#entrapment analysis

[indiaalphawhiskey]

To add, I also think it’s interesting that Colin is the one who speaks of their intimacy and entrapment out loud, almost as if he needs to make Penelope conscious of it, remind her of it, to tie her to him.

If he really, truly wanted to end the engagement, he wouldn’t be the one basically announcing their pre-marital intimacies (like yes, their mothers didn’t hear them, but they could have and then would have made him marry her on the spot). He should be desperate to keep that between the two of them, knowing Penelope would never ruin herself/him that way anyway, so there was no need to actually say it to the damn room.

Thinking about it from a more generous perspective, it’s almost like he meant to say “Remember that you are entrapped, babygirl, and I don’t care who knows it because I am so mad at you but this wedding is absolutely happening, no more talk of ending it, thanks. 🙂”

Colin's "entrapment" line was hard to listen to, but it was most definitely a sign of how unhinged he really is for Penelope.

Ok but for reals, I'm not sure how everyone else reacted when Colin said his now infamous "entrapment" line, but I just love how if one looks at this line a little more closely, it was definitely some semblance of an underhanded (and also a bit silly, lol) attempt to actually keep Penelope entrapped. Haha, the irony of it all. Idk, at least that was my read on it!

Like, it was definitely said in anger as well; he's hurting, and he’s hurting badly, so of course he wants to hit back in some way, however he can. Luke Newton absolutely meant it when he said that Colin reacts to the reveal in the worst way possible, alas.

My very first reaction to that scene: //pauses the screen to yell at Colin at 4am in the morning, “Entrapment????! If you feel trapped, then why the hell are you still going along with it, ya dumb ass!!!

Because really, think about it: Colin was definitely within his rights to call off the wedding, especially when he'd mentioned that Violet had noticed that he and Penelope had not seen each other for some time. It would have been the perfect time to reveal Penelope's secret to his mother, if indeed he felt entrapped by the LW of it all. Violet is family; if he wanted to still protect Penelope but no longer wanted to marry her, he would have been able to count on Violet's discretion. I'm sure she and Lady Danbury would have come up with some sort of plan to deal with the aftermath regarding the Bridgertons’ reputation, as we'd seen with Anthony and Edwina's botched wedding.

Furthermore, it would have probably been the better option to reveal it to her, since the existence of LW does put his family in danger; Penelope herself knows this. Every decision she makes post-LW reveal to Colin is due to the Bridgertons being in danger. Lady Danbury makes a point of this when she said in the last episode, “There is only one other person who loves the Bridgertons more than I.”

Eloise was able to keep the secret with no real consequences because although Penelope was her ex-bff, El still loves her, and besides that, nothing legal binds them as Colin's marriage to Penelope would.

Even when he was getting ready to talk to Benedict about getting funds to fulfill Cressida’s demands, he insisted on making up a lie to shield Penelope’s identity as LW. He knows more than anything that fulfilling a demand like this, all for the sake of his wife and at the cost of using a substantial amount of Bridgertons’ financial assets, may not put his marriage in the best light within his family. He doesn’t want to be forced to have to choose between his wife and his family, so he’s keen on keeping the lie going.

So for all intents and purposes, he doesn't tell his mother, or any of his other siblings (besides Eloise, who already knew); this in and of itself is hella fucking risky. The fact that Colin is willing to take this risk of withholding Penelope's secret identity from his family, the fact that he doesn't think to jeopardize this potentially risky betrothal—already goes to show the measure in regards to how much he wants Pen for his wife. We the audience know this because he waits until the very last minute to tell Violet, and even then, it's not Colin who chose to reveal it to her, but Penelope herself.

Another point: arguably, we can also say that Colin has a lot more wiggle room with his engagement to Penelope to call off the wedding, much more than he ever did with his engagement to Marina.

"A man of honor"? Exactly what "honor" are we talking about here? Colin claimed that he would have married Marina had she just told him the truth, yet when push came to shove and the truth of her pregnancy was revealed for all the world to know, he still chose to take the out Penelope gave him through LW. It’s easier to make a declaration like that when it’s all said and done. Lol Sure, he regretted it and apologized for his behavior later on, but he had made his choice regardless. Y’all can just feel Marina and Lady Danbury judging this dumb ass (affectionate) for dwelling in the past. Silly young man! XD What's stopping him this time around?

"We had been...intimate." Are you talking about the mirror scene, sir? Because let me assure you, you and Penelope have long been "intimate" way before you decided to buy a love nest and take her V-card the very next day you proposed to her. In fact, this is where the significance of their first kiss in 3.02 rings so, SO importantly and WHY it was vital that it was Penelope who asked and said that it would not have to mean anything. Colin knows Penelope would never use their first time together and/or the heated moment in the carriage as a way to entrap him. That first kiss alone should have already warranted that they get married, but Penelope makes it clear that it’s simply a favor, nothing more.

Oddly enough, I’m surprised Colin doesn’t bring up the idea of a long engagement (yknow, as he initially wanted with Marina, but who’s keeping track at this point), considering that would have potentially benefitted their situation. 🤔 His dumb ass (affectionate) was more than willing to stick to the wedding schedule…huh.

Besides all that, I don’t think it’s the showrunners’ intent to “taint” those special moments between them by changing the context through Colin’s (very biased) POV; to believe that to be the case would be, imo, just a bad faith argument. The genre is romance, y’all; these intimacy scenes are on an entirely different pedestal.

Because remember, that “entrapment” line of Colin’s only came about due to Penelope starting the conversation with, “Are you going to call off the wedding?”

Didn’t it almost seem like an afterthought, that he just came up with it on the spot? Hahaha.

I can bet y’all Cressida’s fake ass ��20,000 blackmail money that before they’d met up to discuss wedding breakfast plans with their mamas, it had probably never even occurred to Colin to cancel their wedding. Angry and furious as he was, it was never a question of whether or not he still wanted Penelope for a wife.

The fact that it’s Penelope who begins that conversation and opens that Pandora’s box possibility is so, so damn important. Because not only does it show how much Penelope truly loves him in that she would never trap him, it also shows her maturity, in that she’s willing to face the consequences of her actions. She’s willing to give Colin the choice to back out, heartbreaking as it would be to face it, even if she herself would not be the one to pursue that choice.

She gives him the choice a good number of times: the wedding breakfast plan scene, the wedding day itself when she hesitates on the aisle, and the annulment offer after the butterfly scene.

