#does this even qualify as meta

[electricabsolution]

twin mirror selves of seeing: an essay (?) about sharkboy and lavagirl

this has been taking up a lot of valuable space in my brain for at least 3 years so im writing it down. no i dont remember most of this movie but ive decided im qualified to talk about it anyway.

everyone knows Sharkboy and Lavagirl. come on. right? George Lopez and that guy from twilight? the CGI is fucking abysmal but it was everything to 10 year old me. rivaled perhaps only by spy kids. i have many thoughts about it.

LONG POST. YOU HAVE BEEN WARNED.

[the title is from the poem If Man Is Dead, Then God Is Slain by Ray Bradbury.]

i don’t really feel like summarizing the movie because i’m not focused on the plot. the gist of it is, max dreams up shit and it comes to life. he makes a cool planet just for kids, but oh no! his class bully Linus fucks it all up and he has to travel to planet drool and make it all better.

this isnt an essay really. more of a collection of thoughts because? ??? what the actual fuck is this movie. moving on.

max as the author ≠ max as the god

ok, max is a lonely and aimless kid. to him, real life is the Adult's World. hes out of place, so in his dreams (and daydreams) he makes up friends. friends with superpowers. normal kid stuff. they live on planet drool, basically a paradise for kids. but when dreams become reality, so do all of its flaws. because a god can only create in it's own image, sharkboy and lavagirl are equally as purposeless as max is. sharkboy grieves his dad and lavagirl longs to be around people without scalding them. They both feel uniquely isolated (which they are. main character syndrome) and take it out on max because he caused these problems by making them exist.

this concept is par for the course regarding the morality of authorship. to create a story is to have your characters suffer; little playthings with no say. naturally, sharkboy and lavagirl don’t like this. but i doubt this even occurred to max before they brought it up, considering he didn’t actually create them to Exist in a narrative. more on this later.

on the topic of gods, the biblical themes in this movie are pretty heavy handed, honestly. what with max's bible - the dream journal - and his very own adam and eve in the form of cool older kids with shark and lava powers which are like definitively two of the sickest things for a preteen. his Eden is corrupted, though (as Edens are wont to do), and therein lies the beginning of the story. the line between creator and author begins to blur.

the dream journal

The dream journal is the wellspring. its easily the most important part of the movie to me. its the fount of Max's power.... for a time. everything he's dreamed has been recorded in the bible. There's one scene where Max reads aloud that he once dreamed that Lavagirl had a motorcycle, and instantly it comes into being. But... didn't it exist before he read it? He wrote it down, didn't he? This scene shows us just how godlike Max really is - he needs to be believed in. At least here, interacting with his creations, ideas just existing in his head are functionally useless. Well, more specifically, existing to a singular being rather than many. the act of reading the journal to Lavagirl* is what causes the words to exist, a conjoining of consciousness i guess.

In this case, we have to assume nothing in his dream journal exists without a second party to believe in it. which makes sense.

but then they lament that max forgot to write down a full gas tank... and the bike becomes useless. Lavagirl accidentally takes the dream journal, and destroys it. (de-storys it, to borrow the phrase from that one tumblr post.) this is to show that his control of the universe comes from the writing, i guess? the act of putting to page is the power, and the next act of speaking the words makes the power real. this is why it's interesting to me that the movie itself opens on a monologue about sharkboy and lavagirl themselves. Max is reading from his journal to us, the fourth wall*, thus the characters come into being because we believe it.

max as the child

yes, he is the Dreamer or whatever the fuck and created a whole planet, but it was only because he felt so alone. he is still a kid. behind the dream journal, he just wanted friends. people who saw him. It's clear from the beginning of the movie he was bullied and we didn't see any friends to speak of. and his parents, well. your average fraught relationship. There isn't much to talk about regarding their scenes except (!) how they're portrayed on planet drool.

in the land of milk and cookies, literally a childish, comforting place, his parents, two giants, roam the area. their size indicates how max feels: small and hardly noticeable. but this is Max's dream world. exactly what he wants. his parents are madly in love and perfectly content. counter this to real life, where they don't notice max because they're too busy arguing. here, they're too lovey-dovey. but even in his garden of eden, he's still not... a part of their life. he's just too small. i dont even think max has conceptualized this because its so normal to him - and probably the way a lot of kids feel in real life, like being detached from the unified front of their parents. its actually really sad to think about, poor kid :c

linus as the author; max as the god

so it turns out that the corruption spreading through planet drool is due to the influence of linus graffitiing the dream journal.

so i mentioned previously that max's dreams don't exist until there's someone to believe. once that motorbike scene happens, it recontextualizes a fair bit of the story. so… when, exactly, did planet drool come into being? was it just out there somewhere in space ever since max had the first inkling? i doubt it.

i believe that it was Linus who really created planet drool. he stole the journal. thus, by reading, it came into being. in-universe and in, um… our universe. real life i mean. he's an active, hostile audience as opposed to the viewer who is utterly passive. he defaced what was a private sanctuary of one person’s mind both literally (editing the story) and figuratively (creating conflict creates narrative. it isn’t private anymore. it’s worthy of an audience, now.)

by doing this, though, it's Linus who gives the power to max. he’s the reason Sharkboy and Lavagirl come down to get him. like, he believes in max and his stories just to be a hater about it. respect??

i’m unsure what to make of linus having powers too, though. maybe it’s the fact that he wrote in the dream journal and even though he messed it all up, believers (i.e sharkboy and lavagirl, plus linus to some extent.*) can’t pick and choose what to believe in. it’s all or nothing. or maybe it’s supposed to be a kid thing, like anyone can make their dreams real but you grow out of it as you become a boring adult. that was probably the message.

anyway, all this is to say that if max is the Dreamer, this makes linus the Actor. the Enactor. (the subtractor. because… minus. get it?? ok sorry.) to return to the title quote (which is more explicitly applicable to sharkboy and lavagirl, but i digress), linus and max are mirrors of seeing. seeing=reading=existing. max creates the world, linus makes it real. yes, there is a difference.

i don’t think planet drool ever existed in its perfect state because it didn’t need to. any memories of it were created by the narrative, the bible / the journal, to give our protagonists a goal to work towards. getting the planet back to ‘how it used to be’ is easy for them to understand because there’s a clear divide between how max writes in the journal and how linus does. erasing his scripture is to erase all problems, and fade back into irrelevance (for all but max). the author-slash-editor has been defeated and the characters can go back to existing in the utopia of Max's mind. there might be a discussion to be had regarding the purity of non-existence, and once it becomes real it’s tainted. hmm.

*[all this talk of gods and authors and i've neglected to discuss the believers. its a bit scattered, theres the max–SB+LG relationship, max+linus–viewer relationship (which parallel each other), and the max-linus relationship. not very important, just notable. I just wanted to asterisk certain places because I wonder if those people are just extensions of the viewer at that point in time. the first time he ever reads the journal, it's to us. so, maybe, when i said the motorbike became real because he read it to lavagirl, it was still just us? maybe im just being overly literal. i mean of course it's us.]

not sure what all this means in the end, though. from this perspective, the author (linus) and the god (max) are evil and good respectively despite doing basically the same thing. but i guess it's the intent that's important - max, the god, had innocent intentions. he wanted his planet and Sharkboy and Lavagirl to be happy, it's just that by creating them at all he imparted his anxieties onto them. Linus, the author, had ill intent, creating secondary problems on purpose. the desire to share ideas, to have it exist in many minds, is what seems to be the issue.

they grapple for ownership over the universe but of course Linus can't win, he merely wants it. Max needs it. Max is it.

And which is God, which Human, God now must truly say: We fly much like each other, We walk a common clay. I dreamed Man into being, He dreams me now to stay - Twin mirror selves of seeing, We live Forever's Day.

[musclesandhammering]

Can someone explain mcu nexus beings to me?

Like my understanding of it was that they were beings that weren’t supposed to exist- these powerful anomalies that only exist in one timeline and are absent from all the others- which allows them to sort of transcend past their specific universe.

This was confirmed with America Chavez- she said she knew there was no other version of her in any other universe because she checked. And then it was confirmed again with Wanda- yes there are Wanda Maximoffs in every universe but there is only one Scarlet Witch (our Wanda), so SW is the nexus being, not Wanda herself.

But all of that gets thrown off with Kang. He’s definitely supposed to be a nexus being, and yet there are infinite variants of him (one from every timeline), so like… what?? I’m confused. Did he only become a nexus being once he defeated all the other Kangs or…? So that would mean all the Kangs aren’t nexus beings, only He Who Remains is? Yeah idk.

[martinsharmony]

Metas that make sense

Oh My Goodness

[procedurebybyte]

the other problem is i keep getting too meta. we’ve been told repeatedly that the mystery works under specific rules and there’s like one author comment or something i remember where they said like Well It Should Be Solvable Based On What I Wrote so like it is almost definitely not my fringe theory sadly enough

[huginsmemory]

Ideology of Exceptionalism and Gravity Falls; meta and character analysis

I had a whole ago read a post by @icanlife that had a quote by Alex Hirsch on Ford's greatest flaw, and wanted to explore what the flaw is, which is the ideology of exceptionalism; in the exploration, I’ll touch on what it is and how it is used in abusive relationships and cults, as well as how it drives multiple Gravity Falls characters and consequently how it impacts relationships between these characters, and how the show ultimately refutes exceptionalism.

Quick note here; I am not in any way, shape or form a psychologist nor have any formal training in psychology; this is written from my own experiences with this ideology and my own forays into psychology and trauma-informed learning. It is also written with a loose understanding that is likely not broad enough to cover all references to cults, extremist groups and abusive relationships. 

The Ideology of Exceptionalism 

First of all, we have to get through a drier bit, which is… what is the ideology of exceptionalism and how does it arise? Might be fairly obvious, but it is the belief that you are, or belong to, a group of exceptional people, thus more important and worth more than anyone else; ie, those who don't qualify as 'exceptional'. It is often a subconsciously learned ideology. Now, what qualifies one as exceptional can be extremely varied; generally it revolves around something that provides some form of privilege. Thus, it might be, as the main exceptionalist idea in Gravity Falls, 'intelligence', or power, or it can be such things as attractiveness, quantity of money one has, species, nationality, or skin colour and ancestral heritage. The ideology of exceptionalism, being by nature hierarchical, devalues, and at its worst, openly and violently dehumanizes those who do not qualify as exceptional. 

For why exceptionalism occurs is an extremely broad topic, but I've personally found that, for exceptionalism revolving around intelligence, it's a result of a poor sense of self-worth, and having one's self-worth tied to what makes one exceptional. Poor self-worth itself (again, broadly) is a result of childhood trauma from a lack of positive affirmation and unfulfillment of the emotional needs of the child. Meanwhile, self-worth becoming tied to the quality of exceptionalism generally is a result of when positive affirmation was pretty much solely provided around their 'exceptionalism', especially when provided derogatory commentary, or a blatant example of how they would be treated if they aren't 'exceptional'. As a result of the general lack of affirmation, self-worth then becomes often solely reliant on the qualities of exceptionalism, as that is the only way for the child (and later, adult) to get affirmation of their worth, as well as out of fear of being ‘not worth anything’ like the examples of ‘non-exceptional’ people they have been given. 

This is especially likely to occur when the child is a social outcast; the adoption of the hierarchical ideology of exceptionalism, and the devaluation/dehumanization of others often occurs subconsciously as an avoidance/minimization tactic from pain. This is to say, the child, and later the adult (if healthy self-worth is not established) goes 'it doesn't matter what the non-exceptional people say or if they accept me since I matter more than them because of my exceptionality'. It can even be taken further, that being shunned is part of one's exceptionalism, and becomes part of the qualifier of being exceptional. For instance, 'they just can't understand because they aren't exceptional and that's just a part of being exceptional'. This idea also neatly tailors into the part of the concept of being better then others means you are separate from others; this can be taken that someone who is special, needs to be alone to be truly special.

Obviously, exceptionalism is not a healthy coping mechanism for poor self-worth, as often such people constantly feel the need to prove and show off their exceptionalism to gain that affirmation and avoid rejection, which is stressful. As well, it often negatively impacts their relationships with other people as a result of the arrogance of believing that they are better than most others, or even deliberate sabotage due to their arrogance. This occurs as they flatten the complexity of human experience to black-and-white hierarchical categories of exceptional/not-exceptional through constant judgement of those they meet, and often refuse to engage with people who don't belong to their 'exceptionality', or even people they simply don't like, even if they technically qualify. Generally, those that they do like or have close relationships with, often due to being similar, are automatically labelled as 'exceptional'. Those judged as ‘exceptional’ also become privy to the open judgements of ‘non-exceptional’ others, out of a subconscious belief by the exceptionalist that the other believes similarly; something that may strain their relationship if the other doesn’t ascribe to exceptionalism. This all culminates in the exceptionalist being blind or even adverse to the diversity of experiences, which makes it difficult to create relationships and community outside of echo chambers of their own beliefs (if they can even find this), and subsequently, these people are often isolated and have very few to no close relationships with people. 

However, all humans require connections with other people, relationships where one can rely on others emotionally and physically if needed and feel accepted; they also require to feel like they are worth something, that their life has meaning. Lacking meaningful connections and having a crippled sense of self-worth, a deep yearning hole is left in these people. Exceptionalism, especially as it is a narrative constantly pushed by Western society as it validates hierarchies, is then employed as a (often subconscious) trauma response to assuage this yearning hole, with arrogance and denial. And depending on the circumstances, it can be a very strong and definitive trauma response for people.

This isolation and lack of self-worth is catnip to abusive relationships, including cults and extremist groups. These types of relationships often heavily rely on isolating their victims or pulling them into echo chambers of solely the abuser’s rhetoric, to redefine what is healthy through gaslighting; as the exceptionalists are already isolated, this makes them extremely susceptible. They also often provide these people affirmation, and in these cases especially about their exceptionalism, thus confirming their self-worth, their 'specialness', while also providing them the connection they have been lacking, either through the cult community or through the abuser’s own presence. These emotional needs, which haven’t been met in a long time, if ever, begin to be fulfilled; something that abusive relationships and cults hinge on, rather than any form of logic.

Ideology of Exceptionalism and Gravity Falls

The main characters within Gravity Falls which are heavily ascribed to exceptionalism would be both Ford and Bill; this characterization deeply impacts the story and their relationships with others (technically the Northwest are another case regarding wealth, but less directly impact the storyline and thus tangential; Gideon also is an example, but as a mirror of Bill). With each of these characters I’ll go into detail within their sections on the way they began to ascribe to exceptionalism, and how it plays out later in their relationships; I will first begin with Ford, then move to Bill. Then, to cap it off, I’ll go into the characterization of Stan and the way Gravity Falls refutes exceptionalism. 

Ford and Exceptionalism

Firstly, the quote from Alex Hirsch that kicked this whole baby off, as mentioned previously; 

“Ford sees Dipper as someone who’s special like himself. That’s Ford’s great flaw, his arrogance is he believes that there’s special people, and everyone else. That human attachments are actually weaknesses. And the song and dance that he’s giving Dipper right now, is the song and dance that he gave McGucket, back when they were younger… ‘You and me are different, we’re better than everyone else. We have a path that no one else can understand, and only us can do this.’ It’s a very seductive idea for Dipper… Dipper is a smart kid, but Ford’s projecting. Ford loves Dipper because he sees someone who’ll tell him ‘yes’ to everything. Who’ll never challenge him, who’ll do a really insane dangerous mission.”

Very blatantly Alex Hirsch calls Ford out on his arrogance in the belief that he is special, in his belief in the 'lone hero' complex, in his belief in exceptionalism. And really, it should be no surprise that Ford does so, considering the way he's depicted as a social outcast as a child (other than Stan), and the way his parents have been clearly shown to be not particularly emotionally supportive (“I’m not impressed”); they don't provide positive affirmation except for his intelligence (mostly due to the possibility of money making through it…), while also actively comparing him to Stan who is derogatorily ‘not-exceptional’, and ‘worth less’. This all sets Ford’s self-worth up to be fragile, and other than Stan who wholeheartedly accepts him, he is isolated and invalidated; plus, the only other validation he receives is around his intelligence. All very classically fitting the profile for exceptionalism.

Image id: Stand and Ford when they were children, both clearly enjoying each other's company.

Ford’s belief in his exceptionalism catalyzes after the shattering of his and Stan’s relationship. Previously the twins are shown to do everything together, having a very close caring relationship; something unlikely if Ford thought he was better than Stan. Also, when Ford is talked to about his opportunities, Ford looks uncomfortable at the way they talk about Stan as inferior, compared to how he himself is being praised; but in the offer he’s simultaneously finally being validated, he’s being told he’s someone worth something, and he’s going to be someone worth something after this. And then the science fair incident occurs, and Ford loses that validation from his parents, from the judges and a future of more validation; after being promised validation and acceptance, it slips through his fingers. And in his anger of being denied that, it becomes easy to begin to slip subconsciously into the rhetoric the others have been feeding him; that he’s exceptional, that Stan isn’t, and he deserved to be recognized for his worth. So he breaks the relationship with the only person who accepted and validated him for who he is. With that loss of previous support, Ford becomes then deeply obsessed with proving his exceptionalism to the world to assuage that fragile self-worth, to become accepted, or even better, revered, confirming that he is someone of worth, someone special, like he was promised. 

