#dreams being a theme in s3

[number-onekidqueen]

ok so the thing u just posted about belly having a dream about cheating with conrad. in the book she has a dream about conrad the night she gets engaged to jeremiah so maybe they'll switch that one out for a more sexual one?

Ok, just to clarify: technically what they were doing in the dream was cheating if she was still dating Jeremiah, but that’s not the point of the dream itself. I don’t think in the dream she’s conscious of it cheating.

The point of the dream is to point out the fact that she still has strong, burning feelings for Conrad. Basically, she still loves him even though she’ll brush it off. And she still wants him.

However, yeah, that’s entirely possible and likely even. However, that dream is more symbolic and I think that that symbolism and hidden meaning is important to the story and Jenny will want to include that.

I’m pretty sure the dream is where her and Conrad are swimming in the ocean, and he sees a storm and tells her they have to go so she refuses and he stays with her until it’s literally upon them and they’re both running home and scared. And she begs Conrad to take her home and is crying but all he keeps saying is that he’s as scared as she is and he doesn’t know where to go because he’s lost too. This might not be entirely accurate, but I think that was the gist of it.

When Belly has this dream, she wakes up in bed and just starts crying, because i think she knows that within her this is a metaphor for her relationship with Conrad.

They were both happy and in love. The storm is probably Susannah’s death and Conrad’s grief and mental health which Belly brushes aside in the dream to keep playing. And when she realises that she has to get out, that this isn’t safe anymore, they’re both scared and crying and they don’t know how to fix it.

I don’t know if this is was some dreamt delusion or a hope I have, but I think after she called it off with Jere, she had another dream they found their way home and Susannah says something like “we love you, I’m so glad you guys made it home after you were lost,” To be fair, I think that is a delusion my brain made up, but I really would like some confirmation about that from Susannah in the third season in another dream Belly has.

I also feel like if this bad idea right dream were to actually happen, it would be at the beginning or middle of the season. Belly would sort of wake up with a gasp and feel really guilty because she’d feel like she’s cheating on Jere and she’d deny her feelings for Conrad, because she still is in that delusion.

And I think after the actual dream in the book, she wakes up and she just feels so sad because I think within her she knows she does love Conrad but in her head she has to marry Jeremiah.

And that’s an important plot point, so I’m hoping they keep that dream and have Out of the Woods playing over the top, and also have the bad idea right dream at the start. It’s a lot, but I can dream 😂

Thank you for the question, I hope I at least made my opinion make sense.

[elusivedew]

💌 | Cubitum eamus ?

✧ synopsis ⤐ it takes you 2 years from the minute you meet spencer to confess how much you like him, and it all happens on a random wednesday night.

✧ contains ⤐ friends to lovers but they both know what's up, s3 spencer who's been through a handful of shit, brief mention of alcohol consumption on two occasions!!suggestive themes but no straight up smut, spencer reid experiences happiness for once, reader is his only hope in life, reader wants him real bad and he knows. My spencer reid debut yay! Title translates to "will you go to bed with me?" w.c ~ 9.2k

Working at the BAU is not an easy job. In fact, Spencer thinks, working at any unit in the FBI is the closest thing you'll ever get to hell on earth. This feeling of agitation and exhaustion seems to aggravate every time he's working on a particularly draining case. Not only does the content of the cases get into his head often, and sometimes into his dreams, but he's also been directly harmed by the criminals they’re chasing. How can you remain completely objective about something when you become a victim too?

Over the few years he's worked in the BAU, he's received more harm than he ever expected. Drug addiction was not something he had in his five-year plan when he first joined the FBI. It's not something anyone who works in law enforcement expects, really. 

Needless to say, he's tired. The kind of fatigue that makes you bedridden for days. 

He also happens to be alone on a Tuesday night in the middle of June. 

The latest case he worked on took a little over two weeks to wrap up, an unsub that likes to take his time and has such a disorganized MO that it was almost impossible to see the patterns. All the physical and mental work completely knocked everyone off their feet, except for him. His colleagues all went home and passed out of exhaustion, and he’s still up. 

Spencer can't sleep. He's too busy thinking. 

It's something he does a lot, for his job, for himself, for the duration of his whole life. The gears have been turning in his head since his very first word, the minute ‘mama’ was out of his baby mouth, he’d been tasked with the weight of the whole fucking universe. The price of knowing so much from a young age has cost him a lot. And tonight, it specifically costs him his peace, his right to pass out after a long day of work. 

And he'd love, more than anything, to have an off button somewhere inside. But because that hasn't been invented yet, and his nervous system feels like it's on fire, he's still up by the time it's 10 pm. It’s not late, objectively, but he’s been home for more than three hours now. He tried a lot of sleep remedies— herbal tea, audiobooks, aroma therapy, hell, even exercising to tire himself out, but all of them failed. And now he's just left with sore muscles and an even more tired brain. 

By the time it's 11 pm, he's lying on his couch, feeling like death. His head is pounding with the feeling of an oncoming migraine, and he knows that he’s in for a particularly long night.

That's when his phone rings, and because he’s so alert and so sensitive to stimuli at the moment, he almost kicks it off the coffee table. But he doesn’t do that, because he’s still a little sane despite everything.

Instead, he reaches over and checks the contact name, and his whole face lights up. He feels absolutely ridiculous for not making this call first, because his nervous system is now very much alive— and not in a way that makes him feel like an overheating microwave, no, this is a good thing. And good things don’t happen to him often. He runs his hand through his hair, a nervous habit, and picks up the call. 

Suddenly being awake doesn't feel so bad. 

“Agent Reid.”

Your voice comes through the phone like a cool breeze of air during the grueling heat of June. He finds himself relaxing a little, releasing tension he didn't know he had in his muscles when he was so distracted just a few minutes before.

“I'm begging you to stop calling me that.” 

“Aww, why not? I like feeling like your boss,” you're smiling on the other end, he can hear it, “what's his name again? Aaron?” 

He rubs his temple with a smile he can't fight off, “That's agent Hotchner to you.” 

You laugh and he feels proud of himself for eliciting such a pleasant sound out of you. He's immediately thinking of other ways to get that sound out again. If Morgan could see him now, he'd never let him hear the end of it. 

The good thing about you and Spencer is that no one knows. Not his colleagues, not your friends, not your families. That's the good thing, you get to keep this precious thing between the two of you. The bad thing is that you're not really together. You're not even romantically involved, you've never uttered the four-letter L-word around each other (like or love, both), and you don't even really flirt with each other. 

To put it into simple words, you and Spencer are just friends. 

But friends who relieve each other's stress nonetheless, and god knows Spencer needs that right now. 

“You're back from your recent trip, right?” You ask, audibly crunching on something. It sounds like you're also lying on your couch, he wonders if you were going through something similar when you decided to pick up the phone and call.

“Yeah, thank god.” 

“I take it that it wasn't a very good one then? I mean, none of them are good but, I'm guessing some are worse than others.” 

Spencer sighs, “You guess correctly.” 

“How are you feeling?” Your voice is softer when you ask, concerned, and even though he doesn't like to make you worry, your well-intended question is a very welcome sentiment. He’s almost relieved knowing that there's someone who'll always ask, someone who'll always notice. 

“Not very good. Tired.” It's a short answer, but he knows you understand. You've understood him for a very long time now, nearly two years of knowing each other. 

“It sounds like you had a very long day.” A very long month. “Why didn't you try to catch some Zs?” 

The way you phrase it makes him snort, and he knows you're proud of yourself for that one. “I can't, me and the Zs never had a very good relationship. Trust me, if I could turn my brain off, we wouldn’t be having this conversation right now.” 

You hum, “Do you wanna talk about it? I could give you some very valuable, life-changing insight, maybe you'll be able to go to sleep after.” 

He smiles, “I've actually had enough of this case, I'd like to talk about something else.” 

“Oh, I can definitely do that. Tell me, what did you have for breakfast?” 

Breakfast is a terrible topic, meals in general, because you know that he misses a lot of his meals when he's on the job. You always lecture him for it, berating him for being so skinny at his big age, but it's always underlined by concern. He knows you worry about him, he wouldn't blame you. 

“Not much…” He trails off, knowing you'll catch on. 

“Oh honey, I know your eating and sleeping habits are fucked, but can't you at least lie to me?” 

The way you call him honey should not be making his stomach turn like that. 

“I could never lie to you.” 

“You literally just did.” 

You both laugh and he's so, so glad you called. If he didn't think you were asleep he'd have called you first. 

“Okay well, I didn't ask that question to find out something I already know. I asked because remember that café we were constantly visiting before you went on this trip? They finally brought the chocolate chip cookies back.” 

The chocolate chip cookies case (the quadruple c) is a very vital issue in your relationship with Spencer. Because for weeks, the both of you have been visiting that place close to your apartment, hoping to get some chocolate chip cookies, only to be met by raisins. It was a very devastating experience for both of you, having to settle for something else on the menu every time. But now it’s okay! The chocolate chip cookies are back. 

Spencer is so glad he's done with his silly criminal case so he can focus on the real problems at hand.

“And I was thinking, if you're not too tired tomorrow, should we have breakfast together?” 

It's sweet, it's earnest, it's you.

It's such a characteristic gesture, asking him to have breakfast with you after particularly draining cases, checking on him as soon as you can tell he's home, and sounding so sweet and concerned over the phone when you know he's feeling down. It’s the small, thoughtful actions coming from you that have helped him keep it together so far. 

And the feelings that thought brings out in him lead him to realize, in those few seconds, that he liked you much more than he planned on. Not that he ever planned to like you in the first place, but he thought it was a small crush that would eventually go away, it’s happened before with the pretty women he befriends, and he didn’t think this time would be different. 

But it was, and now he’s totally screwed because he doesn’t think he’ll ever be able to say no to you. 

“Absolutely, I can't wait to have those chocolate cookies again.” 

You're ecstatic over his response, your tone picking up about 3 octaves when you jump to discussing the other plans you have this week. Your favorite artist is releasing an album soon, your favorite game is finally available at the video game store, the finale of that show you've been talking to him about is airing in two days, and it seems like your life is full of positive sequences.

The juxtaposition between what he sees at work and the enthusiasm you bring into his life almost gives him a headache, but it could very well be sleep deprivation. He wonders if all the misfortunes that have happened to him are the evil equivalents of the things you brought into his life. 

But if all the bad things that have happened to him and around him got compensated by you, he doesn't find it such a bad tradeoff. Because meeting you on a random Monday night and somehow catching your attention enough for you to leave him your number— even when he was so frazzled by the need for coffee so he could grind out some paperwork before his deadline— it feels like he used up all his luck on that fateful encounter.

And having someone he could always meet up with, outside of work, has been very grounding. 

You talk his ears off for the rest of the night, rambling about one thing or the other until his eyelids get heavy again, and he feels tired enough to sleep. You tell him that's been your plan all along and wish him a good night. 

Later, when he’s under the covers of his bed, drifting off to sleep, for a few minutes his brain isn't aggravating him with the thoughts that have been haunting him all day. For a few minutes, all he can think about is you.

He is so fucked.

Emily Prentiss is a very smart agent. 

She’s been told that ever since she was a little girl, and though it was often complimentary, people sucking up to her mom and whatnot, it was never a complete lie. She grew up thirsty for knowledge, mastering everything she could get her hands on, and even as an adult with a grown up job, she continues to excel at what she does

But then, if she's so smart, why the hell can she not figure out why Spencer Reid is so giddy while doing his paperwork? 

It may have to do with the fact that it's Spencer, and that kid has always been a little perplexing to her. He's bright and brilliant, but she could never truly understand how his mind works. But, at the same time, there's such a thing as habits, and Spencer is not typically so smiley while doing paperwork. No one is smiley while doing paperwork in this line of work, because it makes you relive the nightmares. For goodness’s sake, this is the behavioral analysis unit, and Spencer is behaving weirdly. 

It seems like she isn’t the only agent at the office who noticed the peculiarity. Agent Morgan stands behind her, his third cup of coffee in his hand, squinting at the young doctor. They observe him like a wild animal in his natural habitat; had they not been so tired from all the work, they would’ve been picking on him by now.

When Emily feels her presence behind him, she turns around, and they exchange a mutual look of understanding. They've never seen Reid act like that in the time that they’ve worked together, and they know one thing that they've never seen him experience during that time either. 

They realize it at the same time, and Morgan nearly drops his coffee. 

Spencer Reid is in love.

There have been many misfortunes in the 25 years that you've been on this earth, and you're convinced that a lot of them have been aimed at you. You're the only person who has ever suffered that much during your whole life, it's a known fact. It's a fact that you like to remind Spencer of, to make him feel better about his work, and when he laughs at it, you remind him that people called Jesus a liar too.

