refuse to not to be near each other. And Mai's first instinct when she wants something is to tell Zuko to go get it for her, and he does because, once again, they just have no freaking clue how NOT to be a couple (and it took what, fifteen minutes for her to go check on him after their fight because she just doesn't know what the fuck she has to stay for if he's not around? That's a marriage if I've ever seen one).

Also Zuko's line of "That food was for my cranky girlfriend!" makes me laugh every time and it's actually so cute that he wants to spoil his girl even when they're both in a terrible mood.

#12 - First date/kiss (The Lost Adventures Comic)

This moment is just SO. FREAKING. ADORABLE.

The way we see a bit more of Mai's prankester side (girl was friends with Azula and Ty Lee for a reason) and how Zuko can't help but find it endearing, the way they blush and act all unsure of themselves after he touched her shoulder, how Zuko can't even look at her when he admits that he likes seeing her happy and enjoying herself, Mai basically admiting that for a while she did the equivalent of "Little boy pulling at a girl's hair because he likes her and can't deal with it", and then, of course, the kiss. It's all just great.

And I gotta love how this date only happened because Azula set it up because Zuko was acting all angsty and saying he wouldn't go back to the Fire Nation - so she reminds him that something, or rather someone, he REALLY wants wasn't going to be around much longer, and that boy just doesn't hesitate to take the bait.

Also Azula and Ty Lee were HILARIOUS while spying on them, and the irony that Azula is basically playing 3D chess with her brother's love life for her own benefit, only to then accidentally shoot herself in the foot by the events she set in motion is just too good.

I really wish we could have seen this in a flashback during the actual show. It's just not fair that this little gem is hidden away in a comic.

#11 - Mai covering Zuko's eyes (03x05)

Yet another silly, very quick moment that I'm likely the only one obsessing over, but I can't help it, I live for stuff like that. Zuko is on full rage mode for being on the island at all and thus Mai is getting very grumpy and annoyed at him... yet the second they witness the gross sight of Li and Lo in bathing suits, she just covers her boyfriend's eyes to spare him of the horror that is old people who ran out of fucks to give (and that is totally not their own fate when they're Li and Lo's age).

The inherent cuteness of their relationship seeping into every scene, even when they are not on their best moment, is just one of the things I love the most about this ship. If they're not "meant for each other" like some dumbasses insist, then how come they're so married?

Plus it was really funny, and I like it when things are funny. The more it makes me giggle, the higher it goes on the list XD

#10 - First on-screen kiss (03x01)

This moment had me SHOCKED the first time I watched the show. I already thought Mai's crush on Zuko was cute, and I knew the series could make them a couple eventually - but I did not expect them to get together in between seasons. 7-year-old me was like "WAIT, THAT'S ALLOWED?"

Also, I've always loved how that moment started. Zuko is staring dramatically into the horizon, being angsty and walking right into an existential crisis - and Mai just goes "No, we're not doing that." It's just so fucking funny.

And it's also the first exemple of these two being completely unable to keep their hands to themselves. Mai just hugs him, touches his scar, and kisses him, and Zuko, who had trouble even hugging Iroh back, just... lets her. Because he doesn't mind it one bit when she does it.

I just really like how Mai's default way of comforting Zuko is by offering physical affection. It's freaking adorable. Also their "first" kiss happening in a gloomy day, with dark clouds everywhere, yet they're off in their own little world, just happy to be in each other's arms, is "Maiko in a nutshell." Add in some emo music and it becomes the most mid 2000s AMV ever.

#09 - "I'm sorry, Mai" (03x10)

This scene is one that just drives me up the wall with how much I love it. It's such a short little moment, but it's so significant to their relationship. Zuko wants to continue enjoying the life he has at the Fire Nation. He wants all the comfort that comes with being a prince, the approval of his father, the security of knowing he'll always have roof over his head and will one day be Fire Lord - and wants to stay and be with his girlfriend because he LOVES her.

But he can't. Because he knows innocent people will suffer and die if he doesn't stop his father. So he has to leave behind everything he holds dear, including Mai. He can't even say goodbye in person, both because it hurts and because what if something goes wrong and he ends up captured? He can't risk it.

So he leaves her a letter and says aloud an honest apology that he knows she can't hear, because he just HAS to say that he never wanted this.

More importantly though:

That boy heard Azula's mocking comment in "The Avatar And The Fire Lord" and decided "You know what, maybe I should go see the royal painter and bring Mai along so we can have a portrait of us as a couple."

I just love them so much.

#08 - Confrontation at the Boiling Rock (03x15)

This is a BIG one. Mai is obviously pissed at him because of the way he broke up with her, and she cannot understand why the hell ZUKO, someone who has always been so deeply patriotic and a very proud prince is suddenly leaving everything behind to go help out a bunch of traitors.

