#but we all know jackie

[gardenofearthlydelightss]

Jackie making out with Shauna while absolutely shitfaced at a party and both of them pretending to not remember it the day after (!!)

[chloesimaginationthings]

These clown animatronics in FNAF wild as hell..

[thechosenthree]

[nataliescatorccioapologist]

[youronebraincell]

I had a dream Nat was teaching Jackie how to drive and it went exactly like this:

[the-rainbow-meme]

"Somewhere Only We Know", Keane / "Hell of a Ride", Fizz / "I think I'm doing Great", Lora Mathis / "All Too Well", Taylor Swift / "Jackie and Wilson", Hozier / "You're on your own Kid", Taylor Swift / "Nighthawks", Edward Hopper / "Damage gets Done", Hozier / "Eat your Young", Hozier/ "Saturn devouring his son", Francisco de Goya / "But the Wages", Hozier / "Here For You", Jon Walker / "My Love Mine All Mine", Mitski / "Hell of a Ride", Fizz

diagnosed with being in your 20s and feeling powerless

[itzrafee]

A thing on Uran and Helena in Pluto

Okay a short little thing on Pluto. Uran and Helena are my absolute favourite characters in Pluto. Urasawa has always had amazing side characters, from Mr. Rosso in Monster to Lee Harvey Oswald and Jackie in Billy Bat to God in 20th Century Boys, but very few have tied off the emotional ends of the story like Uran and Helena.

Maybe I'm projecting here but much like myself I feel like Urasawa is absolutely obsessed with Frankenstein. And he recognizes the influence Frankenstein has on Dr. Umataro Tenma. Or at the very least, the similarities between the two. And so when he made the protagonist of one of his most popular works Monster, Dr Kenzo Tenma, he solidified that connection. Kenzo Tenma calls back to Victor Frankenstein needing to end his creation while also calling back to Japan's other famous Tenma, thus making the connection explicit. Another throughline between the three of them is that all three are father figures to their creations and have obligations to their children, though all three have varying levels of success with them.

I've only read what I like to call Urasawa's "Core Four", conspiracy minded thrillers that are essentially road trips featuring usually two main protagonists that we see the world through, Monster, 20th Century Boys, Pluto and Billy Bat. Though I still haven't caught up to Asadora and that could still possibly fit this mold, Urasawa's Core Four share a lot of themes and ideas. One of the most important being the responsibility for one's creations, whether it was Kenji Endo and the Book of Prophecy or Kevin Yamagata and Billy Bat or Dr. Kenzo Tenma and Johan, all of his protagonists could arguably be seen as someone with the need to take up the responsibility of their creations. So where do the protagonists of Pluto fit in there? That's where Uran and Helena come in.

But first, we should take a look at Pluto's themes. While I could be wrong, at a cursory glance, I feel like the general consensus towards it's themes is that it's about hatred. I don't really think that's what it is as I feel like Urasawa is more trying to show us what it is to be human and what it is to be alive. And in that, he has a hidden protagonist in Pluto. Someone who's influence snakes through the plot and isn't seen much, but without who the story's themes would remain incomplete. Pluto tackles what it is to be alive through many things, such as memory, sadness, grief, hatred, love and parenthood. But none of that works without the realization by Tenma of his own mistakes. And Uran and Helena bookend these revelations and are absolutley key to understanding that.

In my favourite chapter of the series, Chapter 37, Uran goes from person to person as she finds a way to deal with her grief and eventually comes across Tobio's grave, Tenma having left recently. It's an absolutely beautiful chapter that shows Uran's humanity and Urasawa's love for sharing these kind and soft moments. But it also sheds a light on Tenma as Uran realizes someone who was grieving has just left. Without saying much at all we realize that Tenma has finally realized his mistakes. In the process of grieving one son, he lost the other. While remembering Tobio, he let Atom go. His grief towards Tobio is clear in the following chapter, Chapter 38. All of the things he wanted Atom to be; Tobio come back to life, Tobio's ghost punishing him, Atom rejected. And Tenma could only see that rejection, and not what he had, another son.