You've been through a lot of suffering, but the task of getting dressed before Spencer knocks on your door in approximately ten minutes may just be the worst thing that's ever happened to you.

He thinks that just because he has a day off, he could pressure you into a sudden— very much unplanned— date? He thinks that shooting you a text to get dressed so you can go to the record store and then have dinner only twenty minutes before you're supposed to do the aforementioned activities is allowed? He's absolutely right, and you hate him for it. 

Not that it's really a date, you know you and Spencer have never crossed that line, but it feels like it. Especially if he's making you feel like a teenage girl high on hormones having her very first crush. Her very first date. The particular action you're thinking about has to be kept to yourself, just so you don't jinx it. 

You really shouldn't be thinking about that when you still haven't figured out which outfit to wear. More thinking about clothes, less thinking about boys. Specifically one boy. 

It takes all your willpower and energy to finish getting ready in those ten minutes. You settle for your most comfortable pair of jeans and a white button-down with a vest over it, and for good measure, you throw your coat on— the long beige-brown trench coat that makes you feel like you're Sherlock Holmes about to solve a crime. You realize that it's very fitting for an outing with a profiler, he's kind of like Sherlock Holmes if you think about it. 

It's fall now, and it's much more chilly. You hope your precious profiler brought his own coat because, as much as you care for him, you won't be lending him yours.

When he rings your doorbell, you're finishing up and tossing the rest of the necessities into your bag. You make him wait for a minute, to avoid seeming eager, and then make your way to the door.

The minute you lay your eyes on him, you feel sick to your stomach.

Spencer Reid is beautiful, this is a fact that you've known ever since you met. He pulls off the dorky yet hot look so well, with that stupid smile of his when he talks like a smartass. And you're reminded of this every time you see him, the fact that he's so adorable that it physically hurts to keep your hands off him all the time. Tonight is no different, he's dressed in a dark button-down with a brown vest over it, covered by a beige coat that contrasts the dark colors beautifully. It takes you a couple seconds to realize you're wearing similar outfits, almost like a matching couple.

“Copycat.” You accuse, fighting off a smile with warm cheeks. He grins in retaliation, “Hello to you too.”

God, he’s beautiful. In the dim light of your apartment's entrance, you catch the gleam of his eyes. They're warm, earthy, and familiar, you don't think you'd ever stop staring at his eyes if you had the chance to do it without looking crazy. His eyelashes are unfairly long, and his light brown hair forms waves around his face like a frame around an artwork. He always tucks a few stray strands behind his ear, and you always mess it up for him– which is something you do for two reasons, you like annoying him, and you desperately want to touch his hair. It’s just simply unfair for him to be born that beautiful. 

He seems to notice you staring because his cheeks are a little pink, and he has a little bashful smile on his face. “Ready to go?” He scans your form like the little detective he is, “Looks like you could get ready in 20 minutes after all.” 

Now you remember why you were so annoyed at him, good looks be damned. 

“Oh shut up, never do that again.” 

“Or what? You'll cuss me over text messages again? How will I ever live with that.” 

His shy smile is replaced with a smug grin, and you hate to admit it, but it's one of your favorite looks on him. Because Spencer isn't always able to genuinely smile like that, he's usually stressed about one thing or the other; and knowing him, he's always reliving some terrible event that happened in the past two years, and sometimes even further back in time. So while his amusement comes at your expense, you'd rather see him smiling like this all the time. 

“God, you're so mean to me.” 

Even though you mean to sound stern, you can't hide your smile. 

You pick up your keys from the hanger by the door and toss them into your handbag, he follows your movements with his eyes, “that's not true. I'm always so nice to you, sometimes a little too nice.” 

You lock your door behind you and give him a fake offended look, “You could never be too nice to me. Let's go, agent Reid. We've got a long night ahead of us.” 

Then you're strutting ahead of him, motioning for him to follow you like a helpless little intern. Even though he rolls his eyes and laughs in disbelief, he ends up following you anyway.

‘Albert’s records’ has been your favorite record store since you moved into your apartment in Quantico— and not only because you’ve met Albert, the sweetest little old man to ever exist, but also because Spencer always looks mystified inside the store. It’s like something about vintage things just makes him tick. 

You're checking out vinyls that are selling for discounted prices, old pieces of famous artists and commonly known albums, while he's looking at the posters on the walls, admiring the artistic work of the rustic-looking store. He’s always trailing behind you, and you don't mind because it makes you feel safe and cared for. You didn't know being trailed by an FBI agent could feel so comforting. 

Your eyes catch on a certain record, and you turn around, “Hey, Spencer.” 

He stops eyeing the posters on the wall and turns to you, hair falling over his shoulders adorably. 

“What do you think of this?” 

You're holding a classic black Billy Joel vinyl in your hand, careful not to hold it too tightly. It's his 1977 release of The Stranger, an album you're not too familiar with. You've only listened to Vienna and a few other songs. Spencer eyes the cover carefully like it triggers a memory deep inside his brain. You're expecting him to go on a tangent about Billy Joel and 70s music, but you're instead met by a very sentimental response. 

“My mom loved that one.” 

He's quiet, using that careful but lost tone of voice, and you worry that you accidentally triggered something unpleasant. You knew Spencer had a complicated relationship with his parents, namely his mother. On the rare occasion where he had a few too many drinks, he spilled a lot more than he intended to. Drunk Spencer was always so painfully honest and you admired how easily his filter would come off a few drinks in, but you never wanted him to feel embarrassed by it. On those particularly emotional nights— after he calls you to pick him up because he's too drunk to drive— you would listen to him ramble the whole drive to your apartment, force him to stay over so you can take care of his pounding headache in the morning, and hold him until he passes out on your couch like a partying college student. 

Something he’s never been before.

Those incidents have led you to know more about Spencer than he ever thought he could share, and one of those sensitive topics just happens to be his mom. It's not an uncomfortable topic, you've talked about it before when he's not too drunk to realize what's going on. Even though it was hard for him at first, talking about it became easier the more he shared, you understood more and more things without him telling you. 

And because you’ve talked about it, you're not scared of his response when you ask with a lighthearted smile, “is that a bad thing?” 

That seems to bring him back to earth, and he gives you a reassuring smile, “No, not at all, just brought me back to some memories I'd honestly forgotten about.” 

You hold the record to your chest, almost certain that you're going to buy it now, “Well would you like to make some new memories in relation to this record?” 

Would you like to come to my apartment and listen to it with me?

“Yeah, I'd love to.” He smiles in a way that makes you feel a little lightheaded, knowing he's comfortable sharing this much of himself with you. It's so intimate, knowing that in this public store, you're still sharing private moments that no one else knows about.

You’re about to go back to checking out vinyls, trying to conceal the giddy feeling bubbling in your chest, when a high-pitched voice intrudes on the moment you were having with Spencer. 

“Oh my god.” 

You both turn to look at the source of the voice and when you look to Spencer to see what this is about, he looks like he recognizes the source. He looks terrified. Your gaze falls on two blonde girls, one gaping at the sight of you, and the other being the source of the dramatic reaction that broke through the silence a few minutes ago.

Her blonde hair is styled in waves and she's wearing such a colorful, creative ensemble that you're mesmerized by the intricate details of her outfit. The hair clips, the makeup, the platforms that she's wearing, you wanted to talk to this girl so bad. 

And it seems like you're in luck today, because she's immediately rushing to your side with wide mesmerized eyes.

“Wonderboy, you've been hiding her from us for how long exactly?” 

You're guessing “wonderboy” is Spencer since she seems to be his friend and your chest feels warm knowing his friends nickname him such cute things. Spencer deserves to be known for all his good traits after all, and he sure as hell is your boy of wonder. 

“Garcia, please, I'm begging you to act normal about this right now.” He mutters, trying his best to keep this conversation quiet.

She shakes her head, “This is the most normal I can act about you hiding a girl from us.” Then she turns to you again, extending her arm for you to shake. You eagerly extend yours back. “Penelope Garcia, tech analyst at the FBI, and genius boy's co-worker. Oh and, your source for any dirt you want on genius Reid over here.” 

That explains how someone like her is in Spencer's social circle, but it doesn't explain how someone so bubbly could work at such a gloomy unit. Working for the government when she should be at the club? It's a crime to you. 

“They're keeping a gem like you in a dark, creepy room to dig up information for them?” 

You honestly didn't know you could commit such flattery and Spencer is looking at you in disbelief, but she giggles at your poorly concealed flirting and you feel proud of yourself. 

“Oh, wonder boy, how did you ever snag a wonderful girl like her.” 

Spencer is blushing so hard at this point you could probably fry an egg on his face. You're introducing yourself to Penelope, filling her in on your occupation, when the other blonde introduces herself as Jennifer Jareau, JJ for short, and she's even more excited to meet you. 

She's also heavily pregnant, and you hope that she's currently on maternity leave. 

“We were looking for more records that this little guy here could listen to, it's incredibly engaging to include him in our vinyl pick-out process.” JJ rubs her stomach as she explains and you're so fascinated by the idea of childbearing and birth for a few seconds that you almost forget that it's terrifying. 

“What about you guys?” Penelope jumps in, eager to put Spencer on the spot again. 

“Oh we, uh,” Spencer's eyes shift between you and the two girls, like he's surrounded and begging you for help, “we're just checking out the vinyls on sale.” 

“Yeah, I was honestly waiting for these discounts because I'm not selling a kidney for some records, you know?” You step in, hoping to take some heat off Spencer, because the poor boy looks like he’s about to combust.

You're also well aware that the two girls in front of you think you and Spencer are dating, but they haven't said it out loud and Spencer hasn't attempted to correct their assumptions, so why would you be the one to ruin their fun? You'll let them think you're on a date. 

“Oh that's so true,” Penelope nods in understanding, “it's like I just want to listen to music, you know?” 

You nod in understanding, you do know. 

And you also know that you're absolutely going to adore Penelope Garcia and JJ and everyone that you meet who’s involved in Spencer's life. Even though this meetup is so completely unplanned and coincidental, it makes you excited knowing you can prod Spencer about more details now, talking about work in a way that doesn't concern the cases. You’d kill for some office gossip that doesn’t involve yourself.

“Oh, Morgan is going to lose it when he hears about this,” JJ says, almost talking to herself. 

Penelope jumps to add more wood to the forest fire, “Oh my God, remember what he said to Emily? He was right.” That catches Spencer's attention, “what did he say to Emily?” 

“He said that you're all giggly at work because you're in love.” Penelope answers without missing a beat, and she says it so casually, as if she didn't basically strip Spencer naked right in front of you. 

You’re subtly stealing glances at him from the corner of your eye, suppressing a smile at the way he blushes deeply and looks at the ground as if he wants it to swallow him whole right now. Something tells you you're absolutely going to love Penelope and he's going to pay the price for that relationship. 

“Spencer is giggling at work?” You ask, like she just told you he joined a cult.

Penelope nods eagerly, “Oh yeah, I've never seen someone look so cheerful while doing paperwork, every time I'm out of my office for a coffee refill he's just there giggling to himself like he's hearing voices. Except the voices turned out to just be a pretty girl, which I have to say,” she puts her hand over her heart dramatically, “I’m so glad it did.” 

Spencer squeezes his eyes shut, the shame overwhelming him, “I'm begging you to stop talking.” 

Penelope and JJ are giggling, enjoying torturing him like this for your pleasure, and you’re close to joining them, but you choose to stay loyal to Spencer— if only to make sure he doesn’t get a migraine from all this embarrassment. But you're also just giddy, knowing Spencer cannot conceal his infatuation with you to save his life. Despite all the hints here and there that he definitely likes you, and all the discreet touching and staring at your lips when you talk —something you know he can't tell you noticed— the way he doesn't deny any of what's being said tells you that you're, at the very least, a person of interest. 

A person of Spencer's interest. Your smile is getting harder and harder to hide.

“Okay, okay, lovebirds, we'll leave you alone now. But trust me, you haven't heard the end of this, once Derek finds out, oh Spencer Reid, you might never want to step foot in that building ever again.” You nod eagerly, excited to hear more about how they’ll taunt him later on. They give you their rushed goodbyes as Penelope guides JJ outside the store, you can hear her quietly complain about leaving empty-handed when she came all the way, but your mind is someplace else, neurons buzzing with ideas of how to torment Spencer now that you’re alone again.

You turn to look at him, no longer holding back your smile, “so…” 

He immediately puts a finger to your lips, “Don't start.” 

You reach for his hand to move it away, giggling like a schoolgirl, “you're fawning over me at work? Oh my God, Spence, I didn't know you were that far gone, baby.” You hold onto his hand, as a way to restrain him, but also because you just want to hold his hand. 

“I was not fawning, they made it all sound so much worse than it actually was.” You raise your eyebrows at him and he continues, looking more flustered. “I was smiling, can I not smile to myself anymore?” 