Zuko stands his ground, and tries to make her understand - and then out of nowhere he just HAS to brag about how awesome she is when a guard offers to protect her. He simply not hesitate to basically say "Oh yeah, she could totally give me a hard time during a fight, ain't that great?" (Also the fact that the show never gave us a moment of them throwing knives together even though Zuko has a knife too is a CRIME).

But, of course, real life has to "ruin" the moment. Zuko sees an oportunity to go help his friends, and escapes the cell, locks the door - and then they just stare into each other's eyes, for what they know might be the last time.

Mai's confusion and rage. Zuko's resolve to do what's right no matter the cost. Just that certainty that, whatever they both decide to do now, it will be final. There's no turning back from this. If their relationship ends that day, it ends FOREVER.

It literally lasts just a few seconds, but it's intense and does such an amazing job of allowing the characters to communicate with each other, and the audience, on what they're feeling.

And it's also the perfect set up for:

#07 - "I love Zuko more than I fear you" (03x15)

Literally NO ONE saw this coming, not even Mai herself, and if you tell me you did I'm gonna call you a liar, because OH MY FUCKING GOD!

Everything went wrong, the good guys are about to get captured, the situation is hopeless... and then in comes Mai, risking it all and taking a huge leap of faith.

She doesn't fully get why Zuko is so sure joining the Avatar will be good for their nation. She doesn't know if that will work out like he hopes. But she trusts him, and allows him to go for it, because she knows HIM, knows all the pain he went through trying to be Ozai's perfect son, and if he wants to throw his "perfect" life away just to be the one actually in charge of it, goddammit, she's on board and will do the same.

She knows there's no way she escapes that place with Zuko, it's too late for that. But she can allow HIM to leave "safely", while she stays behind and faces Azula's wrath - and she doesn't care, because she knows there's NOTHING Azula can do to her that would ever hurt as much as living with the knowledge that she just stood by and watched the downfall of the person she loved the most, that she chose to submit to Azula yet again instead of being her own damn self at long last.

It's the proof of Mai's devotion for Zuko, the moment in which her life became her own again, it's one hell of a plot-twist, and leads to yet ANOTHER epic moment of characters staring at each other with daggers in their eyes (and hands), and it's fucking beautiful!

#06 - Fight and reconciliation by the fire (03x05)

I can't lie, I'm a sucker for characters hitting their breaking point, confronting each other, letting all their rage and pain out - and then one puts everything aside to show some vulnerability and care for the other.

Zuko has not been feeling great about himself, and is taking it out on his girlfriend. Mai is not perfect either, and can't see that even Zuko's more "clueless" actions like giving her a sea-shell that she obviously wouldn't like is just him genuinely trying to be nice to her despite his impulse to act like a jerk, because he CARES.

Zuko is feeling insecure, wants reassurance, but Mai doesn't notice, and so he starts feeling threatened by a guy she full on says might as well not exist in her eyes. It's bad, but it's yet more proof that he CARES.

She goes after him after their fight, they open up a bit, Mai reminds Zuko that his sad life doesn't excuse the way he's been acting and when she stands up for herself against AZULA it just makes Zuko go instant simp mode and try to act all smooth and pull her close with that "I like it when you express yourself" (I can never get over that - boy, I know you're a teenager on vacation with your hot girlfriend that looks so cute when she's mad, you two are not alone yet, keep it in your pants!)

And then it happens. Zuko just loses it, can't deny that he is feeling like he is betraying himself because he no longer knows right from wrong and that is freaking him out because, even when he is firmly on the wrong side, he had ALWAYS been sure of his convictions and what he stands for, but now everything is messy and he doesn't know what he should care for.

Cue Mai deciding to forgive him for his angry outburts, for the unfair accusations, for the general unpleasant atitute, and just give him a bit of the support she now sees he had been needing and wasn't getting. A simple, straight-forward "I care about you", and a kiss - which Zuko eagerly accepts, and he IMMEDIATELY just keeps holding her close, all the fighting forgotten because he still has one source of stability in his life, one person he can rely on to be by his side when he doesn't know what he is doing.

05 - Cuddles and dessert (03x09)

This is the point where it became borderline impossible for me to pick my favorites, and I'll probably regret the order a million times, but I gotta post this already.

I love this scene. I just genuinely adore it with all my heart. Them looking at each other all cute, smiling and unable to keep their hands to themselves, and Zuko just once again showing that he like spoiling his girl by asking a servent to bring something FOR THE LADY. Name literally one other character that has Zuko acting like that - YOU CAN'T! NOT EVEN WHEN HE WENT ON A CUTE DATE WITH SOMEONE ELSE!

The whole vibe is just so domestic and cosy. Literally the only thing that is missing is a cat purring next to them and it'd be my idea of heaven.

