#crime analysis

[trendynewsnow]

Significant Decrease in U.S. Murder Rates in 2023

Significant Decline in Murders Across America in 2023 In a remarkable turn of events, the year 2023 has witnessed a substantial drop in murder rates across the United States, marking the most significant one-year decrease in over fifty years. This unexpected decline is even more astounding as current trends suggest that the improvement may continue into 2024. Interestingly, this decline contrasts…

[truecrimemusingsblog]

Unraveling the Mystery of Jamie Fraley's Disappearance

22-year-old Jamie Fraley disappeared from Gastonia, North Carolina on April 8, 2008. The police found a compelling person of interest, but when he died, the case stalled. What happened to Jamie Fraley?

AT A GLANCE Missing Since April 8, 2008 from Gastonia, North Carolina Sex: Female Race: White Hair Color: Blonde Eye Color: Blue Date of Birth: March 5, 1986 Age: 22 (at the time of her disappearance) Height: 4’8″-4’10” Weight: 90-100 pounds Distinguishing characteristics: At the time of her disappearance, Jamie had the name “Ricky” tattooed on her right ankle. Medical conditions:…

[aanews69]

Immerse yourself in the heart of Kentucky's courthouse tragedy, a tale that seems ripped from a crime novel yet unfolds in the tight-knit community of Letche...

[arianasuchi]

Hollywood's Silent Secrets - The Unsolved Case of William Desmond Taylor

Welcome to "The Real Crime Diary," where we explore the most intriguing and high-profile criminal cases from across the Americas. Could the glittering lights of early Hollywood be casting long shadows of secrets and intrigue? Join us as we peel back the curtain on the unsolved murder of William Desmond Taylor, a silent film director whose life was as enigmatic as his death. We follow Taylor's remarkable transformation from an Irish immigrant to a cowboy, and finally, to a heralded director who shaped the silent film era. Alongside our guest expert, we navigate the paradox of Taylor's world, where success and glamour clashed with a dark underbelly, leading to an untimely demise that perplexes us nearly a century later. As the spotlight dims on Taylor's legacy, we turn our attention to the suspects who walked the peripheries of his life. From the young starlet Mary Miles Minter and her formidable mother Charlotte Shelby to the troubled comedic actress Mabel Normand, each character seems to have stepped out of a Hollywood script, bringing with them a tangle of motives and opportunities. We scrutinize the bungled LAPD investigation, marred by a compromised crime scene and vanishing evidence, that has left armchair detectives puzzling over the case for decades. With each narrative twist, our conversation deepens, inviting you to contemplate a riddle that continues to haunt the annals of film history. Thank you for tuning in to The Real Crime Diary. Stay vigilant and informed by following us on: for more true-crime stories and updates. Join our community to engage in discussions and access exclusive content. Remember, the pursuit of justice is ongoing. Until next time, take care. Don't forget to subscribe and hit the bell icon to stay updated with our latest documentaries and crime analyses. Share your thoughts and theories in the comments below, and let's unravel these mysteries together. https://youtu.be/CAuK1lLFHXk

[morimementa]

The fun thing about COD is that everyone who calls the 141 and every other operator their precious little mew mew skrunkly is fully aware that Soap once used an enemy soldier as a meat shield, Price responded to a barricade by attempting vehicular manslaughter, Gaz saw one terrorist attack and decided going feral was an option that should be on the table, and Ghost is, well, Ghost.

They know their little mew mews are war criminals and they do not care.