You absentmindedly lace your fingers with his, bringing your joint hands to your chest like something precious, “You're smiling like a lovesick fool about me at work, Spencer, you're so fucked.” 

Your amusement is so palpable, and your cheeks hurt from smiling, but there’s also something else there.

Something you haven’t fully experienced before, not its rawness and neediness. Something that you can tell will grow in your chest until it fully conquers your whole body and claims your mind. You don't know what you'll call it yet, but it's something a lot like love. 

“Alright alright, I get it. It's National Embarrassing Spencer day, let's buy this record and get out of here. We have a dinner to get to.” 

The weight of his hand in yours almost made you forget you were still holding the record, handling it so carelessly just to bring him closer. You realize you're drunk on affection, and eager to have more of his attention for the rest of the night. When he doesn't make a move to remove his hand from your hold, only dragging you behind him to check out, you feel like there will be a lot of new developments tonight.

The rest of the night goes as well as you would imagine.

Despite your incessant teasing, you have plenty of conversations that aren't centered around embarrassing Spencer and enjoying it. You sip wine together while he tells you about the letters he's been sending his mom; apparently, he's started telling her about you. While you're surprised he's only just doing it now, he confesses that he wanted to wait until he was sure you'd stay before he made such a decision. Unfortunately, with his line of work, he's right to be worried about things like that, but you stayed anyway, and now his mom knows about you. 

And you have her favorite record in a plastic bag that you carry on the way home. 

When his car pulls up to your building, you're hesitant to get out. You don't feel like the night is over yet. It was lovely and unforgettable, meeting his friends, learning about his mom, and having a very nice dinner together, but you feel like there's still one more topic that needs to be discussed. 

When you don't make a move to get out of the car yet, he calls out your name in concern. You turn to look at him and your gaze is so intense he's almost intimidated.

“Is everything okay?” 

You nod absentmindedly, too lost in trying to figure out what's missing from such a wonderful night. 

“Well, we're here. This is your apartment, you know?” You can tell that's not the sentence he aimed for, but you're aware that Spencer stumbles over his words when he's nervous. You don't fault him for it. 

You give him a genuine smile, “Yeah, I know.” 

Then you're moving to unlock the car door, the newly bought record in your hand, and you get one leg out of the car before you realize exactly what this night is missing. 

“Spencer?” You turn to him, he's already looking at you. 

“Yes?” 

Slowly, carefully, you ask, “would you like to come upstairs?” 

Your apartment is somewhere that he's only seen while extremely drunk, hammered out of his mind. You realize that this is the first time you invite him up when he's actually well enough to walk on his own, and you also realize that it means something to you. You hope it also means something to him. 

“Uh, yeah, sure? If you want me to walk you to your door, I'll definitely do that.” He's picking at the leather covering the wheel, cheeks slightly flushed like they’d been earlier. Multiple times during the night, you note how he’s always glowing red around you like a pulsating organ. Is it the slight chill of the weather or the heat behind your eyes? You hope it’s the latter. 

“I think you know what you want.” 

You weren't sure if he knew, but knowing Spencer, a line like that will trigger him into thinking about it so hard that he'll actually figure it out. You watch the gears turn in his head but he still looks confused, you hope that by the time you get to your door, he'll realize what you're talking about. 

“I'm not sure, but I'll figure it out.” You give him one last smile before you exit the car. 

True to his word, Spencer walks you up to your door after parking his car somewhere close. When you reach the apartment, as you dig for your keys in your purse, he stands next to you, looking a little lost because he clearly didn’t expect this. He fiddles with the ends of his vest while observing you. 

You unlock your door and get inside, leaving it open so he can follow you. You drop your purse on your dining table and lay the record down next to it, watching from the corner of your eye as he steps into your apartment cautiously, like he's stepping over booby traps. 

The door locks and you can't escape the conversation any longer. You also can't bear seeing him so lost, because god blessed him with eyes that make him look like a sad baby deer all the time. And every time he uses them on you, you immediately cave, because letting him suffer feels like letting a baby animal die.

“Spence.” You call, sultry and slow.

If you catch the way he slightly jumps at your voice, you don’t react.

“Yes?” He’s quiet, worried.

You lean back against your table, a relaxed smile on your face, “you know why I brought you here, right?”  

He swallows, tucking his hair behind his ear. “A woman inviting her date up to her apartment could lead to a variety of things, but most commonly it leads to either sexual intercourse or murder.” His cheeks heat up at the words ‘sexual intercourse’ and you want to eat him alive. “And I'm kind of hoping you didn't invite me up here to kill me.” 

You raise an eyebrow, the desire to tease him so strong and unforgiving, “So you hope I'll have sex with you then?” 

That really gets him. His whole face goes red— blood rushing down his neck and up to his ears. He opens his mouth to say something, but he can't. Instead, he just opens and closes it a couple of times, unable to articulate anything. If you were in a different situation, you'd have called him a fish, but you also realize something very critical: he doesn’t deny your previous statement.

“Spencer,” you call his whole name this time, voice low and heavy with something that alarms him further. “Can you come here, please?” 

He hesitantly leaves his spot, taking slow, careful steps to your side. He stands at a considerable distance, making sure he gives you your personal space. If he’d done this at any other time, you’d have been fawning over how considerate he is, but right now you want him as close as possible, personal space be damned. 

Feeling particularly brash, you reach out and pull him closer by a fistful of his shirt. He’s startled, but he lets you move him closer as if he were a rag doll, now you're barely a few inches away from him. Your hand moves to his neck, feeling the warmth that spread there a few minutes ago, the warmth that you caused. If it feels like it's getting warmer under your touch, you don't comment on it. 

It's the first time you've touched him this much, this intimately, and it feels like you've been missing out for the past two years. 

He watches you carefully, eyebrows furrowed as he tries to figure out what you're aiming for. This is probably how he acts at work, you think, staring at something until he’s able to break it open and decipher its message, will he decipher your message too?

You look up at him through long lashes, peering into his eyes, hoping to communicate something with your eyes before you can put it into words. You feel a certain need in your stomach, tying knots and constricting your airways— it's what you guess people would call butterflies. Right now, you'd call it absolutely torture. 

“Spencer.”

It's the third time you've called his name so far, and this time your noses are touching and you practically breathe his name onto his lips. This encourages him to put an arm around your waist and raise the other to cup your face affectionately. You lean into his touch, welcoming the reciprocation.

“I'm here,” his voice is low, more certain now, almost like he figured you out, “you can tell me.” 

You nearly melt in his hands now that he's using that self-assured voice. You love it when he's shy, but god do you adore it when he talks like he knows exactly what to do with you. The things you'd let him do to you would probably get you placed on a watch list, but you don't mind as long as he's the one watching. 

“You know what I want to say, don't you?” 

He blinks, the gold flakes in his eyes so striking when you're this close, “maybe I do, but I'd like to hear you say it.” 

He's in no place to be making such demands. He should be melting in your hands, not the other way around. You shouldn't be getting this weak at the knees just because he's using that stupid husky tone, sounding like he knows all your secrets. But, fuck, he absolutely knows all your secrets. He could probably read you like an open book— which you actually wouldn't mind at all because you've seen the way his hands stroke the pages when he's reading, and you'd love for those fingers to be all over you like they're all over those stupid books.

Your eyes glaze over with desire and you're getting impatient, while he watches you like he's studying your next move. Goddamn profilers and their dirty work. He should be getting dirty with you.

You mutter a quiet fuck and step back to separate your bodies; even though there's no place to go because the table is right there, you're at least not directly face to face anymore. His warm breath on your lips was driving you insane, and you brought him up here to talk, you needed to have this conversation. For your sanity. 

He gives you space, because he's always been so caring and so perceptive about what you need, and the gesture makes you want to bounce on him. You have to remind yourself that if you keep thinking with your lower regions, this will be a counterproductive night.

You realize you can't do this while standing up, so you hoist yourself up on the table, and wiggle around till you get comfortable. Your trench coat isn't bending to your will and it takes you some more shuffling to beat it down. You really should've taken it off when you stepped in through the door. 

The sound of Spencer's chuckle makes you realize that he's still here and he's very much observing your embarrassing fight with a trench coat. Your cheeks feel warm, but this is not the most shameful thing you've done tonight, and you're probably aiming to beat that record anyway. 

“Don't laugh at me,” you mutter, embarrassed but smiling. 

“Okay,” he laughs, “I won't.” 

“God, you're such a liar. Is everybody at the FBI full of lies?” 

He shrugs, “Depends on who you ask.” 

You laugh and you're so in awe at how all the stress leaves your body so easily when he's talking to you, it makes you wonder why the hell you can't just say it. One sentence, something he already knows, something anyone would probably know by observing you for five minutes, it should be easy. But as obvious as it is, you're also well aware that once you say it, it becomes real. And you can't escape It. You can't pretend like it's something casual between you if you get your heart broken, or if he feels like you're moving too fast. The minute those words are out of your mouth, you'll have to confront the reality of your situation. 

And you're scared. 

You're scared that once you say those words and it becomes a real living thing, you could actually lose Spencer. You could get into an argument later and it ruins everything between you, or he could fall out of love, or you could fall out of love. There are so many bad endings to a relationship and the possibilities make you hesitate. 

Spencer must've noticed that you're taking a while to speak, that you're too busy stressing out about it, because he comes close again (leaving enough space for the holy spirit this time) to gently hold your hand. It works like he intends it to. The skin-to-skin contact is grounding and you relax a little, wishing you could just melt into him and never have to go through any uncomfortable conversations.

But when you look up at him, and you're met with the familiar trustworthy eyes of the guy who has been your god-given solace for months now, you wonder how the hell you could ever rethink taking a chance on him. 

Even if the risk is terrifying and you're scared of ruining things, you know Spencer would be worth the try. Plus, fantasizing about a reality where it works out and you get married in a few years is actually much more fun than thinking about impending doom. 

You don't want the world to end before you tell Spencer the raw truth of your feelings, and not through subtle gestures or sneaky glances, you want him to hear the whole thing. 

You squeeze his hand for one final reassurance. He smiles and squeezes your hand back. 

“Spencer, I've got something very important to tell you.” 

Slow and stead. 

“I'm listening.” 

You lick your lips. 

“Okay well, remember how I told you a few months ago that there were currently no guys who were interested in me?” 

He nods.

“Well, I lied.” 

He raises his eyebrows, amused at the route you're taking, “oh yeah?” 

You nod, swallowing heavily, “Yeah, yes. There was this… guy at my job, he doesn't work there anymore because he got transferred because of ‘new chances’ or whatever, but he was working with me this time last year, you know? Anyways, he'd get really close to me whenever we were handling the same task, not in a sexual harassment way but in an ‘I have a crush on you’ way. And I realized that he was interested in me because he kept dropping hints and I'm, surprisingly, not that oblivious. I can tell when a guy likes me. He actually asked me out once to this new donut place near the office, but I declined because he has really bad table manners to be honest and, god I'm glad he's not working with us anymore because he'd hog all the coffee and we could barely find anything to drink by the end of the day— but that's not the only reason I rejected him, I actually rejected him because… because I couldn't imagine going out with anyone else who wasn't you, and I guess what I'm trying to say is- that's when I realized that I like you, Spencer. And I've liked you for almost a year now.” 

You're out of breath by the time it's all out, but incredibly relieved. You look up at Spencer and he has this amused twinkle in his eyes and a very dumb smug smirk on his face. Once you're fully and completely done with your little speech, the first thing he does is laugh.

You're so offended you immediately take your hand away from his and slap his chest, “Don't fucking laugh, I just confessed my feelings for you.” You hit him some more, but he won't stop laughing, “Spencer, this is so fucking rude, oh my god, just reject me like a lady if you're going to mock me like this.” 

He catches your hand before you land another weak punch on his arm, and you have very little time to react before he reaches forward, cupping your face with his other hand and joining your lips for a long-awaited kiss. 

You've fantasized about the way he kisses for a very long time. After you’d heard about his little make-out session with that actress in the pool, it took everything in your body to resist asking him to take you next. You've thought about kissing him nearly every night when you were falling asleep, he was even haunting some of your dreams like a fiend, kissing you like his life depended on it, only for you to wake up to the cruel, harsh reality of never having kissed Spencer Reid.

But that reality is different now. 

He uses both his hands to cup your face and angles your head just right to get as much contact as possible. He tastes like the wine you've been drinking all night and smells like cedar wood and sage. God, even when kissing you he has to smell like a perfect little herbal garden? You'd get mad at him if his lips moving against yours weren't melting away every ounce of sophistication you have in your body. 

You use the chance to be greedy and reach your hand into his hair, making sure to mess it up so that there’s proof that you were here, in his arms, kissing him. 