Uran shows us very clearly what Pluto, the story, is. It's a chapter in their lives. And we've come into a story nearing the end for Tenma. And it's through the humanity of two absolutely amazing characters in their own right, Uran and Helena, that we are able to so fully understand Tenma. Despite being robots, these two characters are the most alive of everyone. They love fully and freely and are catalysts of change. Uran's vibrant and full of life in a way that really sticks out. And Helena has such depth that it's evident in every scene she's in. She's not pointed out to be made by any famous scientist so all the life she has is her own. These two represent the life of robot's more than any other characters in the series.

So it's that much more poignant when Helena finally breaks down after putting on such a strong front of everybody. Grief intersects and she brings out Tenma's sadness as well. They've both been putting up such strong fronts that it's heartbreaking to see them collapse. It completes Tenma's growth and strikes a heartbreaking contrast between the two. Tenma became the way he is through the loss of his son whereas Helena doesn't even get to remember her own loss. It makes you wonder if the grief for her and Geischt's child compounds her sorrow too.

Without these two and their grief, a large part of Pluto becomes inaccessible. Pluto is largely about death so when two characters come in who've never had a hand in the grim work of taking life, you see the world through a lens that's absolutely crucial in order to fully connect with all of the character's and their situations. Death and Grief has scarred the characters in Pluto. Time and time again they've chosen the worst path. They've chosen revenge and hatred. But Uran and Helena are different. Without them, the story is incomplete. They provide an alternative. They provide the path towards healing.

im sorry for this one:

[babisawyer]

Ben coming back to the cabin to see yet another cannibalistic ritual

[seraphiec]

olivia rodrigo's lacy feat. blair & serena.

[kafkaesqueer]

I don't belong to anyone else

Anyone Else by PVRIS // Jackieshauna, Yellowjackets

[deeply-embarrassing]

dissecting shauna's trip in "purgatory" with her son in 2x06

okay so shauna's "hallucinations" with her son are devastating. the fact she'll never be sure whether she truly held him is already a lot, but 2x06 is even worse to rewatch if you believe in three theories**:

there's a purgatory, and what the person who's between life and death experiences depends on whether "it" wants them to survive

eating/drinking in purgatory condemns you

blood has value in the wilderness

just like with jackie, purgatory for shauna and her son is sweet and believable at first. everyone is there, everything is fine. purgatory is giving shauna everything she hoped for.

except it's not. because whenever shauna tries to feed her baby, it doesn't work. why? there were food/drinks available in jackie's and lottie's purgatories. whether shauna's body could realistically produce milk doesn't matter, as she does eventually manage to breastfeed him. and her son is hungry, he's so hungry he can't stop crying.

why isn't he eating? why isn't it working? maybe her son instinctively knows he shouldn't. maybe milk is not what he's hungry for, and she's offering the wrong thing. maybe she can't produce what he needs just yet.

meanwhile the wilderness is starving, "it" needs to be fed. "it" picks the people shauna trusts the most, and portrays them as annoyed by the kid's cries (tai) or as already condemning him to death (natalie). a clever way to goad shauna into trying to feed him more insistently.

frustrated none of it works, "it" starts to break the sweet illusion, creating more shocking situations appealing to shauna's fears. lottie taking her child away, becoming the child's mother. she'll feed him (physically and psychologically), unless shauna does it first.

from that moment on, "it" makes tea available to shauna. "we need to feed": it's going to be her or the baby. the tea or the milk. however, ideally, "it" would rather have the baby: the tea is easy to miss in this scene, just sitting there, undiscussed. probably because shauna would be more useful to the wilderness.

eventually, shauna sits with her son. for the first time, she tells him that she loves him, that she's sorry she used not to. as soon as she starts speaking to him, his "hunger-induced" crying stops.