[mfaculty]

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[joicecubes]

okay likeee i know we all shit on stan and ford for being petty as hell during weirdmageddon (stan just hold his damn hand. ford WHY did you feel the need to correct his grammar.) but also? i have always felt like stan was so justified in wanting a thank you. like to the point where i also get pissed at ford for withholding any sort of genuine gratitude for so long.

do i get why he did? absolutely. in fact, it’s like, a super well-written conflict between them and reflects both of their mindsets perfectly. when you really think about ford’s point of view, you realize he still believes stan intentionally sabotaged his future in high school, was the reason he spent 30 years dimension-hopping, blatantly ignored ALL of his warnings about how dangerous it was to start the portal up again, and (albeit accidentally) brought him back when ford was finally about to defeat bill cipher. yeah! he has every right to pissy! i would be too!!

but like, all that said, it just makes me SO sad for stan. he went to such great lengths to bring ford back. he spent all 30 of those years learning sciences and engineering he could never have imagined understanding as the “stupid twin.” he faked his own DEATH. his entire life was a lie for DECADES. and we brush that off because stan has always been a liar and a conman but how much of that was due to his circumstances? being on the streets at 17 doing whatever the hell he had to for enough money to eat, and then losing his brother and desperately needing to pay fords mortgage so he could stay and work to bring him back… stan was so dedicated for so many years, did literally whatever he had to, stan pledged his life to righting his wrongs and saving his brother, and the man he did all of this for has nothing to say to him. “be out of my house by the end of the summer. give me my life back. and no, i won’t say thank you.”

its no wonder stan is petty bro!!! that feels like such a betrayal! i did so much for you and you can’t even give me a single thank you? you have to uproot my life for a second time? my god, at this point i cant even blame him for refusing to hold his hand even if it WAS to save the world. sometimes you’ve gotta be a petty bitch!!

[layraket]

something something Red isn't that helpless and innocent like we think at first

[suguruslut]

Still not over how well characterized and balanced every character is portrayed in the Teen Titans 2003 series: every single Titan can be funny, dejected, serious, determined, silly, angry, optimistic, vulnerable and tough without major inconsistencies in their overall portrayals.

Huge props to the writers of that show who knew exactly how to give each Titan a realistic range of emotions without deviating away from their basic personalities--it's an extremely difficult feat to accomplish, depicting characters through many different phases and arcs while keeping them consistent, and they did it flawlessly.

[i-like-media]

Hundreds of people have said it before me, but it's really so powerful Donna's first WILLING adventure with the Doctor is an insanely emotionally moving one with a very deep message that arose from her compassion (The Fires Of Pompeii)

Even if you don't know Catherine Tate is known for her wit and comedy, Donna herself is introduced as a very comical character. Her theme is comical, her actions and sass is meant to be read as comical and both Runaway Bride and Partners In Crime have a totally different narrative structure because of it. Like, both episodes having a lot of humour based around an unexpected scenario forcing both to improvise in funny and chaotic DIY ways.

When you first watch these two episodes you have no reason to believe their run together is going to be anything else! So it was such a brilliant decision to have the episode right after she joins the Doctor be one in which SHE'S pushing a moral dilemma onto the Doctor. To be all fun and games until she learns people are going to die and the Doctor plans to do nothing about it. To then also KEEP on pushing the subject DESPITE the Doctor, this alien she at this point still knows very little about, speaking about the world and time with a sense of authority like there Truly Really is nothing they could do.

The fact that the character who's introduced to us as the comic relief IMMEDIATELY turns around and tells the Doctor he's guilty of the death of a teenager and everyone around him if he refuses to help at all... That's such a powerful move.

[sassydefendorflower]

Something I don't see discussed often is the absolute genius dichotomy between dialogue and background scene during the conversation between Roy and Hughes in Ishval.

No, not that one.

I mean the one where they talk about the letter Hughes got from Garcia - one of the only "comedic" moments in all of episode 30 (and issue 15 of the manga).

Because it's horrendous.

In the anime (which unfortunately cut most of the juiciest and most fucked up stuff out of the chapters about the Ishvalen genocide) the scene begins with an establishing shot of Roy in which we see this:

Blood on the ground, covering an Ishvalen garment (and probably a body just out of frame) with a smiling Roy in front of it, since Hughes just got mail and Roy probably knows what his best friend is about to talk about. The conversation continues, the camera focused on their faces as if to make us forget just where we're at, and then, as their banter comes to a close we get this:

A wide shot of Roy and Hughes next to each other, now from the other side of the camera. Where before, we could only see their faces, alight with a rare smile, talking about the love of Hughes' life and joking around, we now see what scenery this is happening in front of. One of destruction. One of death.