Ford’s obsession also doubly functions as a way to alleviate his guilt over shattering their relationship; if he’s exceptional as he believes, then he’s within the right to respond the way he did, as he’s worth more than Stan, he's better off alone, and he has a right to be angry over being denied that validation. As well, in much the same way as it is used as a way to alleviate his guilt over the end of their relationship, it is also likely used in a way to minimize the pain of being ostracized (although not directly depicted); afterall, Ford’s keenly aware and insecure about his social ineptitude and his six fingers as things that make him different from other people, case in point with his experience visiting Lazy Susans Diner. Thus it wouldn’t be unsurprising if he uses the idea of being worth more than those who ostracize him to imply it ‘doesn’t matter’ what they think. His ostracization by nature keeps him from generally forming close relationships, with the exception of Fiddleford (who much like him, is socially outcast, and intelligent) during his university days. As a result, he's isolated and acutely lonely, having lost Stan.

Image id: One of the missing Journal 3 pages in TBOB, detailing Ford's botched social interaction in Lazy Susans Diner. In the background is the print of his six-fingered hand.

In his obsession over being acknowledged, Ford, like many others who believe in exceptionalism, identifies strongly with the causes of his ostracization (his intelligence, his six-fingeredness) as part of, or wholly, makes him exceptional. It is obvious through his choice of study; with the grant he has been gifted, he chooses to revolve his work around the weird, the outcast, something that you see Ford gravitate towards being an outcast and deemed 'weird' himself (which in Journal 3 he openly talks about). Something that can be, much like him, framed as 'exceptional'. His work is even recorded in a journal that Ford deliberately chooses to put his six-fingered hand on the cover of. Intertwined with the way it becomes adopted into the idea of exceptionalism, is the keen loneliness from his ostracization and a deep desire to be accepted and a wish to find a community of other weird people.

Image id: Two pages from journal 3, labelled 'Myself', in which Ford is open about being weird, and a social outcast, while also noting his ambitions and that 'Gravity Falls, [is] the place that I fit in.'

Ford and Bill

All of this culminates in Ford becoming an incredibly easy target to manipulate by Bill. He’s desperate to be acknowledged (and thus accepted) by an authority figure so that his belief in exceptionalism is justified and his self-worth confirmed. And he knows he’s intelligent, that he's exceptional because people have told him so, but he just needs to prove it with something that shakes the world. And the grant is finally his second chance after the fair, but he's stuck, and the research is going nowhere, and he's in a town where he doesn't really know anyone and he’s so terribly lonely. And sure, he clings to his exceptionalism but if he can't even prove it then is he really exceptional? Is he even worth anything like he thought he was? And what about what he's left behind, rejected, because of his exceptionalism?

And THEN he finds an incantation and he ignores the warnings because maybe, just maybe, this will be his break to get that acceptance/validation he has been chasing his whole life? 

And then it's better than that. 

A god, essentially, shows himself to him, an ultimate figure of authority. And he tells him that yes, he is special, he’s worth more than other people, and Bill’s only showing himself to Ford because he is so much more intelligent than anyone else. Ford is suddenly getting his exceptionalism confirmed by a god of ancient knowledge, an immensely intelligent interdimensional being, and he’s also showering him with affirmations, specifically affirmations around what Ford's fragile self-worth is based on. And even better, he's delighted by Ford's six-fingeredness; he's not put off at all, it even becomes his main nickname for Ford, just like it used to be for Stan all those years ago. On top of it all, Ford's own social ineptitude doesn't phase Bill, another thing Ford is self-conscious about; Bill's own social ineptitude as he's not human probably makes Ford feel comfortable, knowing that's not expected from him.

Through Bill, not only does Ford find someone who validates his self-worth through intelligence and even confirms to him that his weirdness is part and parcel of making him special, he also finds someone who he regularly (generally) is in contact with, who enjoys talking to him and even banters with him familiarly. Hell, Bill even deliberately goes out of his way (literally possessing a whole wack ton of rats, then dream karaoke) to celebrate his birthday with him; how long do you think Ford has simply skipped his birthday since he had no one to really celebrate it with? The loneliness, beneath his arrogance and belief in exceptionalism, is being fulfilled; for the first time since Ford was a teenager, he's fully accepted by someone, social awkwardness, six fingers, exceptionalism and all. 

Image id: One of the lost pages from Journal 3 in TBOB, the 'one thing led to another' page, with Bill and Ford singing karaoke and drinking together, both clearly enjoying themselves; Bill has an arm slung around Ford's shoulders.

So it's really no surprise at all that Ford fell for this, hook line and sinker. Hell, if I was in Ford's shoes I would fall for it just as hard. And I've seen a few posts floating around talking about how Bill is bad at manipulating, and no, he's not. He was able to pinpoint exactly what Ford wanted and needed, and provided that, was charismatic enough to provide that. Again, manipulation isn't about logic. It really isn't; it's about the emotional core in people, what people lack and what you can give them to slowly reel them in to sing your dance and song. And people will ignore vast swaths of red flags when you're finally being accepted, when you're finally getting your emotional needs met at least in some way or form. It's better than not having them met at all, such as previously. So Ford worshipping Bill is really not a surprise, especially as Bill deliberately stoked it.

All of this is part of why you see Alex Hirsch call Ford's belief in his exceptionalism his greatest flaw; because it allowed him to be very easily manipulated by Bill, and by its nature kept Ford isolated from others, evident by his arrogance in assuming he knows best and refusing to see other people who aren't as 'intelligent/weird' as him as worth getting to know, listen too and even reach out to ask help from, it's him believing he has to be the lone hero as someone whose 'special'. It's something that blinds him to the danger of his work around the weirdness of gravity falls because he’s desperate to seek a place where he and his weirdness belong, and it's something that plays out in each and every relationship he has because it's something he clings to so deeply. It's what cost him his relationship with Stan, who previously accepted him completely, and, as he's disinclined to form new relationships and as Bill actively strokes his paranoia (Trust No One…), ultimately further increases the hold Bill has over him. It's only Fiddleford’s presence as he works with Ford that allows him some form of outside reference and reprieve from solely Bill’s influence, something that Bill resents deeply and is clearly jealous and angry about, even if Fiddleford is helping create the portal. And it's ultimately Fiddleford, once he was aware enough of what was happening, calls Ford out on it, seriously jeopardizing Bill's influence over Ford; but Ford is too invested in the portal, in chasing his own ambition and caught up in Bill’s manipulation to take him seriously, until the incident with the trial, and Ford beginning to hear other voices then Bill.

Ford’s Exceptionalism and Wider Relationships

Now back to how it plays out in all Ford's relationships; we've already gone over it with Bill's influence, because it made him extremely easy to manipulate, and with his disregard of Stan in favor of validation of his exceptionalism. But Ford, as pointed out by Alex Hirsch, also exerts the ideology's seductive rhetoric to both Fiddleford and Dipper (who look up to Ford) in a similar way that Bill does with him (although there is a difference of it being used intentionally and maliciously, compared to subconsciously and earnestly, even if it is problematic). Ford, with his black-and-white view of exceptionalism, sees both Fiddleford and Dipper as people who are like him; 'exceptional', and so he treats them as such, and uses this rhetoric to coerce them into helping him.

For Fiddleford, the lure is how he can change the world, how he can be finally acknowledged if he helps Ford with the portal. And it works well; he willingly chooses to leave his own work and his wife and young son, to work with Ford. Much like Ford, Fiddleford himself is also a social outcast and regularly presumed less smart than he is, and he’s got a chip on his shoulder to prove himself, to gain acknowledgement and recognition from the world at large. Although Fiddleford has a family which presumes he’s not entirely lonely like Ford is, he also clearly has deep feelings for Ford, some which are hinted to be more than just ‘friendly’ feelings; it is likely the combination of the lure of validation and spending time with Ford, a kindred spirit that accepts him and an old friend/crush, that causes him to agree (afterall, it was Ford who made Fiddleford feel accepted and choose to stay at Backupsmore). And Fiddleford’s not even considered a partner, but rather an assistant to Ford due to Ford's arrogance, and he still drops everything to go! It’s more about their relationship and connection rather than validation, but that doesn’t stop Ford from espousing exceptionalism. And this is a distinguishing difference, because although Fiddleford would like recognition, he’s not there solely because of it; he’s not a believer in exceptionalism nor arrogant about his skills, and so, unlike Ford who is blinded by his obsession, he’s much more aware of the dangers of the weirdness of Gravity Falls. Thus, he's actively calculating the risks involved, and when he realizes there could be potentially devastating consequences of the portal, he attempts to talk Ford out of it; this fails due to Ford’s own denial and obsession over the portal. In the end, it all goes terribly sideways, and Fiddleford ends up losing everything he had; his wife, his son, his friend, his memories and himself to the trauma he had experienced at the invitation of his friend with the lure of validation and company, due to the memory gun he had created himself. 

As for Dipper, much like Ford, he also has issues with self-worth (many of the episodes deal with Dipper finding self-worth; ie, the manotaur episode), has a physical oddity (his birthmark) and by far the trait he relies on most for worth is his intelligence (for example, in one episode he rubs it into Mabel's face over and over again in beating her in games). He's also extremely desperate to be recognized by authority figures as someone intelligent, case in point when he summons the dead after being made fun of by the government agents to try and show them that the information he's gathered is important after Stan dismisses his knowledge. This desperation to be seen as someone of worth from Dipper, much like Ford, extends to the need to be a hero, something he even says at the end of the zombie episode; yet, due to Mabel, unlike Ford he's not a lone hero, and Mabel also half the time acts as the hero.

Image id: Zombies crawling out of a crack after Dipper summons them; Dipper and the two agents look on in horror.

It all culminates in Dipper hero-worshipping Ford when he returns; really, no different than Ford worshipping Bill. And Ford clearly finds it extremely flattering; Dipper's attention and amazement of him feeds his exceptionalism. Exactly how Ford responded to Bill, Dipper is willing to do anything for Ford, excited too, in an attempt to impress Ford and be validated and accepted. And for Ford, that's an extremely heady feeling, especially as someone who has been constantly alone the last 30 years, especially when he had one previously confirm his exceptionalism all those years ago and stopped, and now someone is once again affirming that idea. And Ford doesn't have to be alone again, because he's found a kindred spirit in Dipper as his assistant, someone ‘just’ like him, someone who is exceptional. Because he sees himself in Dipper, he begins to espouse exceptionalism unconsciously, by praising Dipper's own intellect and adventurous spirit, assuaging his feeling of self-worth, while also telling him he's more important or better than others because of it. 

And it's seductive to Dipper, because he wants to hear those affirmations of his self-worth, especially as he hero-worships him, but Dipper isn't sold on it, because it means leaving Mabel behind, it means believing that he's worth more than Mabel (and also, Stan, and all his friends he’s made in Gravity Falls). It's ultimately because of his relationship with Mabel that he rejects the ideology; he's not isolated the way Ford was with Bill, and he's not willing to break that relationship for that acknowledgement, because his relationships matter more to him.

Bill and Exceptionalism

Now of course, that's only on the Pines; what about Bill? 

While it's obvious that Bill uses exceptionalism as a main manipulative tactic, it's not just an ideology he sprouts emptily; it's also an ideology he believes in, just like Ford, although it's less based on intellectual exceptionalism, and more on power and 'weirdness'. 

This most distinctly can be seen in Bill's denial about what happened to his home dimension; Bill's belief in his exceptionalism occurs as a pain avoidance tactic from killing his whole dimension. Bill was clearly a social outcast within his dimension due to being able to see 3d; he's not accepted, and not trusted, to the point that there is medical intervention to make him blind. That's a deeply traumatic experience that completely erases one sense of self-worth, where one’s sanity is called into question by your parents on something that is not harmful, that's beautiful and you just want to share with them. It's a deep and clear rejection of who Bill is, and his ability. As a result, out of a desperate bid to be understood and accepted, he ends up trying to show them the stars. And it ends up killing everyone. 

Image id: Page of TBOB, on 'The Early Years' which notes that Bill was an oddity for seeing 3d, something that was illegal to speak about. Bill frames it as something that made him 'special' and better than all the others.

Traumatized, and originally rejected by the dimension, he instead weaves an excuse of exceptionalism; that it doesn't matter what he did to them because he's exceptional and he's worth more than all of them because he can see 3d, because he's powerful, so he shouldn't/'doesn't' feel any remorse about it. With such a traumatic result of trying to be accepted by people, he rejects the idea of trying to be accepted for who he really is; instead adopting a facade of a monster that he believes he is (and eventually, becomes).

Even if he clings to the delusion of exceptionalism, and shuns attempts to find true acceptance, he still wants it; and that's where his henchmaniacs fit in, as they're all, as Bill's noted when trying desperately to get Ford to join him, weird; each has something 'wrong' with them, which is why Bill accepted them as his lackeys (although it's not like we know the context around these). It's a surface-level acceptance however, one more predicated on fear than emotional acceptance. He's taken his 'weirdness', much like many do who believe in exceptionalism,as ‘part of what makes him exceptional'.

In the same way that Ford wants to show the world that he's smart and intelligent by building the portal, Bill does so by wreaking havoc and taking over existences as a way to show the world that he's powerful, that he's someone to be reckoned with, that he's not someone to be ignored because he's someone who's worth more than others. If you can't be loved and accepted, then being hated and feared is better than being ignored; acknowledgement at least approaches acceptance, it's validation of some sort of worth. It also functions as deliberate self-sabotage of his morals, by proving that he is the monster that killed his entire dimension; if that's what he is, then that's who he's going to be, because if he wasn’t, then he has to come face to face with his remorse over what he did to his dimension and his whole house of cards around his exceptionalism and not caring collapses. So instead he keeps feeding the delusions the denial, and lies and lies and lies and keeps lying to ignore all of it, to wrap himself in this shroud of exceptionalism and brutality as a way to function. And it somewhat works, because he's mostly deluded himself about it all, even if subconsciously he knows. 

And of course, this display of Bill's exceptionalism is what brings Bill to earth, to Gravity Falls, and to manipulating humans. In meddling with earth and humanity, beyond Bill's goal of taking over earth and fleeing his own unravelling dimension, he also enjoys reaping the benefits of being worshiped by humans, who find him awe-inspiring. Their amazement of who he is, and Bill's own posturing and manipulation of people leads to Bill literally forming cults (ie ciphertology) or having apprentices that worship/find him (to varying degree) inspiring; all reinforcing his feelings of exceptionalism. 

Of course, Ford numbers among these people; he praises Bill and worships him, as he's played like a fiddle by Bill, because his self-worth and belief in exceptionalism is fucked up in a way that perfectly resonates with Bill’s. Because it's the exact same types of issues around self-worth, around being an outcast, being weird and wrong physically, and yet at the same time gifted. And Ford clearly is incredibly lonely and yearning for acceptance, but so is Bill; since the beginning he's been trying to find someone who would accept him, even if he's given up on it. And for his song and dance to entice Ford in, he pretends he's not crushed dimensions for fun, that he's not a 'monster'; a version of him he buried after he had tried to show his parents the stars, one that he occasionally resurrects and puppets around for manipulation (all lies are better when they have a grain of truth). And this version of him is worshipped, but above all is accepted, is loved by Ford. The softer parts of Bill, even if they are still weird as fuck, the parts that were never far beneath the surface for all his deluding, become loved by Ford. Much as Ford becomes hooked on Bill’s praise, Bill also becomes hooked on Ford's genuine love and care. It becomes personal, unlike any previous ‘inspirations’ and Bill over time gets to the point that he feels accepted, safe enough with Ford to share about his dimension much more close to the truth then he did with any of his henchmaniacs. He becomes vulnerable with Ford, in response to Ford’s own vulnerability with him. He’s finding acceptance for the first time in his life around the softer parts of himself, not just the feared acknowledgement that comes from his dimensions conquering; much like Ford is finally finding companionship and acceptance with Bill, not just only intellectual validation. Bill's also for once, not just self-serving; he cares, and goes out of his way to take time with Ford, even celebrating Ford's birthday (in the unique way he does things), both with the rats and the karaoke.

Image id: One of the lost Journal 3 pages in TBOB. Ford recounts Bill talking about the destruction of his dimension, and calls himself by implication a monster.

They're both fulfilling each other's emotional needs, needs which both of them have struggled with most, if not all of their lives (although their relationship is certainly not healthy, considering it's codependent as fuck, riddled with exceptionalism and oodles of power imbalance issues). And suddenly, against Bill's plans, Ford's no longer just a disposable pawn, but someone Bill wants as part of his team, someone by his side, closer than his henchmaniacs are. He's unwittingly fallen for Ford, and so when everything goes sideways in his plan, and Ford swears it off, suddenly cutting off their relationship and that acceptance Bill had finally felt, he spirals into grief and anger from the rejection. As a result, he becomes extremely abusive to Ford in desperate attempts to continue their relationship, and ultimately he becomes obsessive over Ford joining him again as Ford continues to refuse, as evidenced by both Weirdmageddon and the Book of Bill.

