#councilor gwen

[faithful-grigori]

theghostbunnie said: “#Finally someone acknowledges Neil and Gwen both write fanfiction!!!/pos”

I have a hole in my soul that can only be filled by watching Gwen and David parent other campers.

[epic-sorcerer]

Transcript of a conversation I just had with my freind:

Me: Merlin x Arthur x gwen is pretty popular, and like conceptually I guess it makes sense why but I just can’t get into it. Like I feel like it would be so clear Arthur isn’t pulling his weight. Imagine being Merlin and having both Arthur and gwen together and like…having them side by side. they couldn’t compare. I feel like it would immediately dispand

Friend: yeah, like what does gwen even see in him?

Me: yeah like at least Merlin and Arthur make some sense bc of destiny and stuff. Merlin is extremely obsessed. Alos like they would totally be trapped in the same special ed room together. Forced to do group projects. God what did we even do in special ed I can’t even remember….idk talk about Feeling Words?

Friend: yeah lol just talking about how they’re feeling. What would giaus be, like the councilor?

Me: idk i mean I guess he’d be the school nurse?

Freind: idk I kind of see giaus as a councilor

Me: I mean to be fair if you were a medival docter you did everything. Like you were a psychologist, psychiatrist, surgeon, gynocologist, pediatrician, etc. like you did everything. That’s why it’s just giaus doing that job like it takes a lot.

Friend: that’s not overwhelming at all!

Me: haha yeah…idk what would gwen be? Idk I feel like she has strong kindergarten teacher/social worker vibes- wait. That’s why they got together Arthur needs a social worker lmao

[the-archetype-of-civilization]

Fourth rewatch of ATSV, y'already know:

-SPOILERS AHEAD!-

The name of Gwen's band being "The Mary Janes" is cute. Kinda sad that we don't see any form of a real Mary Jane, though.

George lightly and gently punching Gwen's doorframe when he says they got a "breakthrough in the Spider-Woman case. I can feel it" is so realistically portrayed. A man that's driven by justice and wanting to do right by his daughter, the hand gesture kinda says it all, honestly.

I FINALLY FOUND THE FUCKIN' TRANS FLAG, JEEZ I CAN'T BELIEVE IT TOOK ME 4 SESSIONS TO FIND IT.

When Gwen lands inside the Guggenheim, she slides in and her left foot is on the tips of her toes like a ballerina. I can't believe I've talked it about so much IRL that I didn't point it out here. But yeah, really badass.

"Hey, who left this ATM on the sidewalk?!"

There's a food cart called "Mothershuckers," I think.

Jess and Peter are terrible mentors for bringing their babies (one of them unborn!) into fights!

The student councilor's calendar has a funky lil' dog on there with sunglasses (I think).

When Miles says "whatever" to his parents, Rio's face was FELT. And that head movement was so on-point. It's crazy how human this movie is despite it being animated.

A Puerto Rican friend of mine said that a lot of the food at the party was instantly recognizable. That and the fact that a lot of the older generation HATE being addressed by their first name, which works well when Rio calls out Gwen saying hers.

Jeff trying to fix that cat balancing beam in the councilor's office and seeing it fall each time kills me.

Miles twiddling his thumbs nervously when he almost reveals himself to Rio is so realistically portrayed, I love the hand motions in this movie.

Gwen's avoidance to answer Miles' questions directly, or even at all, really irks me, especially when Miles has some very personal questions ("What are you doing here? I thought I'd never see you again..."). STOP LEAVING MY BOY IN THE DARK.

Speaking of Gwen, it honestly really bothered me how Gwen acted in this movie when it came to other people (being so nonchalant to Miles' parents, that awkward and sudden goodbye to Miles before she goes to find Spot, etc), like she's acting like such a child. But now, I genuinely think that she's just socially awkward, which I should've probably put together already considering she barely has any friends in her world and (presumably) doesn't talk to many people except for other Spider-People that are (again, presumably) just as awkward as she is.

Like, WHY DID SHE CHOOSE TO REVEAL HERSELF TO MILES' PARENTS WEARING HIS HOODIE AND THEN BEING LIKE "Uh Miles is missing, I dunno where he is. Bye!" GIRL, THAT'S NOT HOW YOU DO IT. Her promise to them and telling them that Miles loves them was nice, though.

Rio cupping Miles' face in her hands during her speech and Miles chuckling and smiling breaks my heart, man. If that ain't a mom thing to do ❤️ And I would smile and laugh just as much if it was my mom, too. I still think about Rio's speech, even today. It's that good.

Jeff climbing up the water tower to meet "Gwanda" and bumping his head into stuff and hurting himself was hilarious and I can't believe I didn't notice until now.

Miles hyping up the empanadas to Gwen was adorable. And his hand gesture was cute, too.