#04 - Supportive Mai (03x09)

Nightmares and daydreams really is THE Maiko episode. The fact Zuko goes to Mai's house for comfort and distraction when the meeting he thinks he's been excluded from is happening says a lot about how much she means to him (and for once her parents not being around is a good thing 👀), and then later he opens up to her about what bothered him about being Ozai's perfect son because he trusts her to be there for him. They've truly done some amazing progress after The Beach.

Mai's concern for him is just genuinely touching. Even when she doesn't know exactly what to say or do, she's still trying so hard because she doesn't like seeing Zuko truly down, and that is what made her his safe-space this entire episode.

#03 - "That gloomy girl that sighs a lot?" (03x14)

Look at that boy. LOOK. AT. THAT. BOY.

He is just so smitten and clearly missing her. He LIKES the traits that the fandom insist makes her "unlikeable", that led to characters making fun of her in universe, the coping mechanism she used to protect herself from being hurt by people like her parents - can't get hurt if you don't care.

And Zuko doesn't see it as something she needs to change in herself, something undesirable, something he puts up with. He likes what everyone insists is a flaw of hers, and will so even when being teased about it because he can relate to being moody and angsty and cranky and wouldn't judge her for it because she's the person that consistently likes that about him too.

#02 - "You're so beautiful when you hate the world" (03x02)

This was the moment that made them one of my favorite Avatar ships. These two just not giving a fuck if that they're being embarrassing and cringy and just judging the whole world together and being disgusted by everything except each other. Not only is it a funny, wholesome moment, it is THE most accurate portrayal of a teen romance I've ever seen in my life. Just two dumbasses being in love and saying whatever nonsense they want, and kind of relating to each other for it.

Also them just basically telling Azula to fuck off because they wanna keeping making out was amazing.

01 - Reunited at the end (03x21)

Once again. Look at that boy. Just you LOOK. AT. THAT. BOY.

AAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHH

They're so cute. They're so happy. It's literally what their entire romantic arc in season three had been building up to and I'm forever greateful that the writers didn't rob us, and them, of it just because the fandom can't appreciate a good thing even as it stares them right in the face.

They're both finally on the same page, ready to support each other no matter what, with nothing and no one standing on their way, and allowing themselves to just enjoy their love. It's what they deserve.

[thoughtsonkm]

Goodbye, for now

BABY? HONEY? BOYFRIEND SHOT? Jikook you're too much!

This episode was truly the best way to end the show, maybe even the best episode of the series. (Neck in neck with episode 2 of course) The way they enjoyed it so much but were also so sad it was over. The hot tension all around, the soft boyfriends mood who can't stop flirting and name calling each other with the most low-key couple-like sweet names. They could not stop laughing, they could not stop touching and they couldn't stop being hilarious without even trying.

~

SK Spotify daily chart end of November 2023 :

Jimin Jungkook Jimin Jungkook Jimin Jimin

~

It would be such a full circle moment if Jimin posted the boyfriend photo (which won't happen). Would almost be like a soft launch of some sort.

Not the underwear too?? Gosh I love my little gay freaks!! (didn't understand why Jimin would quote their 'yet another inner joke meme' right at that moment but I've learned to not question their inner workings)

~

Sorry but i have to be pretty one last time and say that I kinda had enough of seeing so much from the crew around or even in Jikook's shots and angles. It breaks the fourth wall a little too much and ruins the whole bubble idea. Ok I'm done lol

~

Returning to the issue at hand, the "seeing the beds for the first time" scene keeps getting funnier and funnier. As if they don't already have designated sides of the bed 😏

~

Ah the never ending bickering gives me life. Peep the half korean half english talk when they playfully get on each others nerves 👀😂

I better not speak on the scuzzi jacuzzi shenanigans cause otherwise.. Let's just say the photo speaks for itself..

NO YOU KNOW WHAT IMMA SPEAK. We all know that jacuzzi time is always intimate, relaxing and personal for people that's why I wish Jikook had enjoyed it fully without cameras. Yes I'm pissed on their behalf, that they had to film the whole thing with 382929 different angles. lol

His face is literally saying "oh so you're really gonna make me do it huh? if I was in your place I would've folded immediately and would've never let you go through with it!!" 😂

~

No one ever:

Jikook every 2sec : HONEY OH HONEY

(I was actually listening to the song while writing this and idk why it's so funny to me even tho it's a sad love ballad)

~

They must've loved getting the chance to at least see one episode of the show, plus the idea of watching it together..

Jungkook being so entertained by it meanwhile Jimin being mortified about half of the things that happened. HILARIOUS

HAHAHHAHAHA all parties were concerned if they'd be able to pull it off, I can't

BEST BELIEVE they're always gonna find a way to touch. Consciously or unconsciously.