Stanley Pines, and the Refuting of Exceptionalism 

Exceptionalism, being a negative driving factor behind many core character dynamics, is ultimately refuted by the show. This occurs multiple times over the show, such as with Mabel in the Pioneer Day episode, especially compared to Pacifica, but mostly through Stan's characterization. Stan is someone who has been since the beginning characterized (if lovingly so) as someone who is a failure by societal standards; he’s an older man running a run-down tacky tourist shop to swindle gullible tourists out of their money, has multiple divorces, has an ongoing feud with a literal 12 year old, clearly has had multiple mishaps with the law (some ongoing), is generally pretty self-serving and is extremely lonely and really had no close relationships until Mabel and Dipper showed up. He's not exceptional; he's not even what we would consider 'decent' enough to have a 'typical, hard working job’. In short, he’s a failure, a stark difference to the idea of 'exceptionalism' that characterizes Ford. If he's gifted in any area, it would be charisma (debatedly), not anything else.

But it's still Stan who rebuilds the portal from literally only one journal (not all three!) and gets it to work. It even seems like he only needs some codes from the other two journals when he does get them, suggesting that he was able to extrapolate from what was left and the first journal’s blueprints to fix it entirely, something that is extremely difficult and technically complicated (Ford, Bill and Fiddleford all worked on it together!). Stan's able to do it, even if it's been shown he's not 'naturally' gifted in that area. And it's something he does as a result of his deep care for Ford; because even after their fights, he cares about Ford and wants to right his wrongs, believes he should, because of his whole life of being defined as a failure and even worse than that, screwing up his ‘exceptional’ brother’s life. And he’ll do it even if that means learning how to build an interdimensional portal, even if it takes up thirty years of his life doing so, and he doesn't waver. Much of this is connected to his own complexes around being deemed a failure compared to Ford, having failed to succeed in his life, and how he feels that he needs to atone for screwing up Ford’s life, now for the second time; but beneath it all, he also cares. Much like Ford, he's extremely lonely, but he's not blinded by Ford's arrogance, and as a result he wants to make sure Ford's safe, because that's what he used to do, they’re twins, they grew up together, they once they had fully accepted and cared for each other, and dammit that still means something, and Stan hasn't found that depth of emotional connection since. So if possible, he wants to rekindle that closeness they had, but first, he needs to bring Ford back. 

And in the end, it's not Ford's own special gun he built using his intelligence that 'kills' Bill. It's Stan, someone who Ford had long ago broke it off with in search of validation of his exceptionalism, someone who both Ford and Bill labelled as 'not-exceptional', who defeats Bill. It's exceptionalism's devaluation of people who are 'not-exceptional' that causes Bill to underestimate the Pines beyond Ford, and it's only when Ford put aside his exceptionalism and his refusal to accept and trust 'non-exceptional' people, that is, trust Stan once more, that causes Bill to end up defeated by Stan.

In the end, it's not about who's 'smarter'; it's a reminder that everyone has different skills and are better at different things, but that doesn't diminish one's worth or value, and that just because someone isn't naturally 'gifted' in an area doesn't mean they can't learn or use different ways to get around obstacles. Ultimately, it comes down to that no one is worth more or less than other people; exceptionalism is a lie. It’s a lie and an excuse, and it's certainly not a healthy way to assuage one's poor self-worth. What does matter is creating positive healthy connections with other people, and caring about them. This creates a community where you can be yourself and be emotionally fulfilled through these connections; and when opposition does arise, you become able to fight it together, and fight so much stronger than if you are alone.

And by the end of the show, you see that. Ford begins to let go of the ideal of exceptionalism and its black-and-white categorization; finally recognizes his own faults around prioritizing validation of his intelligence and exceptionalism over his relationships, and finally, after all the years, chooses to create and rekindle positive relationships with people, trust people, and make amends. And in the end, he goes sailing with Stan, prioritizing their relationship, finally fulfilling their childhood promise.

Image id: One of the pages written by Ford into TBOB. Ford refutes Bill's idea of happiness, and says he has finally found his own happiness, and it looks like the photo taped in, of Stan, Ford, Dipper, Mabel, Soos and Wendy, all smiling together.

TLDR: Exceptionalism, an ideology of categorizing people into being special and worth more vs plebian and worth less, is a trauma response and subconscious ideology that characterizes Ford and Bill’s lives, deeply impacting all their relationships as it is used to coerce people into doing what they want, makes Ford easily manipulated, and breaks relationships through their arrogance. It is ultimately denounced through the way Dipper chooses to reject Ford’s offer and his rhetoric of being exceptional, and through the way it's not Ford’s intelligence, but rather Stan, who has been labeled as 'not-exceptional' and a failure at life, that defeats Bill through trickery. It's a reminder that everyone has worth, and no one is worth more than other people, even if one may be gifted in certain areas; the ideology of exceptionalism is fragile and a lie. In the end, creating a caring, loving community around oneself is where strength truly lies, as is seen with the deep care and love the characters have for each other, and the repairing of Ford and Stans relationship.

Thanks to the lovely @eshtaresht who deigned to beta read this monster of a post for me

If you enjoyed this meta, (first of all if you read all this you're a champ!) I've also done another gf meta post! (It's shorter I swear)

[thegirlwhorideslikeasamurai]

On Yuuri's "top-secret" love life

Edit: Due to turning this post into a thread for the dead-bird site, I gave it a complete overhaul because some parts were wordy and confusing.

I took a deeper look into the information YOI gives us about Yuuri’s history with love and the implactions for his character arc.

Let’s start with when Viktor introduces the two Yuris to their new short programmes:

A first examination of the subject of love usually happens in puberty when the average person experiences their first crush. However, 23-year-old Yuuri just cluelessly shakes his head when Viktor asks whether he’s ever thought about love.

Since Yuuri has an evasive nature when feeling pushed or embarrassed, we can assume that he’s not hiding things here. Also interesting in this context, is his interpretation of Agape:

Yuuri is projecting his own experiences with love into his interpretation of On Love: Agape and Eros and his answers reflect where he’s currently at in his journey of exploring love. (for further discussion please check this meta).

Japanese language distinguishes general love 愛 (“ai”) from romantic/passionate love 恋 (“koi”). These terms roughly approximate the Greek concepts of agape and eros as they are utilised in YOI. However, YOI doesn't draw the distinction between 愛 and 恋 but uses 愛 (“ai”) as the overarching concept that includes other forms or love, e.g. せいてきな愛 (“sexual love”).

Until Viktor introduces the two Yuris into On Love: Agape and Eros, Yuuri has never wasted a thought on love. Which means:

Until the end of episode 2, Yuuri has never had romantic feelings for another person.

Why can we be so sure of that?

Even a first crush inevitably inspires an examination of love to some extent regardless of whether you’re happy in love, whether your feelings aren’t reciprocated or whether you decide not to act upon them.

If Yuuri had experienced such feelings before episode 2/3, he would know. And we would know, too, because it would impact his views on love, how he tackles his season’s theme, and how he goes about his relationship with Viktor. It would notably impact his character journey.

Instead, YOI introduces us to the extent of Yuuri’s parasocial obsession with Viktor that despite the gay-coding is too abstract to qualify as an actual crush. The Japanese term for “idol” that YOI uses for the people Yuuri idolises is the neutral 憧れの人 = “someone to look up to/admire”.

For the story of YOI to work as it does, Yuuri never having had romantic feelings is crucial.

Yuuri has one-track-mind that makes Viktor the fulcrum of his existence since he discovered Viktor at the onset of puberty (aka when young people start experiencing attraction for the first time). He has every poster of Viktor at least twice, he copied his programmes and he even named his poodle Katsuki Viktor (yes, that’s canon). In his endeavour to face Viktor as an equal on the ice, he move abroad to train with different coach. The show portrays Yuuri as being more interested in skating [to pursue Viktor] than in spending time with his friends, not that he'd be great at forming relationships in the first place because he's super awkward. Doesn’t sound like someone who even has the mind to notice potential partners around them, does it?

Now let’s move on to the press conference at the end of episode 5 that comprises Yuuri’s journey of exploring love and gives us some more insight into his views on love.

Since the subs are low-key confusing, I’m not quoting them, but you can check this translation to educate yourself on all the nuances that the official translation misses. Particularly interesting is this part:

My love. It’s not [general] love or romantic love that is easy to understand, but my bond with Victor, and the lukewarm way I feel about my family and my local community.

Note that this is the only time the anime uses 恋 ("koi"), probably because he's speaking to a Japanese audience.

Note that this is the only time the anime uses 恋 (“koi”), probably because he’s speaking to a Japanese audience.

This line give us clear idea on how Yuuri feels about the people in his life that are not Viktor, confirming what we’ve could already guess from context: that his relationships so far never reached a level that is intimate enough to enforce an examination of the subject of love. We tend to take our friends and family for granted, but crushes and falling in love are feelings that take over our lives.

Yuuri’s speech about love as a whole showcases that he has come a long way from utter cluelessness to the matured and nuanced idea of love that he now explaines to his audience. He was able to arrive at this point because his time with Viktor sparked the examination of the subject. Yuuri draws a clear distinction between his feelings for his family and friends and his feelings for Viktor, which aren’t lukewarm at all.

A more accurate translation of that line is: “The first person I want to tie myself to and never let go is Viktor” ( 初めて自分から繋ぎとめたいと思った人、それがヴィクトルです) because 繋ぎとめたい means wanting to tie someone / something to you and never let it go (see this translation error masterpost).

After months of getting to know Viktor intimately, Yuuri has fallen in love with Viktor at last. This feeling is bigger than any emotion he has experienced before because it’s greater than 恋 and 愛 and because of that:

This feeling doesn't have a name, but I decided to dare to call it "love".

Yuuri is awkward and anxious, but he’s determined to pursue a goal he committed himself to. For half his life that goal was Viktor, first as an abstract concept and as an ideal to strive for, later as a romantic interest, and he makes sure the world knows.

If Yuuri had had romantic feelings for someone else, he would have pursued this person or ruled out the idea because Viktor was more important and it would have impacted his views on love either way.

Or in other words:

Viktor is Yuuri's first love.

I will discuss the gay-coding of how Yuuri idolises people that inspire him in another post because this seems to be one of the lesser known facts.

For this analysis I've reviewed the entire context of Yuuri's history with love and ruled out everything that doesn't withstand scrutiny or makes no sense in the grand scheme of things (aka the canon of YOI as a whole). You are free to headcanon Yuuri as having had crushes or relationships before Viktor, but keep in mind that this would alter the plot of YOI.

Friendly reminder: friendship, admiration, and aesthetic attraction are often misconstrued as romantic attraction due to allonormative/amatonormative paradigms. When interpreting fictional characters, the entire context must be reviewed to check whether there is more to that.

[tachiguin]

Is Tanizaki really more evil than Dazai?

I don’t think I’ve ever written a longer meta about “Tanizaki is the person who comes the closest to “evil” among all the Detective Agency employees”, which is something Asagiri mentions at a BSD Exposition, but I do have a lot of thoughts about it. I think the most popular reaction to this statement is ‘more than Dazai?!’ which is fair. Because Dazai is a former Port Mafia executive and has a rap sheet longer than Tetchou’s saber. But I think there’s multiple angles at which you can tackle this: The qualifier being “among all the [ADA] employees”, what makes someone more evil than another, how you define ‘evil’. 

The easiest way to justify this if you firmly believe that Dazai is more evil than Tanizaki is to separate PM!Dazai from ADA!Dazai. Say that PM!Dazai is more evil than ADA!Tanizaki, who is more evil than ADA!Dazai, who after Oda’s death promised to be on the side that saves people. Current Dazai is making an active effort to be less evil than he may have the potential to be, and that counts for something. Whereas Tanizaki knowingly throws all pretenses of being a good guy out the window as soon as someone he cares for is put in danger. 

Though, I raise a further question: if PM!Dazai is more evil than ADA!Tanizaki, who is more evil than ADA!Dazai, would PM!Tanizaki be more or less evil than PM!Dazai? Perhaps we will get our answer if Tanizaki does end up transferring to the Port Mafia.

However, I also don’t necessarily want to shut down this discussion by just saying “Well Dazai is in the ADA now, he was definitely more evil when he was a PM executive”. It feels like a cop-out. Rather, I think that depending on how you define ‘evil’, you can definitely argue that Tanizaki is far worse than Dazai. Is it evil to be indifferent to committing evil acts, or is it evil to situationally want to commit evil acts? Is it evil to be aware of one’s moral faults, or is it evil to think oneself innocent—normal, even—as one is willing to do any atrocity under the right circumstances. Honestly, we can argue morality and try to assign quantitative values to “evil” back and forth, all day until we die. There’s really no “correct” answer here. But for the point I’m making that’s good enough. Depending on how you view “evil”, you could easily see how Tanizaki is closer to evil than Dazai, who never really saw a real difference between evil and good.

I think one of the most ‘evil’ things about Tanizaki is that he thinks he’s normal, with his whole chest. He’s the first person to suggest murder as a solution to a problem, and he just doesn’t understand why everyone else shows reluctance.

He seems to have some vague awareness that his morality is somewhat less than that of his coworkers, as in the Light Novel he thinks that he “[has] a mediocre sense of justice]”, but he mostly equates this to just being cowardly and timid, rather than the full blown self-awareness than we see in Dazai, who is able to articulate to Oda that he feels there is no real difference between the side of “good” and the side of “evil”, and embraces this knowingly.

I also think that to a degree its Asagiri's nihilism at play. Because BSD is a world full of characters with shifty morals, and characters like Kunikida who cling to their principles like a lifeline are a minority. So in a way? Tanizaki is the most ordinary guy.

And he’s not evil on purpose, or performative about it (like other characters, to a certain degree, like Fyodor) it’s completely ingrained into him. It's just that he isn’t a good person, but he’s not necessarily invested in being a bad person either. He simply cares about himself and the people within his circle, to the point that he doesn’t care what he has to do for their sake. I think this is also something that appears subtly in his irl counterpart’s works: the idea of love/affection as evil. Tanizaki-sensei used this kind of oxymoron a lot: ugliness and beauty, hurt and pleasure, destruction and love.

"[his] self-immolation, [...] with which he changed his whole life in an instant, turning the ugly into the beautiful, [...] it was very nearly the act of a saint." — Tanizaki Jun'ichirou, A Portrait of Shunkin

"Little by little, the loathsomeness changed into an unfathomable beauty." — Tanizaki Jun'ichirou, A Fool's Love (Naomi)

"It was evil incarnate, without any question, and at the same time it was all the beauty of her body and spirit elevated to its highest level." — Tanizaki Jun'ichirou, A Fool's Love (Naomi)

Maybe that’s why Tanizaki is closer to evil than Dazai. Because ‘evil’ is second nature to Tanizaki, in part because it goes hand and hand with love and care.

I don’t think Tanizaki’s “evil” could be reasoned with, in the same way you might be able to convince Dazai or Mori not to do something awful. Because Dazai’s evil is ruled by indifference, and Mori’s evil is ruled by logic, they’re both less personally invested in their evil acts than Tanizaki, whose evil is ruled by emotion. You might be able to give Mori a reason why the more logical approach would be to not commit a homicide, but the same reasoning would never work on Tanizaki, because his evil is coming from a more fundamental desire to commit the morally corrupt action, rather than seeing it as a means to an end. In this regard, you could easily see how Tanizaki is closer to evil.

Still, returning to my point about how nebulous the definition of “evil” is—you could also argue that it’s more evil to coldly commit evil acts as a means to an end, as opposed to doing evil acts out of love or affection for another person. However, I think it’s clear why Asagiri made a statement that implied Tanizaki to be more morally corrupt than Dazai, regardless of whether you agree or not.

[metalotaku-da]

So many cross overs so narrow of common hero choices. Let's expand a little.

"Rip what the hell is that?"

"It appears sir, to be a small human child. Around the developmental stage of 4-5"

"Even you know better than to cuss infront of kids.

"I was gone for five minutes."

"Actually I snapped you back to a minute after you left."

"Are You misser booser gol?"

"Yeah kid that's me. You a fan or something who got into something you shouldn't to find me?"

"No. Clockie said tis for you." Hands a sticky note to booster.

Note reads: this is Danny. You will care for him from now on. See this as payment for resetting your time line safely. If you even try pass him off to Bruce wayne/batman, I will ensure your entire familial line never touched time traversing. And you stayed forever trapped in the 31st century. -clockwork master ancient of all time. P.s. there is not conning your way out of this. I will hunt down every ancestor or decendant for all time.

"This looks very serious sir. Congratulations sir you are a father Now"

"Wow kid. Clockie must hate you. I'm so sorry."

"I'm not that bad of an option. Obviously I was judged better that batsy."

"Clockie ass hero I want to say wiff."

"OH kiddo and you asked for the greatest hero boostergold?"

"I wike space. He say geen lanern is space. He take care of me."

"I'm so sorry sir, you have already disappointed your new child. Should I take a commemorative photo of this milestone moment for you?"

"No" "yes skeets"

Camera flashes.