Miles' goodbye to Gwen is even more heartbreaking because you can see the tears welling up in his eyes. WHY WOULD YOU HURT MY BOY LIKE THIS???

There was an interesting parallel (don't know if it was intentional) where Gwen was hit by Spot and was falling in Mumbattan, Miles catches her and carries her before he drops her and reaches to save her. But when Miles is escaping from the Spider Society, Gwen catches Miles and Miles intentionally breaks the web and free falls instead, shaking his head at her. Gwen trusts Miles, but Miles doesn't trust Gwen anymore.

Bro, Miles can't catch a break with the damn snitches (the students ratting him out to the guy's office in ITSV and that woman on the highway in ATSV). Glad he called her out, though. Though, if there was a big scary Spider-Man with claws and arm blades on my car, I'd probably do the same just to get him off and away.

Miles rubbing his cheek in embarrassment when Rio appears in front of Gwen was so good. And his face when he goes "MOM!"

Something about the way Miles says "You have to let me go" to 42 Miles is interesting. I can confirm I saw the acrylic stand of Miles Morales Spider-Man in 42 Miles' apartment. I wonder if 42 Miles looked up to Spider-Man or something, maybe there is some history that we don't know between him and Spider-Man in some way, which is bizarre since there is SUPPOSED to be a Spider-Man there but isn't.

I like how Mayday took a crap when Miguel held her heheh. He IS the establishment. "Yup, she's a Parker" says Peter. Lmao.

There's several scenes where Miguel is talking about the canon to Miles with everyone being pretty close to the center, while Hobie is the farthest from all of them most of the time. And he's kinda facing away from them with his head being turned to face Miles. Shows how he separates himself from the society, but is only looking out for Miles right now.

There's a really cool YouTuber that went really in-depth with Gwen and George's conversation when Gwen returns back to her world and it's really insightful. Shows her lack of communication skills in general (and that it, unfortunately, seems to be hereditary, as well). He even talks about the damn penguin. Crazy stuff. But he makes a great point that Gwen actually genuinely smiles after talking to her dad, more so than even being with Miles. It's really sweet.

I dunno why, but I feel for that guy running the food cart when Gwen and Miles take his hot dogs and just dips and gives them cash (letting him keep the change). Just feels inconvenient for him, despite making a profit. I dunno, the guy looked like he was really befuddled and I felt for him lol.

The current Prowler's theme (42 Miles) being Miles's theme in reverse is insane.

Someone else pointed it out, but Pav threading the damn needle through a broken poster was SLICK.

Speaking of threading the needle, Miles almost messing up when he dodges the truck and screams out is hilarious. It honestly sounds like a reused scream sound file that he did in ITSV.

"I don't believe in consistency!" "This guy's killin' me..."

I didn't point this out in my third rewatch but the "It's a metaphor for capitalism" line was completely lost to me until I heard it then. Fucking perfection.

Pav saying "I can do both" when he sees Inspector Singh in trouble while trying to rescue Gayatri is heartbreaking. Miles says the same thing to Miguel before being shot down by Peter ("Not always."). At first I 100% believed that there was no argument that could be made against Miles, but realizing that Pav said that when he (literally) had his hands tied with Gayatri and couldn't rescue Inspector Singh until Miles came in, I'm not so sure anymore. It doesn't sway me in the other direction (being that Miles is in the right), but now it's much more clear that it truly is "not always."

I can't believe that in an Indian dominated Manhattan (Mumbattan), they STILL allowed to have that British museum up.

"I wanted to be with you guys so bad...but this thing isn't what I thought it was." I can't tell you how much I love this boy and how I will kill anyone that hurts him like this. So fucking uncool, guys. UN-FUCKING-COOL!

When Miles is talking to 42 Rio, he says that he's "stronger now because of you [Rio], because of dad" and 42 Rio says something in Spanish that sounded like the equivalent of "oh, sweetheart..." lovingly. Shit hurts, man.

Miguel against the dark rainy night under the large "WELCOME" sign is peak cinematography, next to Gwen and Miles under the clocktower.

I had to cut down some stuff because the text limit sucks. I got others and all that, you know how it is.

Second rewatch.

Third rewatch.

Final act.

[sumarak]

S4 of Camp Camp was a mixed bag for me because I like the premise of "Keep the Change" but not the execution. What the episode does is really good, but I don't like the episode itself. Anyway, I wanna talk about the whole "people can change for the worse and for the better" message.

Max changing for the better/being kind and David changing for the worse/being shitty has been set up since S2 - specifically in "Bonjour Bonquisha." For example:

Max being caring but doing it out of selfish reasons appears here for the first time as the plot revolves around Max inspiring the other campers to do something nice for David because he cannot stand him when he's miserable. This is later paralleled by the conflict Max has in S4, "Time Capsules," where he only helps Gwen to make himself feel better. Both have selfish motivation, but the difference is that the first attempt was genuine, while in the second he was forcing himself to be nice. More on this later.