Penelope defends herself softly, but truthfully: she never meant to entrap him, because she really didn’t. And Colin knows this; he would not still love her and want her if he honestly believed she wanted to entrap him. Hell, even if she did, the audience knows it’s a desire that comes from a good place: she loves him, so of course she doesn’t want to lose him. She wants to marry him, because she loves him. That’s all there is to it.

But despite knowing this (imo, anyway), we can also say that this conversation may have contributed to Colin’s downward spiral during the majority of episode 7 and 8, and why he becomes hella fucking desperate to be “useful” to her.

Because unlike himself, Penelope has now begun to entertain the idea of living a life that doesn’t include him—at least, not as her husband. Penelope is brave and strong enough to let him go due to the pain she caused him for her lies and her actions as LW, and as for Colin…well…

(I love it, it’s the same conundrum that Anthony faced in S2: Kate is strong enough to leave him behind and return to India, but Anthony…well…)

TL;DR, Colin’s entrapment line was literally an excuse he gave himself to keep his betrothal to Penelope intact. It’s a line that works in two ways simultaneously: it’s a painful, childish, underhanded thing to say in order to hurt Penelope’s feelings, to get back at her for the anguish he’s suffered. Yet at the same time, it’s also another excuse he gives himself in order to push through with the marriage, to tie Penelope to himself forever.

Because unlike Penelope, the very idea of living without her as his wife, of not having her in his life, is and always will be an impossible notion for Colin to ever entertain.

[indiaalphawhiskey]

I’ve been thinking about the evolution of these scenes a lot, and for all the flack part two gets, I think it perfectly illustrates one truth: Colin Bridgerton is consistent in his love to a fault, and he is hopelessly devoted to Penelope.

A lot of us (me) were bothered by him reducing their marriage to a show of his honor and nothing else, but, your honor, the scene on the right makes it clear that’s not true.

The actual truth is that he’d already forgiven her (in less than a day, mind you) — and he was angry at himself for how easy it was for him to do (common, unlucky lovesick fool that he is); angry at how Pen — even after embodying his ultimate dealbreaker — was really all that mattered to him now.

As @phantomphaeton said, what he was actually grappling with was emotional entrapment of it all — the harrowing realization that nothing, literally nothing, could make him not love her.

Because if you think about it, no matter what he may have said at the time, his honor wasn’t enough to make him stand by Marina. With her, honor had his limits. But with Pen? Nothing — not hell or high water — could stop that man from walking down the aisle.

And realizing that shocks him; it scares the living shit out of him, the acute knowledge that he’s so fucking far gone for her, he cannot fathom walking away, even from bloody Lady Whistledown.

So, when she suggests calling off the wedding, the man hurls that entrapment accusation at her with the ease of someone who’d been practicing it; someone who had a list ready to go at the slightest suggestion they break this off. In fact, he doesn’t even take it back when she says she doesn’t know if she will stop publishing, which, considering how much he wants her to stop, is actually super crazy, because it shows just how much he’s willing to put up with, if only just to keep her.

Anyway, Colin Dead Devoted Bridgerton, I look forward to analyzing even more of your desperately down bad clues.

[bridgerteon]

The Entrapment Analysis

I can understand why fans are bothered with Colin's comments to Penelope about her "planned entrapment" to him. I get it. It sounds so rude and out of character.

Unfortunately, i'm not bothered by that comment at all; I know he doesn't mean it. That's his angry, betrayed and hurtful thoughts; he's emotionally spiriling out of control. I knew Colin does regret his words to her, as much as she regrets ruining the Bridgertons and others. He's still the sensitive boi everyone knows and loves (Except for his swagness. But I feel him, as I also want to fit in rather than stand out from the crowd). However, unlike a certain Avatar: The Last Airbender character (who I still admire btw), Colin still wants to be with Penelope, eternally; he's not letting her go regardless if she's LW.

This Tumblr user and Bridgerton fan analysed it and it was chef's kiss. 👌 They said these words perfectly. That's what I like to see: critical analysis. It's long, but worth a good read (and hopefully change your opinion about Colin's behaviour).

But now, here's my explanation why I am not bothered by that comment.

He realises that Penelope is not who she thinks she is. I'm assuming that his perspective on Pen is that she is clueless, dependent and shy, not realising that she is actually clever, critical and an independent woman who don't need a man. I think that bothers Colin, as he realises that she doesn't need him. Hence he went cuckoo and desperate, and trapped in his thoughts.

Colin's past torment and Relationship PTSD has frightened him because he doesn't want to get his heart broken, again. Ever since Marina's Deceptive Engagement Drama, Colin feels betrayed and tricked into a marriage. But unlike with Marina, Colin actually wants to continue the engagement with Penelope. He could've just leave and end the engagement/marriage, as Pen keeps suggesting all the time and what he did to Marina, but I have NEVER seen him mentioning nor thought about it once. He's still in a one directional pathway of staying with her because she's his True Home and he'll never let her go, regardless if she plans to trap him into marriage.

Colin wants to be the one that Penelope will learn to love and accept him. Remember, he doesn't know her true feelings to him, as she just said she "loved" him, in past tense, at the church scene. No confession nor heartfelt speech, yet. As the event continues when Cressia blackmails Pen, it seems that Colin takes the "greatest opportunity" to show Pen that he can do this. He wants her to see him as her hero, someone worthy of her and wants to make her proud of having him as a husband. He wants to earn her love. It failed spectacularly, heh.

Colin acting like my favourite broody men for being a loser and worthless. That's the reason why there is no "Angry Polin Sex", because he failed to protect her, so he lost his honour. If they actually do it, it would be so bad and their relationship would be worse. I'm happy Colin stays in his Drama Queen™ moments instead of doing it; he feels as if he can't do anything to earn her love and he's still trapped in his doubts.

Colin wants to know exactly what Penelope sees in him and why she wanna marry him and his lameass skills. When he finds Pen outside before the wedding, he confronts her, asking why she is a mean ass, even though he's a thick skulled and passive dumbass. Also, the fact Pen chastises Colin via a public forum, it makes him feel embarassed. He berates to her why she calls him a fake ass bitch, which unfortunately HE IS; Pen confesses that she just wants her Old Colin back, duh. Additionally as Colin ask "what good am I to you?", which is his self-doubt talking, Pen says that she LOVES him, present tense. That caused him to brain-circuit and realises that she loves him for who he is, not what he can provide. Now he is slowly unraveling that he's no longer trapped. Someone actually loves him, just him.