"I shall add this photo to a new album labeled baby book. It is labeled Danny's first disappointment, sir."

"Thank you skeets." X2 one sarcastic one pleased.

"I wan geen lanern."

"Think you're gonna need help anyway Micheal. Call one of them. Not guy."

"I would never co-parent with guy. What kind of idiot do you take me for?"

"Rip takes you as the utmost idiot sir. As does most of the justice league sir."

"Thanks skeets."

"You are most welcome sir."

"Can I pay wif the talking space ship?"

"Sure kid." Pushes skeets into the kids hands.

"I do not believe I am rated for physical interaction by children under 10 sir."

"To bad skeets." Picks up Danny who looks up at him instead of at skeets to smile all teeth. "Holy shit are those fangs? We are going to go see my friend Ted now. He will know what to do."

"He will atleast know not to cuss infront of kids. Don't know about the rest."

"Is ted geen lanern?"

Cue shenanigans. They were roommates, but adopted a child.

"Does Batman know you stole a child from him?" <- Jaime when he visits.

"Do not even joke like that. My existence is at stake."

"Batsy is the new beetle juice. In this house."

"Are You geen lanern?"

"Sorry kid I am blue beetle."

"Should I take a picture for Danny's third disappointment since becoming your child sir?"

"No skeets."

"3rd? How long you had him?"

"A week"

"Ouch. Hey kiddo why do you want to meet green lantern? Aren't these guys just as cool?"

"Considering the average human body temperature is 98.6 degrees I do not believe they qualify as cool sir." Jaime is picking up danny to hold on his hip.

"Clockie says geen lanern is space." Danny smiles.

"Are those fangs? Is this a meta kid? You like space? My scarab is from space. Isn't that just as... Oh My, no scarab!" Scarab starts to go into protect host mode while screaming danger desteoy threat in Jaime head just as Danny's eyes start to glow green at the statement and his mouth splits inhumanly wide with even more teeth. Ted and Michael scramble to grab Danny and move him away from Jaime till he gets control of the scarab again. But Danny has a death grip and won't let go of his new friend.

"I do believe sir that your new child qualifies as a meta. Should I take a picture to commemorate your child's first power demonstration sir?"

[tea-cat-arts]

People are doom posting about Deyha and as a veteran Genshin player (AR 60, been playing since version 1.2, so I guess I qualify as that) I’d like to take this opportunity to remind this fandom of a couple things.

Y’all remember when Kokomi was released? People were throwing a fit over the crit rate thing and she was considered the worst character in the game. One update later, the Ocean Hued Clam artifact set was released and suddenly she became one of the best characters in the game. Shinobu was also considered one of the worst in the game when she was released. Her scaling was awkward and she was hard to place in any team comps. Then Dendro was released and what do you know- turns out her skills time out perfectly with dendro and elemental mastery gets a buff. Heck, dendro buffed electro in general and made pretty much all of them a lot more viable. The meta changes all the time, don’t worry about it.

Speaking of the meta, it’s made up. Any character is viable if you put the work in. Sure, it’s going to be a lot harder to build a dps Gorou and he’ll still probably do less damage than Itto, but if you’re having fun and still clearing the spiral abyss, who really gives a shit? A lot of it also has to do with dumb luck and how much money you’re spending. Like, my C0 Ganyu does a lot more damage than my C0 Ayaka even though Ayaka has higher base stats just because I got better artifacts for Ganyu. There’s also plenty of characters who’s damage is locked behind constellations and weapons, and that’s just straight up not going to be an option for a lot of players. Sure, you’re C6 Wanderer may do a ton of damage, but I don’t have him at C6. I do however have Heizou at C6 and he’s doing a lot more damage than my Scara. (Shout out to the mad lads soloing with Amber)

Lastly, mind you’re own damn business about what characters other people are playing. It’s not your game, you don’t get to dictate how other people play it (and you especially aren’t allowed to harass people over who they play)

[zoe-oneesama]

From what I’ve know, the fandom mostly dislikes Andrey for reasons related to Chloe (bad mother etc.), but what are YOUR reasons for not liking her?

Cuz she's an asshole? On top of being qualified for the Top 3 Never Should've Been Parents to Begin With Award (next to Gabriel and Tomoe), she's an elitist dick waffle without any on screen talent to back it up. So she's a fashion critic. So what? What makes her qualified, have you seen her outfit? And I just have a special hate boner for people who look down on the service industry, so she already wasn't winning any awards for "firing" people left and right.

Meta-wise, I hate her because she just confuses things. "Despair Bear" makes it out that Audrey abandoned the Bourgeois when Chloe was small, though at least old enough to remember, so maybe at minimum 3 years old, though in a sensible universe, closer to 5 or 6. Yet despite being absent from Chloe's life for about a decade, if not more, we're supposed to believe Chloe is the way she is because she's emulating her mother...who isn't there to emulate? Okay. Sure Jan.

Totally unnecessary, Chloe's personality has a good foundation in the fact that her father is rich, powerful, and ready to drop everything to cater to her every petty whim. What does Audrey even add to Chloe's story as presented? Personally, I would've liked it more if Chloe deeply resented her mother and was determined to prove she was BETTER than Audrey. Then have her be frustrated and pissed off every time the two of them are accidentally in sync. Show me a love-hate relationship, at least that would've been interesting, and better yet, would've had something to say about a parent abandoning their child.

But the show just sorta soft balls it. Chloe and Audrey immediately "resolve" a lifetime of abandonment issues because another 14 year old pointed out that they both suck and the two bonded over the fact that she's...right? Audrey decides Chloe's name is worth remembering, she's worth staying in Paris for, and she's "exceptional" in less than 3 minutes because Chloe yelled at the Butler. And for the rest of the series, Audrey is just another Chloe-Patsy, doting on her like her Dad in "Malediktator", cowering under her outburst in "Sole Crusher", and acting as her enforcer when Andre ever puts up a fight. A duo made in hell, but they ARE getting along.

Which makes the leaks for how they're going to end things for the two are confusing.

I don't like Audrey because she was made to be unlikable, but I also don't like Audrey because of her effect on the story. She's used to excuse Chloe being The Worst because look! An Even Worse person! And she made Chloe sad! So you should ignore those several felonies Chloe's committed because her mommy sucks! Nevermind that Chloe and Audrey get along just fine now!

And on top of that, she's used to excuse Andre. Andre, who spoiled Chloe from the beginning, who acts as her attack dog when Chloe cries wolf, who's taught Chloe how to lie, cheat, steal, and bully her way to the top. Somehow HE is getting off scott-free now because He CaN'T bE a DirEcTor aNd fUlFiLL hiS dReAm cUz HiS wIfe'S a BiG meAnIE. Even though Chloe is mostly his fault.

Why couldn't Audrey just stay in New York so we can pretend she doesn't exist and just let Chloe's behavior make sense like it did back in Season 1?

[ringleader-inky]

Lily Orchard is stupid but what else is new?

So recently Lily has made a challenge that is as follows:

(Keep these rules in mind)

And AntGr and CrimsonEnder made a list of 50 of those charcters. Which Lily responded to and hoo boy is it bad.

Now I'm only going to be doing several characters from this list because 1. I don't know some of these characters and 2. I can only handle so much of Lily's stupidity. So with that out of the way let's get this show on the road.

Of course you'd put N here because you didn't understand his story to begin with. N definitely does fall under number 2 because he was raised by Ghetsis. You know... THE LEADER OF TEAM PLASMA! I've said this before, but I'll say it again N essentially grew up in a cult. That's not even mentioning that in black and white 2 they show that some of Team Plasma really did think they were freeing pokemon. You see part of Team Plasma split because some followed N's ideologies and others followed Ghetsis. They have a whole safehouse in Driftveil City where they protect pokemon separated from their trainers. But yeah N's ideology was totally swept under the rug guys.

First of all, Donkey Kong was actually a villain. It was in his very first game where he kidnapped Pauleen. You know.... this one. You were probably around when it came out Lily.:

So technically Donkey Kong is qualified for this list believe it or not.

As for Dedede and Meta Knight their case is quite simple.

In Dedede's case in the game Kirby's Nightmare In Dreamland. Dedede literally breaks the Star Rod that powers the Fountain of Dreams. Which allows the people of dreamland to have dreams, but since the Star Rod no longer powers it there's no dreams. However Dedede did this because he was trying to keep Nightmare from absorbing the Fountain Of Dream's power and taking over the world. Nightmare is cosmic deity that's evil will destroy Dreamland if he got out. So in that instance Dedede does have a point. After all if the Star Rod isn't in the fountain then Nightmare won't come out and kill everyone.

As for Meta Knight's case. Well... just look at fucking Meta Knightmare. The reason why Meta Knight wants to conquer Dreamland is because Dreamland is lazy. While that might not seem like a good point, consider that Dedede is stealing food from the people and how there's some sort of cosmic threat every year or so. You kinda start to see his point a little bit. But if that doesn't work then how about in Squeak Squad where he steals the chest from Kirby and Daroach. The chest had Dark Nebula inside of it and was sealed away. Therefore having someone try and open it would be a big fucking problem.

Last but not least... Edgeworth:

Before we get into why this point is bullshit I'd like to bring up this ask:

I bring this up because it proves that Lily doesn't know what the fuck she's talking about. You see Edgeworth isn't just a state prosecutor. HE'S A CHIEF PROSECUTOR! He's not just some joe shmo. Also really, prosecutor can't be evil? May I call Manfred Von Karma to the stand:

In case you don't know. This man is a prosecutor that had a perfect record. All of his defendants were served the guilty sentence. However the only reason why they were found guilty was because he forged evidence. Meaning Manfred is responsible for putting people innocent in prison. He even went so far as to murder Edgeworth's father. And guess who was his protege?

That's right none other than Miles Edgeworth himself!

Meaning that up till Phoenix had arrived Edgeworth was doing the exact same thing Von Karma did. Granted not forging evidence, but still putting innocent people in jail because of he wanted to keep his reputation and he didn't care for justice. Therefore in the first game Edgeworth was the villain. Whether you like it or not. And because Lily never specified that the villain had to be redeemed or not Edgeworth is viable enough to be on this list. So check fucking mate Lily.

[vidavalor]

Hello! 👋 Just dropping in for a visit to my favourite online pub: your blog *chews on all your posts and slurps down your analyses*

I love the way you spell out the Ineffable Husband SpeakTM for us, and I was wondering what you think about Crowley’s “You don’t dance.” in 2.06, when Aziraphale asked to dance with him?

Crowley is mumbling a bit here & I wasn’t sure at first if he said “you” or “we” or something else, so I checked the subtitles as well. That aside, we know by this point that Aziraphale has done at least 3 I-Was-Wrong dances, so I wonder if Crowley is referring to something else?

Hi, @procrastiel! How's it going, love? Wouldn't say I spell anything out-- I just give my opinion-- but I appreciate the compliment! 💕Crowley's line is definitely "you don't dance" and ohh, yeah, I can deep dive on my opinion on what it means to dance. Deepest of dives-- this went everywhere. 😂 Mother of all metas for the mother of all Good Omens questions... We're having sandwiches-the-food tonight in honor of where your question crosses into God's tongue-in-cheek monologue on how many angels can get down on the heads of those Mrs. Sandwich seamstressing tools-- pins.

This is going to take a route through some heavy analysis of the argument over Gabriel and The Apology Dance and a few other things to get the root of your question, so, grab a beverage of choice before diving in. TW: Brief mentions of Satan's attacks on Crowley.

*rubs hands together and cues up the disco music* 😂

What does it mean to dance?

When we talk about dancing, there are roughly four different meanings of the word to look at with relation to Good Omens' story.

One meaning is the first one that comes to mind for most people, which is a physical dance-- as in, moving your body, usually to music.

The music, if it exists, can be in your head, a song you're singing aloud, or one that is playing in the room-- it doesn't matter. If you're moving, any and all of it would qualify as dancing. By this measure? Crowley canonically had seen Aziraphale dance before Aziraphale asked him to dance during The Meeting Ball because, well...

...here is Aziraphale dancing in front of Crowley in the bookshop in 1941:

Crowley's shock in 2.06 cannot be coming from never having seen Aziraphale dance at all, right? They've known each other for thousands of years and if Aziraphale was doing this fucking adorable little shuffle of excitement in the bookshop in 1941 then it's not really a stretch to assume that these two-- who canonically listen to records together in the evenings sometimes-- have danced together before.

In 1941, we see that Aziraphale liking to dance is not something he's actually hiding from Crowley because he's doing this cute little dance in front of him without a second thought. This is also interesting because one theory was that Crowley has no idea about Aziraphale liking to dance at all because he didn't appear to know about Aziraphale learning the gavotte. S2 turns that on its head a bit by saying that Crowley might not yet know about the gavotte-- we don't really know yet either way-- but he definitely does know that Aziraphale likes to dance and he was unsurprised to see him doing so in 1941.

The key thing here is that when they have danced together or in front of one another before? It was likely only in the privacy of the bookshop or another place like it. It was just the two of them.

When Crowley says "you don't dance" to Aziraphale, he's not meaning that Aziraphale doesn't dance at all. He's meaning something more expansive, as we'll look at with the other meanings of dancing below.

The second meaning is a verbal dance. These are interactions between more than one person in which the back-and-forth of what is being spoken has the give-and-take quality of a dance.

There can be different types of verbal dancing. Crowley and Aziraphale's word-nerdy flirting is a kind of verbal dance. It's a birdsong mating dance, especially since they are so hot for words. Being able to verbally entice and keep up with a partner makes flirting-- especially their kind of it-- a kind of dance and it's one they've been doing for thousands of years and both enjoy.

Another type of verbal dance between long-time partners is one that could be dubbed, as Crowley and Aziraphale call it, an "I Was Wrong" dance. This is an apology between partners who had an argument but want to get beyond it. No matter what you think the nature of Crowley & Aziraphale's relationship is, they've known each other for thousands of years and are de facto partnership married at this point so they have An Apology Routine TM. People who have been together a long time and who have the occasional spat often tend to fall into a rhythm with their apologies, knowing what needs to be said to just get to the other side of it, which they'd like to do as soon as possible because they miss each other and don't like being in conflict with one another.

When Aziraphale says he wants "a proper apology... with the little dance" as Crowley tries to get away with not doing the verbal dance that he knows he's going to end up doing lol, what Aziraphale means is that he wants the back-and-forth verbal dance they do as an apology. He doesn't want to just ignore what happened because he was really pissed and he's telling Crowley that he'd appreciate an actual apology and a bit of groveling before he's willing to let it go and move on.

The "little dance" in question isn't a physical dance-- it's basically the same apology dance we saw Crowley do back in S1 here:

When Crowley claimed he doesn't "do the dance" in S2, they both knew that wasn't true and so did we, really, because *points to the above gif* there's Crowley doing the dance in the middle of the street in S1. Claiming he doesn't "do the dance" is sometimes part of the dance if Crowley is the one apologizing as, unless Hell is actively, in that moment, trying to kill him-- like they were in S1-- he gets squirmy about apologies, even if he always eventually says them.

The reason why Crowley does the physical dance that he does during The Apology Dance is actually off of Aziraphale being just as dryly self-deprecating about the two of them and their relationship as Crowley winds up showing he is with The Apology Dance. It's rooted in Aziraphale's use of the word proper.

That word falls into the category in their speak of words like wily, thwart, smitten, demon, fiend, etc.. that have wildly contrasting meanings where they can be said on one level to mean one thing that is acceptable to an audience of angels, demons, or humans, but that also, on another level and within Crowley and Aziraphale's speak, has a funnier, more sexualized meaning.

Proper has an understood meaning of being something that is correct, acceptable, and appropriate. It means decent and respectable. It has a connotation that suggests that something deemed proper falls within the generally-accepted social rules of a society.

Within that word, though? Is the word prop.

I probably do not need to further define that but one sense of the word prop is that it is a theatrical term to describe an object being used in a play. From this, it also come to mean an object being used in sexual play. The humor for Crowley and Aziraphale comes from the fact that proper is a word related to what is considered acceptable in society while bedroom activities involving props have historically been considered "deviant" by those same societies.

The word exists in the sexual meaning in several other scenes in Good Omens. Such as:

Aziraphale in 1941 flirting with Crowley in the magic shop by using the silver rings magic trick as an innuendo-laden stand-in for handcuffs and going on about having a "gift for prop"... and in 2019, when Crowley joked that Aziraphale did not need to do his literal magic act because: "You can do proper magic. You can make things disappear."

Words containing the word thin relate to Crowley and disappear/appear are words with a root meaning of to come into view-- heavy emphasis on the to come part. Crowley sounds like he's talking about Aziraphale's supernatural magic abilities (and he likely also is lol) but he's wording it in such a way as to be really referring to Aziraphale's other skills as a true magician in bed.

Aziraphale, hilariously, teasing Crowley back by joking that making him come is not as fun as pulling a coin out of his ear 😂:

This is also the joke around Aziraphale doing things like popping into view from around corners or doorways or, in my favorite, from the other side of The Bentley in S2, as well as things like Crowley apparating into a space to see Aziraphale. They're magical so they can apparate-- literally appear and disappear from view-- and would do so to meet up with one another at times, as we've seen. It's a visual joke on appear/disappear and the verb to come.