He's sweet with his kiss, despite knowing you both waited for it for so long, he doesn't push you to go further even though you'd love for him to. You'd let him take you on this table right now.

But the absolute worst thing about Spencer is that he's so respectful that he pulls away after a few seconds to watch for your reaction. He's flushed with desire and his eyes have gone dark in a way that you've only seen when he was really angry. You can tell that he's restraining himself to not make you uncomfortable. His eyes scan your face eagerly, his hands resting on either side of your face.

“God, you're so… ridiculous.” 

The comment is so unexpected that you laugh, and the sexual tension seems to ease into just… sexual existence. “Hey, what's that for? You're going to kiss a girl and then immediately insult her?” 

His smile mirrors yours, “my apologies, your highness. I have just never heard such a ridiculous confession in my life before.” 

You frown, lips curling into a pout, “not true, that actress in the pool had a ridiculous confession too.” She didn't, but you never fully got over her kissing Spencer before you could. 

“Oh yes, I'm sorry, I forget about any other woman when I'm with you.” Then he plants a quick kiss on your lips with a poorly concealed smile, and you can just tell that he's going to be doing that a lot to get away with whatever bullshit he's spewing. 

“You’re unbelievable, Spencer Reid.” 

Then you’re kissing him again, craving more of what he gave you during the first kiss. The desperation for contact has you pulling him closer by his collar, leaning into the kiss like you were starving before him. When he finally slips his tongue into your mouth, you moan so pathetically it makes his grip around you tighten, body drawing impossibly closer to yours.

You're kissing for such an extended period of time that you're dizzy from the lack of air when he pulls away, and you're greeted by that lovely shade of crimson on his face. You desperately want to find out just how red he can get and in what other places.

You're admiring his face, lost in the haze of the kiss, and chewing absentmindedly on your lips when you suddenly remember something very important. You draw back a little to shoot him a very serious look. 

“Hey, you never said you liked me back.” 

He laughs in disbelief, “do I have to?” 

You nod like a petulant child, seriously alarmed.

He playfully rolls his eyes, “alright, I like you too,” he kisses you, “I like you a lot actually.” 

You're satisfied with that answer, melting into his touch again, like a helpless pet. You admire the post-makeout look that adorns his face and makes him more beautiful than you could ever imagine, and he gazes at you with stars in his eyes. For a while, it feels like the universe belongs to the two of you and no one else. 

Until you remember how late it is and the fact that Spencer actually works tomorrow, then you're not that happy anymore. 

“What's wrong?” He asks, nose rubbing against yours as if you could ever focus on anything when he's that close. 

“You have work tomorrow, and it's very late…” 

He draws back from you, as if broken out of the trance by your words, “Oh no, you're right.” He's starting to move away when something inside you kicks in and suddenly your legs are flying to lock around his waist to secure him in place. He raises his eyebrows at you, amused and surprised.

“You can't do this.” 

You nod your head menacingly, “oh yes I can.” You know he could easily break out of your hold if he really wanted to, but the fact that he's entertaining your antics tells you that he's not very eager to leave either. 

“Angel, I have to go to work in the morning. Like an adult with responsibilities, you know?” 

If you were in your right mind, you'd be offended at that comment, but he's just kissed you senselessly and then called you ‘angel’ for the very first time. No one could blame you for not being very wise. 

“You can still go to work in the morning, you just... don't have to leave right now.” 

“You want me to stay? Here?” You nod. “My love, you don't even have a change of clothing that can fit me.” 

“Then sleep naked. I won't complain.” 

He laughs, “What about a toothbrush? You don't have an extra one for me.” 

“I change my toothbrush once every three months and I always buy extra, so I do actually have a completely sealed, never used before brush that you can use. It will be yours from now on.” 

He shakes his head in disbelief but you can tell he's starting to budge, your technique is working. 

Plus there's the unsaid promise that, if he stays, there will be a lot more kissing going on. 

“And you want me to go to work tomorrow in this same outfit?” 

“Mhm, we'll hang it and it will be just fine.” 

“I don't have my badge with me, I can't go to work without my badge.” 

You scoff. “Then wake up early and drive by your place, stop creating irrelevant problems, Spencer.” 

He’s in disbelief at your brazenness but seems to cave in anyway. “Fine, yeah, I'll stay.” 

You smile, very proud of yourself, “yes you will.” 

At this point, you're aware that your leg is still around his waist, and you're holding him in place like you took him hostage, but you honestly don't feel like letting him go just yet. Months of pining for him like a lovesick fool, you think you deserve to relish in the power you exert over him. He seems to notice the hunger for power in your eyes because he's coming closer again, placing his hands on either side of your thighs. 

“You have other plans for me tonight, don't you?” He's using that husky tone again and looking at you with glazed-over hazel eyes. Like a predator hunting its prey. 

You place your arms around his neck, back where they belong, “and if I do? Will you punish me, officer?” 

His warm breath fans over your lips and you're shaking to your core with anticipation, “I don't know, maybe I will.” 

Then he puts an end to all your antagonizing conversations that are distracting you from more important matters by bringing you in for another eager kiss. You take all of him in, the stubborn grip he has on your face, the teeth clashing when he shifts your positions, the low moan he releases when you pull on his hair — you take everything he gives you with eagerness and hunger. You could swallow him up whole right now if you could. 

When he pulls away to take a breath and you're confronted by his disheveled face once more, you realize that there are a lot of things you're going to do to him tonight. You realize that it’s going to be a good while before either of you goes to sleep.

[sepublic]

The Owl House Pilot Leak!!!

            Oh my titan.

            The Owl House’s original pilot episode (basically a bunch of voiced-over storyboards) just got leaked and OMT. Watching it felt like experiencing the original magic of the show all over again… Reminding me what it was like to fall in love the first time!!! The hype and rush, the excitement to type down my thoughts after a new episode, analyzing and gushing over both big and small moments, the details!!! The pilot has reiterated all over to me again why I love these characters, from Luz's powerful earnestness, to Eda's chaotic demeanor! It’s like having the whole show open ahead of me, the possibilities endless when knowing this is just the beginning and we could go anywhere from here!

            What’s interesting is that Luz’s conflict with Camila doesn’t really exist here; In fact Camila isn’t present or mentioned at all! What brings Luz to the isles is Amity, who’s been learning in the human world, under the guise of being a human by disguising her ears! It’s alluded to that Odalia and Alador made her do it, though we don’t know why…

            But WOW that must’ve been so meta, doing S3 with Amity stuck in the human world with Luz, hiding her ears! It must’ve been a fun way to bring back the older concepts in new form! And indeed, we see a couple of stuff we’ve already gotten glimpses of, such as the storyboards of Luz offering her friendship art to Amity! I love that we get to see the actual scenario of how Amity accidentally defended Luz in the first place, since we heard that but didn’t get to see how it turned out.

            It’s interesting that Lumity is basically the inciting incident of the story, though I can see why the final version opted instead to emphasize Luz’s conflict with her mother. Especially with how she chooses to stay in the isles in the final draft, which leads to guilt over lying to her mom, having her ‘coming out’ moment that eventually occurs in Yesterday’s Lie, etc. So more agency when it comes to Luz losing her access to the human world. Plus in the pilot, there isn't the same emphasis on Luz trying to live out her dreams of being a witch, and her obsession with stories that ties back to Manny and forms the basis for a lot of other themes and arcs.

            That said, I also appreciate what this alternate take offers, and how Lumity helps tie everything together, it really is the queerness that is such a foundational part of the ‘weirdness’ theme that the show is about, and it’s intertwined with the pilot! God Luz being heartbroken when Amity dismisses the drawing… And then crying when Eda compliments it without realizing who it’s about! Or maybe she did, she could’ve recognized Luz there and figured out a way to stealthily make Luz feel better…!

            I love Luz routinely lock-picking her locker because she presumably forgot the combination! And it’s interesting that we have a setup of there being multiple dimensions that the Boiling Isles has access to, and not just the human world and Demon Realm. That plays a role in the climax, more on that later. Given we have what is basically an airport for different dimensions, I wonder if we would’ve seen Luz find her way back home much earlier on, under much less intense circumstances, in a S1A episode?

            The ‘Emperor’ is also alluded to in the pilot, which we didn’t get actual mention of until the fifth episode in the final show. He apparently dislikes humans and wants Luz brought over to him, is this still operating off of the ‘Pupa’ version of the character who claimed to speak on behalf of the true ruler, trapped in their metamorphosis by him? So maybe he wasn’t always human, or maybe this is Belos’ hypocritical way of ‘protecting’ humans by keeping them away and in blissful ignorance of the demon realm.

            We also establish Hexside much earlier! IIRC Hexside was always part of the show, but executives pushed for it to have more emphasis, which the crew continued to follow through on in S2 onwards because that had already been set up. Lilith is the principal, and I recognize the storyboards of her, including her bat transformation! We get a Tinella Nosa cameo, we see Amity, and there’s also a brief cameo of Willow too! Nice way to set her up before her proper debut.

            The ‘barrier’ containing King’s crown turns out to just be a regular human locker, which makes me wonder if the writers updated the final draft to make it a force field that only allows humans through, because of the whole Belos twist. Which makes me wonder if in this draft, Belos is Pupa, who never was human, or maybe they realized the opportunity to insert foreshadowing into a big twist regarding the main villain. Makes me wonder if the house we see Amity enter in the pilot, which is on sale, would've had any significance like in the final show. Love how Tinella Nosa is a student at Hexside, and also Dana having to occasionally insert lines for Wendie Malick and others was great.

            Lilith is a lot more openly adversarial, which is different compared to how her actual debut provides a softer side to her; I imagine this would’ve been apparent in a later episode of the ‘Pilot AU’, and her transformation has me curious; Was she originally the one with the curse, but then the writers changed it to Eda? Or did they both have a curse? Eda also has an owl form she can summon and control at Will, maybe all Clawthornes have a beast mode that’s less of a curse and more of a talent. Lilith ends up trapped in another dimension, which makes me wonder if she’d have a temporary replacement –possibly Pilot Bump- or if she’d return offscreen. We see the portal key get destroyed under much more casual circumstances, though it’s less as big of a deal for this and the established ‘dimension port’ we saw before.

            (Also, Amity recognizing Luz in the hallway… Everything to me!!!)

            Warden Wrath doesn’t exist and neither does the Conformatorium, it’s Lilith and Hexside. With her as principal and Amity as student, I wonder if we would’ve gotten more of their relationship in the pilot AU, if Covention was a way of carrying over that former connection since Amity would be a teacher’s pet in either version of the story. And speaking of ties to Covention, it’s interesting is that Eda’s chest gem seems to be linked to the Emperor’s Coven, as ‘Pilot Kikimora’ uses it to control her. Curiously, we have a scene at the end mirroring what we got with Lilith in the final draft of the show!

            I feel it implies that Eda DID join the Emperor’s Coven with Lilith, if only for a brief moment, but then defected; But the chest gem is basically the pilot version of the Emperor’s sigil, except with the explicit function of being a shock collar. I find it interesting that Eda still has the mirror to contact the EC with, instead of just getting rid of the thing. Is she a rogue agent who hasn’t totally cut ties, because she can’t? Won’t?

And the fact that Pilot Kikimora can just shock Eda at will makes me wonder if the Emperor is low-key just letting Eda roam around, which makes me wonder if he’s aware of the familial connection, is using Eda to find Luz, already knows about her doing that because of the time loop, etc. We’d of course have gotten an episode where Luz finds out about Eda’s connection and helps her deal with the gem… I realize now that Luz learning Eda also wanted to join the EC with Lilith is a carryover of this idea.

I can see the ups and downs between both versions; The final draft sets up Luz’s conflict with Camila and the reality camp, which is foundational to her character arc throughout the whole show. Her pain over being ‘sent away’ is just so vital that I appreciate its inclusion in the first episode. But I also like the inclusion of Lumity and the earnest desire to be friends with someone who showed her, unwittingly, any kindness at all! We get explicit bullying from Luz’s peers in the pilot, but in the final draft we also get her thoughtlessness that plays a big part in her S1 arc. And Luz’s arrival in the isles is more intertwined with Eda and King in the final version, which also feels right; The show is about these three in particular!

All in all, this was wonderful to watch! The magic was experienced all over again, not just in watching an episode, but also commentating on one that was just ‘released’ as well? I thought the last time I’d do anything like this was with the series finale Watching and Dreaming… But as Luz said, it really comes full circle with watching the first episode all over again! So maybe we have other stuff to still look forward to after all… At the very least, we have an eternal anticipation with an unexplored universe ahead of us, that will never reach completion; So it's like our ever-lasting final gift from TOH, and a good last one. So until next time: BBBBBYYYYYEEEEEEEEE!!!!!!!