(it might be another "physical hunger as the expression of psychological hunger, of longing for love and connection" yellowjackets moment. the baby hadn't been crying for milk, in this reality, but for love. and when hunger is psychological, you can only be fed by the people whom you're connected to. jackie was given tea by the group, after shauna brought her inside. lottie was given food by laura lee. love is "psychological food", and it's portrayed as literal food in these scenes.)

so, the only one who can feed the baby is someone who loves him. shauna explicitely does, now, and she asks him to drink for her. she says it's how they'll stay together. so he does. she kills him while trying to do the opposite.

""natalie"" comes in just a few seconds later, bringing shauna tea. the kid kept refusing to drink, so it was time to make the mother truly notice the tea. but then "nat" realizes the baby is drinking: it's finally happening. it's a miracle.

"she" directly wants to "tell the others", which probably is code for informing the trapper/hunter. it echoes with "so glad you're joining us, we've been waiting for you" in jackie's purgatory, or "i think we need to get you out of here" in lottie's.

shauna is so fcused on her son that she doesn't even acknowledge the tea. in every way, her son's death saves her life. loving him, feeding him, being awed by him, saves her life.

she asks for a bit more time alone with the baby, she has no way of knowing what she's truly asking for. the attention of "nat" has completely switched, though. "she" avoids looking at shauna and is focusing on the baby, a bit shocked, a bit hungry. and though "she" protests a little, eventually "she" accepts the request. it's not evil, just hungry?

then, she wakes up next to an empty crib, the tea and the group's offerings. and the group is eating her baby: all of them, including ben, who didn't eat jackie. the baby's dead, and "it" is eating him in front of her.

blood had been spilled in this world, all over the symbol, by eating the baby. and in real life, it's been spilled through the group's blood offerings and shauna's body. "it" isn't hungry anymore. shauna wakes up in real life.

-> we're not sure whether these death sequences are "real", if there truly are "wilderness entities" manipulating them towards life or death or if their minds are making it up depending on their own wishes/fears. but if it's real, then 2x06 shows us shauna being manipulated into killing her own child right in front of us. and just like her, we'll probably never know for sure if she truly held him. if it was all just hallucinations or something else, something both better and worse.

ps: severe placenta praevia kills both the baby and the mother during childbirth if you don't do a cesarian. from a medical point of view, shauna totally should have died. either the writers didn't look it up, either the wilderness heard them ♥

(**of course, said "purgatory" or "wilderness" don't have to be real things that exist within the show's universe. these death sequences can just be a way to explore further the themes of psychological hunger and consumption, though i personally find that hard to believe. why is food what kills them in these death sequences, offered by the people they love? perhaps the idea is that hunger means you're alive. you're not meant to have everything you want, complete comfort. only death will offer you that. didn't explore that much in this post, it's a super large theme, and there are parts of shauna's "hallucinations" which i struggle to explain without supernatural elements, such as the tea or ben also eating the baby.)

[marxistmiku]

top 10 jackie black moments

[whiteheart7]

i really really really like that elora, bear, willie jack, and cheese are all still friends in the end. none of them got together romantically. theyre really close and they love each other so much and theyre friends. i was so afraid that when bear and elora had that moment in the chapel they were going to confess feelings for each other but they didnt. theyre friends and they love each other and arent afraid to say it. they hugged!!!!!!!!!!!!!!!!! and theyre friends!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[arsenicflame]

im having feelings on polyamory in ofmd buuut theyre very bitter and i cant be bothered to do the research to figure out if what im saying is true. but there are feelings

[cottoncandysprite]

Wait guys should we, like, check on Jackie and Deacon...?

[borinhoran]

jackie to shauna in 1996: “are you really going to keep something from me out here? what did i do? when did you stop wanting me to be your best friend?”

callie to shauna present day: “i swear to god mom, if you lie to me again — im so fucking over secrets. like, i can’t.”