Just as they ignored the dead body on the floor as they started talking about Hughes having to defend his girl back home, neither of them are really looking at Ishval in the end either. Hughes and Roy are still looking at the letter in Hughes hand - not the buildings Roy himself probably burned down only hours earlier.

It's framed a bit differently in the manga, though not by much. If anything the implications are only much darker.

(please excuse the German text, I only have the manga in German and Japanese)

But in the manga, this scene is not framed by a destroyed Ishvalen town, but by literal mountains of dead people. The speech bubbles in the left corner reference Hughes asking Roy when he'll get a girl to write home about.

I think it is very telling that Arakawa focused on the dead bodies in the foreground. I think it is incredibly clever and smart to show us Hughes and Roy only as dark shadows, as we see arms and faces stick out of the dirt.

Because as much as this moment of levity both in the manga and anime is a human one (people adapt to all kind of horrors, and most soldiers are known for a rather dark sense of humor), it is also a reminder that Hughes and Roy get to go home.

They both survive the war (even if Hughes dies later on), unlike the people over whose dead bodies they are sharing jokes.

It is a haunting imagery, but an effective one.

It's not overly aggressive, and it's easy to miss the bloody garment, especially in the anime version, but I do think it is a deliberate part of storytelling.

Because no matter how much Hughes claims he fights to survive (and i believe him, I really do), there is a difference between the Amestrians fighting and the Ishvalens they are killing.

And it's probably the fact that only one side is getting letters from back home, promising them a family and a future once they get back. Because the other side is lying dead on the floor, their blood a backdrop for two people to reminisce about humanity.

[aanews69]

Immerse yourself in the heart of Kentucky's courthouse tragedy, a tale that seems ripped from a crime novel yet unfolds in the tight-knit community of Letche...

[arianasuchi]

Midnight in Villisca Unraveling America's Most Enigmatic Villisca Axe Murders House Case

Welcome to "The Real Crime Diary," where we explore the most intriguing and high-profile criminal cases from across the Americas.

Could you imagine waking up to a world forever changed by a harrowing act of violence right in your own backyard? Our latest Real Crime Diary episode transports you to 1912 Villisca, Iowa, where the serene summer evening was shattered by the echoes of an axe's strike, claiming the lives of the Moore family and the Stillinger sisters. We'll recount the events of that chilling night, the ensuing chaos of a town gripped by fear, and the investigative blunders that allowed a killer to vanish like a ghost in the night. The echoes of the Villisca axe murders still whisper through the town's streets, and through our narrative, we honor the victims and dissect the impact of a century-old mystery that remains unsolved.

Join hands with us, the voices of Real Crime Diary, as we create a collective that captures the intrigue of the unsolved and the unspoken. Your engagement—every listen, every share, every word you contribute—breathes life into stories that risk being forgotten by time. Today, we don't just share a ghastly tale from the shadows of history; we invoke the spirit of community, knitting together a tapestry of remembrance and relentless pursuit of truth. We're united in our quest to decipher the human condition's darkest corners, and together, we keep the flame of justice and history burning for the voiceless souls of Villisca.

Don't forget to subscribe and hit the bell icon to stay updated with our latest documentaries and crime analyses. Share your thoughts and theories in the comments below, and let's unravel these mysteries together. https://youtu.be/21Qp8Zc12-Y

[itsabouttimex2]

“You need to do better.”

(This gets vitriolic, and is a full-blown criticism of Macaque’s portrayal in Season Four and Five. If criticism of a character/franchise you like upsets you, I do not recommend reading.)

Wow. I had no faith in his character writing, and I’m STILL disappointed.

And it only took one episode! How impressive!