[kradogsrats]

Revisiting the Arc 2 Opening

So particularly @raayllum had done some detailed analysis and predictions based on the comparison of Viren and Callum's variant arc 2 openings, but I want to return in the post-s6 space now that we have Claudia's opening as a third point of comparison because that addition has an impact on how the original two relate to one another and what each one is saying.

The basic sequence of each opening is the same: from the initial star-map zoom (associated with destiny/time-blind vision of future events) the camera circles the principal character, placed at the celestial Sea of the Castout, as they turn to stone. Aaravos's giant hand swoops down and plucks up the statue, now contextualized by size as a pawn or other game piece, to admire from within his prison with a satisfied smile.

The most important point to understand about this sequence is that Aaravos doesn't personally turn Viren, Callum, and Claudia to stone, but is able to capture and manipulate them as pawns because of it:

This doesn't seem like much of a distinction at all, particularly because the petrification that results in Aaravos's satisfied claim on each mage is a representation of dark magic, which is... what allows Aaravos to influence/control those who resort to using it.

We get the direct link between the heart, dark magic, and Aaravos's influence/control explicitly spelled out by s6, and (as many noticed before)... go figure, in all three openings the corruption petrification begins at the heart.

Now, Callum is actually the only one who knows explicitly about the connection between dark magic and influence/control by Aaravos. Viren has sort of intuited it by the end of s5, in that we can see by portions of his dream that he's aware on at least a subconscious level that he was not in his right mind during at least the latter half of s3. This is why the distinction between the petrification being a factor allowing Aaravos's control, rather than an effect of it, is important—the conflicts and dynamics being represented are more complex than that. For example: Viren's opening, it turns out, isn't about Aaravos at all.

That's a Reach

When the primary arc 2 opening, featuring Viren, was revealed as part of the lead-up to the s4 release, there was a decent amount of speculation as to what it meant—the connection with Avizandum's death was recognized immediately, but what did that signify? Would there be further-reaching direct consequences of Viren's involvement and the archdragon-killing spell? Would Avizandum himself somehow have expanded significance? What is Viren reaching for: Aaravos, redemption, another chance at life?

Mostly, it set the tone for s4 and arc 2 in general, particularly regarding Viren's character arc, with strong mood and themes of helplessness, the past, regret and consequences, cyclic harm, and (of course) death. Not even to mention the looming presence of Aaravos and his relationship with Viren as his pawn. It was a vibe.

It wasn't until after s5 and/or s6 that the opening came into full context: Avizandum, in his final moments, turns his back on the battle with Harrow—the cycle of violence that he, himself, has contributed to perpetuating—and reaches for the child he will now be unable to protect from that violence.

Viren, as it turns out, does the exact same, as we see explicitly in s5 and continued implicitly in s6. Like Avizandum, he reaches for his children, unable to save them from the damage he has already done—all of it through dark magic.

On its own, it's an elegant implementation of the parallels TDP is so fond of to demonstrate that both sides of this long-time conflict have inflicted harm on each other and themselves in very similar ways for generations. Even at the time of s4, however, we had Callum's opening obviously derived from Viren's, and after s6 we have Claudia's, as well—both of which come with their own context that builds off of Viren's in different ways.

Lost Child

So while Viren's opening actually has very little to do with Aaravos (prior to Aaravos's actual appearance grasping him as a literal pawn), Claudia's (and Callum's, which we'll come back to in a bit) is difficult to interpret as not being related to her personal dynamic with Aaravos.

Interestingly, Claudia's opening places her at a very specific point in time, since it's visibly between two major physical changes to her body/appearance—her lower leg is missing, severed by Rayla in the Sea of the Castout at the end of s5, but she still has her long hair from before prompting Terry to cut it off for her early in s6. Even more specifically, she has the half-and-half split of black and white hair, which is already majority-white in s6e1:

This is Claudia in a moment we don't see on-screen—when, having failed to collect Aaravos's prison and not knowing that Viren has been offered and rejected the Infantis Sanguine spell, she turns to Aaravos in the dark of night and is willing to do anything to save her father.

I could do a whole thing here about the nature of Claudia's perception of Aaravos as both a paternal and divine figure, but the relevant part is that her only association between dark magic and Aaravos is a positive one—as far as she's concerned, Aaravos gave humanity dark magic as a benevolent gift, and her main reason (at least that she's willing to voice) for hesitating to give it up is that Aaravos kept his promises to her and it would be right to keep her promise to free him. In her opening, she goes from pained and defeated to looking upward with total trust and hope—looking to Aaravos the way she would have looked to Viren.

Her petrification shares the single tear with Viren and Avizandum, really cementing her place as another loop in the cycle of harm between humanity and Xadia that has dark magic at its heart. That callback to Viren's opening also puts hers in dialogue with him as much as with Aaravos, placing her in the same position as he is in a reflection of his horror and dismay that she has followed his path and example so closely.

Given that Claudia dramatically changes appearance (and, to an extent, attitude) immediately after this opening is introduced, it's possible that we'll see a different variant for s7... but given the end of s6, she actually hasn't really changed all that much. She has doubts about how to proceed with her life after Viren leaves, but as soon as Aaravos re-enters the picture, her conviction is back. She may not have done any dark magic after s6e1, but I don't think that's because she's decided to give it up.

Key Framing

Given the context of Claudia's opening, Callum's opening becomes unusual because it references Viren's without tying back to Avizandum and that cycle of harm. It's still on some level about dark magic, but Callum's relationship with dark magic isn't tied up in family and inheritance like Claudia's and Viren's are—instead it's focused entirely on fate vs. freedom, and on Aaravos specifically.

Callum's opening appears only for s4e4 ("Through the Looking Glass"), where he is possessed by Aaravos and it is established that his single use of dark magic is what allows that control, and for s5e8 ("Finnegrin's Wake") when he uses dark magic a second time. The shared opening puts those two episodes in obvious dialogue with each other, since s5e8 never makes explicit that the danger of dark magic for Callum is control by Aaravos—something he has already asked Rayla to end his life in order to avoid.

The focus in Callum's opening, both by its visual prominence and Callum's own gaze directed at it, is the Key. While Viren and Claudia's petrifications end the way Avizandum's does—with the single tear—Callum's ends with the Key in a blaze of light.

I expect we will see Callum's opening return for s7, possibly even as a primary opening, but it will almost certainly be recontextualized at some point and possibly even changed to a variant that reflects that new context. The Key is an element that will contribute to Callum's doom or salvation—or both, as a key can both lock and unlock—and its prominence in his opening reflects that and will likely be informed by how that resolution develops.

All of Us, Stardust

Speaking of alterations to the openings:

The final, altered version of the Viren opening kicks off s6, acting as a last, fun little extension of the "is Viren dead?" cliffhanger of s5. Aaravos's hand reaches down as usual, but instead of firmly grasping the petrified Viren, he very briefly hesitates before pushing it slightly, instead. The petrified Viren then crumbles and collapses into dust.

We first saw (or rather, had described to us via frantic convention attendee note-taking) this opening at the first reveal of s6e1, which was originally shown without any of the scenes revealing Viren to be alive. There are a lot of ways it could be interpreted, from a straightforward "he'd dead, Jim," to my own kind of fanciful theory from the time regarding Viren, dead or alive, having been made unusable by Aaravos as a pawn.

One way to contextualize this opening is with this old illustration from Patience, which ties in closely with the Aaravos chess/pawns motif (and was a significant part of contextualizing the arc 2 opening as "pawns"):

Now, there are a lot of things about this image that are important, not least the confirmation/reinforcement of the chain of manipulation of dark mages by Aaravos across thousands of years from Ziard to Viren, with the implication of Callum in the future. What I'd like to call attention to is that in chess, tipping over a piece is a gesture specifically used only with the king, and specifically to indicate that you are resigning the game and the opponent is victorious.

I don't think there's anywhere we've seen Aaravos truly lose, except for possibly when he was imprisoned, because his plans have levels of redundancy that mean they don't depend on any given individual—a game of chess hinges on the king, but Aaravos is essentially playing six or eight interconnected games at once, and a loss on one board only reinforces his remaining pieces on another. Losing Viren, deliberately or not, empowers his influence over Claudia... exactly as we see in the sequence of arc 2 openings. It would be difficult for them to have replicated the tipped-over/toppled king imagery with the petrified Viren without having to do some labor-intensive camera work on the existing opening pattern (e.g. do they show the ground when he falls? What even is the ground?)—so I think there's a strong likelihood that him crumbling to dust is meant to have a similar resonance.

Anyway, I'm kind of dancing around some complex theorizing and analysis of Viren's death that I go back and forth on depending on the day, but basically I do still think the important takeaway from this opening variant is that as far as Aaravos is concerned, Viren is off the board. That it's the opening for s6e1, rather than a special use for s6e8 (as Callum's variant openings are handled) is also IMO a positive sign regarding Aaravos's loss of control and direct manipulation of Viren over the course of s6. I don't think we've heard the last about Viren, and between Claudia, Soren, and Kpp'Ar there will definitely be a multifaceted interpretation of his legacy with significance in s7.

Opening the Final Season

Ultimately, given the dialogue between the three (four?) variant openings we have seen so far for arc 2, I think for s7 we can expect:

the Callum variant will appear at least once

at least one new Claudia- or Callum-based variant, OR possibly even an Aaravos variant

a new variant (possibly one of the ones from the previous point) to close out the arc for at least s7e9

That's my fevered ramblings about this 20-second repeated sequence, thanks for coming to my continuing insane TED talks on this and other ridiculous topics.

[mdhwrites]

If you have already addressed this issue please feel free to ignore what follows and direct me to your appropriate post.

I'd like your thoughts on fans who, went confronted with writing flaws in The Owl House they can't headcanon away, default to blaming Disney's cancellation for the show not being perfect. They will even do this for writing flaws that were evident well before Disney pulled the plug.

I have absolutely tackled this from a LOT of directions, such as how the early writing was not actually as good as we think it was, it just had a lot of potential, how S2A nukes much of that potential, how the found family was never real, how themes were always fucked, etc. like that to the opposite where I pointed out that for S3, ANY sort of S3 that was anything like what we got, S2B essentially had to be exactly what it was before so either S3 was inherently flawed by a godawful setup where you have no threats and most characters wrapped up entirely or TOH has always been full of it and wanted way more than three seasons which makes a lot of sense for how TOH has some of the slowest storytelling in all of kid's media. Oh, and of course the fact that they kept adding to the story and threats even after the shortening, such as the fact that the Collector only ever shows up in a dream sequence before S2B and even the creators have admitted they threw it at the wall in response to the shortening because they just wanted to see what happened.

For today though, I want to mention that in my Discord, someone linked a Reddit post that called the second episode kind of boring. That's it. Second episode wasn't great but the rest of the series was. As far as softball complaints go, you don't go much simpler. However, the top comment on it still had a person who seemingly out of reflex decided they had to bring up the shortening for the SECOND. EPISODE.

They didn't bring up Disney meddling.

They didn't bring up that it was finding its footing.

They didn't even bring up potential good points of the second episode, something even I could.

It was the shortening before anything else for something that happened over a season before the shortening took effect.

The shortening was the best possible thing to ever happen to TOH's Legacy. Not TOH itself, I'm not that big of a dick, but to its legacy. Anything that is praised as rampantly as TOH was is always due for a backlash, whether reasonable or not. Steven Universe went through this. She-Ra went through this. Frozen went through this. Bioshock Infinite is INFAMOUS for how its re-evaluation destroyed it as we all realized that even for the time, it wasn't good storytelling and just not a great game either.

This larger backlash has never happened to TOH because there's an impenetrable shield for many. "Disney screwed it over. A full S3 would have made it perfect." All complaints can be deflected because they can be blamed on someone else, something the show even encourages mentally due to how it treats Hunter, Lilith, The Collector and, of course, Amity. As such, people who might have normally seen my blogs and actually had to pause and question the show don't. I'm being unfair after all by not considering its production, which is admittedly a pretty shitty way to analyze media because we still need to evaluate the end product. People still call Molly McGee's ending being rushed despite being so much more cruelly treated than TOH's.

BUUUUUT I also think this is why ten years down the line... It's going to be forgotten. New people will come to the show and maybe they'll like it but they won't be able to love it. The cracks are obvious to any who perceive it. You can still enjoy it of course but to be diehard like the fans right now? You need something to plaster over it and those won't be in as active discussion ten years later. You won't have had an entire season of bracing yourself for any criticism like TOH's fandom had after S2A. It's a show doomed by its late stage flaws to be terrible for those who binge it who are unlikely to like it enough to want to see why this happened. Maybe word of mouth spreads it but like... If you look at the ratings, they were never much more impressive than Amphibia so bare minimum, a more rabid fanbase only ever got TOH more piracy, if it actually got it that much larger a fanbase, especially amongst normal people and not all of us, myself included, who are chronically online.