There is also the hilarious "only I can properly thwart the wiles of the demon Crowley" from the deleted 1800 bookshop opening scene-- a sentence made up basically entirely of words with double meaning that make them sound like Aziraphale is saying to Gabriel and Sandalphon that he's the only one who can correctly stop Crowley's evil demonicness when he's also, with the same words, trying to alert Crowley, who has just arrived in the doorway, to the fact that the angels are here to recall him by saying a sentence that is like: but you can't take me back to Heaven! I'm the only one who has the first clue how to shag Crowley right.

So, in S2, Aziraphale is being a bit arch when he says he wants "a proper apology." They both know that he means it in terms of saying he wants a genuine, decent apology and nothing more than that. His dryness in choice and delivery of the word proper is Aziraphale being tongue-in-cheek with Crowley and aligning their history of well-balanced, healthy, sexual power dynamics with the fact that their argument was, at the core, a lot about aspects of trust and control that they *both* struggle with outside of their proper bedroom, where things are very different.

The argument was really a perfect storm of triggering both of their traumas and they both, technically, were right and wrong about things. Aziraphale's apology dance is, essentially, the whole 'our car/our bookshop' that becomes the rest of the season. The reason why it's Crowley doing The Apology Dance, though, is actually less about the subject matter of their argument and more about which one of them fucked up when it came to the stuff the argument shows us that they're working on together.

The argument over Gabriel actually shows us the extent to which they're a couple, in that they've clearly talked about working on things they do which trigger each other's trauma and are trying to be better at it. They're proactively working at trying to get better at arguing, which is the most married thing in creation. This is also indicative of both of them trying to manage different traumas and PTSD that they have and doing the best they can do while still not yet able to fully escape the root causes of those difficulties. That is something which any therapist will tell you is nearly impossible to do but they are both trying anyway and doing a pretty good job of it actually, all things considered. Where can we see this in the argument over Gabriel?

It is in that they each both do something when upset that is a trigger for the other's trauma and has, in the past, caused their discussions to implode, and how they both handle that with one another during this argument. When Aziraphale gets upset and anxious, his anger can take the form of saying words he doesn't mean-- words that are often completely and utterly absurd from an objective standpoint. Think of the bandstand argument, for instance, and Aziraphale's ludicrous attempt to say that he and Crowley aren't friends and-- the best one lol-- that he doesn't even like Crowley.

The audience and Crowley alike know this is bullshit and so does Aziraphale but it's the product of Heaven being a place of emotional repression and Aziraphale's perfectionism, which makes him feel like he's not supposed to ever actually feel the depression and anxiety and anger that he does. When upset, this bubbles up in him and explodes and the results are words he doesn't mean that make him feel terrible, further contribute to his pattern of negative self-thoughts, and hurt Crowley.

In S2, we might also notice, Aziraphale phrases his go-to of telling Crowley it's over as a defense mechanism as saying that Crowley is "at liberty to go", which has an implication that a certain amount of staying was occurring. While Crowley isn't living in the shop to the extent that he's there in the mornings because they're still trying not to get caught, this plus things like "we both get plenty of use out of it [the bookshop], don't we?" indicate that Aziraphale never really notices that Crowley no longer has his flat because Crowley just kind of lives in the bookshop now. He's there every day, to a point that Aziraphale defaulting to his usual anger response of breaking up with Crowley when upset is now phrased in such a way as to try to kick him out of the house. Crowley, though, knows better-- just like how Aziraphale knows better where Crowley's own issues are concerned.

Even though Crowley knows Aziraphale doesn't mean what he says when he's upset and is patient about it (the not even batting an eyelash "you doooo" in response to "I don't even like you" in the bandstand argument), it still hurts. So, that's what Aziraphale is trying to work on and we see that Crowley is working on it with him, an example of that being when Aziraphale is starting to lose it during the Gabriel argument and Crowley's response to it:

Crowley is basically saying honey, you're doing the thing-- and it works. This is what they've agreed upon as a way that Crowley can help Aziraphale when he's upset. He points out that Aziraphale is doing the thing he does, which seems to be something they've agreed on as a strategy for communicating better. He gives Aziraphale room to take a breath and say what he really means. Expressing how he really feels when the emotions are not positive ones is hard for Aziraphale because it involves admitting that he has these emotions in the first place.

So, Aziraphale does his part in their agreement and he rephrases what he was saying into what he actually means: that he would love for Crowley to help him with Gabriel but that if he won't, he won't. He is open about how he feels, which is Aziraphale doing what they agreed to do, and is a world of difference from how they were fighting before. He also expresses it in an especially positive way, as he uses words like 'love' and 'help' to say how he feels and what he needs.

This is why it's Crowley who winds up doing The Apology Dance.

What Crowley does in an argument that triggers Aziraphale is to leave. While, technically, sometimes leaving for a breath is not a terrible strategy in an argument, Crowley's tendency to leave is a flight-or-fight PTSD response that stems from a lack of trust in anyone but himself (and, honestly, often not even himself) to keep him safe. It's honestly not how he really feels about Aziraphale, whom he actually does trust with himself, but he sometimes lets fear and anxiety overwhelm him when triggered by situations in a way that relates to his past traumatic experiences.

Just as Aziraphale's struggle with his more volatile emotions is understandable considering what he's been through, so is Crowley's tendency to panic and bolt. The problem is that, just as Aziraphale's angry words can hurt Crowley, even if he understands where they come from and knows Aziraphale doesn't mean them, Crowley's tendency to leave hurts Aziraphale because it feels to him that Crowley doesn't trust him to make decisions that would keep Crowley safe.

They both are aware that their knee-jerk reactions of running away or sniping in anger are trauma responses and not terribly logical but they're both working on trying to heal enough to not have those responses with one another. In S2, they're stuck trying to manage all of that while still living in an environment that is dangerous for them and in which Armageddon could be around the corner again at any moment-- making it obviously harder to deal with things and also making the fact that they are both doing reasonably well with it all the more impressive and an indicator of how good they are for one another.

(It also makes the end of S2-- a series of miscommunications, some of which are not even their fault, that led to epic fucking disaster-- even more devastating because it doesn't actually reflect the healthy relationship that the beginning of the season emphasizes exists.)

Compounding these issues and part of why they're trying to work on them is that both of them trigger each other's PTSD when they react like this.

Aziraphale's words in anger and his tendency to push Crowley away leave Crowley feeling less secure around the one person who otherwise is the safest person he's ever met while Crowley's tendency to bolt in a panic, instead of staying and working through things, triggers Aziraphale's fear of abandonment (both in general and with Crowley) and, even more so, his terror over losing Crowley.

He's never sure when Crowley goes out the door if he's ever coming back because it's not really safe for him out there and S2 illustrates that Aziraphale has real trauma dating back to the time Crowley was taken in front of him in 1827, shown in him going to the spot in Edinburgh in the present where he lost Crowley and needing to call him from it to hear his voice. And, well, also to get a bonus praise kinky little boost from his partner for a job well done on working on his trauma stuff:

So, long story short, the argument they have over what to do about Gabriel's arrival really illustrates the extent to which they're both trying to manage a great deal of trauma together and, to help one another to do so, they have put some strategies into place for trying to do that more effectively. Aziraphale kept to his end of the bargain in this argument. He used more productive and open words to express how he was feeling. Crowley, though, did not hold up his end of the bargain here. He did when it came to helping Aziraphale with Aziraphale's part of it but he didn't when it came to managing his own trauma.

To be fair to Crowley? This situation was basically the exact perfect storm of a trigger for his PTSD and neither he nor Aziraphale are really going to be able to get much of anywhere significant with healing until all of this Heaven & Hell stuff is over in S3. So, that he fucked this up here is both sympathetic and not terribly surprising. It's also the root of him then spending the season reassuring Aziraphale that he's coming back and part of why he goes out the door in the end of 2.06 but he stays by the car. But, when it comes to just this argument over Gabriel in 2.01, it was Crowley who didn't try and that made Aziraphale upset.

This is where, though, that The Apology Dance shows that they're actually pretty healthy about arguing overall. Just the mention of this having existing for ages is establishing that trying to be better at disagreeing and having this little routine for getting back to a good place and starting to talk more after they've argued is not just something that has existed post-S1 but has been going on for, at minimum, hundreds of years, if not a whole lot longer. In essence, The Apology Dance exists as a bridge back to a place where they are less reactive and can talk through what's upsetting them-- which a lot of evidence suggests they are actually very good at doing with one another.

So, when Aziraphale tells Crowley that he wants "a proper apology", he's already injecting some humor into the moment, even if he is serious about not letting Crowley just skip over genuinely saying he is sorry. He is upset but he also loves Crowley and he's aware that the situation was pretty much the ultimate trigger for Crowley. It's just difficult for Aziraphale to watch because he wants Crowley to feel safe enough to heal more from a lot of this and feels like that he can't fully provide that, even if he is doing everything in his power to help Crowley with it. In a way, it's a foreshadowing how Aziraphale is going to fall in the end of S2 over the temptation of power that he thinks might help Crowley be safe.

The reason why Aziraphale chooses to use the word proper in saying he wants an apology-- and in that particularly dry tone-- is because he is very, very pissed that Crowley walked out the door rather than trusted him to have not put him into danger with Gabriel and to help him manage the situation. He's pointing out that Crowley trusts him implicitly in so many other ways, with the use of the wordplay there being a reference to the fact that he and Crowley have a healthy balance of power and an enormous amount of trust in their relationship overall, for which Aziraphale is using their positive sexual power dynamics as an example.

As different scenes have illustrated, when they mess around with those dynamics, they switch off allowing one another a sense of control over the other, even if the overall dynamics of such situations are never as cut-and-dry as that. The point is that Aziraphale's use of proper here is a direct reference to the fact that Crowley went out the door in a panic-stricken fit earlier but they both know that Crowley does trust Aziraphale to a great degree, and a great example of that to Aziraphale is the fact that Crowley-- as eleven hundred scenes in the show suggest lol-- is very into letting Aziraphale restrain him in bed. The reason why we even know this is because of how the show uses aspects of their sexuality to illustrate the level of trust and intimacy in their relationship.

Just as the wall slam scene in S1 exists to make it abundantly clear how much Aziraphale trusts Crowley and how he has nothing to fear from him by contrasting that with Aziraphale's response to being jumped by the angels in the street, the scenes that are referring to them using restraints, while illustrating that they both do, are centered around Crowley's thing for it, in particular, to help illustrate that he has the same kind of trust in and feeling of safety with Aziraphale that Aziraphale does with him.

The reason why Crowley liking to be tied up or handcuffed is given weight enough that it's a recurring thing mentioned in the story is because of how it's a different level of trust for him than it might be for someone else. While the wall slam scene contrasts Aziraphale's safety with Crowley versus the abuse of the angels, the handcuff thing is showing that Crowley, who is a survivor of attacks that render him unable to move or otherwise assert any control over himself and who has demonstrable PTSD from it, trusts Aziraphale enough and feels safe with him enough to explore with him the complexities of being a survivor of attacks involving a loss of control who also finds sometimes being restrained and giving up some control in bed arousing.

So, Aziraphale's "proper apology" is dryly mocking both of their control and trust issues by use of an example of a place in their relationship where they handle those issues without conflict, and that's in the great communication and ease of care for one another in bed. With use of proper, Aziraphale is subtly pointing out that Crowley is an assault survivor who trusts Aziraphale to him tie him up but he runs out of other situations in a panic, which is an example of the lack of logic that can occur in the face of trauma sometimes. It helps to prove how ridiculous they both are really being in general.

Which Crowley agrees with. Because he knows he was. Trauma isn't logical, it's knee-jerk emotional, and he felt bad about storming out and even worse when he found out from Beez what the repercussions of not helping might be so he's come back, heard the 'proper' comment, and is like fine, yes, you're right. We're ridiculous. I was ridiculous.

This is healthy as all fuck:

It matches the humor Aziraphale put in around his genuine anger with additional humor. It's self-deprecating and ego-free, just an admittance of having messed up and showing he's sorry by being a little ridiculous because how he reacted earlier, he knows, was also a little ridiculous. There's the hearing of proper and responding to that with a mock-submissive, self-deprecating, little dance and a bow and scrape. There's a dry, affectionate mocking of the two of them and their long history of apology conversations that all boil down to the lyrics of the little song Crowley makes up here: "You were right, you were right, I was wrong, and you were right."

The tongue-in-cheek vibe of Yes, you're correct. Are you satisfied now, my king? that pokes gentle fun at both of them and that actually winds up illustrating just how much trust and love there is between them as a result.

Aziraphale finding it hilarious to a point that he's working hard not to laugh long enough to respond with equal humor with the little soft dom-ish "very nice" and then miming a kiss at Crowley showing that they are actually good at this. They allow each other to be imperfect, know how to talk openly about how that makes them feel, and can recover from an argument with humor and affection.

This is also a good example of Crowley being supportive of Aziraphale expressing emotions and of Aziraphale trusting Crowley as someone safe to do that around. Aziraphale told Crowley exactly how he felt and what he needed here in a clear way that expressed his anger and frustration without descension into anything harmful and Crowley listened, acknowledged those emotions, and responded in a way that was supportive and positive.

The argument over Gabriel and The Apology Dance is what their relationship is really like when they can speak openly and directly to one another because they have the safety and privacy to do so. They actually do know how to talk to one another and they do it very well. Their present situation as of the end of S2 is more of a nightmare of unfortunate events and misunderstandings and it actually took a lot to get it to go that wrong because, normally, as we can see? It's relatively easy for them to get it right.

So, Crowley's Apology Dance was both verbal and a literal dance, yes, but Aziraphale's bemused response to it indicates he wasn't expecting the literal dance and the fact that Crowley made up and did the literal dance off of Aziraphale's use of proper, as we looked at, indicates that it was something he did for the first time in that moment, rather than how The Apology Dance usually goes.

The usual nature of Crowley and Aziraphale's "I Was Wrong" Dance is strictly verbal.

We can tell this by one of the years in which Aziraphale mentions that he did an "I Was Wrong" dance in the past: 1793.

When Aziraphale shows that he's really hurt by Crowley leaving and needs him to apologize, he lists three, prior times when it was Aziraphale who had fucked something up between them and was the one doing The Apology Dance as a result. The three years he uses as shorthand are 1650, 1793 and 1941. While we don't know anything about 1650 right now... and while we know about 1941 but not how it ends so maybe not yet quite enough to say we know why Aziraphale was doing an apology dance (though I would argue that maybe 1941 itself is a bit of a joint apology dance)... the one year here we do know enough about to use to inform our opinion about what their apology dances usually are is 1793.

What Aziraphale is apologizing for in 1793 is the rescue scenario winding up a bit of a disaster because of Aziraphale neglecting to take into account that if Jean-Claude The Executioner was having that much fun cutting people's heads off, he probably was disturbing in other ways as well. While Crowley covers up his reaction to apparating into the room just as Aziraphale is saying "no" and Jean-Claude is trying to get his clothes off, by the end of the scene, we see that Crowley is more bothered than he was letting on.

Jean-Claude becomes the only human in the entire series to date that we ever see Crowley intentionally push straight towards Hell and, in doing so, he renders Jean-Claude unable to form more than muted sounds of protest-- not at all projecting his own experiences of assault onto him or anything. Crowley makes the very dark joke that's in the above gif, savagely mocking a so-common-it's-cliche victim-blaming response to rape, making it clear in doing so what's been brought up for him as a result of what he saw when he first came into the room. Crowley is half out of it for the last moments of the scene and, at one point, sniffs like he's trying not to cry. Aziraphale had meant for it to be a fun, dashing-hero-to-the-rescue type of thing but the torture-happy prison cell atop the trauma trigger is what would make Aziraphale feel the need to apologize afterwards, even though Crowley knew he didn't intend any harm.

So, ask yourself this: did Aziraphale apologize for that by doing a silly dance?

I really don't think he did...

It wouldn't have been appropriate. The last thing Aziraphale would have done then is make light of how they both were feeling about something relating to this kind of trauma. It's not to say there wasn't any humor involved-- particularly, their form of really dark gallows humor-- but not in the midst of the genuine, actual apology. Aziraphale's "I Was Wrong" dance in 1793 was a back-and-forth of him verbally apologizing and Crowley insisting that it was fine and then Aziraphale, more or less, you were right and I was wrong-ing with other words until they both were okay to talk more and move forward.

Both of them were alright as a result and clearly had a memorable time in Paris afterwards, as Aziraphale is referencing it as a good example of the two of them working through things together in a positive way when he tells Crowley that Paris, 1793 is what he "wants for lunch" in 2008.

It's really why Aziraphale says he wants 1793 in the first place, when they have a zillion other times he could have referenced. The scene in 2008 is taking place after Crowley went missing the night before on assignment for Hell. Aziraphale doesn't need to be told by this point that Crowley was hurt but they've been in public the entire time since they've met up so there has not yet been a moment to try to really acknowledge it. By bringing up Paris 1793 in response to Crowley saying he wants to lunch, Aziraphale is using it as a shorthand to convey both that he's aware and that they'll handle it, like they always do, and it will all be alright. Paris 1793 seems like it is a particularly memorable example of them managing that to them, so it's the one that Aziraphale brings up.