David ends the episode by punching Jacob out of jealousy in front of the entire diner.

So both have previously established episodes that put their character progression into perspective. But an interesting thing about Max is that he is very much capable of care it's just that he doesn't recognize it as such. Max has several episodes where he saves/helps David and/or the camp (the two often overlap) for example: Order of the Sparrow, Bonjour Bonquisha, The Fun-Raiser, Dial M for Jasper, Cameron Campbell the Camp Campbell Camper, Camp Corp and Arrival of the Torso Takers. He also has plenty of episodes where the central plot revolves around comforting/or showing concern for Nikki: Camp Cool Kidz (trying to convince her Ered is using her), Anti-Social Network, Eggs Benefits, etc. He also stands up for Neil in "Culture Day" and learns how to be more genuine and kind to everyone in "Camp Corp". There's also the example of him learning to be nicer to Dolf in "Candy Kingpin". And all of that is before S4 in which he realizes how much he has changed and starts making an active effort to be better.

you'll notice that it gradually happens more often, but the one throughline is that even when he acts compassionate or caring, it is undercut by him using shady methods, complaining, or there being something that's in it for him. Like using David's credit card, getting people to beat up the councilors, asking for something in return (usually more dessert). But there are some examples of legit soft kindness like famously in Parents Day but also in "Dial M For Jasper" where after a remorseful look they decide it's better to lie to David and let him be content and happy rather than distress him further. And while he does complain or use shady methods, most if not all of these episodes demonstrate that he is capable of caring for and being kind to the people around him on his own accord.

now remember how earlier I said that in "Time Capsules," Max's attempts at being nice aren't genuine like in earlier episodes despite the two having the same premise? this is where that comes in: that ep is the first time he seeks character development rather than it happening TO him. In the time capsule, he struggles with the idea that he will never be happy or change for the better. the thing is, Max doesn't have to worry about if he's becoming a kinder person because he's already been doing kind things. he doesn't realize how naturally that development has happened and how genuine he can be.

like WHY save david in arrival of the torso takers? he does it because he wants to. he doesn't realize that all of the change he's gone through so far has not been directly intentional but it HAS been genuine. and all the care he exhibits from people doesn't need to be forced out of him because he's already proven he has a capacity for it multiple times.

like he cares abot people in his own flawed way thats often undercut by his little shit personality. its like he doesn't realise he cares for them while hes doing it. like why try to cheer david up? just. because. because he's annoying if he doesnt do it. why try to make nikki feel better? because it's dumb when she's panicking over platypus eggs. like he does care for people but its never an overt attempt to be kind, he just does it naturally. which is why "Time Capsule" wasn't genuine.

It's better to be genuine and flawed than to attempt to masquerade niceness as kindness. I've said it before but Max isn't meant to be nice. He is learning to be kind.

[faithful-grigori]

“#shes like a horse watching dogs, #gwen does not like working with a moody teenager”

good morning camp camp fandom, take my counselor!ered au please and thank you

i feel like ered is AT LEAST 15, so in this au her dads want her to get a summer job, they asked campbell bc it’ll give them a better reason to keep an eye on him, and campbell hires her because he’s scared they’ll arrest him if he doesn’t

since she’s still young, she’s like assistant counselor. like a babysitter. she just has to watch the kids and make sure they dont wonder off and die (she’s not very good at this, as she half asses her job)

the campers definitely like her more than david and gwen bc she lets them get away with a lot of stuff- she’s “the cool one”

and she definitely makes gwen and david feel a lot older than they actually are

[coldgoldlazarus]

After rewatching Into the Spiderverse last week, and my third viewing of Across the Spiderverse this weekend, a bit of a crack theory has been percolating in my head. Some spoilers here, so putting this under a readmore:

I think Doc Ock has a chance of returning in Beyond The Spiderverse. A slim chance, but a chance nonetheless.

Point A: Lack Of Resolution

This is pretty obvious so I won't belabor it; despite her role as a pretty significant villain in ItSV, along with Kingpin and Prowler, the mind behind the supercollider and given a pretty fantastic reveal, she also winds up getting hit by a truck during the climax and not being heard from again. The Prowler died, Kingpin got defeated and webbed up for the police, even Tombstone was seen getting arrested and shoved in a cop car, and the other henchmen like Scorpion also got pretty conclusive defeats at the hands of the 2D spideys during the fight itself.

But with Liv, there's no real confirmation of what happened afterwards; whether she got arrested, or ran off, or the impact was fatal and her body recovered, or what; no clue. (And if she did end up shoved through the Collider and landed in another dimension, she'd be subject to the same glitching, cell decay, and eventual death as the others, without the Spider-society tech to stabilize herself.) And like, that doesn't necessarily mean anything on its own, but at the very least the principle of "didn't see the body" is in play.