Macaque, who has put in ZERO on-screen effort to become a better person or make amends to his victims, is criticizing Wukong for being a bad mentor! And does Wukong criticize him back? NOPE!

After getting screamed at and berated, does Wukong defend himself? NOPE!

Ooh, but there was a second long reference in a dual yelling match that mentioned that Macaque was a genuinely bad person who took glee in hurting innocent people! Oh, fucking delightful! Ooh, Wukong even points out in one episode that Macaque goes without consequences!

Pointing out a flaw in your writing does not make it less of a flaw.

Macaque will always be allowed to do whatever he wants to anyone he wants- power theft, attempted murder, insults, deceit, assault-

And the narrative and characters will never hold him accountable or force Macaque to look inwards or become a better person.

Macaque will always fall upwards into redemption without any obstacles or pushback.

There will never be a struggle to goodness with a satisfying conclusion. There will never be a moment where falters in his newfound goodness and questions going back to his old ways. There will never be explicit remorse or regret. He will never have deep introspections on his crimes and atrocities that provide a reason for him to want to change.

The sum of his “arc” will always be “you were a good guy all along”, and that lack of depth is where it will stay.

RIP Seasons 1-3 Macaque. You were fun and interesting and cool and lovable.

But the man they replaced you with was destined to be a boring and brooding “anti-hero” who has no real connection to the actions you selfishly and violently performed with your own two hands-

And you will always be a less interesting character for it.

The execution of the actual arc boils down to a single heroic (but ultimately self-serving) moment and then Macaque is immediately forgiven for all the crimes he’s committed and is a magically better person without any effort and nothing he’s done is ever brought up again.

It severely weakens any character’s arc to cut them off from their past actions. If MK forgot his traumas every season instead of carrying them forward- we’d all agree that doing so was a case of poor writing.

It was the reason that people disliked Mei’s portrayal in Season Four- she immediately moved on from the Samadhi Fire arc and “no longer wielded it” after spending a whole season gathering and learning to use it.

Why can’t we agree that it’s bad for Macaque, too?

You can’t “develop” a character by dropping an entire plotline and writing it off with one line.

You can’t “redeem” a character by pretending that they were a good person right from the start.

Sorry, bud.

I really did like you. I just wish I could like your writing.

——————

And, what is more clear to me now than ever?

People only defended Macaque’s shitty writing because they think he’s hot.

I know this now, because I’ve seen white-hot Li Jing arc hatred from fervent Macaque arc defenders.

So we all agree that an “I didn’t really mean it!” isn’t an excuse to abuse the people around you? That you don’t get to mistreat innocent people just because you’re stressed and upset?

Hmmm.

Hmmmmmmm.

I wonder why people despise Jing for his dogshit “one nice thing redeems all your bad actions” arc but love Macaque for his??

(Because they think the monkey is hot.)

The funny thing, though?

Li Jing apologizes to at least one of the victims of his actions. He expresses regret and remorse.

Macaque doesn’t even have that.

——————

Anyways here’s a line that I hate because Macaque has in no way developed enough to have the right to deliver it-

AND NO, SUDDENLY HAVING AN AFFINITY FOR PERFORMING KIND OR SACRIFICIAL ACTS IS NOT GOOD CHARACTER DEVELOPMENT

HIM MAGICALLY OFFSCREEN BECOMING A GOOD PERSON WHO CARES ABOUT INNOCENT LIFE IS NOT GOOD CHARACTER DEVELOPMENT

IF ALL IT TAKES TO “BE BETTER” IS ACTING LIKE A HERO, WUKONG IS LITERALLY A THOUSAND TIMES BETTER OF A PERSON THAN HE IS

THIS LINE IS DOGSHIT

“You need to do better.”

Really, Macaque? Maybe you should take your own damn advice- try apologizing to one of the people you tried to hurt and tried to murder in cold blood!

Like when you trapped MK under his staff after stealing his powers and tried to murder him when he was helpless?

Or when you kidnapped MK’s friends and tortured the kid by forcing him to fight them?