And then there's a beautiful explanation of breaking free from the "entrapment".

Colin realises that Pen saves his family just as much as he saves hers; they are not trapped together, they want to solve things together. After Colin criticises Lady Featherington for shadowing Pen, he causes a major shift in mending the Featherington generational trauma; I love that scene. Pen releases an article to prove that she is not Cressida and revealing herself as LW to the Ton, to save the Bridgertons from being scrutinised. They save each other. Therefore, they are no longer 'trapped' with each other; they are now free to be with each other fully.

Colin has finally emotionally connected with her. So when he's truly accepting her and their feelings are reciprocated, that's when they are one and the same, and that's beautiful (even though I didn't see much of their make-up wedding night sex 😒). Now they are no longer entrapped but embracing each other.

Ultimately, the fact that Colin uses that "entrapment" comment to get back on Pen for hurting his feelings, but he's actually closed off and feels like a fool. Please understand his perspective as it helps to feel sympathetic for him; he may be rude to Pen, but he's concealing his feelings, like Anthony, because he doesn't want to get heartbroken, again. However, his regret for saying it causes him to fix things for her not because they are trapped with each other but because he LOVES her and wants her to stay with him, for life and death and beyond. After they break from the entrapment, their love has finally blossomed, and it's a beautiful redemption of their character. And this is one of the reasons why I completely understand and love Polin for that.

[gudmould]

Analysis of defects and causes of plastic parts

Summary of plastic part defectsNoDefect nameNoDefect nameNoDefect name1Flash8Cracks15Product clamping line2Deformation9Punch marks16Leather scratches3Air trap10Weld lines17White top, top cracks4Silver thread11Underfilling18Surface cold material5Burn12Bubble, air inclusions19Poor surface gloss, shadows6Shrinkage mark13Bright marks, dark marks  7Flow mark14Abrasions, strains   Defect…

[soon-palestine]

In a statement that was shared with The Nation, a group of 25 HLR editors expressed their concerns about the decision. “At a time when the Law Review was facing a public intimidation and harassment campaign, the journal’s leadership intervened to stop publication,” they wrote. “The body of editors—none of whom are Palestinian—voted to sustain that decision. We are unaware of any other solicited piece that has been revoked by the Law Review in this way. “ When asked for comment, the leadership of the Harvard Law Review referred The Nation to a message posted on the journal’s website. “Like every academic journal, the Harvard Law Review has rigorous editorial processes governing how it solicits, evaluates, and determines when and whether to publish a piece…” the note began. ”Last week, the full body met and deliberated over whether to publish a particular Blog piece that had been solicited by two editors. A substantial majority voted not to proceed with publication.” Today, The Nation is sharing the piece that the Harvard Law Review refused to run. Some may claim that the invocation of genocide, especially in Gaza, is fraught. But does one have to wait for a genocide to be successfully completed to name it? This logic contributes to the politics of denial. When it comes to Gaza, there is a sense of moral hypocrisy that undergirds Western epistemological approaches, one which mutes the ability to name the violence inflicted upon Palestinians. But naming injustice is crucial to claiming justice. If the international community takes its crimes seriously, then the discussion about the unfolding genocide in Gaza is not a matter of mere semantics. The UN Genocide Convention defines the crime of genocide as certain acts “committed with the intent to destroy, in whole or in part, a national, ethnical, racial or religious group, as such.” These acts include “killing members of a protected group” or “causing serious bodily or mental harm” or “deliberately inflicting on the group conditions of life calculated to bring about its physical destruction in whole or in part.” Numerous statements made by top Israeli politicians affirm their intentions. There is a forming consensus among leading scholars in the field of genocide studies that “these statements could easily be construed as indicating a genocidal intent,” as Omer Bartov, an authority in the field, writes. More importantly, genocide is the material reality of Palestinians in Gaza: an entrapped, displaced, starved, water-deprived population of 2.3 million facing massive bombardments and a carnage in one of the most densely populated areas in the world. Over 11,000 people have already been killed. That is one person out of every 200 people in Gaza. Tens of thousands are injured, and over 45% of homes in Gaza have been destroyed. The United Nations Secretary General said that Gaza is becoming a “graveyard for children,” but a cessation of the carnage—a ceasefire—remains elusive. Israel continues to blatantly violate international law: dropping white phosphorus from the sky, dispersing death in all directions, shedding blood, shelling neighborhoods, striking schools, hospitals, and universities, bombing churches and mosques, wiping out families, and ethnically cleansing an entire region in both callous and systemic manner. What do you call this? The Center for Constitutional Rights issued a thorough, 44-page, factual and legal analysis, asserting that “there is a plausible and credible case that Israel is committing genocide against the Palestinian population in Gaza.” Raz Segal, a historian of the Holocaust and genocide studies, calls the situation in Gaza “a textbook case of Genocide unfolding in front of our eyes.”

[jellyfishsthings]

Hold Your Breath My Darling

WARNINGS: angst, like super angst, lovesick and whipped Spencer, earlier seasons Spencer, Hotch trained reader, Ex spy, fem reader, dying (or coming close to it), panic attacks, typical criminal minds violence... there will be a part two soon, please let my know if I am missing anything else

requests are open

part 2

The BAU team arrived at the small town of Crescent Hills, ready to investigate a series of gruesome murders. The victims all shared similar physical characteristics. The team quickly realized that the killer was targeting women who looked exactly like you, the same hair, the same eyes and somehow personality, which had to be the scarriwst part of them all.

As the team discussed their next move, Spencer couldn't help but stare at her. She was the spitting image of the victims, but she seemed unfazed by the situation. In fact, she suggested that she pose as bait in order to catch the killer. She was the agent her mentor made her, because Hotch would have done the same in a heartbeat. Yet as Hotch looked at the young woman standing at his side, standing tall and holding her head high with pride and bravery, wearing a mask of calmness hiding her whirlwind of emotions with quite the efficiency.

Spencer's heart skipped a beat at the thought of his best friend putting herself in danger. His hands shook with dread and anxiety and his mind raced to a million directions as his heart seemed to weight a few tons more than usual. He was so confused. He had always seen her as a friend, but in that moment, he couldn't deny the intense feelings he had for her. Yes he had always cared for her, and wouldn't wish any harm in her way, but at this moment he desperately wished to have been the genius he claimed to be, to find a way out of this, to solve this without any one getting hurt, to keep her safe and alive and well next to him, hoping she felt even a sliver of the intesity of his emotions. He knew he couldn't let her go through with this plan. He had to act quickly, not caring if he embarrassed himself in the process.