(Interestingly, I remember hearing somewhere that there was a deleted scene of her intentionally jumping into the collider portal while saying the "power of the [X] in the palm of my hands!" line that later went to Spot. Though idk where I heard it, so am unsure if this is actually legit. And even if it is, it was still a scene they chose to remove from the final film, so while it could mean that intent is still there, they also could have changed their minds on the idea entirely.)

On its own, I'd be willing to accept that that's probably the last we've seen of her... but as of AtSV, it actually isn't.

Point B: Aaron Haunts The Narrative

This part has no direct connection to her, but bear with me here. If you've seen it, (I hope you have) you know that AtSV ends with the reveal that Miles wasn't sent to his home timeline/universe, but a darker parallel version where his dad is dead but Uncle Aaron is not, and is working with the parallel version of Miles as the Prowler. He does say "I'm not" when our Miles refers to him that way, but the impression I got is that he's halfway-retired from the role but still acting as support for Miles G; the "guy in the chair" if you will.

I digress. Point is, it ends with a return for both Uncle Aaron and the Prowler identity, but this didn't come out of nowhere; all throughout the movie leading up to this, Aaron and/or the Prowler are brought up or indirectly hinted at on an honestly pretty frequent basis. Gwen's drumming recap at the beginning, the memorial grafitti on the rooftop, the Donald Glover cameo, the flash of him on the side of the building during Miles' breakdown sequence as he's rushing to get home, plus a few smaller mentions here and there. ("He takes after his uncle!" during the meeting with the guidance councilor, and a visual comparison with Uncle Ben during the "canon events" presentation, and I feel like there may be a couple others yet that I'm forgetting as well.)

The movie goes out of its way to remind you of him and his importance to Miles at every turn, and part of that is just inherently because he is so important to Miles. But it also feels like, from a writer-to-audience perspective, part of the purpose is also as a reminder; if anyone either saw ItSV but forgot most of it in the intervening time, or simply missed it altogether and for some reason decided to see AtSV first anyway, this makes sure they know exactly who and what he is, so the reveal at the end carries the full emotional weight it needs to. No matter what, you will have the proper context to appreciate Miles' reaction when Aaron steps through that door.

(Also, I just wanna say that I love that reaction in of itself; the hyperventilating panic at first, only to rush in for a tight hug. The mix of terror and comfort that comes with full awareness of both sides of him, and all the associated memories both good and bad, combined with this unexpected chance to see him (or at least a version of him) again. It's just a really great moment on that front.)

But anyway, I'm getting off track again, too many Prowler feels. ^^; What does this have to do with Doc Ock?

Point C: Aaron Isn't Alone In Haunting

This is admittedly both the key part of my theory and also the weakest one overall, so I will readily admit upfront that I may be reading too much into things, and Liv really did bow out for good in ItSV. That being said, here's my thought:

Even if a much lesser extent than Aaron, I couldn't help but notice a similar-seeming trend of brief reminders of her. On one hand, most of these can be fairly easily dismissed as simply maintaining continuity and connection with the first movie, as the bulk of them were in relation to The Spot's backstory as Jonathan Ohm; she was there for the flashback to the misplaced 42 Spider, and then seen again in a framed photo of him, when Gwen was inspecting the remains of his makeshift apartment lab. So while it's a neat inclusion, it doesn't necessarily mean anything more, right? Kingpin got mentioned too, during the Guggenheim fight with Vulture, but I'm pretty sure he isn't going to be making a comeback.

But there is one other instance that feels a bit more significant and out of place, and is what led to this theory in the first place. I mentioned this scene already in relation to the Uncle Aaron foreshadowing/reminders, but going back to it now, there is what I've dubbed the Falling Apart sequence. (From the score that plays during it.) Right after Gwen's talk with her father resolves, we cut back to Miles, swinging through the city in a desperate rush to get back home to his parents in time. (Unaware yet that this isn't his city, his home, his parents, because this isn't his universe.)

Tangential Gushing Over That Scene

It's sort of a dark parallel to the Leap Of Faith/What's Up Danger scene from ItSV, with previous bits of dialogue and past moments echoing in his mind again. There, it was all the inspiration pushing him to finally take the leap and truly become Spiderman; whereas here it's reminders of all the stress and uncertainty he's under as he races against time and possibly destiny itself, not to mention being plagued by doubts after Miguel revealed he possibly shouldn't have become Spiderman to begin with.