Or you led a violent assault against a palace full of innocent people?

Or violently beat his dear friends until they were screaming in pain?

Or assaulted Tang, who posed no threat to you?

Or threatened to murder an innocent girl if you didn’t get your way, then ran away (and encouraged MK to abandon her) first thing when it put her into a life-threatening meltdown of raw power?

(Isn’t it cool how NONE of these people have interesting or varied reactions to him doing this and ALL immediately are cool with him like a gelatinous hivemind.)

(Oooh ONE mildly questioning line from Pigsy but no anger over his adoptive son nearly being killed multiple times over)

(Isn’t it cool that no one has complex or interesting thoughts on this.)

(Isn’t it cool that by robbing them of unique feelings on the matter they robbed Macaque and the Monkie Kids of compelling and interesting interactions that could’ve helped flesh out their personalities and strengthen their characterization.)

(Isn’t it cool that Macaque and the Monkie Kids are actively denied intriguing character dynamics so Macaque’s shitty “redemption arc” can happen faster.)

(Isn’t that cool.)

Why don’t YOU do better, Macaque?

(In a way that is more satisfying than “one kind-hearted speech from a kid that I tried to murder changed my mind and now I am a better person but all my character development happened offscreen and without personal introspection”, at least.)

Also what the fuck do you mean by “do better”?

Be heroic and put your life in danger? He already does that! He’s done it more than you have!

Just tell MK that he’s not alone? YOU COULD DO THAT YOURSELF, MACAQUE!

Help MK with his traumas and fears? MK doesn’t tell anyone about those! He keeps them bottled up, lock and key, and actively refuses attempts to help!

Wukong TRIED to reach out to him, and MK PUSHED HIM AWAY! Was he supposed to tie the fucking kid down and torture the information out of him?

He respected MK’s boundaries by not pushing any further and letting him leave!!

WHY IS THAT A BAD THING??

What the fuck, man

[bisclavret]

like many who have suffered at the hands of bbc merlin before me, i recently indulged in a thought experiment in which i outlined my own version of seasons 3-5 that stay thematically and tonally in line with the show (except they're less fucking stupid). but then i quickly realized that focusing on details is pointless: all you need is to solve the one Big Problem the show has, and the rest will follow. the problem in question? ✨morgana✨

i like the first two seasons. s1 achieves what it sets out to do and has fun while doing it, and s2, while flawed, sets up a ton of potential that the following seasons unfortunately squander, beginning with the insidious season 3. you can only distract me with cute knights and goblins and fart jokes for so long before i start seeing through you, evil, evil season of television.

my hypothesis is that if the writers had crafted s3 morgana into anything more sympathetic than a violent half-alive poltergeist that can never be reasoned with because she's suddenly terminally off her rocker, everything would've fallen into place. a sympathetic morgana would've made real, valid arguments against uther (and arthur) that wouldn't just be the ramblings of a woman possessed. her betrayal of arthur would have stemmed from her feeling increasingly morally superior to him because of his complacency in the face of their father's tyranny. under morgause's guidance she would stop believing that arthur is capable of change, and the whole point would be that she might actually be right. arthur would have to actively try and prove her wrong, instead of getting praised for doing the bare minimum because the bar is on the floor.

furthermore, morgana's prophetic dream about arthur and gwen becoming king and queen and her decision to prevent this however she can is a direct parallel to merlin learning about that same prophecy and making it happen by any means necessary. merlin's desires about his and arthur's futures are subtextually fueled by gay love and devotion, so why couldn't morgana's be? why couldn't she properly express her bitterness that arthur gets to be with gwen in a way she can't "took gwen away" from her, instead of suddenly declaring that gwen is nothing more than a servant, after two seasons of demonstrating again and again that she loves, values, and respects gwen more than anyone else in that godforsaken castle?