This also accounts for the discrepancy in Aziraphale's expressions in 2008 when he talks about this particular time. When he first mentions Paris 1793, his response is layered. There's regret mixed in there. Pain. Complicated emotions. His smile to Crowley is kind of flat, like he's trying to remain more upbeat than he actually feels.

It's very different from the cheer of we had crepes! that emerges after Crowley's response to the suggestion is positive. It speaks to Paris 1793 being more complex than only the fun, memorable romp in France that it also was.

So, this would mean that The Apology Dance is usually a verbal thing, even though Crowley did a literal dance along with it in S2. This actually is not terribly surprising because Crowley and Aziraphale's language is an exercise in the literal and the figurative.

Everything in it physically exists as well as figuratively exists and that's part of the fun of it for them. It all has to work on the surface level as well as on other levels. There are literal crepes and figurative crepes, for example, while we're on the 1793 topic. Literal fish-- sushi, gravlax in dill sauce, etc..-- and figurative fish, like the two of them. When Aziraphale asked for "the little dance" of light grovel with the apology, Crowley did that by also giving him a literal dance to go along with their traditionally verbal dance. Why? Because Aziraphale called their apology routine a figurative "little dance", so Crowley gave him a literal one to go with it. Eventually, all the figurative has to be at least a little literal in some way. It's why God made sure that an actual nightingale-the-bird was actually singing in Berkeley Square at the end of S1 as her last language lesson to us. There were then now literal angels dining at The Ritz so a literal nightingale sang in literal Berkeley Square.

The S2 Apology Dance is likely then the first Apology Dance that involved a physical dance. I'm not sure that there were others in the past but I think there definitely will be more going forward and that's a good thing since a bit of silliness is very healthy. 😊

Ok, so, back to the "you don't dance" moment... remember ten years ago when I said there were roughly four meanings of dance?

We've defined two of them already: a literal, physical dance and a verbal dance. The other two are the dance of society and dance as sexual euphemism. Historically, these weren't always mutually exclusive things and Good Omens overlaps them in some ways a bit as well.

The dance of society is being an open, active participant in your society. Even though Aziraphale basically built the society around him through being the founder of the street, we've seen how he tends to keep himself one step removed from life on Whickber Street.

It's best summed up by his relationship to The Whickber Street Shopkeepers & Traders Association: he is a member of it but, until S2, he's never hosted the monthly meeting. He doesn't fully see himself as one of them because, as an angel, he's not supposed to want any of this human living stuff, even if he desperately does. He has imposter syndrome for days, feeling like he's always about to be exposed as not really one of them.

Aziraphale does enjoy himself at times. He does engage with the world around him. He just doesn't allow himself to belong to it and his reasons for doing so are not only about his angel feelings.

The human world hasn't always been a place where he fit, either.

It's only been very recently in history-- and Aziraphale has seen literally *all* of history-- when it has been comparatively safe enough for people like him and Crowley to live more openly. It's still not completely safe, obviously and unfortunately, but there is more general acceptance now, more acknowledged human rights and more laws to help secure those rights.

The things that Crowley was hoping were around the corner in 1967-- when England decriminalized homosexual sex between men over the age of 21 and he suggested that maybe he and Aziraphale could go for broke and try being less of a secret-- actually are here by the present of the story in both S1 and S2.

A lot of that is at the root of the humor in S2 as Gabriel's presence in the shop forces Crowley and Aziraphale out onto Whickber Street in the daylight for the first time and creates scenarios in which the shopkeepers-- chiefly, Nina-- are throwing them off by being more comfortable with having their relationship be acknowledged publicly than they are. Part of the joke is that they're still closeted in London Soho in the year 2023 and the humans cannot understand why because Crowley and Aziraphale can't tell them that it's their supernatural world causing them to remain a secret.

It is only relatively recently in human history that people at formal social gatherings like the ones in England that Aziraphale has been to for years danced with anybody they felt like, regardless of relationship or lack thereof to that person. For many years, while someone might stand up with the occasional maiden aunt out of politeness or whatever, most of the time, a request for a slot on a dance card was a declaration of romantic intent. It was done within the public eye and, while matchmaking was often economical more than romantic, it was at the heart of how society functioned.

To dance, in that sense, was to be a part of society.

Aziraphale was never a part of society in that way. Not just because he's an angel who is supposed to remain above the human fray but because he is queer and society, for a long time, was not built to openly accept him. He was on the fringes of it for both supernatural and human reasons. From what we've seen, literal, physical dancing has always been something of a metaphor for this struggle for Aziraphale.

When Crowley says that Aziraphale doesn't dance-- and it's really more, as we've seen, that Aziraphale doesn't dance in public-- what he means it that Aziraphale keeps himself back from being a fully engaged part of the group, out of a fear that it's not for him because both the supernatural and the human worlds have been teaching him for a long time that it is not.

To host a meeting of the local business association and have everyone to his house for a party... to have Gabriel and Maggie under the same roof... to have everyone knowing that Crowley is his partner... to be able to openly dance with Crowley in front of others like the couple that they are, in the same way that the Chengs and Mutt and his spouse are?

That is to dance.

That is Aziraphale trying for a life he's never had before.

It is this form of dancing-- the dance of society-- that Crowley has never seen Aziraphale do before and why he is so in shock when Aziraphale asks him to dance.

This is where we have to talk about what this has to do with the gavotte, the photo from 1941, Mrs. Sandwich, Duns Scotus, and disco... 🪩Yes, I know. Lots to chat about. 😊

Back in S1, as Crowley traps Hastur in his answering machine, we are treated to one of the best parts of God's narration: Her cheeky take on the human philosophical debate around the question:

"How many angels can dance on the head of a pin?"

The phrase comes from Protestant theologians in the 17th century who were mocking Catholic scholastics like Thomas Aquinas and Duns Scotus-- whose name is quite literally the origin of the word dunce, so overt was the mocking of these dudes' ideas. The show via Crowley also is referring to Duns Scotus in Demon's Guide to Angelic Beings when Crowley mocks the demons by spelling 'residence' as 'residunce' in Aziraphale's entry, joking with him about the fact that the demons will not be able to understand what the entries really contain. So, why the mocking of Duns Scotus and pals?

While it's not totally know if they ever did debate this question exactly, questions very much like it were debated in their circle and others in different parts of the world and these philosophers would get a bit in the weeds in the wrong direction with things. This isn't to say there is a right or a wrong way to think so much as to say the way they chose to approach questions like this was full of absurd focus on the least consequential things someone could look at and failing to really think about how considering these questions at all could impact their understanding of the world around them and contribute to making that world better.

They were not asking questions like: do angels exist in the first place? If they do, do they dance? If so, what makes them want to dance? What would it say about angels and living-- and us and living-- if angels did dance? Why the fuck would they want to dance on the head of a pin when they could dance anywhere? 😂 What does it say about us and our views on angels and ourselves that we're spending a great deal of time and resources debating questions about beings that we cannot even prove fucking exist in the first place?

Instead of considering anything like that, Duns Scotus and pals would spend time just working on the most arcane details of angelic and demonic existences-- on things like trying to figure out if angels could exist in more than one place at once or how small they could get and how they would get that small and how many of them could fit on the proverbial head of a pin and still dance on there?

You know... real, relevant, thought-provoking, big picture questions that we've all asked ourselves at one time or another. 😂

Those mocking questions like this made the question "how many angels can dance on the head of a pin?" a kind of catch-all for pointless debate and it has since become a shorthand phrase meaning basically a bullshit question of no relevance, the debate over which is a colossal fucking waste of time.

Some scholars went so far as to blame those engaging in this type of debate as being responsible for the fall of Constantinople, saying that basically these scholars were sitting around listening to themselves talk on absurd things of no importance to such an extent that it caused mass death and collapsed an empire.

It might be of note then that this question is so notoriously tied to the fall of Constantinople that Good Omens might be winking at the fact that angels dancing around a seamstress might be a prelude to Aziraphale's fall, which some of us think is what's happening at the end of S2.

So, when Hastur and Crowley go into Crowley's answering machine, God jumps in with a little wink to this question in an effort to prevent anyone from focusing on the single most non-important question in all of Good Omens:

How did they get into the answering machine?

The answer to that is that it doesn't matter. They're magical-- that's the answer.

It's not to say that there is not a ton of small detail in Good Omens worth exploring-- and other scenes encourage doing just that, like Shakespeare's "in your role as the audience, could you give us something more to work with?-- but the details worth looking at are ones that will underscore what the story is saying in a bigger picture, thematic sort of way.

God's point here is that if you're hung up on the Magical Technical Whateverness that is stuff like how the angels and demons travel, you're being a bit of a Duns Scotus and trying to solve a mystery that the show has zero intention of ever making be relevant to anything and doesn't really consider much of a mystery in the first place. You can sit there until you're blue in the face doing calculations and looking up scientific explanations and it just simply does not matter. You're barking up the wrong tree because the thing you're talking about has no significant relevance to the story.

"How many angels can dance on the head of a pin?" is basically the olden days, scholarly equivalent of rolling your eyes at half the comments in an online discussion for any sci-fi show that has ever existed. My friend and I call this kind of debate 'Photon Torpedo Jerk-Off' and what I mean by that is this: if you watch an episode of, say, Star Trek, and you think the most important thing to talk about that happened in the episode you just watched is whether or not these writers were accurate about the range of the photon torpedoes when they had the Enterprise blow up that Klingon warship, then you have missed the point of the episode entirely. If you're sitting around arguing about the sci-fi magical Whatever Tech and not talking about the story you've watched, you don't understand the point of what you've watched.

In Good Omens, the reason why God's monologue about how many angels can dance on the head a pin begins when it does is because it is a very sly joke on Duns Scotus-like debate, using the fact that the questions that were absurd to consider in real life are actually-- hilariously-- among the most pertinent to consider where Good Omens is concerned.

God brings up the pin-dancing question as a way to answer the question of what's happening with Crowley and Hastur going through the answering machine. She amusingly doesn't really answer the question and, instead, starts going on about the parts of "how many angel can dance on the head of a pin?" that should have been the bits being debated-- like whether or not angels dance at all and what if means that they do. Basically, Good Omens' response to how the answering machine bit works is "something something electrons" and they're proud of it and they should be because it doesn't fucking matter, which is why God's monologue in the answering machine sequence is really all about the bigger questions of the show and not the Duns Scotus-y question of "but how are they traveling through the telephone system exactly?" God simply just says that they are and moves onto more relevant things.

Even though the original debate over questions like "how many angels can dance on the head of a pin?" was theological and philosophical, the thoughts behind the absurdity of it very much apply to interpreting works of art. Because of its ties to religion and to angels, it makes for a very humorous way of telling the Good Omens audience that they will not really be explaining much of anything regarding to the technical whatzits of how angels and demons travel through electricity and things like that because that could not be less relevant to understanding the story.

The question "how many angels can dance on the head of a pin?", at one point, also had several variants. One was the same question but wondering how many demons could dance on the head of a pin, while others involved whether or not angels were "sexless"-- a question that was so confusing at the time that several sub-variants emerged as a result because people weren't entirely sure what that question meant...

Was the question asking if angels had a biological sex-- and, if so, was it asking if they had sex organs? Was it asking if the angels had a form of gender which, at the time and with these theologians, was mostly a question of whether or not angels could be what humans would have called male or female, with gender binary ideas of what that would mean intact? Many others thought a question of whether or not angels were sexless might be more directly about whether or not angels had sex.

(Amusingly, that question didn't really ever get asked about demons, as the sexuality around demonic lore has always been pretty notorious.)

The problem with these questions being asked by theologians is that they never took the opportunity to reflect on what it might say about humans and our societies that we thought these the most pertinent questions to answer about angels and demons. They never stopped and thought about the fact that to ask these questions meant they were not sure that this supernatural world that they believed in had the same sort of structure when it came to things like gender, sex and sexuality that humans do and how that is where the more interesting thoughts exist. Just by asking those questions, you could start to follow a path that maybe suggested that they were different from humans and it might be better if humans emulated some of those ideas, right?

But that's definitely not where these guys took this...

When scholastics would approach questions like this, they'd do so to make the concepts of angels and demons fit more securely into the worldview they were promoting. The very conservative would usually say that angels were genderless and also usually "above" sex and things like this reinforced their holiness. The demons could usually fuck because they were evil and nephilim and the like made for the usual brand of good, scary, weirdly sexual Bible stuff. The ones that did think that angels did gender thought angels thought about it in the same very rigidly binary and traditional ways of most societies.

In other words? Theologians took the mythical creatures of angels and demons and made their theories about them fit human societies to further their own, human goals, instead of using angels and demons to reflect upon those human societies and consider how different viewpoints might improve them.

Good Omens is completely sending up this mindset.

In Good Omens, the supernatural characters are a way of poking fun at these kind of humans who approach ideas about what angels and demons might be like with such rigidity and treat their fellow humans in the same way. The angels and demons are basically all queer in human terms by default because, in Heaven/Hell, gender is a constellation, biological sex is a 'do whatever you want with that, if anything at all', and, just like with the humans, asexuality and sexuality and everything along every possible spectrum related to it all exist. For the most part, human prejudice does not exist-- though prejudice itself does, in the form of the "other"-izing of the demons. Some of that human prejudice has slipped through-- see: Sandalphon-- but it's not as ubiquitous as it is on Earth.

The angels and demons in Good Omens come from a world where everyone is sort of assumed straight-out-of-the-box non-binary by default and queerness is more normalized because when your concept of gender begins without rigid ideas about what that is, damn near everyone winds up being what humans would refer to as queer because that umbrella is then basically anyone other than a cisgendered, heterosexual person... and what is a cisgendered, heterosexual person when gender is design-your-own-concept-of-this from the get-go? How would anyone be heterosexual, when the definition of that is rooted in binary views on gender that do not exist in the supernatural world of Good Omens?

The point of all of it is that if humans thought this way about one another more, the world would be a better place. Good Omens is a story about angels and demons that is using them to ask questions about humanity of a lot more value than "how many angels can dance on the head of a pin?" but, ironically? Some questions that come about as a result of considering that question in a different way-- as God helps us to do with her monologue-- like the question of whether or not angels dance and consideration of what that might mean-- are examples of some of best questions to ask to get to the heart of what Good Omens is saying and what it's story is all about.

In Good Omens, neither the supernatural world nor the human world are perfect. The supernatural characters seek to learn how to really live from the humans but the humans have a thing or two to learn about themselves that the supernatural beings-- with their choose-your-own-adventure ideas relating to gender, in particular-- could show them when it comes to true freedom.

If we made like the supernatural world of Good Omens and placed less focus on defining and labeling gender and sexuality in such strict terms and just looked at everyone else as fellow people and let people present themselves as they like and identify as they like and be attracted to who they're attracted to and love who they love, we'd just be seeing each other all as people-- which is what we all are.

It's also the point of the intentional vagueness of Gabriel's whole situation during his naked arrival in 2.01.

There is a fuckton happening in this scene but one of the biggest is the decision to make it unclear as to what was behind the box-- and that's the point. Are there a couple of hints here and there? Sure. You can make arguments in different directions and, for sure, the decision to make it vague, instead of including a suggestion that Gabriel's for sure Don Drapering it in that moment is a whole decision in and of itself. The point, though, is not to fixate on determining what, if any, situation Gabriel was rocking during his rather challenging Monday morning in S2 but to just ask yourself why it would matter to know?

There's nothing wrong with some idle curiosity, I don't think, but the ambiguity is the point. What would it matter if Gabriel was running in angelic neutral or sporting, as I think the scene is suggesting, some lady parts for the morning? It doesn't change anything about Gabriel because only humans would look at Gabriel and assume that he has a penis and find it shocking if he didn't because many of us are that limited in thought. Only humans would box (bad, unintentional pun lol) him into pronouns as a result and try to tell him that he can't use he/him if he sometimes doesn't have that penis.

All these humans are looking at his body and judging it-- who gives them the right?

Whatever you feel about Gabriel, you do feel for him in that moment because no one deserves to have their body judged by a zillion critical strangers... and isn't that what many of us are doing online? Isn't that what a lot of humans do about everything from gender to sexuality to weight and looks? We categorize and label and put all of these parameters on meeting the standards of those categories when none of it matters and everyone is unique and beautiful in their own ways.

The genius of the supernatural characters in Good Omens is that, in so many ways, they are not free and a lot of their issues overlap with those of the humans but in real, fundamental ways, they have default mindsets that humanity could really benefit from adopting. The Gabriel arrival scene underlines it by turning the camera back around on us by showing us an example of a very masculine person by traditional human standards, implying that his genitalia might differ from what we've been conditioned to expect from a person with his looks, and then making us consider how we feel about that and if maybe the whole idea of these kind of expectations isn't bullshit in the first place.

So... while Good Omens is sending up the limited mindset of the Duns Scotuses of the world, the joke with God's monologue is that, in the context of Good Omens itself?