But what I especially love is the animation of this sequence, which on first watch I thought was stuff actually happening, but reads more on subsequent viewings like hallucinations during what's basically a panic attack. It's both gorgeous and stressful, with trains derailing and rerailing to chase Miles; the space between the skyscrapers growing narrower and more claustrophobic; and stuff like the 42 Spider, the Spot's arms, and Doc Ock's tentacles also appear briefly to hem him in even further until the end. He finally breaks free at the end, with Aaron's dying words to "just keep going" pushing him to make it the rest of the way 'home' unimpeded, a tiny bit of much-needed catharsis amidst all the overwhelming... everything else.

I really love this scene, in case it wasn't obvious.

Point C, Continued: Why Tentacle Happen?

But to get back on track, nearly everything about this sequence is mainly focused on ideas introduced in Across; the Spot, Miguel, Jefferson's predicted demise. The Spider is from the first movie, but still given extra context now; the first big exception is the reuse of Spider-Ham's line about how "the hardest part of this job is that you can't always save everyone" while images of him, Noir, and Peni appear on the glass building Miles is swinging past. Even that is still relevant to the current crisis, and their appearance there is further justified when they too properly show up again in Gwen's 'band' at the very end.

But then there's this:

The dialogue at this point is a line from Rio; while the appearance of the tentacles definitely further intensifies the claustrophobic crush of the city, it also feels like much more of a non-sequitor than even the 2D Spideys just a few shots earlier. Liv has had nothing to do with anything going on, (or at most, very indirect involvement like the displacing of the 42 Spider) has no dialogue called back to here; and heck, even in ItSV felt more like a rival to Peter B specifically instead of being especially relevant to Miles, compared to Prowler and Kingpin. So why call back to her here? It could indeed just be that the tentacles are good for adding to that entrapped feeling, but given how well-constructed the rest of the sequence was, and how deliberate animation as a process is in general, this would seem oddly careless to include so casually.

Conclusion

On the whole, I'll still readily admit that this is a pretty flimsy bit of 'evidence' (more just symbolism, really) to base a whole theory off of. Yet still, between that part of the Falling Apart sequence, the parallels to how Aaron and Miles G were foreshadowed, Liv's abrupt disappearance and lack of closure in the first film, and the knowledge that this is the first half of a split script, with all sorts of other setup in Across still awaiting payoff in Beyond, I do kinda at least feel like there may be something here.

(At the same time, the docket is already packed with a shitton of stuff that Beyond needs to be able to address and resolve, plus apparently some additional new stuff mentioned in interviews like another Gwen, Toei Spiderman, and Hobie's universe. So with all that going on, I'm not entirely sure they'd have the room for yet another returning character in amidst literally everything else.)

So while I'm not strictly counting on this to come to pass, at least for now, the basic idea is that Doc Ock got hit by that truck, fell through the collider portal and into another universe, (probably Earth 42, possibly elsewhere we may have yet to visit) and somehow found a way to stabilize her glitching to survive during the intervening time, set to make a dramatic return appearance during Beyond.

As to what role she may play, I'm not sure. I could see her making some sort of temporary truce with one of the main Spider-people for a common goal, without giving up on her evil mad science in the long run. Possibly with Miguel's group against the Spot, in exchange for freedom to keep experimenting with the Multiverse instead of getting sent back home, though I also don't think he would be willing to make that bargain unless things are truly desparate and he's fully lost the support of the rest of the Spider Society. So it could also be with Gwen or Miles, against both the Spot and Miguel; the former's more unpredictable tampering and newly eldritch nature getting in the way of her research, while the latter would of course want to put an end to her experiements and send her back home in his efforts to restore order, giving her reason to ally against.

On the other hand, her remaining entirely villainous and antagonistic would also make a lot of sense, if not moreso. If she landed in Earth 42, she could wind up as the big obstacle of the detour instead of Miles G, allowing the latter a more nuanced and dynamic role. Alternately, I could possibly see her further experimentation being connected in some way to the destruction of the universe Miguel replaced himself in, unknowingly sending him on his canon-hardliner spiral, which would certainly give her a lot more relevance to the current conflict.

But ultimately, all of that depends on whether she really would show up again, which as neat as it would be, definitely does feel like a bit of a long shot at the moment. I guess we'll just have to wait and see.

[racefortheironthrone]

The whole Council of Ricks thing was because Rick is a toxic asshole who falls short of a super villain only to the extent that he doesn't need or want what drives other characters to villiany. The Council is an illustration of how consistently awful he is. And now, every Spider-man a fan might have loved over the years is a Rick, except if they are blessed by association with St Miles? And, "Imma do my own thing" is NOT toxic individualism?

Post #3 really started to piss me off.

First off, RIck and Morty are not the originators of the trope of a multiversal council - the Council of Ricks first appeared in 2014, but Marvel was playing with the same idea in 1986 with the Council of Kangs, the Spider Society dates back to 2001 and the Spider-Verse to 2014, Hickman gave us both the Interdimensional Council of Reeds in 2009 and the Parliament of Dooms in 2012, and on and on.