following this, an angry and emotionally volatile but still sensible morgana asking gwen to stay by her side during the coup of the castle in the s3 finale and gwen going behind her back to help arthur and the knights would've hurt like a bitch. double-sided betrayal! gwen having a real plot! the proper beginnings of a toxic yuri that would shape a generation!

then there's the utter hubris of having morgana shoot arrows at the same civilians she worried herself sick over for 2 seasons — even morgan, her medieval counterpart that was rooted in every sexist trope in existence, doesn't just go around killing senselessly but instead has (often petty!) personal vendettas against gwen, arthur, and the knights. morgana had every right to be sick of the pretensions around chivalry in camelot (she was always quick to mock it, even in s1), and to lash out at the knights and soldiers after years of feeling powerless in a castle full of armed men that blindly followed her oppressor. the show conveniently forgets that morgana was victimized as a woman as well as a sorcerer those first 2 seasons.

but like i said, this is not just about morgana. allowing her to remain a real and multifaceted character even as she betrays everyone in pursuit of her ambitions would've given the rest of the core four more interesting conflict to work with: merlin because he would have to experience real consequences to his actions, arthur because he would watch his sister go against his father (and his knights, and his birthright) and experience some actual internal dilemmas about it, and gwen because she would be forced to choose between morgana and arthur without the pretense that it's an obvious or easy choice for her to make.

even morgause and gaius would come off more interesting as mentors: neither one inherently evil or inherently good, both jaded by events that happened before our protagonists were even born, both heavily influencing morgana and merlin into fulfilling roles that they think are appropriate, but that morgana and merlin may not have chosen for themselves had they not been under their care.

you get the gist. if the show followed its own setup, morgana's mistakes wouldn't lie in cheap and senseless acts of violence but in alienating the people she loves because she is too hurt and jaded to trust them. meanwhile, everybody else would feel guilt over "failing" her and yet they would be too caught up in their own (sometimes flawed!) beliefs of right and wrong to truly see her point of view.

arthur would convince himself it was sorcery that corrupted her. merlin would know that isn't true but he wouldn't be able to argue without confessing everything, which is the defining conflict between him and morgana and it's cheapened when she's just an evil witch caricature and merlin is framed as inherently virtuous in contrast. gwen, too, would become a more active participant in her own life by choosing arthur over morgana and choosing to rule camelot with him instead of just waiting politely to see where things go.

and, of course, uther's downfall and death would be quick, final, and completely earned — when and why did the show even decide he of all people was the sympathetic villain, anyway?

lastly, and perhaps controversially, i think morgana should've learned merlin's true identity by season 4. her being the first of the main characters to find out makes perfect sense considering their shared history and their interconnected and mirrored arcs. even the show seems to agree, considering she does find out a little before arthur. but the narrative itself tried pointing flashing neon arrows towards this way earlier — there is a whole entire episode in s4 where merlin being emrys is repeatedly spelled out for morgana and she still isn't allowed to see it. that episode makes her look like the stupidest person to ever live, which is pretty funny im not gonna lie, but also another frustrating thing in the endless string of frustrating things that make up this show.

morgana learning that merlin has magic would've transformed the source of merlin's anxiety from a crippling fear of being outed someday to the crippling fear of knowing she could out him at any moment. this would make him want to beat her to the punch (perhaps he'd consider killing her for a minute and decide against it because she isn't a cartoonishly insane evil person in my version of events) and maybe he would even feel some tentative excitement at the idea of coming clean, now that it seems inevitable. after all, he always intended to tell arthur eventually! and i think gaius would have to admit outright that he does not want merlin to tell arthur he has magic because he, gaius, simply cannot risk such a gamble. it would be so interesting to see gaius and merlin clash and disagree once it becomes obvious that it's not merlin that isn't ready for the reveal, it's gaius. delicious!

with morgana's knowledge looming, things would inevitably spiral into a magic reveal by the end of season 4. i picture this season as an absolute mess of miscommunication between everyone at camelot, which is, y'know, canon. growing increasingly cunning and vengeful, morgana would use this tension to her advantage, destabilizing the court from the outside while she creates alliances with other sorcerers outside of camelot (instead of living alone in a hovel for no reason — morgana le fay i'm sorry i'm so sorry they gave you agravaine instead of your all-female entourage oh my god).