"You can't do this, it's too dangerous," Spencer pleaded with her, his eyes shining with unshead tears as he saw her walking in her hotel room, trying to make herself more appealing for the UnSub.

"I can handle myself, Spencer," she replied confidently."Do not worry. I have been trained from the best." She whispered as she lightly hugged him and kissed his cheeks and the storm raging inside of him seemed to calm down for a few short seconds.

But Spencer couldn't shake off the feeling of dread in the pit of his stomach. He couldn't bear the thought of losing her. He had been so focused on his work and solving the case that he hadn't even realized his true feelings for her until now. As the team set up a plan, Spencer couldn't help but keep a close eye on her. He couldn't let her out of his sight. But as she put herself in harm's way, Spencer's heart was in his throat

The warehouse was quiet, the ominous shadows twisting around the corners like specters waiting to strike and fear started clawing its way to her heart. Derek Morgan’s voice echoed in her mind; “You’re one of us, kiddo. Trust your instincts.” But in this moment, trust felt like an anchor dragging her deeper into despair.

She was second guessing herself now as well as her abilities. Maybe she had made a mistake. She had volunteered without hesitation, knowing the stakes were high. A string of brutal murders had terrorized several towns, and the Behavioral Analysis Unit needed to understand what made this killer tick. But she had never expected that the very thing she sought to uncover would entrap her instead.

As she stepped deeper into the warehouse, darkness enveloped her like a suffocating blanket. The cold was biting, but the fear coursed through her veins like ice. She had set off the sound of a chilling recording, a mocking lure that had been crafted specifically for the UnSub. The air was alive with tension, every creak of the old metal structure amplifying her dread.

“Just breathe,” she murmured to herself, but her heart raced faster with every passing second. Somehow, despite the adrenaline's flow, she felt an unsettling calm, as if her body was preparing for something inevitable.

She thought of the team back at the BAU. Hotch would be analyzing their data, Emily and Derek keeping their wits about them, and as she closed her eyes, she could almost hear Spencer Reid’s gentle voice. He was always a soothing presence, with his deep well of knowledge and quirky sense of humor.

“Remember when I tried to teach you how to play chess?” he whispered in her mind, a memory flooding back. They had been at a coffee shop breaking down a case when she had confided that she hadn’t learned the game as a child. With a persistent twinkle in his eye, he taught her the basics, patiently explaining the rules as she fumbled through the moves. They laughed when she mistakenly thought pawns could move diagonally anytime.

In this dark warehouse, she recalled how he had once said, “You have to think several moves ahead. In chess, just as in life.” She held onto that wisdom now, fighting to stifle her panic.

The quiet was shattered by footsteps echoing through the maze of crates and rusted metal. She steeled herself, adrenaline rushing through her as the UnSub emerged from the shadows. He was a tall figure, cloaked in darkness, his face obscured by a mask that sent a shiver down her spine.

“Welcome,” he said, his voice low and taunting. “I’ve been waiting for you.”

She fought the surge of terror that threatened to overwhelm her. How? How had he been expecting her? She was a trained spy for the love of God, before joining the BAU, had she rusted her abilities this quickly? It had only been five years. Five wonderful, free years.

She couldn’t falter. In her mind, she anchored herself to another memory: a sunny afternoon with Reid. They had shared ice cream on a picnic blanket, debating the best flavors like children. He had quipped that pistachio was underappreciated, while she insisted on the classic chocolate chip cookie dough.

“You’re practically a gourmet, aren’t you?” she teased, and his laugh had brightened that day, sunlight dancing in his eyes.

But now, there were no sunny picnics; shadows danced along the walls as the UnSub advanced towards her. She could see glimmers of rage flickering in his eyes, an intensity that struck fear into her heart.

“Let’s see just how strong you are,” he hissed, gripping her arms in a vice-like hold. She gasped as pain shot through her, but even as she winced, she summoned the memory of Reid, who had taught her the importance of mindfulness in the face of fear.

“Leave me alone!” she shouted, fueling her resolve with every ounce of anger she could muster.

But he laughed, a cruel sound that sent tremors of dread through her. The sharpness of reality cut through her feelings of safety, and she swallowed hard, desperately piecing together scattered memories, trying to fund the best course of action but it was already to late. She felt sluggish and slow, something was wrong.

She tried to find the good memories, to find courage and strength, such as Reid’s infinite patience, his love for obscure trivia, the whimsical way he could make her smile even in the darkest of moments.

“Your game is over,” the UnSub snarled, his breath hot against her skin.

As he began to carry out his twisted intentions, she closed her eyes tightly, conjuring one last memory, one that radiated warmth in the encroaching darkness. The night Reid had confessed his fears of inadequacy, only to find solace in their bond, his fingers grazing hers in comforting reassurance, his eyes reflecting the kind of understanding that only comes from empathy.

“I’m not afraid,” she whispered, even as fear clawed at her soul. “No matter what happens, I’m not afraid. I will not give you the satisfaction of the perfect murder, trust me it will be a fight to bring me down.”

"Oh, but you have already lost. I think you must be feeling it be now."

Her heart pounded with the realization that she might not escape. But in those harrowing moments, as she fought against the loop of pain and despair, she anchored herself in the love and camaraderie of her team—every shared laugh, every overcoming of hardship. No matter what happened, they would carry her spirit forward.

In those last flickers of consciousness, she thought of Spencer, his brilliance, his laugh, and the unyielding strength of their bond. She hoped he would forgive her for failing to bring him the answers they so desperately needed, all while holding onto the belief that even the darkest of nights must give way to dawn.

With that thought, she embraced the memories that would never fade, hoping they would echo in the hearts of those she loved, a reminder that even in their darkest hours, they could find light.

Then the darkness came.

The cold grip of fear tightened around Spencer Reid's heart as he stood in the dimly lit acting conference room of the BAU, a small desk office of the local police station. The air was thick with tension and the weight of impending decisions that could alter their fates. He paced the floor anxiously, running a hand through his tousled hair while his mind raced with worst-case scenarios.