And the entire thematic point of having an "Alliance of Alternates" is to interrogate the nature of a character by throwing them into a carnival funhouse of mirrors. It's very common to have the story end with the main character turning against their alternates - Hickman had 616 Reed reject the ICR over their lack of ethics and morality (because the one thing that made 616 Reed different is his love for his family), for example.

(I've already addressed this point, but the movie shows very clearly that not every Spider is a Rick, because a bunch of Spiders join Gwen's bad.)

While "imma do my own thing" is a statement of individualism, it's hardly toxic. A major thematic drive of the movie is the outside world trying to impose a narrative on Miles, whether that's a well-meaning guidance councilor trying to get him to use a hardship narrative to get into Princeton or Miguel telling him that he doesn't belong (which is a direct call-back to Rio's monologue about Miles never letting anyone tell him he doesn't belong) and wasn't supposed to be Spider-Man. And as I said in my review, Miles is entirely right to push back because Miguel is wrong about him and whether he was supposed to be Spider-Man, about canon events and the multiverse, about what makes Spider-Man Spider-Man.

[indigosabyss]

GPiDDS2 Excerpt

Foggy had somehow managed to sneak Matt down from the building, all the way across Hell's Kitchen to his apartment, with three possibly insane teenagers. Or, well, semi-adults. With superpowers.

And now they were all staring at each other in Matt's radioactive dystopia of a living room.

The girl - Gwen, he reminded himself - had stopped talking now. She didn't seem to have any filter, spilling secrets left and right. Matt could use some lessons from her.

Unfortunately, she had now taken up excitedly bouncing her leg, and grinning like a loon with-

"Holy shit, what is that above your head?" He tentatively reached out to poke one of the yellow diamond things floating above her head. They glowed, and were shaking slightly. And also looked like drawings on scraps of paper somehow in real life.

"Sparkles." Gwen explained, "Happens when I'm excited!"

"Get used to this, Councilor." Quire - the rude one - sat back, "Trust me, when she starts playing music to highlight scenes, you're going to miss this."

[phoenixflames12]

Hey! This is random, but do you have a favorite season of Endeavour? Favorite episode? Cheers!

Hi nonnie!

This ask has been sitting in my inbox since forever, and I've put off answering it because I only just finished watching s9 for the first time last night. I don't think I have a favourite season, so I'll answer this by showing my favourite bits from all of the seasons. This got long, so under the cut it goes!

Season 1

Baby Morse! Baby Morse and the pain and agony over Rosalind Stromming, the one person who had, without knowing it, given him hope in his darkest moments.

His first interactions with Thursday who saw this snipey, angry young man who hasn't been cared for or listened to in such a long time and took him under his wing! Fred using his 'camp councilor' voice which Morse inherits whenever he talks to younger officers or children or vulnerable individuals. Thursday telling him to hold onto something to keep the darkness away. To remind himself that he cannot and will not end up like Mason Gull- even if he cannot save himself from his eventual fate. And Morse repaying all of that 100 times over by getting off a train and returning to stand by Thursday's side at the end.

'I put you on a train.'

'I got off.'

Indeed.

The moments between Morse, Gwen, Cyril and Joycie (and Constance's ghost) in Home! God, Constance's ghost really does haunt season 1, doesn't it? And then the absolute mastery of Shaun Evan's acting after Cyril dies and Morse just does not know what to do. He knows he's an orphan now, he's been an orphan even since before this moment, but now it's real and he's still getting over being shot and the pain in his face when he realises this is just- gah. Wonderful.

Season 2

Nocturne! The moment in the morning when Morse is standing outside with Max. Both of their masks slipping when Max asks Morse to find whoever killed the dead girl and to bring her to justice. I have many thoughts on that scene and Morse's face- the darkness and determination in his eyes just ruins me.

Monica! My most beloved Monica Hicks! The fact that Morse is so confident and loved by her just makes what happens later all the more painful, which is why they will forever be my OTP. (There, I've said it, @sandfordsmostwanted can back me up.)

Neverland. Oh gods, Neverland. I remember screaming in a discord DM to @gohoubi whilst I watched it and watching Exeunt just confimed how important an episode it was. Damn you Russ Lewis. Damn you for making me remember Peter Jakes and his desperation to get out and Morse's desperation to bring him closure. It never truly leaves you, does Neverland. This is their grand finale which Morse and Thursday survive and have to learn to live with the fact that they both have survived rather than going down in a blaze of glory.

And nothing will ever be the same again.

Season 3

Fluffy, sulky saint hair! The Great Gatsby! The season where Mr Bright came up trumps and made me feel so deeply emotional about well- everything to do with Bright's storyline, that was only exasabated in Season 7. Arcadia which made me feel so many emotions about Jakes regaining Paradise in America through Hope and Morse giving him that chance with his promisery notes. Hearing more about Morse's aethisim and how the strength of Constance's faith and then her death makes it probably one of my favourite episodes.