From the standpoint of this story?

The related questions about angels and dancing and gender and sex that arise from asking the question: "How many angels can dance on the head of a pin?" are excellent questions.

They happen to be questions that, if you're asking them, you're getting into many of the themes of the story and you're looking at how the story is using angels and demons to talk about the experience of human living. What does matter in understanding the story of Good Omens is, ironically, the dumbass questions that these humans were asking back in the day about dancing angels and demons and their relationships to human ideas about gender, sex and sexuality at which Good Omens is poking more than a little fun.

To add to this, we also have the very funny way in which God presents the answers to these questions to us and that involves a wink towards the last type of dancing-- dancing as sexual euphemism.

In the original question of "how many angels can dance on the head of a pin?", the reason why it's a pin is obviously that pins are very, very small but it was sometimes referred to as well as a question of how many angels could dance on the head of a needle? This was because the detractors of this school of thought were creating puns, so they could call the debate of the question things like a "needless point" in their writings-- very Good Omens-y humorous of them. 😊 We're also now bringing into to conversation via needles and pins language related to the make and repair of clothes-- seamstress work-- as being tied to questions of sex and dancing as sexually euphemistic.

The visuals shown to us during God's monologue include Crowley and Aziraphale dancing separately, in different eras, with other beings-- Aziraphale with some humans and Crowley with some demons-- but with an undertone of sex in both scenes that gets at dancing as sexual euphemism. In Crowley's scene in the 1970s/very early 1980s, he and Hastur and Ligur are in some trippy disco sequence in which they are dancing with a pin but the pin is being used as different kinds of sexual dance-related poles.

This is a visual parallel of the innuendo around seamstress-related language in the series, with a pin-- a tool used by those who make and mend clothes-- being used as a pole, highlighting a (hilariously-presented) aspect of sexuality in dance. Mrs. Sandwich runs a bordello but the coded 19th century-era speech of Aziraphale's magic during The Meeting Ball results in her attempting to describe the sex work menu of her girls as being coded in the language of those who make and mend clothes. This comes from sex workers writing on government forms the 19th century that they were seamstresses to evade authorities (why Mrs. Sandwich says her girls stand on their own two feet "like the government said") and a use of seamstress language as euphemistic for sex that overlapped into coded slang of, in particular, homosexual men.

In one part of the disco sequence, Hastur, Ligur and Crowley are going around the pin like it's a maypole, which were involved in courtship rituals and fertility dances. In another moment, the three of them then turn the pin into a stripper pole and bust out some exotic dancing moves, all less using the pin/pole as prop in a seduction of someone else but more seemingly in place of that someone else, with exactly zero awareness of one another.

What the living fuck is this scene, really? 😂 Is the pin really large? Are they very small? Why can I still not stop laughing at the fact that they aren't dancing on the *head* of a pin but with it? Is Hastur trying to make out with the pole? Did Ligur really invent part of The Macarena decades ahead of its time? What perspective is this scene supposed to be shot from? lol Are we all just assumed high at this point from the disco lights and general trippiness of the sequence? Are any of these the most important questions of this sequence? Not by a long shot lol...

*tilts head* hiiiii Crowley...

What's that? Oh, sorry, right, finishing up the epic journey that is this meta... Yes, yes, sorry. Got distracted by the dancing snake... Which reminds me!

We can't talk about dancing as sexual euphemism without mentioning that the little glimpse into Crowley's bedroom in S1 that we see shows us that he has a wooden figurine of a dancing snake on a table in the corner, which seems like a wink towards Crowley and Aziraphale joking about being like the magician or musician who would play music to "charm" snakes into dancing for them. Crowley kept the dancing snake figurine in his bedroom so that is probably the ultimate in dancing as a sexual euphemism possible and it's another indicator that it's hardly the idea of dancing together being a form of sexual overture that has Crowley so confused when he says "you don't dance" in S2. Dancing, in that sense, is not new to them.

So, God's monologue is winking pretty heavily at dance-as-sexual-euphemism. In showing the dancing this way, God is using dancing to mean both literal dancing (as in, when she describes that Aziraphale is the only angel who dances-as-in-moves-to-music because he learned the gavotte) and also as an answer to the question of whether or not some of the angels and demons have sex. While not all of them do or have interest in doing so-- just like with the humans-- having Crowley and Aziraphale both exhibit a sense of sexuality in the dancing scenes here is more than a little suggestive of the fact that they both do.

So, how does that fit into our whole idea of dancing as it relates to a being a part of society?

Both Crowley and Aziraphale are shown dancing in different situations in different eras in which queer people existing on the fringes of society found a place in which they could express themselves-- but they are very different ways of expression.

Aziraphale learns to dance in a private club for wealthy, gay gentlemen and that is the only place in which he dances because he can do so freely there without too much concern that it will have repercussions for him in both his supernatural and his human worlds. Everyone there in the club is someone who also has a sense of secrecy and a need for discretion in common and they're all well-connected enough to ensure that their privacy remains intact. It's through basically finding a safe space in this club that Aziraphale can have a microcosm of what it would be like to exist more openly in the larger society as a whole.

Crowley, on the other hand?

While Crowley also lived through all of these eras alongside Aziraphale and had the same types of social limitations, we see him dancing openly in the liberation of the disco era. Disco changed everything. It was full of people who had never fit into society and gave voice to, in particular, more female, Black and queer people than ever before. The eventual backlash to disco had nothing to do with the music and everything to do with the changing attitudes about race, gender, sexual orientation, and sex itself at the heart of it.

The difference here is that disco was free to a point that you could dance with anybody. You and your friends could dance, you could dance with someone you wanted to hook up with, you could dance around to it in your house with your family. It didn't matter. While people had long since abandoned the formal rules of dance in mainstream society that existed in the eras of Jane Austen, by the time disco turned up, popular dance had freed itself to being just about self-expression and having fun. It was still sexy but it was no longer playing a formal role in the matchmaking process of people in society. It's about having fun and doing so in the open and much more free.

This is where we're going to look at what your question has to do with the gavotte and Aziraphale's cotillion ball in S2...

The gavotte scene in S1 is one of the most fascinating scenes in the series because nothing else like it exists in terms of how it is filmed. The scene of Aziraphale dancing the gavotte is filmed in such a way as to suggest we are actually watching a video of him doing so. Part of this comes from the lighting, the slightly jumpy 'old time movie' feel of the scene. But, it also comes from the fact that Aziraphale looks directly into the camera at several moments during the scene, in such a way that it makes it feel like he's not looking at *us* in a fourth-wall-breaking sort of way but that he's looking at a camera that exists within The Hundred Guineas Club and is filming them dancing.

This was likely possible at the time, especially in a club patronized by wealthy men. The Lumiere brothers patented the first movie-making cameras in 1895 so it could be argued that Aziraphale and friends are being filmed using a prototype of that technology. (A bit of film-related technology being a bit too early for the time by our human history standards is also shown on Good Omens in S2, when Furfur has a Polaroid camera just under a decade or so too soon, though some prototypes were in development not long after the time Furfur was shown with one.)

The point is that Aziraphale looks like he's letting himself be recorded dancing. Actually, the point is that Aziraphale looks like he is loving letting himself be recorded dancing and that's an enormous thing...

Think back to 1941 for a moment. Crowley and Aziraphale were nearly killed over the picture Furfur took of the two of them together. No audio/visual evidence of the two of them together exists. If they kept the picture, they've hidden it really, really well because they've been terrified of anyone finding them out. Does this recording of Aziraphale still exist, though? Does he have it? Was he going to show Crowley, maybe after everyone left The Meeting Ball?

Living-- existing-- can mean having a record of that existence. That's actually at the heart of the meta I wrote recently about Aziraphale's excitement over getting the Shostakovich record being about having a recording of a performance with history to him and Crowley.

Being a part of the world can mean letting yourself be a documented part of it.

We are shown that, in the late 1880s, Aziraphale let himself be recorded on video dancing with some human friends... which is to say that Aziraphale let himself live.

He let himself find some kindred spirits, learn something new, be an active participant in a group, and enjoy himself. He let all of that be documented and his kind of manic, unbridled joy over all of it is the mark of how rare a thing this level of engagement is for him.

So, why did he?

Why this dance? What does this have to do with The Meeting Ball?

Notice the backdrop of this scene. Other than Aziraphale and the other gentleman and the walls, there is really only one thing of note in the scene and it is in focus for much of the scene: the chandelier.

The gavotte is both a specific kind of dance and a kind of umbrella term for French folk dances from the 16th-18th centuries and a separate, different dance in the 19th century. It was apparently popular in the court of King Louis XIV, whose reign is referred to several times in Good Omens. (Crowley's gauche imitation Louis XIV furniture in his flat in S1; he was king in the time mentioned by Aziraphale in the French scene in S2; his mistress being Madame du Pompadour, historically credited with originating the hairstyle worn by Crowley since prior to Earth's existence, etc....)

Gavotte comes from gavoto, which meant mountaineer's dance or the dance of the mountain people and which, in turn, came from gavot, which meant a boor and a glutton. A boor is a country person or a farmer but it comes from the Latin bovis, meaning a cow or an ox. Etymologically-speaking? Of course this is the dance Aziraphale learned because the gavotte is a French dance of the ox glutton who enjoys a good "mountain" climb.

(The theory that they wrote The Sound of Music lives on. 😂)

Aziraphale learned the gavotte, of all dances, because he knew that Crowley would find the two of them dancing together to this dance in particular very amusing. He learned this dance in the late 1880s, likely with the intent of maybe, someday, being able to dance it with Crowley, which is likely why he was he was annoyed when it went out of style.

Still, we could theorize that one of the reasons why he allowed himself to be filmed dancing it is to have a record of his efforts to learn it-- not just for Crowley but in general-- and that maybe the chandelier in the bookshop is the one from his long-since-closed gentleman's club. It all shows that Aziraphale has wanted to dance, openly and publicly, both in general and with Crowley, for a very long time.

One of the reasons why he likely miracled everyone into 19th century speak during The Meeting Ball and brought down the chandelier and old style dancing was so that he could finally do just that. It isn't so much that Aziraphale needs to stick to old-fashioned dancing in general as it is that he just wanted to have an experience like those of other humans during that time that he wasn't allowed then to have-- by the rules of the human world, not just because of the dangers from his supernatural world.

But it's 2023 in S2 now. Queer people have been able to get married in England for a decade and partnership rights have been around for even longer. Mutt and his spouse's relationship would have been illegal in nine different ways barely a breath ago but they can live openly now. Gabriel has left Heaven and moved into the guest room. Things feel like there's a chance of change everywhere and Aziraphale has just had it and can't take one more night of Crowley slipping out before dawn so this whole "Maggie and Nina" party?

Do you remember how Aziraphale phrased the idea to Crowley?

Cotillion balls aren't just any ball. While cotillion was a style of country dance kind of like the gavotte, a cotillion ball was a coming out ball for young ladies in society. In parts of the world, they still exist, sometimes called now debutante balls.

What's so endearing about Aziraphale fixating on this idea is that a) Maggie and Nina are both women, which is not a match that would have been sanctioned by a cotillion ball in Jane Austen's day, which makes it sweet that Aziraphale is, in a way, trying to give this traditionally romantic idea of love at a dance to a pair of women who would not have had it be an option for them, historically, which is something to which he can relate but also b) Aziraphale is just really semi-consciously using the idea of a party styled after a coming out ball for women in society as his thinly-veiled excuse to have a coming out party of a different kind, of sorts, for himself and Crowley.

Aziraphale isn't closeted in the sense that he's not actively trying to convince anyone that he's straight (good Frances, what a waste of effort that would be lol) but he'd like to be just like everyone else and not have to hide his partner. In the scene where Mrs. Cheng tells him that she and her husband will be at the party, for example, Aziraphale has this kind of wistful look for a moment. He wants that. He'd like to just be chatting with the neighbors and tell them that yes, definitely, he and his husband will be by later on. It's a season of things like Muriel literally opening the door to them hiding in a closet to talk privately and Crowley insisting in the street to Nina that Aziraphale is not his partner but then saying nothing to correct her when she refers to Aziraphale that way when they're in the bookshop. It's Mrs. Sandwich knowing Crowley in part because she sees him slip out the bookshop side door every night but Nina not knowing him in 2.01 because they're hiding the fact that they're a couple so morning coffee is never a thing until it is in S2. The Meeting Ball is Aziraphale taking steps towards them no longer hiding it by having people over when Crowley is there and letting everyone know or assume that Crowley is his partner.

The party is really for Crowley. Having everyone speak outside of time, the theatre curtains, Gabriel circling with trays of food (which was honestly so funny-- The Supreme Archangel walking around all "try an ox rib" to everyone), the vol-au-vents (etymologically linked to nightingales and some of them seemed like they might have been oyster vol-au-vents), etc.. He did it all to dance with Crowley and ask him to stay.

These two are fucking adorable. Look at this angel, I mean, seriously:

Aziraphale has been hitting that since ancient Rome and he's over here, nervous and giddy like he's at his first middle school dance, so fucking excited to ask that dashing ginger currently having an anxiety attack to dance. They have been basically married for millennia and Aziraphale is standing there like I'm going to ask him, I'm going to really do it, I'm going to hold his hand and dance with him in front of everybody and they're all going to know he's mine. We're going to be like everybody else-- just people on Earth.

It's so damn cute.

So, lastly, there's one thing we have to talk about when it comes to dancing and that's the fact that it is a form of self-expression. This is where Aziraphale and his perfectionism come into play a little.

God, in S1, said that not dancing is one of "the distinguishing" features of angels and that Aziraphale, through learning the gavotte, is the only angel who dances (at least, in terms of literally dancing.) This contrasts with the demons, who all dance, though many of them are not particularly good at it. This is the fundamental difference between angels and demons.

The demons are all demons because they were all willing to express themselves as individuals, which is what dancing fundamentally is. The reason why Aziraphale is the only angel who dances in S1 is because the other angels who know how to dance are all now demons.

Dancing means putting yourself out there a bit. You have to be willing to make some mistakes. You have to be willing to look potentially silly in front of other people and learn to not care as much about it. You have to take some chances. You have to engage with others if you want to dance with other people-- so, you have to participate in the world around you a bit. You have to try new things, like hearing new music and learning new ways to move. You have to be your own person, in the sense that you have to have music you like to move to and decide what you'll look like doing that. You have to let yourself take up some space and work hard at shutting off your damn brain enough to enjoy it.

In the 1941, Part 2 scene that we started this meta out with, we saw Aziraphale openly dancing a bit in front of Crowley, a sign of how comfortable he was and is with him. He doesn't have to be perfect around Crowley. Just as Crowley doesn't have to be perfect around him and is willing to look ridiculous to around him, as in the case of The Apology Dance. Being able to be silly and vulnerable is a sign of trust. When you can lean on people you trust and have that kind of intimacy with them, it can make you feel braver to take some risks in the world as a whole. If you let one person in enough and learn how to dance in one or more ways with just them, you'll eventually feel like you can dance free, no matter who is watching.

In the same scene, Aziraphale admits to his conflicts over going to Goldstone's and how he worries that maybe the things in life that he enjoys are "for professional conjurers only"-- for humans only-- with Crowley helping to quiet that imposter syndrome noise in Aziraphale's mind. Crowley's gentleness and the care in his response are examples of why he is who Aziraphale chooses as a partner and why it's with him that he's long-dreamed of having be his dancing partner when he finally is able to publicly dance alongside others at a ball.

Aziraphale is equally considerate in how he treats Crowley and is not put off by spending their first dance in public together essentially trying to calm what he thinks at first is just Crowley's usual level of anxiety talking, knowing Crowley well enough to know that, for all his talk about wanting to live a more open life together, he's as afraid as Aziraphale is. Crowley is dancing anyway. Aziraphale wants to so that's enough for Crowley to do so.

Aziraphale doesn't need some perfectly smooth first dance out together-- though they dance easily and very well together. It doesn't matter how long he's waited. He cares more about trying to reassure Crowley and ease his stress. They actually aren't as safe as Aziraphale believes them to be at this moment but it's the intent that's sweet. He knows this dance is as scary as it is lovely and, as always, it's important to him that Crowley feel safe.

You have to admit that you're a person to dance.

That's what the dancing is all about.

You have to admit that you have a life and to start to accept that you are allowed one. You have to accept yourself as part of a community to publicly dance with a group. You have to feel ready to host the monthly meeting of The Whickber Street Shopkeepers and Traders Association because to do so is to be a participating member in a community and to be a participating member in a community is to be a person living a life on Earth.

It's not surprising, then, that when Aziraphale gets to a point-- a very delicate point but a point, nonetheless-- of feeling like it might be time for him to claim that life for himself, doing so begins with the first night that he's ever been able to be at a party and, just like a zillion other people before him, ask his partner to dance.

[shnebrght]

Why Sasagawa Ryohei is considered the 'weakest' of the Vongola Decimo Guardians || A META ANALYSIS

===Spoiler Warning to the Manga of KHR.===This is the only warning you'll be getting.