“Guys, we can’t go through with this,” he implored, turning to face his team, his voice a tremor of desperation. “The unsub is more unpredictable than we anticipated, and we can’t risk her life. What if—”

“It’s not just about her,” Derek Morgan countered, crossing his arms. “This mission aims to take down a dangerous criminal. We need to act fast before he slips through our fingers again.”

“But what if he targets her, Morgan?” Spencer’s voice escalated, echoing in the room. “I've analyzed his patterns. If she’s involved, she’s at extreme risk. We can’t afford to lose her!”

Emily Prentiss, caught between the mounting urgency and Reid’s grave expression, glanced at the other agents. “We have to trust our instincts, Spencer, but you know we all understand the risk involved. We can deploy a secondary team to protect her—”

“No!” Reid snapped, panic threading his tone. “You don’t understand. I can’t shake this feeling. What if this is a trap? She shouldn’t be there. We need to stop this. We need to call it off.”

The room fell silent as his pleas hung in the air, but time was running out, and the team had a job to do. With reluctant determination, they gathered their gear and left the conference room, unknowingly walking into the lion’s den.

Spencer’s heart raced as he followed them, a whirlwind of dread washing over him. They arrived at the location of the suspected meeting and quickly fanned out, but dread settled deeper in his chest as time ticked away.

Minutes felt like hours, and Reid’s worries morphed into a nightmare. Suddenly, over the comms, a shout broke through the chaos, and panic pierced the stillness. “She’s down! She’s down!”

Spencer’s instinct kicked in, but it felt like running through molasses as he pushed past his teammates. His breath quickened dramatically. He reached the scene, and there she was—Her body lay still against the cold asphalt, pale and lifeless.

Everything around him blurred as the sirens wailed in the distance, blending into an agonizing scream that reverberated in his mind. He dropped to his knees beside her, an overwhelming despair crashing down like a tidal wave. “No, no, no…” he chanted, disbelief coursing through him as the realization sank in.

He placed his hands on her chest, feeling the emptiness where her spirit should have been. “Stay with me. Please,” he whispered, tears streaming down his cheeks as he started CPR. Each pump felt futile, desperation fueling his actions—A metronome to the rhythm of her fading heartbeat.

“Come on, please! Breathe, breathe!” Spencer’s voice cracked as he pressed harder, not willing to accept the undeniable truth standing stark against reality—a truth that seemed to throng his senses.

Suddenly, strong hands pulled him backward. “Spencer, let the medics handle this,” a voice shouted through the fog of his anguish. It was Morgan, trying to wrestle him back to reality.

“No! I can’t! I won’t let her go!” Reid screamed, thrashing against the hold, fighting against the gravity of grief. But the world around him was collapsing, everything turning hazy, the wail of the sirens growing louder, drowning him in despair.

“Spencer!” Morgan’s voice cut through the fog, but it felt distant, as if coming from underwater. He was pulled away from the scene, from her cold body that lay so still. The agents moved in, the medics began their work, but Reid felt as if a piece of himself was being torn apart, the agonizing reality sinking its teeth deeper into his soul.

He fell to his knees, the weight of his failure crashing into him like a heavy stone, unyielding and unforgiving. Tears streamed down his face as he watched helplessly, the ache in his chest mimicking a gaping wound.

Desperation clawed at him as he realized that no amount of pleading or data could bring her back. And in that moment, the chaos of the world faded away, and all he knew was a profound loss that reverberated through every fiber of his being.

And then the impossible happened. She was still bleeding, covered in deep cuts by a knife that would scar her for life. Yet her chest lifted lightly before falling down.

Once.

Twice.

He was sure he was dreaming of it. His mind playing a trick on him, not being ready to register his life without her existence.

But no.

It was true. She was breathing.

[sunseed-fandump]

OH BOY TIME FOR ANOTHER TAROT ANALYSIS!!!!

Here's Shadow Milk Cookie's REAL cards before they were changed! Despite not having the numbers, the imagery is consistent enough and makes it easy to know which card is which!

First up we have XV - The Devil, in the upright position.

In summary, The Devil represents oppression, addiction, obsession, dependency, excess, powerlessness, and limitations.

"Getting the devil card in your reading shows that you have feelings of entrapment, emptiness and lack of fulfillment in your life. It might also mean that you are a slave to materialism and opulence and no matter how hard you try, you just can’t seem to shake off the feeling of wanting to indulge in luxurious living. You might be aware that this kind of lifestyle is leading you down the rabbit hole, but you have that feeling of not having any form of control over your actions or urges."

Second we have XIII - Death, also upright.

This card represents transformation, endings, change, transition, letting go, and release.

"Death is one of the most feared cards in a Tarot Deck, and it is very misunderstood. Many people avoid mentioning this card because it has that much power. Most times, people take the name of the card literally. However, the real meaning within the Death card is one of the most positive in the whole deck.

The Death card signals that one major phase in your life is ending, and a new one is going to start. You just need to close one door, so the new one will open. The past needs to be placed behind you, so you can focus your energy on what is ahead of you."

Lastly, we have XX - Judgement.

In the upright position it represents self-evaluation, awakening, renewal, purpose, reflection, and reckoning.

"The traditional Judgement meaning focuses on the moment when we reflect and evaluate ourselves and our actions. It is through self-reflection that we can have a clearer and objective understanding about where we are now, and what we need to do in order to grow as humans. The Judgement card appearing in a reading signifies that you are coming close to this significant point in your life where you must start to evaluate yourself.

To see this card can also indicate that you are in a period of awakening, brought on by the act of self-reflection. You now have a clearer idea of what you need to change and how you need to be true yourself and your needs. This can mean making small changes to your daily life or making huge changes that not only affect you but the people close to you."

When applied to Shadow Milk Cookie, an interpretation of these cards are hinting at a great event or change that will force him to reevaluate either himself or a decision he's made. Leading to some sort of renewal or reckoning. Now is this his actual fate? Is it hinting at a possible redemption or is he going to get hit with the karma stick in a future update leading to his demise? I'm not sure! It could swing either way.

But what about the altered cards? What was the fate Shadow Milk Cookie wanted?

Our first card in this reading is X - The Wheel of Fortune.

Upright, it means change, cycles, fate, decisive moments, luck, fortune, and unexpected events.