Season 4

Season 4 is strange. I can't really pick anything out of it- apart from the end of Game when Fred rescues Dorothea out of a burning car. And Joan. Oh, Morse and Joan and Lazaretto and their deep unhappiness and unwillingness to talk about it.

And then the wonderful strangeness of Harvest. I loved Harvest. I loved the interactions between Morse and Dorothea. I loved the fact that they can sit in a car and Dorothea can pull out what is really going in with him and he is comfortable to talk to her, to confide in her. Their friendship means the world to me, partcularly as the seasons go on and we see less of it, but the bits that we do see are beautiful and poignant and makes my heart ache.

Season 5

Fancy! Trewlove! The utter anguish of watching Morse try and fail to look after Fancy and only at the end realising how much potential he had when it was too late. The agony of Coldwater and seeing himself in Stanhope- a bright, ignored, belittled, bullied child.

The moment in Icarus when he asks Joan whether she wants to go for coffee after Trewlove tells him not to waste any more time. It just makes the drink (and the time that he has to explain) his feelings to Joan in s9 all the more poignant and agonising. And Joan herself knowing that she can't wait around for Morse to be knight in shining armour and sweep her off feet. The hero truly doesn't get the girl because he realises too late (back in s3/s4) that he's in love with her when she's leaving and both of them have to pick up the pieces from that fall out and fail, miserably.

Season 6

I enjoyed season 6. I really did. I enjoyed Morse trying (oh how he tries) to bring Thursday back when he falters and defects to Box. I love that we see who Thursday really is- the darker part, the part that survived being a London copper, but who can still be kind to children and mourn innocents who are caught in the crossfire.

I enjoyed Morse really coming into his own here, he truly is an 'adult' at this point- the young man who looks at Thursday like he hung the moon after he was shot in season 5 and then gets to drive is truly gone. In its place is a man who wants to hide, who can't bear to see the destruction of his own mistakes, but knows that he has to bring justice to George.

And the final showdown! 'We are city men!' A perfect showdown showing that as much as Division can break Morse, can degrade Bright and Thursday, Jim and their own determination to rescue one of their own wins the day. (I also want Morse's coat from that season, but that's another post in itself.)

Season 7

Violetta! Ludo! Venice! The whole season being an opera and ending on the perfect painful finale of Thursday rescuing Morse, having read his letter to Joan.

That letter ruined me. The knowledge that Morse has burnt his bridges, has cut ties (so he thinks) with his guvnor. Has cut his ties with Bright, even though he is trying so hard to do the right thing, even though he goes about it in completely the wrong way.

The fact that Thursday realises this and still goes out, still rescues him, still gives him a second chance (and saves him, and saves him and saves him)

Season 8

Puns are supposed to be funny, aren't they? The fact that in the depths of his despair and misery and pain, Morse with all of his fluffy hair, can smile and accept that he can't go on like this, is agony. Worse still, is Gwen, turning up on his doorstep and the facade that he has built up around him is shattered. Here is a woman who can belittle him, can bring out the terrified boy he was when Constance died and relish in seeing him crumble.

And then the ending! The sitting in a pub garden with Thursday, drinking and talking about justice. Or the lack of it. And realising that everything has changed. Everything has changed and the only way out is to accept it and for Morse to go away. To go away whilst the world still turns and his friends move on, and he stays stubbornly in the centre.

Season 9

Sober Morse arriving back in Oxford from Lyme Regis and realising that everything has changed, everyone has moved on is just agony.

Seeing himself, as he does with so many children, in Rose Garland- another bright, bullied child who went the way he could've done, had he not found the right path.

The fact that he spends all of this season trying so hard to tie up loose ends, trying to bring justice to Peter Williams and Andrew Lewis (Andrew Lewis had a family who loved him and a cousin- 'a police cadet in Newcastle' who wanted to see justice and Jakes. And then, years later, that same cousin finds Morse.

And then all of that comes to a head when Lott arrives- doing much as the same as Gwen and belittling Morse- not bothering to learn his rank, but sending him back to a 'college' lad who desperately wanted to belong somewhere.

And then the ending. Oh, God. Morse giving up all of his prinicples to protect Thursday. One last drink in the pub. Morse throwing Henry IV at Thursday because he cannot see the man he knew, the man he admired and respected, 'the captain who I would've followed into hell.' so much, any more.

Morse standing at Joan and Jim's wedding, surrounded by a glitter ball and disco lights and 'Rocket Man' playing. He doesn't belong in this world anymore. This world has moved on without him- 'we should tell people if they mean something to us, don't you think?' But he hasn't and he can't because there is no time left and the world has no place for an opera loving, crossword solving, grumpy, snipey, young man who wants to bring justice to the world.