First, a clarification because this came out of nowhere -- Yes, Ryohei is considered the 'weakest' of the Guardians by both Dino and Reborn, at the start of the Varia arc. This is backed by him being ranked the 5th Strongest in Namimori Middle, preceding Kusakabe (Hibari's 2nd-in-command). It is only after training with Colonello that he gains a semblance of power reliable enough to protect the familiga, besides just being 'really good at punching'. Simply put, at the level required in the series, Ryohei's set of skills - that being a really good boxer - isn't enough to qualify for a powerful guardian.

In that regard, he's even outdone by Lambo, at 5-years old, thanks to his arsenal and 10-year jump potential. How is that possible?

-- To tackle this question, we need to consider what makes a character 'strong' in Katekyo Hitman Reborn. Simple physical strength is of course a factor, but it's hardly the only one; in fact, it's one of the least accounted-for factors. This is backed by the Maximum Cannon being literally the strongest one-hit move among the Decimo Guardians, probably outdoing even Tsuna's 20% X-Burner. So, we have a character who's physically capable of outputting more raw power than his boss in one hit, yet he's still considered the weakest. This is because, the conclusion I have arrived at is: In KHR, a character's 'power' isn't dictated by their strength, but by their effectiveness.

For a simple example -- I-Pin's Mahjong Mega Bomb is possibly the one single strongest nuke in the show. But it takes it 10 whole counts until it blasts off, in which I-Pin is stationary. Is this effective? Not at all. As displayed numerous times throughout the daily life arc, it's perfectly plausible to avoid and nullify all damage from the blast by stepping out of range in time, or just throwing I-Pin away. Sure, it's a gag move, but it exists and we must take it into account. By contrast, we have the Levi Volta. I'm going to be honest, this is one of the least interesting moves in the series to me. It's never even used again after Hayato dispatches Levi. However, we can't ignore its effectiveness. Levi Volta is a sure-hit lightning strike condensed into one spot. Unless you're someone like Hayato who just so happens to have a way to counter, or Lambo who's got immunity, this is a clearcut one-shot. It's even been said that Levi himself isn't impressive, but this move alone is what put him in the Varia Officers rank. Let me repeat that: This move, alone, made him a Varia Officer. This is how effective the Levi Volta is in what it does, without getting into more specifics.

In short, a character's power is dictated by their techniques' effectiveness and skill, as shown in two examples. This is why Hibari for that matter, who's simply strong, hardy and great at fighting, is as stupidly powerful as he is: he's simply that effective. Notice that Hibari does not have nuke-level attacks, or even building-level attacks. All he has is two Tonfa, and his skill brought him to the same level as Dino -- who also doesn't have big bombastic moves.

Back to the subject at hand -- what about Ryohei makes him 'less effective' than the rest of the Guardians?

Not to throw shade at Ryohei at all; despite being labeled the weakest, that becomes arguable once he learns to utilize the Maximum Cannon (and subsequent moves). But, he's still considered on the weaker side, and consistently doesn't win in his fights despite great showcase of strength. Ryohei's boxing skill is also immensely good; blocking isn't a big thing in boxing, fighters mostly using dodging to nullify attacks and open their opponents. In that sense, Ryohei managed to dodge a majority of the damage Koyo attempted to land, while still getting deliberately grazed to charge his Sunlight Bangle. This takes inhuman amount of skill, which Ryohei is able to showcase, albeit with a Cambio Forma. Safe to say, he's easily one of the world's greatest boxers-- in sheer skill alone. He's also the well-reliable Sun Guardian, as shown 10-years later.

But Boxing in general is not a great choice for martial arts. While popular, it is subpar, as judged by several real-life martial arts experts. Him sticking to Boxing exclusively makes him incredibly good at what he does, but limits him in that sense too. Moreover, there is one common denominator for many characters in the series -- and that's, the use of Weapons.

Reborn is the most classic hitman in the series, modeled after the stereotype of Italian mafia. Therefore, he's a weapons expert. But it doesn't stop there: Gokudera using dynamite, Yamamoto learning swordsmanship, Hibari's tonfa -- even Tsuna uses a weapon: while the gloves by themselves aren't 'weapons', the ability they bestow definitely is. How do you expect to throw hands with a guy that shoots fire??

In the weapons department, Ryohei only has his fists. And that already places him at a disadvantageous point. While he's on-paper extremely skilled at what he does, his skill level is compromised by virtue of lack of weapon in the series.

To make a quick run-down of the other pure-martial artists in the series for comparison (almost all of which Ryohei outdoes), we have:

I-Pin and Fon, who use Gyoza Kenpo, a form of martial arts incorporating garlic to disrupt the enemy's nerves.

Joshima Ken, while not a 'martial artist', he is equipped with his fangs to grant him animal abilities and traits.

Lancia, who has a giant steel ball.

Lussuria, who not only has insanely quick movement, but also a metal knee - which by itself is a weapon.

Zakuro, technically, who just becomes a T-Rex and attacks with heat and Storm Flames anyway.

All of these guys have something extra going on for them besides just raw power. Ryohei doesn't have that. Ryohei relies solely on his skills as a boxer, and the principle taught to him by Colonello, to channel the power of his cells. Maximum Cannon is essentially a technique, but it's still just raw strength -- and, it's not even that reliable; requiring a very long recharge time to even utilize at maximum strength. His fighting style subtly changes to suit the Sun Flames' attributes eventually, but in the end it's still a principle that actively requires Ryohei risk himself, oftentimes gravely.

The other reason I feel that is relevant, is the author's emphasis on the Sun Flame being 'not as strong' as the rest of the flames. At least, not by itself.

The maximum healing capacity of the Sun Flames is demonstrated in Daisy, which can regenerate instantly like a lizard. I personally was amazed that this is what they pulled, only to later have my impression thwarted in accounts of the other Millefiore Guardians having even more extreme applications to their Flames. Basically, Daisy is presented to us as the first opponent fought against, because - to be inferred narratively - they are the weakest of the Six Funeral Wreaths. And it just so happens that Ryohei also has this flame, albeit with a different, much more self-destructive tendency. It's worth noting, in terms of effectiveness - Daisy outclasses Ryohei by a landslide, too (in my personal analysis, Daisy is the epitome of Sun Flames effectiveness).

Sun Flames, either through its healing properties, attribution to Irie Shoichi or Gokudera's use, is narratively told to be 'the support flame'. Which means, it's hard-pressed to find any attacks that encompass pure Sun Flame energy. In fact -- Ryohei is literally the only character in the series to even do that.

Ryohei definitely received the short end of the stick, but by no means is he actually 'weak'. As a potential Hitman he's definitely the least efficient among the Guardians, that's for sure. But that's mostly because of the series' focus and variety in its power system.

That said -- KHR is a series with normal humans. Remember that there's not a single person in all of KHR (except Daisy and his stupid hacks) that can tank a Maximum Cannon. So in terms of raw physicality, Ryohei is at the top of the series' list. Does that help him in fights? ...Unfortunately, not so much.

I find it interesting that the strongest Guardian, is actually the weakest; as 'power' is established to be 'effectiveness', and not strength.

That is all for this analysis, You're all incredible.

Especially if you actually read all of that like, holy shit.

I wrote a lot, huh.

[002yb]

jason revival au where he comes back but he’s amnesiac and talia still helps him and all that but somehow through all of this he ends up applying to be bruce wayne’s new secretary under a different last name and bruce is like “jason?!” while jason is like “uh…do i know you?”

Bruce only goes to the interview because HR badgers him about it relentlessly. While all the candidates are qualified (and all have been vetted to control for further liability with baseless scandal), they insist they want someone Bruce has some natural rapport with - some base level chemistry that will ensure a good fit and reduce potential turnover.

And Bruce could care less, honestly. He runs his own calendar and delegates to a team of trusted individuals to handle the day-to-day tasks that would bog his day down otherwise. The company wants to give him a babysitter is what's happening. Someone to keep an eye on him and ensure he does the unavoidable work he often puts off in favor of other nightly ventures.

Bruce isn't sure what he expects when he takes that last meeting. He's seen all manner of people in the past weeks as he's met with final candidates, refusing them one after another because they lacked the backbone or malleability he needed.

The final candidate of the current batch knocks on the door and Bruce waves them in without raising his gaze from his phone. It's rude of him, but he has more pressing matters to worry about. Some case. Or some family drama.

All it takes is the sound of their voice and Bruce's heart stutters in his chest. Because he knows it - not so much the sound (because gone is the high lilt of childhood and the squeak that came with his voice breaking), but the cadence, the way each word falls from that tongue:

'Evening, boss.'

Bruce looks up and sees a ghost. He sees the son whose body he held - lifeless. He sees the child he buried. A fallen soldier, a lost friend, someone so impossibly dear whom Bruce mourned.

And he can't find his own voice. He can't trust his eyes. Bruce can't move a muscle; his breath catches and he knows something is wrong. Fear toxin or something meta. Help him.

From Jason's perspective, he sees Wayne Enterprises CEO go worryingly pale. It's like he's haunted, only Jason doesn't know why. Trouble in WE paradise? A too long work day without having taken care of himself?

It would be part of his responsibilities to look after Mr. Wayne, but job responsibilities are the furthest thing from Jason's mind when he pushes forward to look after Bruce. Tentatively approaching and offering him water, making sure he's okay and 'should I call someone for you, boss? we can do the interview another time if you're not well?'

And Bruce shakes himself, because no. No, please stay.

The interview continues. It's strangely personal. Nothing very professional about it no matter how Jason tries to steer things that direction. He figures maybe Mr. Wayne is just grounding himself after whatever episode he had. Jason humors it as best he can.

Bruce really does look sick though. Let Jason call him a ride or something - Bruce clearly needs rest.

And Bruce panics because no, no. It's just -- he hasn't eaten yet. Low blood sugar. Come with him? They can continue the interview over a meal.

Just Bruce vying for anything to stay with Jason longer. So that he doesn't have to be apart from him as he tries to figure out how.

If it's a hallucination or some mind trick -- let him have it. Please, please.

And yeah. They actually order in and eat at Bruce's desk. They're all Jason's forgotten favorites and Jason is none the wiser. His smile is as brilliant as Bruce remembers though and he finds peace in it.

Because it would be strange to hire this boy after such an informal interview though, Bruce lobs a few relevant questions Jason's way. One of which is one that presses on him: why WE? He's curious if some part of Jason's subconscious remembered him in this way? It's clear his boy has amnesia, but there must be something that drew him here of all places.

Maybe there is, but Jason can't up and say that (yet). It's not any less true that Jason is drawn to the charitable side of Wayne Enterprises - the Martha Wayne Foundation. Bruce does a lot for Gotham. He's helped out a lot of communities that really need it and Jason openly admits he has the ulterior motive of wanting to see Bruce well and able to continue that good work in charitable giving. And yeah, maybe it's all a tax write off, but Bruce makes the active decision to remain headquartered in Gotham. It provides work and stimulates their economy. Those funds go into all those projects in the hurting communities of Gotham. More jobs for them that are good and honest and give them an opportunity to break a vicious cycle and --

Jason rambling in a way about all the nuances to WE and the impact of all the choices Bruce makes with the Foundation and any excess giving he does that he hadn't before, but it's still so Jason. So kind and compassionate and beautiful.

Bruce extends the job offer on the condition that Jason start the next day. Were Jason to call that bluff, Bruce would have folded. He would have given Jason anything he wanted. A different start time, a sign on bonus regardless of if it's not customary for the position or not; extra vacation, a pay bump, anything everything Bruce will give him the world if only to keep Jason save and in his sights always.

Jason only makes one request: he's looking after a kid for now. A temporary arrangement, but... he'll need to check on him throughout the day and --

Bring him, Bruce tells him. Because he's serious. He'll open a daycare. The child can have their own office, for all he cares. Bruce will have Alfred pick them up from school and provide meals; whatever is needed.

And Jason laughs, a titter of sound that could bring Bruce to his knees were he not already sitting. It makes his stomach swoop and his eyes burn. It's been so damn long.

They talk for a while longer, until Jason really has to return to look after said kid. The son of the woman who helped him get on his feet. Jason played nanny and the kid got attached. Jason promises he has a lot of experience; he'll make sure Bruce eats and rests properly.

Bruce falling in love with Jason again (platonic romantic, it doesn't matter).

And when Bruce eventually sends him off for the night, of course he follows. He stays looking on from the apartment complex over, watching Jason through a dingy, lit up window with sheer drapes as Jason lives a humble, domestic life free of heartache and suffering.

It's selfish of him. Bruce knows he brought this boy so much pain, but he can't let him go. He'll ruin him again. He won't be apart from Jason any more.

Extra: the boy, Damian, looks suspiciously like Bruce and he's bemused by it. There's something else about him that's strikingly familiar, too (Talia), but Bruce is at an honest lost. Too endeared by how the boy seems to have inherited many of Jason's habits.

[thegirlwhorideslikeasamurai]

Why does JJ freak out in the Grand Prix Final?

(I never thought I'd write a JJ meta, but here we are)

JJ has competed in the Grand Prix Final before. One season ago, he finished in third place, right behind Viktor and Chris. The pressure of competing against only five other skaters in the final round of what has the vibe of a deathmatch, is not new to him.

There's a huge difference to last time, though.

For many seasons, Viktor has dominated the men's field. In Sochi, he won his fifth GPF gold medal. No skater could get past him and this was a well-known fact among male top skaters. It's a bit akin to what the current situation with Ilia Malinin will likely develop into, although comparing him to Viktor is a capital crime. Skaters are starting to accept that this one skater scores so high that they can't surpass him wihout breaking their bodies. In YOI, Viktor has cemented his reign with a sublime combination of technical skill and artistry and every top male skater had to face this reality.

And now he's gone off to coaching.

Suddenly, the field is wide open. Everyone's motivation suddenly spikes up. Everyone wants to be the one who claims Viktor's title. Most of all Yurio, Chris, Yuuri. And JJ.

JJ sees himself as king and the rightful heir to Viktor's throne (watch his monologue in episode 9 and roll your eyes). Of all the skaters, he's the one with the least respect for Viktor, not that he respects the other skaters, and his ego is bigger than all the egos of his rivals combined. And this defines his mindset.

In addition to that, JJ is the only skater who won both qualifying events and thus goes into the final as the top contender for the title. Suddenly, dethroning Viktor has turned from a wet dream into a real and likely possibility. Add his own expectations to the expectations of fans and press and you get crushing pressure. Not even JJ is immune to pressure (I suspect that he covers up his own insecurity with arrogance).

There's another aspect that could affect JJ, but it's based on speculation:

Considering JJ's age, he can't have competed at the GPF too often. Depending on at which age he had his senior debut (not every skater pushed into seniors at the tender age of 15 before the ISU raised the age limit) and his development (growth spurts, skating skills etc.), he competed at the GPF between one and four times before Barcelona.

My personal guess is that Sochi was JJ's first GPF, but my only clue that supports this theory is Viktor struggling with his memory when he introduces the finalists in episode 10. Maybe JJ just isn't that memorable to him. But if my guess is right, JJ likely approached his first GPF with innocent fearlessness. JJ totally is the type who would do that. It's JJ style. However, when he qualified again, he already knows how tough the GPF is and that makes him vulnerable and prone to lose his nerve, especially since he is going into the event as the favourite and he wants Viktor's throne for himself. Ironincally, that's JJ style, too.

The Grand Prix Final is a tough competition. It's tougher than Worlds or the Olympics. The fact that only six skaters per discipline can qualify for the final raises the stakes. Unlike at the end of a big event with six groups or more, the judges have a very keen eye on every skater. That's often reflected in stricter scores and mistakes being punished harder, especially when the skaters are equal in skill. It's nerve-wrecking to watch and I imagine it to be more nerve-wrecking than any other competition for the skaters as well.

[frosting-surfeit]

Like, no, ok.

We need to talk about the insane amount of autistic-coding in dracze's half way across.

Its impossibly good. Detective bruce having Neurodivergent joker under his care, even tho hes just as unable to take care of himself as joker is and has his own issues he should deal with. The detective (who, lets face it, is probably autistic in turn) constantly trying to read into the Neurodivergent's behavior to make sense of it, sometimes without even realizing it, which both helps and doesn't because the Neurodivergent obviously feels like hes just a puzzle trying to be figured out by who's basically in charge of him and monitoring him no less. Joker retorting back hes not some damsel in distress, having to fight in order to not be seen that way, snapping when bruce picks his fights, rightfully so... while simultaneously refuses or isnt able to fucking communicate his most basic of needs because he doesn't NEED any help!!! He can take care of himself!! and no ones helped him in his time of need, afterall why else would he have ended up where he is?? Bruce further proving his point when he shows hes not qualified despite being the most qualified person there could possibly be AND-

And like dont even get me started on the meta aspects too, like bruce reading into joker is probably what the reader does as well, so when joker calls him out, hes also targeting the reader-- GAAAHH ITS TOO GOOD TO BE REAL

DRACZE THE THINGS YOU DO TO ME I SWEAR

Or at least thats how ive read things it might be wrong

Ive just always found interesting how autistic coding in these two is less talked about than queer coding when, at least in my opinion, they kinda go hand in hand.... i love how HWA deals with both

I feel so lucky this fic is real fr