"The Wheel of Fortune turns evermore, seemingly to communicate that life is made up of both good and bad times, and that the cycle is one that we cannot control. It is something that is subjected to both kings and workers, and that nobody on earth can avoid what is fated. When you have good moments in your life, make sure that you enjoy to the fullest, for what comes up must always go down. The same is true in reverse - when you are in a bad situation, things will eventually become better again."

Next we have Black Sapphire Cookie as IV - The Emperor.

This card represents stability, structure, protection, authority, control, practicality, focus, and discipline.

"It’s all about control when it comes to the Emperor, for this card means authority, regulation, organization and a fatherliness. The Emperor represents a strategic thinker who sets out plans that he must see through. He is a symbol of the masculine principle - the paternal figure in life that gives structure, creates rules and systems, and imparts knowledge. Where the Empress's desire for their kingdom is to create happiness, the emperor desires to foster honor and discipline. He guides with a firm hand, following the calling of the crown above all else. Though he is a ruler, he understands that to reign is also to serve - thus he acts rationally and according to what is for the greater good of the kingdom."

Lastly we have Candy Apple Cookie, one might mistake her card for the Empress, but don't be fooled! Due to the distinct symbolism of the black and white pillars behind her, I firmly believe that she's actually II - The High Priestess!

This card represents unconscious, intuition, mystery, spirituality, higher power, and an inner voice.

"The meaning of the High Priestess is related with inner knowledge. Her appearance in a reading can signify that it is time for you to listen to your intuition rather than prioritizing your intellect and conscious mind...

The card itself shows a night-time scene, meaning that the world in which she protects and guards is one that may at first seem frightening, but has the potential to lead us into the growth of the self. When she appears in a reading, she is calling to you to listen to her message, and follow her into your own depths. There is searching within yourself to be done for the answers that you seek. The answers to the questions you have are within, not without."

What do these cards mean when put together?

An ever shifting troubled fate leading to the establishment of a ruler or mentor figure followed by listening to this mentor's message and guidance towards a new outlook/enlightenment.

I think, with this reading, Shadow Milk Cookie is sort of hint-hint nudge-nudging at PV again. Basically more of his "join me and i'll lead you to a better world. i'm destined to guide you." sorta gaslighting BS.

Sorry for the long post. All and all, these are both very interesting readings!

[ashfae]

Edit on 5/2/2025: I have mixed feelings about aspects of this essay these days but have chosen to keep it up and pinned as I'm still happy with my analysis even if I'm furious at NG, who is mentioned several times. TW for that. Argh.

-------------

The thing about romance is, it makes a good story.

As soon as NG described season 2 as "quiet, gentle, romantic" I figured we'd be in for it, because as he's the first to point out, writers are liars. And the best way to deceive is with truth.

Season 2 is romantic. The trappings of romance are everywhere. Crowley tries to set up Nina and Maggie by trapping them under an awning during a rainstorm, a classic cinematic bonding technique. Aziraphale's chosen method comes from his beloved books: the ball, the dancing, appearing as a pair in public, hands held as you twirl gracefully with your heart thrilled and racing. If they can set up a sensational kiss that will unlock the happy ever after. They've lived on earth, they've studied the tropes, they know how romance works.

The problem is a story is only a story.

Nina and Maggie had the classic romantic setup completely by accident before Aziraphale and Crowley ever began trying to interfere with them. They get locked in Nina's coffeeshop. They can't escape or communicate with anyone else, they end up talking by candlelight because there's no electricity, Nina offers wine. Maggie mentions how she'd hoped for a chance to talk to Nina, and now here they are. It's every bit as much a standard as what Aziraphale and Crowley attempt to arrange. Blanket scenarios galore exist because of that starting point. We love that story. And there's nothing wrong with that.

But it's still only a story, it's not enough. Because once that moment of connection is over, however lovely it was, all the rest of the world comes flooding back in in the form of dozens of angry text messages. Nina's messy entrapping relationship hasn't magically gone away just because she and Maggie shared a romantic encounter.

And it's so tempting think oh well, that's easy. We'll just give them more romantic encounters and eventually those will overwhelm the rest of the baggage. Must do, because it'll make them fall in love, and once they realize they're in love that trumps all other considerations, right? So it'll be fine. Love Conquers All.

Neil also mentioned Pride and Prejudice.

Darcy knows he's in love early on and makes a disasterous proposal that shows that he has no understanding of Elizabeth's perspective, possibly hasn't even thought about it. They've been meeting in forest lanes for walks, conversing, had tete-a-tetes in the sitting room, danced at a ball. And while his turn of phrase isn't as flattering as he thinks, he's still offering her everything he thinks she wants and needs: affection, security, his good name, wealth, an escape from the embarrassments of her situation, the world. How can there be anything to object to? Why would anyone ever refuse so much of value?

Elizabeth quite rightly cuts him to pieces. He lashes back with a few hard truths of his own and they separate. During that separation, he thinks and he learns. He takes to heart the criticisms she offered, re-examines his assumptions, opens his eyes. Thinks about her perspective and how sometimes the only difference between pride and arrogance is where you're standing. He does the work. When they meet again he tries to demonstrate that he's learned--not in order to court her again (yet), but because the only real apology he can offer, the only one that would have weight, is to show that he's grown, he listened to her. He changed.

Elizabeth of course has her own journey, accepting that many of her own conclusions about Darcy were erroneous because they were formed without her having the full picture to hand, and once she's done that she has to apply it to her own situation as well. She loves her family, but they do place her at a disadvantage on a number of levels, leading eventually to full-out disaster as her younger sister carelessly ruins all of their reputations. It's hard to admit, it's mortifying, but Darcy was offering her a great deal she needs. His offer did have worth for all that she dismissed it as an insult. And as she learns to value his own character more highly, and then as she sees that he did listen to her even though she insulted him so thoroughly...well, she grows too. And when they do eventually come together it's not because of courting and balls. There's a big romantic gesture in his rescue of her sister but even that isn't why they'll get their happy ever after. It was just the catalyst for the conversation. They win because they've learned how to understand each other and how to communicate for the future. How they can strengthen and support each other, how to balance their strengths and weaknesses. The films leave them at the wedding, but the book shows a bit of their marriage too, and during it they keep learning from each other. Their relationship is held up as a superior love story for good reasons.