~

This show made me realize that my favourite thing ever is Jk making food for Jimin, then making him hysterically laugh and therefore getting to hear Jimin's adorable giggles.

~

"Hello it is I the one and only, the only one who can touch Jimin's head ble ble ble ble" - JK

Jk was like: How can you imagine Jimin without me in your dream? Are you crazy? What is this delusional dream world you live in Jin hyung??

~

Tbh it's so meaningful and a huge thing saying that these trips were literally the best trips of your life. I think the statement almost went over people's heads.

I can't get enough of Jimin looking pretty and cuddly and Jungkook's immediate thought being: I HAVE TO FILM YOU

Them saying they can do a reboot when they come back gave me some hope that maybe just maybe this is not the end of AYS 😭

The ending bonus clip left me fulfilled but also sad and with goosebumps all over.

Thank you Jimin & Jungkook for letting us peek into this trip and getting to witness some of your precious moments.

Signing off, J&J 🥹

Ps. So I'm guessing the 52 minute video that comes with the photobook is probably the 3 bts videos combined that they've been reviewing for 48392 months right?

[tealvenetianmask]

Blitz is dyslexic (petty post about why I'm right with proof from recent episodes)

Disclaimer: I don't have dyslexia, so I can't speak from personal experience, BUT neurodivergent people tend to find each other, and I've been very close with a few people with dyslexia, to the point where I've extensively edited their writing. I've also learned quite a bit about dyslexia while working in the education field. Okay- let's go.

I hear way too often (yes, I'm referencing a certain youtuber here) that Blitz can't have dyslexia because we sometimes see him reading and we sometimes see him writing without errors. So when he shows spelling and grammatical errors in his texts and notes to self, that must just be him being rude/trying to be cute/being lazy.

And if the errors were just slang and abbreviations, maybe the people making those arguments would have a point. But they're not. And I'm convinced that he has dyslexia. So what gives? Why the inconsistency (assuming it's an intentional choice on the part of the writers)?

Most dyslexic adults CAN write correctly with extra effort. It's just harder. In the learning disability world, we sometimes call it self- accommodating. With any disability, that means doing work that neurotypical people don't have to do in order to overcome the obstacle that the disability poses- and often, no one else sees that work or understands that it's necessary. For people with dyslexia, that often means that they have to check and double check their writing.

When YOU AND I (if we're both non-dyslexic people) write casually and don't put in effort, our spelling is going to be mostly correct. And if we use slang and abbreviations, it's a choice. When someone with dyslexia shoots off a quick text, it's going to look messy, and they'll probably only do it in a text to someone they're comfortable with. THAT IS THE DIFFERENCE.

Let's look at some recent examples from Helluva Boss.

Blitz is writing notes to himself here, so he doesn't have any need to make them presentable. Cute inside jokes with himself are possible (i.e. the horses and nicknames that we sometimes see), but the spelling mistakes here don't really make sense as jokes. They also wouldn't be easier to write than the correct words for someone who isn't dyslexic. Mok(backward S)ie isn't shorter than Moxxie, and remembr isn't much shorter than remember. The spelling is also phonetic, which fits with how many people with dyslexia spell in initial drafts. He just isn't watching for and correcting his mistakes, because why would he in this situation?!

Okay, different situation . . . the apologies. I would argue that Blitz IS putting in physical effort here, even if it's not emotional effort. He brings entire gift baskets full of his favorite foods for the people on his apology list after all. Here's what he writes to the DHORKS:

I think "sowy" IS meant to be cute here. It's not phonetic after all. He put a little effort into drawing them a cute little horse too. And then the cherubs . . .

I think this is pretty interesting. Blitz actually bothers here to fix his spelling mistake. He spells everything right on the inside too, even though he's telling these guys "fuck you." Notice that he runs out of room and has to write sideways. And notice the nice block letters on the front. In terms of why he's trying so much here, well, it's to prove to Stolas that he can put effort into apologizing to people, isn't it? And that means that the unintentional errors get fixed!

Now, Blitz tries to text an apology to Stolas (and obviously stalls for emotional reasons), and we see him typing it in real time,

Yeah . . . it's a combination of shorthand and just plain old misspellings. He's focused on choosing the right words, not on getting the spelling right, and it's impossible to say he doesn't care at this point. Someone who has an easy time writing correctly spelled text might use some shorthand, but just like we saw with Blitz's notes to self, they wouldn't likely intentionally misspell completely unnecessary things, especially when trying to come off as genuine.

Sigh. I rest my fucking case.

If you'd like to see my thoughts on that text conversation from Western Energy, go ahead and click on the link- it isn't really about dyslexia, and I do actually think that Blitz is pretty literate in spite of his disability and limited education, but it does explain why I think the conversation goes the way it does.