The final scene at Blenheim Palace just ruined me. Singing Faure's Requiem, heralding the true end of the beginning. Morse having a sense of peace on his face as he sings, knowing that with the gift of Thursday's gun and the gunshot in the churchyard, he has truly said goodbye to his former self and can now, as he drives away and the summer heat rolls into the Jag, find his true and inner peace.

[qiuweyballs]

i think watching gwen's scene with her dad fucks me up the most bc her universe is what the world feels like when im anxious???? everything bleeds together and feels fuzzy and shapefull and hits too hard to home bc i am actually terrified that my skls shitty "councilor" will out me to my parents lol haha hopes n prayers yall

[in-the-words-of-camp-campbell]

When you say Xanax three times in a bathroom, I appear.

Gwen

[plotsandthoughts]

Monster Camp is some good shit. Keep it up fam

Honestly, you guys interacting with everything: your asks, your likes, your reblogs- every bit of it is a huge burst of joy to my day! I absolutely love seeing so much excitement and curiosity about our ideas!!!

I’m so glad you are liking everything! Have some councilor content!

[echosong-87]

I finally made a blog for camp camp!!!! I'm night-terror-87 and my blog is called camp Campbell wolves!! I'm open for anything else with the camp camp au normally werewolf Dadavid au

[mmochabear-moved]

I love them

[aliensubstance-011]

Harry Osborn HCs by me >:]

Keep in mind that this is for TSSM Harry

Love that lil' guy. Also sorry for formatting I'm on my phone and I don't make posts much anyway lmao. ANYWAY.

- he's Trans!!! FTM (He/him) thank you v much and of course Norman got him the best/most expensive surgeries possible because him being an Ally is TSSM Norman's one redeeming quality and it's not even canon.

- after the explosion inside the helicopter at the end if S2, Harry is mostly deaf (mainly on his right side) and has to wear hearing aids to be able to hear anything more than muffled noise (uhh apologies if i got that wrong please correct me I'm trying to do better at just knowing stuff)

-He's gay (closeted), and at the point in S2 probably doesn't understand/realise yet... Everyone just kinda knows (including Gwen), and Flash and his group tease him for it, He's still oblivious though.

- Even though he just uses he/him pronouns he doesn't care what he wears, whether it's a dress or a full suit or anything. Because fuck gender roles. I do what i want.

- all of this is so focused in Gender + sexuality well NOT ANYMORE he loves to cook but cannot bake for shit. He just doesn't get it. His cooking is delicious however.

-He will probably grow his hair out a bit/experiment with it after Norman is gone, it's not unusual to see old pictures of him with long curly hair, shaved, with a fade, undercuts, pattern shaves ect ect ect. They all look really good on him because i said so. He doesn't dye his hair at all.

- let this boy have Therapy. Capital T Therapy. After Norman "dies" he gets counseling to help him with his grief and the councilor is just 'get this poor boy some full time therapy'

-He gets some tutors in and starts to work towards business school- he wants to fix the corruption in Oscorp before anything else. Yes it's not stated there's full corruption but c'mon it was run by Norman Osborn.

- It takes quite a few years, but eventually Oscorp is run by a good board of directors (is that the right thing??? Idk group of people who run the company lol) who report to Harry for executive decisions.

-Part of the proceeds from Oscorp go to many different charities. Kind of getting off topic from Harry here pfft

-After he can do his own thing, he opens up the Café (Coffee bean Café- I'm being serious there's an Harry Osborn who owned a Café in the comics, Raimi and Tasm! fans who don't know™. It's awesome) and uses the apartment above as a safehouse for abuse victims.

Thank you for coming to my ted talk. I got very off topic. Hope yall liked it at least :)

Please let me know if I've written anything wrong/offended someone in someway. I'm just not v smart and I'm always open to critism.

[thicctails]

My interest in Camp Camp has come back around to bash my head in with the good ole’ AU Ideas Bat so have some Camp Camp AUs that I (might) do stuff with

first up is the Mervid!AU. David is a happy-go-lucky (yet extremely lonely) merman who ends up getting tangled up in the nets of one Cameron Campbell. Campbell intends on either stuffing or selling poor David, but ends up having to just dump him in the lake and run when the feds come sniffing around. David is left all alone until a certain blue-hoodie wearing, jaded camper and his two friends wanders down to the lake in an attempt to escape their shitty summer camp and, by extension, their overworked, grouchy camp councilor. 

then there's the Were Camp!AU, where the members of the trouble trio end up getting bit by a strange wolf during an evening hike. Soon, Max, Nikki, and Neil realize that maybe Gwen’s terrible werewolf movies aren’t completely science-fiction, much to Neil’s dismay, Nikki’s delight, and Max’s annoyance. However, their already shitty situation gets worse when a very dedicated monster hunting enthusiast starts poking around.