The end of season one was romantic too. Crowley stopped time rather than face a world where Aziraphale would never speak to him again, Aziraphale walked into hell to protect Crowley, they dined at the Ritz and toasted the world. But then they stopped. Sure they spent time together, talked, enjoyed each other's company. But if they were talking about important things would Crowley still be living in his car? They had a bit of respite but all that real world baggage that exists outside of the romantic moment hasn't been faced, none of it. Four or five years sounds like a long while but for beings who are quite literally older than the earth? That's just an intermission.

Nina's relationship ends, leaving her with a tangled mess; Maggie realises the sweet dream of love she's been longing for isn't as important as the real Nina. They talk. They plan. Nina will sort through her life, get closure, figure out what went wrong with Lindsay and what she wants from a relationship, learn how to ask for respect instead of just bending under her partner's demands. Maggie will support Nina the way Nina needs, which sometimes means helping her get oat milk for the shop and sometimes means giving her processing space. They're on the same page; they're going to do the work. That's why most likely they'll succeed. To quote one of my favourite fanfics: it's not happily ever after, but it's a chance. It's all going to be okay. (The Profane Comedy by Mussimm, who absolutely nailed this theme)

The romance is nice, it's lovely. We need it to keep ourselves going. To give ourselves the dreams that help us get through the days and nights. But it's not the relationship. It's not enough on its own. The wedding can be the grandest most beautiful ceremony ever with doves flying and sweeping music and bells ringing, but that doesn't guarantee the marriage will last.

Crowley and Aziraphale have had their romantic gestures, oodles of them. One wing raised to protect the other from falling stars, another from rain. Shared ground, shared interests, hands offered in friendship and held on a bus. They've tried to get to the same page, they really have. They just aren't there yet. The biggest most important things still haven't been talked about, and season 2 showed there are even more of those big important things than we'd realised.

The show paints Maggie as Aziraphale's foil and Nina as Crowley's, even to the point of Nina casually calling Maggie 'angel'. But Aziraphale's baggage is Nina's. The toxic relationship has to be processed and understood and closed, and it hasn't been, despite season one. Lindsay never really liked Nina very much, for all that they tried to keep her trapped; Heaven never really liked Aziraphale very much for all that he believed in it. They both let themselves be used. But Lindsay left Nina and went to their sister's, whereas now the head of Heaven has reached out to Aziraphale and said here, we can fix this, you can fix this, don't you want to fix this? Others are already writing about that and maybe I'll add to it later, not sure. And Crowley, like Maggie, has had a sweet dream that he has to set aside. Maybe he'll be able to pick it up again eventually, maybe not. But sometimes you offer support by buying oat milk or rescuing your beloved from the legions of hell, and sometimes you do it by standing back while they sort through their shit.

Quiet, gentle, romantic. It was.

But that's only part of the story. Now they have to do the work. They thought they had, but they were wrong, because there's so much they just hadn't touched yet and tried to cover over with relief and sleight of hand and alcohol and forgiveness. The apology dance doesn't mean much without showing that you listened and learned. They've faced so much trauma already and that should have been enough, we wanted it to be enough and so did they and it's such a blow for it to turn out that there's still more to do, that the baggage hasn't just gone away and can't be hidden under blankets or soothed with cocoa. The texts are still coming in and demanding answers.

But it'll be okay. It will. It's still a chance. And one that in the long run makes them better, builds something real that lasts.

The best stories, the ones that last longest and become classics, are the ones that don't end with the kiss under the awning or the blanket scenario or the wedding. They're the ones that heal us while the characters heal themselves. It's hard to accept that there's still more to do. Harder to imagine how it can possibly work out. And yes, bloody frustrating to wait and see.

And we'll get through that interim by telling even more stories. Because the story is never just a story. It's how we get through the work, it's what we tell ourselves so we can do the damn work. Stories are what we cling to and how we remind ourselves we're human and connect. A book is a person you can carry with you. We're not alone, none of us, stories connect us because we love them and see ourselves in them, which means we see each other.

Aziraphale's back up in Heaven to deal with his unfinished baggage; Crowley left his behind long ago and it's clearly going to come back and bite him in the arse however much he tries to go his own way. And they can't help each other with that. Not yet.

But they'll get there. So will we.

[thesiltverses]

Hey Jon! Looking for a bit of writing advice since you seem to be pretty good at this- How do you write metaphors without being too on the nose? It’s something I’m struggling with at the moment. Thanks!

I'm probably not the right person to ask this question because I have very strong and specific opinions.

When we talk about metaphors being too on-the-nose, I think we're really saying one of three things.

It's too obvious in the sense that it's been done before (e.g. an oppressed fantasy race being used as a catch-all metaphor for real-life marginalised peoples)

It's too obvious in the sense that it's offputtingly reductive and over-simple, either in terms of making the story and characters feel real, or as a tasteless misrepresentation of the issue it aims to address (e.g. an oppressed fantasy race being used as a catch-all metaphor for real-life marginalised peoples).

A century's worth of establishment critical analysis attempting to make sense of modernism and post-modernism has made us all hopeless idiots who believe an allegory is invariably no good unless it's buried deep in complex referentiality and can only be retrieved with months of study. (e.g. a very timely example - J.B. Priestley's An Inspector Calls, where the author uses the format of the detective mystery to address the role of the super-wealthy in social murder and make the case that it is every bit as real as lawless murder, is extremely on the nose! It's taught in schools because the message is very clearly spelled out! But that's exactly what it needs to be and it would not be better if it was subtler! Being on the nose means you've landed the punch!)

So for me there is no broad-brush answer, it depends very much on the position and role of your metaphor in the story (and so this answer is probably useless, again, without knowing the specifics). I'd begin by asking yourself the same question on two fronts: where does the metaphor take me next?

As the writer, does the metaphor give me more to play with, or is it entrapping me into an over-familiar structure or tropes? A much-discussed 'bad metaphor' right now is horror movies where the monster is Trauma...which then blocks the narrative into a predictable corner where the hero inevitably has to cathartically overcome the Trauma or it'll send the wrong message.

Correspondingly, as an audience member, once I grasp the metaphor, what am I going to feel other than 'oh, I get it?' Children of Men is too direct and on-the-nose to even be considered an allegory. Its extremely unsubtle and one-note depiction of a monstrous near-future Britain that's forcibly rounding up refugees fills me nonetheless with powerful emotion - with terror, with unease, with anger, with a faint hope in the kindness of strangers. But that's in the immense strength of its characters, its careful observation, and its tense action to make me care. By comparison, when a fantasy story has human bigots locking up impoverished nomadic elves or what-have-you, I usually feel absolutely nothing, not because it's too fantastical, but because the writer doesn't have any genuine insights or depth of empathy for the issue or the (in)humanity involved, and is instead just using the metaphor as a piece of worldbuilding shorthand to signal to the audience who is good and who is bad. (Some writers will then attempt to gussy up the metaphor by introducing moral complexity - oh, no, the elves have stabbed a random innocent human! - but this doesn't actually improve anything, it only makes the parallel ever more tasteless.)