There's also a lot of stuff about TOH that falls into this category. Raine will seem almost worthless once a popular cartoon with an NB character with, you know, an actual character shows up. Lumity will seem pathetically written once an actually nuanced couple in animation shows up. Belos will lose so much of his bite once there are not a billion people screaming colonialism/racism about the generic evil dictator. TOH is propped up with excuses and accolades that make people think it is beyond reproach. That criticizing it is wrong and thus never evaluate their own thoughts on the show.

They stay in their bubble, dreaming of a S3 that doesn't, and couldn't, have ever existed. Swept up by their sweet lies, they shall stay in their fantasy world just like Luz did. See you next tale.

======+++++======

I wonder if a lot of this is also why I've only gotten one person on Tumblr to REALLY try and wage war on me. My blogs are too long and thorough to refute easily or just get mad over. I've had people try of course, some who try to dissect my blogs but their posts go nowhere and their arguments are limp because when you're up against someone like me... Well, I'm proud of what I do here, even if I do it as casually as I do.

That or how long my blogs are makes people not interested in things critiquing TOH just skip them. Also, I didn't link specific blogs because Tumblr's search function sucks and so I have no idea if I'd even be able to find them.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[gingergofastboatsmojito]

🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻

#GINGERPOVS BEAR META °Masterlist°

🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻🐻

So here you will be able to find all my musings, all my POVs, all my theories, metas (?), etc about this show that I love soooo much. Enjoy, follow the #tag & share, please!

🐻 Follow the tag for soooo much more meta #GINGERPOVS ̉

Follow the tag for updates ⬆️

🐻 Sydcarmy themed↓

Not being capable of saying "I'm sorry"

Leading with the ❤️

The Sydcarmy dynamic

It all comes down to this

The Syd factor

The Thom factor

Braciole

Come back

Backfire

3 of swords

Not there yet

The heart of the show

The Bear

Important vs Enough

To the Platonic crowd

Promo/Smiles

Can't wait

Side notes

Sugar

Guys' mindset

Sydcarmy numbers

My dream Sydcarmy ending?

Shooting for the Michelin 🌟🌟🌟

Sydney Adamu

Vibrant Collab

VC gone wrong

EC

Timelines

Menu S3

Menu S3 to S4

773

Ying Yang

TensionS

Golden

Flushed Carmy

Scorpio eyes

Terrified

Walls

Carmy

Reactiveness

Knives

Primavera

Blue - Rosé

The awful truth

Stuck under the table

The end of Carmen Berzatto

Perfect

Best ❤️ declaration ever

Short ribs beef

S1 Sydcarmy foreshadow

Syd's territory

His whole arc

Wrong crowd

Sydcarmy's song

Mercy

💋 💋 Blowing chef's kisses

Synchronicity

🐻 Claire Dunlap↓

The Claire factor

Plain sight

Strange currencies

We may never meet again

She drove the relationship

Full circle

Claire's dark side

Enjoyment and amusement

Logan

Claire's characterization

Claire's characterization according to MG + Storer

🐻 Miscellaneous ↓

His music

The Mikey factor

Unpopular opinion

Anger

The Bear The Movie

Double date

What dish will it be?

Ages

Names

Flavor profile symbology

S3 predictions

S3 predictions II

S3 predictions III

S3 predictions IV

S4 predictions

Storer is Storing

Luca - Carmy - X

Carmy & love

Fennel

How bears bear?

The jacket

Acid

Common dark side

Storer

Coach K's plot layout

Storer's language

Season 4 Predictions Vol.1

Remember to Reblog this thingy and thank you so much for loving The Bear! 💋

[raayllum]

Anyway I wanna talk about hands in Finnegrin’s Wake

This is not my last or even my deepest meta dive on the episode by any means but I’m a bitch who appreciates consistent symbolism and the Hand Motif is on fire this episode so like, let’s talk about it.

The first thing to establish is the (understandable) importance of hands in Callum’s mage arc, given that you draw runes with your hands and hold magical objects, etc. This is in line with primal magic yes

but also with dark magic, highlighted explicitly in S4. 

By being tied to primal / Sky magic, Callum’s hands (and ability to use them to help his friends, do magic, etc) is tied to freedom. This is also linked to chains/bondage with Rayla’s wrist binding and dark magic, metaphorically, for Callum. So it makes sense that 5x08, an episode that is very much about primal and dark magic and subsequent themes of freedom vs control is likewise obsessed with this hand motif.

However, I want to talk about Rayla, and Callum, and how the hand motif, dark magic use, and Callum’s connection to the Ocean arcanum are set up this season. Briefly on the last one (that can be a meta on its own I want to dive into, pun intended, in tandem with adding S4′s development to it) because post for another day, but I think it’s worthwhile to mention.

For starters, there’s Finnegrin having a direct callback to Callum’s line from 5x04 with Rayla (which is also being paralleled to Viren and Claudia’s “I’ll do anything” in 5x03 an episode prior). And with Callum’s hand clasped over his wrist, foreshadowing the ‘anything’ he’ll do will be to literally undo his chains (and to metaphorically take some on) in order to save Rayla by the end of the episode. 

But we see Callum repeat this “wrist rubbing” motion a few times this episode (pin in it for later) in addition to the repeated emphasis in S5 with Callum always being the one to reach for / take Rayla’s hand. Although she and Callum are undoubtedly in a much better place than they were in S4 in repairing their relationship, Rayla still initiates almost zero contact with him across the course of S4 and S5 (grabbing his elbow and wiping his drool away when he’s asleep in 4x03; placing a reassuring hand on his shoulder in 4x09; resting her head on his shoulder in 5x02; touching his face in 5x08 to provide comfort). 

This is a far cry from how touchy-feely she is with him in Arc 1, initiating much more contact than he does, but in S4 and S5 we see this switch around; almost anytime they’re being physically affectionate, Callum is the one initiating.

However, one thing hasn’t changed, and it’s that Callum is almost always the one, across seasons, to initiate handholds (3x01 and the back half of S3 once they’re a couple being the exceptions). And S4 (4x09) and S5 are no exception.

Okay, great, he holds her hand. So what? Well...

In 5x08, Callum does dark magic again outright and connects to the Ocean arcanum primarily out of love for her. As confirmed by the writers on twitter, Callum had to accept exactly what he says in 5x08 about the ocean - that it’s about unfathomable depths, embracing the unknown (even or especially when it scares you) and accepting that there are things you can’t control. And the lack of answers about Rayla’s whereabouts, “I don’t know how to feel about Rayla either,” and “I have to go after him” “I know” helped pave the way for Callum to reach those conclusions in 5x01 and 5x08 alike: “To love is to simply know this: the tides are true as the ocean is deep.” And that realization included accepting that he’d done dark magic (and would do dark magic) to protect her.

So it’s not surprising, therefore, that while connecting to the Ocean arcanum, Callum looks at his hand, and rubs the same wrist as before, almost like he’s mimicking the crushing motion he would’ve done with the slug. 

Or indeed that it’s a gesture Viren does in his dark magic induced dreams, and during Callum’s arcanum speech, either, if inversed. 

Callum is accepting that the depths he can’t see, his “I would do anything for you” promises and inclinations, are a (dark) path he can’t entirely see and understand, but something he knows lives inside him, and has for a long time: “But not everything’s changed.” 

Darkness equals dark magic equals chains, and Callum has enough self awareness (that Viren did not) to know more so of what he’s walking into, and that’s precisely why it scares him. Why, by the end of 5x08, even as it’s revealed how he got his chains off, it’s clear they’re not gone. Not really. Not to him. Especially considering now he knows exactly where dark magic leads in ways he didn’t before in 2x07: Aaravos. (“As long as we protect each other, as long as we love each other, you can never control us” and now Callum knows that isn’t necessarily true, because he gave up the info to Finnegrin, and he willingly took another step down a dangerous path.)

Which is why I love that Rayla is the one to reach for him, to gently touch his shoulder and then his face and pull him into a hug. And I love the way Callum hesitates to place his hands - powerful, ‘tainted,’ chained - around her like another link in said chain, so different and yet so similar from their hug in 2x04 about a lack of magic, and now having arguably too much. And all of it - the dark magic use, the metaphorical and literal chains, the devotional key of the Ocean arcanum, the hands - synonymous with his love for Rayla.

[dashboardcat]

beastars s3 (pt1) thoughts (for old time's sake)

-I didn't love the opening at first but it def grew on me. shishigumi car. reblog. you agree.

-was the energy drink plot in the manga? or did they make it up to kinda try simplify a number of black matket plot lines? bc I will admit a lot of the black market stuff has kinda been "it's always been bad, but it's SO bad now trust us bro" so I don't mind seeing them actually to show what the change actually was

-I don't love how they literally translated sebun's name as seven but alas

-no "be mad legoshi" smh my head. can't the gays have ANYTHING

-Louis's still a giant faggot lmao

-zaguan is apparently also a giant faggot lmao

-the fish eating a bowl of upon is perhaps one of the most unsettling things I've ever seen

-while I was hoping they'd cut kyuu entirely, I do appreciate them name dropping her a little early so she doesn't just pop up out of no where like she does

-HE ATE A BEE

-I don't really love melons dub voice. could be faggier.

-was haru's dream of opening a restaurant in the manga? did they add it to parallel legoshi working in a restaurant?

-I was originally ready to say I didn't like the initial scene with haru's college friends bc I thought that was all we'd ever see of them, but im glad that wasn't the case and we got more of them, including the original manga scene (more or less)

-ngl I hate that they took out legoshi forgetting his own birthday smh

-juno infordmping on legoshi fucking killed me

-my mixed ass is having a hard time taking how they throw the word mixed around seriously lmao

-goofy ass cgi car

-THEY KEPT THE KINKY PARTY LESBIANS LETS FUCKING GO

-damn i thought FOR SURE the season was gonna end on legoshi getting shot but there's still a few episodes left lol

-speaking of, while I did like the scene of legoshi getting shot, I didn't love that they took out the part where legoshi handcuffed him, then let him go

-oh hey they they included a bit abt louis's prosthetic leg acting up. diversity win or smth idk

-even if I don't love melon's voice, they sure did animate that twink well

-LEANNOOOOO 😭😭😭😭😭😭

-immediately following that up with louis talking science with the civet was... a choice... like sure the theme of mixes is there but it's tonally very jarring in a binge watch (which again, they insist on)

-speaking of, wasnt the civet super racist before? hes kinda just some dork now

-legoshi not being able to resist talking stage lighting with the strip club owner lmao

-did... did netflix censor louis picking a lock?? lmao what

-wait how fast did louis's antlers grow back?

-JUST TO LOSE ONE AGAIN???

-lol at the principal telling the drama club "stop doing Adler get some new material"

-WHY DOES LEGOSHI WEAR HEADPHONES LIKE THAT

-oh they DID leave it on a he dead cliffhanger lmao

all in all, all of the great, slice-of-life legoshi making his way through life as an adult type stuff that I loved from the latter half of the manga (and also the jokerfied fruit twink) was there. aside from the aforementioned bit with the leanno scene going straight into something almost entirely unrelated, most of the pacing was pretty decent (even if in hindsight it is kinda funny jumping back and forth between scenes of legoshi experiencing bodily harm and the drama club going "but what about the big playyyy :(")

things haven't gotten too messy yet... now we wait for whenever pt 2 drops to see how bad it gets...

[thecapricunt1616]

California Reaper (SydxCarmy one-shot)

♡ Chapter Inspo: Hot Peppers (Such as the California Reaper) are believed to protect the wearer from envy and harmful intent, prevent gossip, and attract good fortune. (California reapers are the hybrid between Carolina Reaper & Peach peppers, Peaches symbolize longevity & health) ♡ Summary: Carmy & Syd have a heated argument after work that turns into something more... ♡ W/C: 1,736 ♡ Posted Date: 06/21/2024 ♡ A/N: Here is my 'prediction' for S3 hahah! My hopeful one, IK it probs wont happen but a girl could totally dream, right?! ♡ Warnings for BTC: Swearing, Typical TB themes, Smut, Unprotected sex, Not edited!

♡ 𝐌𝐲 𝐋𝐢𝐧𝐤𝐬 ♡ ➵ 𝐂𝐡𝐞𝐜𝐤 𝐨𝐮𝐭 𝐦𝐲 𝐌𝐚𝐬𝐭𝐞𝐫𝐩𝐨𝐬𝐭 ♡ ➵ 𝘊𝘭𝘪𝘤𝘬 𝘮𝘦 𝘵𝘰 𝘳𝘦𝘲𝘶𝘦𝘴𝘵 𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 / 𝘤𝘩𝘢𝘵 ♡ ➵ 𝐏𝐫𝐨𝐦𝐩𝐭 𝐥𝐢𝐬𝐭 𝐟𝐨𝐫 𝐫𝐞𝐪𝐮𝐞𝐬𝐭𝐬 ♡

Heated. Potent. Extreme. 