and here's where the events would change beyond recognition (aka here's where the meta becomes the fanfic i refuse to write). picture it with me: a militia of sorcerers infiltrates camelot and arthur and gwen have to set aside their differences (assuming gwen kissing lancelot and arthur overreacting happens, which it should) for the good of the kingdom as well as for love. picture high priestess morgana in her element, side by side with a bunch of misfit sorcerers that aren't so easily vilified, chopping down camelot's soldiers and knights and assuredly making their way to the newly-minted king.

then, just as it starts to seem that all hope is lost, in swoops merlin (the actual merlin, not his old fart disguise) on dragonback (kilgharrah hates morgana so much i know his sexist ass would stoop to anything to stop her)!!! imagine merlin showing off the extent of his powers in front of everyone and preventing the sorcerers from getting any further, declaring loud and clear that camelot is protected by him, by emrys. imagine that display of power alone being enough to send everyone home.

imagine the loyalties clearly drawn: merlin on arthur's side, morgana on the sorcerers'. imagine arthur, feeling confused and betrayed by everyone at this point, banishing merlin despite everything he's done for him in the angstiest, most emotionally dysregulated scene the show had ever put to screen. imagine merlin starting season 5 free at last but very lonesome, an embittered dragonlord like his father. imagine the absolute mess camelot would become without him, even with gwen — now queen guinevere — there to pick up the slack. imagine arthur actually earning merlin back, finally growing into his role as king as he does so. imagine the reunion.

all this and more could've been not just possible but inevitable if morgana was allowed to remain a complex character that is neither inherently good nor inherently evil: it was undeniably the biased and one-note treatment of morgana's downfall by the writers that set the precedent for literally everything else that happened after merlin chose to poison her. the show wouldn't have even had to jeopardize its tone or the monster-of-the-week vibe, all it would've had to do is admit that even the "good guys" are capable of mistakes and what makes them good is the ability to feel remorse and change for the better. (as opposed to uther, who was miles beyond redemption since way before the pilot and deserved to lose everything and die alone. OBVIOUSLY???)

in a world where morgana remains multifaceted and sympathetic, mordred would get a better arc as well, so if we really wanted to, we could still end on the same tragic note that the show ended on. with so much harm inflicted onto so many innocent people by the pendragons for so long (including mordred and the many druids and sorcerers that raised him), it could realistically end up being a little too late for anything more than one shining glimpse of king arthur and the sorcerer merlin's short-lived golden age before fate catches up to them. glimpsing that reality just to immediately lose it would've been far more satisfying and far more tragic than whatever the writers thought they were doing with all that pointless carrot-dangling.

and finally, an ending in line with morgana's new and improved arc. in this version, rather than bleeding out on the forest floor alone, she would channel the morgan le fay we know from the legends: sobered up by the reality of her brother dying, she would use her high priestess status (and perhaps also her pendragon status) to be granted passage over to avalon alongside arthur on the boat — a one-way ride — just to make sure he gets there safely. this is her penance for the harm she has caused, the same way arthur's penance is to die and leave the true ruler of camelot (gwen) behind to achieve everything he was too slow and indecisive to build while he still had time.

merlin's penance, then, would be to stay behind and watch them cross over without him, waiting and waiting and waiting until they come back or until he can finally join them. which is a bit fucking harsh if i'm honest, so i'd at least make it slightly more faithful to the legends by having him return as an old man and letting him take a long nap under a tree by the shore, his body slowly enveloped by vines like the cobwebbed fisher king in 3x08, never fully sure if he's dreaming or if there really are strange shapes fading in and out of the fog over the lake. still tragic, but nevertheless a little more open-ended and whimsical than [TRUCK NOISES] THE END!

[shyjusticewarrior]

Jason never let this go lol