This conversation currently being had could easily be described as any of those synonyms. It wasn’t surprising, though. To either of them, really. This unbearable tension had been building all day between them. 

Really, it has been since Carmy got out of the freezer last night. But, of course when he did get out they acted like it was some - hiccup? Like it didn’t affect anything. Like, it was just another day at the office. Syd had rushed up to him, clutching his numb fingers and bringing them to her warm, plump lips - like that isn’t all he ever fucking wanted. 

That honestly pissed him off, that it took him nearly freezing to death for her to give the affection he had begged for by way of sad puppy eyes for months. Her warm breath puffing into his tingling fingers was nothing short of heavenly. She wrapped her arms around the back of his neck. “Fuck, Carmy” she mumbled in his skin, grateful he was okay. 

He wanted to shove her away, he wanted to scream at her like she was at him right now and ask her what the fuck was wrong with her. Ask her why she never touched him, held him like that until now. But he didn’t.

Instead, he brushed her off, snapped at her to ‘get back to fucking closing duties, what am I- a baby?’ as he stomped off to the office and slammed the door, ignoring Richie and Natalie pleading to let them in so they could check on him. He was in there for well over an hour, he nearly shouted at Natalie to shut the fuck up as he shook his firey hands rapidly. Throbbing. Itchy. Painful. 

That is all he could describe his skin as feeling. His face was flushed with embarrassment, he couldn’t stop shaking. He had never felt a panic attack like this before, he felt like his chest was caving in. He actually had to sit (more like collapse) into his office chair, and rest with his head in his hands for he wasn’t sure how long, all he knew was everyone had went home when he came out and he was grateful for that. 

“I should have taken my last check back at that shithole of a sandwich shop and fucking walked. I ask myself almost every day why I didn’t!” She shouted. Her throat was becoming dry, she never yelled like this. She actually felt like she had to cough but was doing everything in her power not to, she wasn’t sure how his throat sustained the constant yelling all day. 

If Carmen wasn’t so hyped up from lack of sleep and overloading on nicotine with next to no food, he probably would realize that Syd had never shouted like this. So loud that her voice cracked, that her eyes were wide with rage. “Then fucking do it. Leave- walk.” He hasn’t even taken into account they were now so close she could smell said cigarettes on his breath. 

“Oh I would- but you said you couldn’t handle it without me, proved that right yesterday when you couldn’t have even bothered to get the fucking walk in door fixed a day before hard open.” She seethed, going to shove him but he grabbed her wrists, stopping her where she stood. 

She felt the blood drain from her face, she felt hot but goosebumps covered her skin. “Y’know what maybe that’s because-“ 

“Because what, Carmen.” She cuts him off. Her stare was boring into his in the way that made him feel small, he hated feeling small. He knew she was right, that she had to handle things all on her own and she didn’t drown. That he held the awards, he held the titles, but she? She holds him together.

Before either of them could think to say anything else, his mouth was on hers. It was messy, it was rough- it was…nearly bruising. It was fucking everything she’d dreamed of. She didn’t pull away, she didn’t slap him, she didn’t squirm or gag like Carmy thought she may, she leaned into it. Her grip on his shirt got tighter, her nails pinched his skin through the fabric as she rough- no more like violently kissed him back. 

Thats what this kiss was, it wasn’t sweet, it wasn’t gentle nor loving - this kiss was 2 late twenty somethings releasing a pressure valve they hadn’t in so long, that had to release, or the both of them would explode into meaty chunks that had to be mopped off the walls of The Bear. 

His hands scaled down her ribs, tugging at her chefs coat and pulling her to his hips as he shuffled towards the office. Neither of them dared to break the kiss, dared to question what they were doing. They both needed this. When his back hit the door though, she ricocheted off his body hard enough to feel his third leg essentially hardening down the right side of his jeans, causing her to pull away. 

“We tell no one. This happens one fucking time. Do you understand me? Once. Never again.” She was dead serious, and He was tongue tied, he couldn’t even find a yes or no, his eyes were wide and knees felt weak like a baby fucking deer. 

The only thing he could manage was a hard gulp and a quick nod of yes and she backed up, twisting the knob to the office and he quickly righted himself as he almost tumbled backwards onto the floor, palming the wall and catching his breath quickly “fuckin shit” he muttered to himself as he almost fell ass first, causing Syd to laugh as she swung the door shut behind her. 

“You’re graceful have I ever told you?” She teased, shrugging off her chefs coat to reveal her tight black tshirt underneath that made Carmys mouth water. 

“You’re an ass sometimes” he mumbled, tugging off the tie of his apron and sliding it over his head “like y’r a fuckin student still, wearin’ your whites every day.” He hooked his arm around the back of her neck, pulling her lips back to his and kissing them hungrily. He wasn’t being shy, nor meek per his usual MO with her when they were alone. He was taking what he wanted.  

She hummed into his mouth, gently nipping at his chapped lips. She kind of loved how she could taste blood, she sucked and licked at his lust bitten lips like they were the fountain of youth, lapping up his blood like it was the sweetest thing she’d ever tasted. He gently urged her onto the desk after clearing it of the at this moment useless paperwork that covered it with a broad swipe of his arm. 

She comfortably sat back, tugging him to lean into her frame and carefully weaving her nimble fingers through his knitted curls from the long day in the hot, sticky kitchen. She felt sweat on the tips of her fingers, but she didn’t give a shit. She wanted more, she would lick it if she could. “Too slow” she said between kisses, tugging open the button of her chefs pants and tugging down the zipper with a loud ‘zrrrp’ 

“Y’fuckin needy” he breathed, tugging down his chefs pants just enough for his cock to spring free, kissing his naval as it beads out pre while he roughly tugs off her pants and panties in one bruising pull of the fabrics. He shuffled her hips to the end of the desk easily, looking into her eyes carefully. “Tell me you want this” he said gently, hand braced on the wall behind him. 

“I want you” she said, voice laced with a careful kind of trust, a trust they only had with eachother. 

“You fuckin piss me off, know that?” He grabs her face with a firm gentleness that brought a moan to the base of her throat, clenching around him as he sheathed himself inside of her, thrusting to the hilt. She smiled, biting her plump lower lip to hold back a cry of pleasure. 

“I fucking hate working with you most the time” she pulled him into a sloppy kiss and he moans as he feels her squeezing around him in a way he could only describe as heavenly. He grunted, pushing himself harder and she gasped, her head falling back. 

He sucked dark spots into her bronzed flesh, pants puffing through his nose as he thrusted at a near punishing pace. “So fuckin pretty.” He muttered into her skin, biting down until there were teeth shaped marks bruised into the flesh causing her to whine and squirm in a way he felt was what angels sounded like. 

“Jesus fucking Christ” she rasps, her nails digging into his pale flesh, leaving bruising purple marks as she drags them down with no relent. He grunted, the pain urging him to move harder. His other hand moves to her throat and she looked up at him with those big brown eyes. 

“This is ok yea? I wouldn’t ever hurt you” he said the last part carefully, honestly. She swallowed thickly which he felt under his palm, before nodding gently and gasping a bit as she felt his fingers tighten around her throat. His thrusts slowed, becoming more careful and gentle as he gauged her reaction to the new pressure. 

Her mouth dropped clenching around him wildly as her orgasm overtook her and her wide brown eyes fluttered shut, head falling back with a thump to the wall and squeaks of pleasure leaving her throat. “Good. Good girl” Carmy praised as he rubbed her clit with his other hand causing her hips to jerk up and nails to dig into his shoulder. 

He hissed in pain, pushing in to her g-spot harder as he chased his own high. She scratched and slapped at his back at the overstimulation as he sucked at her collarbones, his back would likely be black and blue the following day - he loved the thought. When he finally came, it was with a grunt like whine she had never heard before, but she wanted to hear again and again forever. 

“Still just one time?” His voice was shaking, panting even. 

It was her that was now breathless and wordless, and could only find a quick nod of her head. 

Fin

[freedelusionshere]

Now let’s do similarities between some of the themes of The Bear and Twin Peaks and other things from the 90s.

Mikey the “life of the party” was everyone’s best friend like Laura Palmer but was harboring dark secrets.

Generational abuse and mental illness “haunting” families is a frequent topic with characters like Laura and Audrey Horne wanting to run away from home/escape. Many of the young characters in the show feel this way.

A dark underbelly present under the veneer of All-Americanism and a very present class structure that is hinted to be driven by capitalism and colonialism with the lumber mill (run by a matriarch) and the Black Lodge (being stuck/dopplegangers and alter egos - Logan, Claire, the walk-in, “prisons of your own design”, etc.).

Wealthy family members involved in illicit activities who are looked at as benefactors and respectable citizens of the town but really pull the strings like Ben Horne (Cicero).

The Log Lady who seems absurd on the surface but appears periodically to drop truths like an oracle (Faks).

The absurdist humor/tragicomedy, because Twin Peaks in the 90s was a satire of soap operas, but talking about lots of other things. Similarly The Bear could be viewed as a satire, which was hinted in S3 (fictional character played by Bradley Cooper’s image from Burnt shown at the Ever’s funeral dinner) among other things.

Characters in Twin Peaks break the Fourth Wall in the Black Lodge, similar to Richie in S3 when he’s on the playground bench with Tiff and they appear to talk about knowing their real audience. Also the presence of many real-life chefs who point out inherent problems with fine dining while still participating in it and being celebrated. Restaurant reviewers mentioned include a real-life critic/influencer and major newspapers.

Twin Peak’s creator, David Lynch, is also very influenced by Shakespeare in his works, just like Jane Austin was (my previous comparisons of The Bear to Pride and Prejudice).

Lynch has said that he uses his art to broadcast his subconscious conjurings, similar to how Hamlet transmits his bad dreams outwards. He also loves Oedipal shit.

The Bear is, in some ways, part Carmy’s waking big bad dream (S3 for sure) about family legacy.

Twin Peaks came out in the 90s aligning with many of Storer’s influential musical choices like REM (very popular before they broke up in the 90s), Pearl Jam, and Trent Reznor (NIN) @whenmemorydies did a dive into this. The very popular BBC tv adaptation of Pride and Prejudice with Colin Firth came out in 1995.

Syd and Carmy could also be described as similar to The X-Files’ Mulder and Scully where they are both professionally dedicated which is the cause of their introduction with Scully being more academic in nature. Both are haunted in different ways related to their childhood/families; Mulder has a missing sibling that drives him. Scully is very connected to her father. They appear to be in opposition at times but are completely dedicated to one another and fall in love despite all attempts from outward opposition and even other love interests.

I’m sure there are others that I’m missing so anyone feel free to jump in.

[generalluxun]

Ya know I think I finally keyed in on something that often nettles me with some stories where Chloe either confronts Ladybug but gets checked, gets chewed out by Ladybug for her behavior in general or finds out she's Marinette go.

IE, either Chloe is upset about how LB handles/handled her in one way or another and gets a talking to. Or she finds out the truth and is overwhelmed by gratitude.

The thing is though, while I can maybe see the characters having these kinds of feelings, it feels a bit off when the narrative seems to go along with it too much.

Mostly because it feels kind of like it draws too strong a parallels between "Is kind of a dick" and "deserves to be in danger & to be largely disregarded."

Like, it took until Season 2 for Marinette to have enough of a heroic game face to even say "No not even Chloe deserves to be fed to the zombie hordes."

As said, I get why the characters might be upsets, she does hurtful or frustrating things. Sometimes she can be detrimental to the plot, though other times she can be quite helpful too. But like, at the end of the day, if the narrative, yes in the show but also in fics, feels like it backs that frustration up it feels skewed to me.

Low key in this regard Derision would almost be helpful, but meh.

Like, say Chloe finds out Marinette's identity post S3 and goes to angrily confront her about the whole "A supervillain was targeting me. You knew this & not only used me anyway but took away my one means of self defense, ETC" thing.

A counter along the lines of "Well you can be kind of an asshole and I don't like you" makes Marinette feel super petty given the scale Chloe's problems are operating on compared to the local jerk being rude to you.

I'm not aiming to minimize Marinette or other characters legitimately hurt feelings. Especially because they are fourteen ETC as well, so expecting them to be perfect is unfair. As said this is more of a narrative issue I guess. It feels like authors lack self awareness if they feel the conflict between real danger and being jerk are the same.

Does this make sense? How would you square such a confrontation if you were writing it?

I mean *waves at Chasing a Dream* I kind of did that, didn't I? The confrontation I mean.

What lots of people forget is that Marinette is not *just* a 14 yr old girl. She's both a hero and a protagonist. The themes of ML should have her trying to achieve good outcomes for everyone. The show *literally* has a reset power to be sure that there is no collateral.

It is *possible* to let Marinette be petty in the moment, to let her get a catharsis, but if she doesn't feel bad about it later and try to fix things then you aren't writing Marinette, you are writing revenge fantasy. -Which if you want to write that, go shead it's your story. It's just best to call a pot a pot.-

How the confrontation would go down would depend on so many things. You would need to give me a setup for me to answer 'How would you write it' 😁

Heck I even have it somewhat hallen in my current fic, Barren Soil, (no ID reveal) but since neither are PoV characters it isn't as spelled out.

[cringengl]

When bylers say that byler makes more sense in terms of the narrative, although there's lots of little proofs throughout all the seasons, it's mainly due to byler's correlation with the themes of the show.

Stranger Things is all about outsiders, freaks, losers and nerds. From s1, the main characters have been the ones that are bullied and are called names and the show wants us to root for them, sympathise with them etc. This is why Nancy chooses Jonathan over Steve, why the Starcourt Mall is destroyed at the end of s3 and why Eddie is constantly affirmed as a good guy.

M*leven endgame wouldn't make sense in terms of the storyline because the relationship between Mike and El is seen as the 'normal' thing to do.

In Mike's eyes, he's supposed to be growing up and not playing DnD in the basement with his friends for the rest of his life. In order to grow up, he needs a girlfriend, which is why he is dating her instead of just being friends. Finn Wolfhard literally says that Mike wants to be "normal".

On the other hand, El clearly wants a normal life, shown not only by her letters to Mike and the dream world she creates within them (as it could be argued that she was just doing that to ease Mike's anxieties) but also by the effort she puts into waving to people at school even when they don't wave back, as well as imitating the movies she watches in Hopper's cabin in s2. This is also why she wants to be in a relationship with Mike instead of just friends, she feels like she needs to have a boyfriend to be normal and doesn't see any issue with dating Mike.

However, as Eddie says, "conformity is killing the kids". El is clearly having a miserable time with school in California, despite doing her best to fit in and Mike is just a "shitty knock off"- the stark contrast to his Hellfire outfit and airport outfit is insane in both colour and style.

The Wheeler family as a whole is learning that conforming to the nuclear family stereotype is not good for any of them, meaning that El will find more peace and power in being single (as well as being able to learn more about the world) and Mike will be able to defy heteronormativity by being with Will, meaning that it's not only Nancy who breaks that Wheeler family cycle (the one that Jonathan goes off about in his rant to Nancy in s1).

Therefore, byler endgame makes much more sense as the show is about the outsiders, and going against the mainstream.

(Which byler would be as it's a gay ship in a show set in the 80s that hasn't been spoon fed to the audience from the start to make it more palatable as well as the fact that making byler canon would also be breaking up a straight ship).

[ripplestitchskein]

I know I’m harping on it a lot but I loved this show so much. It was a really bright spot for me and S3 wasn’t great but it wasn’t this bad.

I just can’t fathom that human writers finished up their S4 scripts all

“Yup, we sure wrote a thing that doesn’t ignore every crucial theme, characterization and motivation setup so far. Can’t wait to film this with Dhar Mann level acting and hastily cobbled together sets. The messaging we decided to go with is “The weird traumatized queer coded characters should kill themselves because they’re ruining the world. We’re gonna end it with an idyllic shot of everyone being super happy now that they are dead and like how utopian it is that they no longer exist. Also, lot of unnecessary fat phobia and literally nothing that the characters went though mattered at all! Fun right!?!”

Their budget was obviously slashed to shit so maybe that’s why it seems like they got like the Willy Wonka Experience guy to produce and went for a CW show in the early 2000’s cinematography style. The fake graveyard set and the barn gave me Once Upon a Time war flashbacks.

The lack of commitment from the actors was palpable. Elliot Page didn’t even look like he wanted to be in half his scenes. I don’t blame him. Either everyone was delivering lines like they were reading a pulp novel or ramping up the cheeseburger camp to Lazy Town levels of overacting.

Luther’s entire character motivation was whacky waving inflatable arm guy who is sad about kids. Diego and Lila keep repeating they have three of those but the budget couldn’t support more than one child actor that Diego DIDNT EVEN SAY BYE TO. Lila and Five were a chemistry void. A Lolly adjacent fever dream that made me cringe the entire time it was on my screen. AND IT DIDNT EVEN GET PAID OFF, it was wishy washy love triangle slop until the very bitter and pointless end.

[claudiablogger]

idk if they are gonna put lestat through the ringer but i would really like if they don’t make loustat endgame or whatever,like it doesn’t make sense,i really don’t want to see louis going back to him lmao i know im delusional but i hope the show will change the otps like anne rice really wanted,she was right hating on loustat lol it should be lesmand+that creep british hag david,and not louis ty

scream i sounded hopeless in my post didn't i. but this is horror and s3 is lestat (loustat) so i have faith. no one hates lestat more than a girl who is him so i do sympathize w yr dreams and wishes but i fear he's the one for louis.....especially now that claudia is dead. like i said louis isn't avoidant and after the second interview he wants to come to terms with his grief and keep paul and claudia in him and lestat is a big part of the latter (everything is abt loustat except loustat which is abt claudia, etc) especially now that louis knows he didn't kill claudia but still has a lot to atone for. like despite it all he still loves lestat and moreover he loves the family they were.....god. i do love and appreciate how this show is engaging w themes of forgiveness and redemption and how neither of these are necessary for louis to embrace her love for lestat, because most of all that love is a part of herself. it's not for his benefit. and as for lestat and his love.....when you've done the worst thing you can to another person--when you've said the unsayable and committed to the unforgivable-- what does it mean to build a love on that horror and that grief.....i have to say im a sucker for a narrative that explores personhood through and beyond monstrosity (<- queen's thief enjoyer) and lestat exemplifies that currently in 2022, mired in grief, wanting louis despite knowing he shouldn't. endgame loustat is less about louis going back to him (lestat has lived in his heart for over a hundred years. you carry him in here ! you slow us down) and more about lestat's growth and louis' acceptance of being seen; they have all of eternity to return to each other. and again what could induce two people to coexist with unimaginable horror and pain that one of them inflicted on the other....how they leave the damage so they never forget the damage.....honoring claudia and honoring louis' love for what they had. there is something to be said for lesmand and finding relief and recognition in the worst versions of each other but lestat could never betray claudia or louis by going back to armand at this point imo. plus well our louis is actually interesting + kind of a freak she needs someone who matches that and we know lestat has the game. sigh. who's david <3

[kradogsrats]

Thinking about this scene, because lbr it just kind of loops in my brain constantly so there's probably a 70% chance I'm thinking about it at any given moment.

It's easy to make the assumption that everything in Viren's dream is connected to him healing Soren, because it's a convenient place to point to and say "obviously that is where everything went wrong." It's definitely a pivotal moment in his life, and deservedly has a lot of screen time in this sequence. In some ways, it is lurking beneath all the other scenes.

But it doesn't seem to be what Kpp'Ar is talking about at any point here, like:

I always knew you'd go far. But I didn't know how far you'd go to get there.

Everything going on in Kpp'Ar's dialog—"eager student," "elegant finery," "overcome the disadvantages of your upbringing," "I always knew you'd go far"—is about ambition. Not morality or necessity, just a pure skewer of you've never done anything for anyone but yourself, and you know it.

Viren, as is the theme(tm), protests, "I had no choice. I did what I had to do," to which Kpp'Ar, again, absolutely drags him:

You made the choice you've always made. The one that gives you power.

Which, like... you could twist this to be about Soren, and start asking questions about exactly what power Viren stood to gain from healing him—my money would be on the Staff of Ziard—but I actually don't think that's at all what this is about.

This scene in Viren's dream also cuts almost directly into the Twin Peaks scene, in which Viren is king, and which itself culminates in the battered and bloody crown, i.e. his death.

So I think there's a couple things going on, here: 1) the Kpp'Ar scene (and the Twin Peaks scene, but I'll talk about that some other time) is actually referring to everything Viren did that culminated in the events of s1-s3, and 2) we as viewers are being primed by that to look at his other choices in the same critical way.

Now, you'd have to be pretty oblivious to have watched all of s1-s3 hearing Viren's constant refrain that he's doing everything he does for the sake of humanity's future, etc. etc., and been like "oh yeah, that seems totally legit." So we're basically being explicitly told here something that we already knew: everything that Viren has done, he did on some level to secure or consolidate power for himself. Some of those choices are a lot more obvious than others, but pretty much all of them circle back to power, control, and/or the "narrative of strength."

Having framed all of Viren's choices that way—particularly after he has denied that they were choices—we are being implicitly asked to consider his choice to do anything to save his son within the same framework. Was it something he had to do? Was it worth it?

For some viewers, this is the first time they are encountering the revelation that Viren saved Soren from a fatal illness during his childhood. It's a choice that is very easy to sympathize with, and one that we the deep fandom have discussed to death—seeing it for the first time, a viewer is likely to be sympathetic, or automatically believe it was justifiable. In starting with the scene with Kpp'Ar and reminding viewers of all Viren's other choices, their motivations, and their consequences, the sequence is asking us to consider this critical choice, sympathetic as it is, in that context. It's similar to the way we are asked to consider Harrow's choice regarding the Magma Titan, though much less explicit.

So, then... what's up with this?

Viren's immediate response to Kpp'Ar's statement that his choices have always been about power is the first callback to his little mantra:

I've always done what protects my family. However dangerous. However vile.

Why does he say this, when literally nothing in this scene has been about family? Well, first of all, it's another priming device for linking Viren's s1-s3 actions with his healing Soren. It's also a fun little callback for those of us whose reaction to it first being dropped in s4 was "HOLY SHIT it's the thing he said to Kpp'Ar!" in that here he is, saying it to Kpp'Ar again. But we also get told exactly why, a couple scenes later:

We have Harrow—specifically Harrow in the context of his death, the inciting event of Viren's s1-s3 spiral—linked to Viren's concept of family, and his willingness to do anything in that context, in what is a kind of hilarious contrast with, y'know, literally everything Viren did after Harrow's death.

So, as with the rest of the sequence, it's all about Viren framing himself as having no choice while he makes the absolute worst choice possible at every turn.

[crusherthedoctor]

8 16 17 25

8. you hope more people will come to appreciate ___ (a ship, a trope, an episode, etc)

The Pontaff era.

No, I'm not saying these games don't have their weakpoints. To claim I ever have would be disingenuous. But really, what makes them different from every other era in Sonic's history? If the Adventure-Black Knight games are free to be vindicated by history in spite of their own non-nitpick drawbacks, including the game that came the closest to actually killing off the franchise, then I don't see what makes these games so much more inexcusable by comparison.

The sensationalist side of the fandom's Pontaff hateboner has always felt performative, as if it's an open secret that it's the cool thing to do. '06 is declared out of bounds because too much time has passed and it's played out, yet they keep harping on a game that will soon be seven years old (Forces), a game that came out over a decade ago (Lost World), and a game that came out over 13 years ago (Colours). Even with Generations, the one that has probably fared the best reception-wise out of the lot, it's not rare to see fans unironically call it a worse anniversary game than '06.

If the Pontaff era of Sonic is not your cup of tea overall, that's fine. It's no different to my lack of enthusiasm for the current Flynn era (Superstars and Dream Team notwithstanding). But no matter how many YouTubers try to convince me with their clickbait thumbnails and their tendency to complain about dragged out jokes while making their own dragged out jokes, I will never buy into this insincere narrative that everything was consistent high times until Colours singlehandedly made the franchise drop off a cliff.

16. a tiny detail in canon that you want more people to appreciate

I can't say Eggman's actual characterization because that's not exactly a tiny affair, so... Omega's portrayal when not written by Flynn/Bioware?

17. the thing in canon that everyone loves and that you also love

S3&K

The franchise's history of excellent music

The franchise's history of exploring themes that, regardless of whether the overall execution is good or bad, tend to have more nuance and thoughtfulness put into them than a lot of other, supposedly more mature IPs' interpretations of said themes

The characters we know conceptually but don't necessarily have similar viewpoints on

ShtH being filed in the comedy genre

Sonic faceplanting

25. a piece of advice for taking care of yourself in fandom spaces

Never let anyone assert control of your own experience. You should always be the one to referee your own corner of community interaction, and although polite disagreement and healthy discourse is well and expected, you shouldn't feel the need to continue diving into discourse by virtue of obligation if it makes you miserable after seeing so many terrible takes based on illegitimate reasoning. Block certain tags if you deem it necessary.

You should also not focus on popularity, and not just because it inevitably comes at the cost of being true to yourself and what makes you satisfied. If you remain honest, and respectful, you'll find your true friends in the community soon enough, which are worth far more than a million faceless acquaintances ever will.