[valtsv]

not to engage in conspiracy-board levels of subtextual analysis, but the VALshrue arranged narrative marriage really is making me lose my mind a little bit. like, their (forced) shared arc begins and ends with carson tying them together, using them to try to disarm and undermine each other. literal forced family, in which "family" is explicitly an institution of power and control. but they manage to subvert his intentions anyway - VAL (indirectly) inspires shrue to act, and in turn, they (unknowingly) inspire her to act. what is the opposite of a sacrifice? a gift given that asks nothing in return, with no conditions. neither of them expected anything of the other, but still managed, however unintentionally, and through however much suffering, to gift each other the will to break free from the shackles of the narrative they'd been used to entrap each other into participating in.

[repulsivecatdoeslife]

ISAT tarot analysis

act 2:

(This card has a drawing of a man carrying six swords on a boat. How does the boat not sink??? The bottom says "Six of Swords.")

Six of swords represents departures, moving forward and transitions. this card is one of the ones most open to interpretation. It could represent sif’s relationship with the forgotten island, the change belief, or siffrins reaction could show their fear of moving on.

(It's a card with a drawing of a star with an upside down face...? Oops, you're holding the card upside down. It's just a normal, not-upside-down star. The bottom, unsurprisingly, says "The Star".)

a reversed star represents a lack of faith, hopelessness, and despondency. This is loop. This card is literally just loop. I wouldn’t be shocked if this is the entire inspiration for there character.

(This card has a drawing of a hand holding a piece of wood. The bottom says "Ace of Wands".)

the ace of wands represents creativity inspiration and enthusiasm I… don’t really understand this one. I guess it could be referring to sif’s overall optimism in act two, but I feel like that’s a stretch.

(This card has a drawing of someone making some plates. They seem happy to be working. The bottom says "Eight of Pentacles".)

eight of pentacles represents commitment, dedication, and a single minded mastery of a skill. At this point in the story, siffrin has one goal: beat the king. And he spends every loop mastering and perfecting his route through the house for this purpose. act 3:

(The card has a drawing of a pair of scissors. The bottom says "Two of Swords".)

the two of swords represents being in a stalemate, indecision, and denial. And I thought the reverse star was on the nose. Plus, scissors!

(It's a card with a drawing of someone walking on the sky and offering flowers to sky people. ...It's upside down. The man is touching the ground, and giving flowers to normal people. The bottom says "Six of Pentacles".)

the reversed six of pentacles represents one way generosity, and good things having strings attached. This one is tricky, the flowers definitely are connected to siffrin, but if that was it, there wouldn’t be a need to have it reversed. Maybe it represents siffrin’s mental state, thinking his friends only care about him because he’s useful?

(The card has a drawing of a hooded person in a cave. They look sad and alone. The bottom says "The Hermit".)

The hermit represents solitude, withdrawal, and self-reflection. Serves both as a representation of sif’s emotional state and their quest to learn more about there past.

(The card has a drawing of five women fighting with spears. Why are they fighting? The bottom says "Five of Wands".)

the five of wands represents conflict, rivalry, and arguments. I think this is just 2Hats foreshadowing.

Act 4

(The card has a drawing of a trapped, blindfolded man. He's surrounded by swords. Why is he alone? The bottom says "Eight of Swords".)

Eight of swords represents imprisonment, entrapment, and self victimization. Again, do I really have to explain this one?

(You pick the card upside down. You can tell from the design on the back. You turn it around and look at the design. It's a dead person. Dozens of swords stabbed them in the back. You can't see their face. The bottom says "Ten of Swords.")

ten of swords represent ruin, defeat, and dead ends. I couldn’t find anything on if pulling a tarot card back front means anything. So I’m assuming it doesn’t. Other then that… yeah, siffrin is certainly feeling defeated by this point

(The card has a drawing of someone surrounded by empty glasses. They probably don't have any friends. The bottom says "Five of Pentacles".)

Five of pentacles represents isolation, hardship, and feeling abandoned. Another card that’s basically just siffrin’s mental state: summarized

(The card has a drawing of someone hanging upside down. They look like they're about to die, but they're smiling. The bottom says "The Hanged Man".)

the hanged man represents sacrifice, uncertainty, and contemplation. This one is tricky. I feel like this is a card where the dialogue matters more then the actual card meaning.

act 5: this card is always the fool

I’m… just gonna let this dialogue speak for itself

(It's a traveler. He is walking to his death, eyes wide open. The card says "The Fool". Hahaha! HAHAHAHAHAHAHAHAHAHAHA!!! You rip the card into pieces.)

after king

(it’s you!)

act 6

(You haven't looked at it when you picked it up, after all. It's a traveler. He seems to be starting a new journey. The card says "The Fool".)

[bitchcakegreen]

I saw a comment about how Colin will be furious with Pen when he discovers she is Whistledown, because of Mariana. He will be mad she ruined Mariana’s life.

Let’s talk about that and break it down. And I know I’m going to piss some folks off with this take but meh.

Mariana tried to trap Colin. Plain and simple. She wanted a husband for her unborn baby, but whether she admitted it or not, she wanted a handsome and well-heeled husband. Enter Colin. Sweet snowflake Colin. Mariana lied, manipulated, and entrapped Colin. She tried to get him to sleep with her in order to cover up the baby. Mariana was self-serving, which she needed to be in the situation. But not some wilted flower of sunshine and rainbows who Pen crushed with a rock.

Also she was incredibly cruel to Pen. She was kind in many ways but she was cruel when she basically told her that she’d never get a man like Colin. The underlying “you’re fat and plain” subtext in Mariana’s comments to Pen is there.

Pen did what she did because she loves Colin but because Mariana also hurt her badly.

Don’t get me wrong, Pen is not a victim. She writes as Whistledown as a way to express herself, to be SEEN by the Ton, and to basically get back at those who have wronged her and those she loves. But she didn’t ruin Mariana’s life. Mariana ended up safely married to a well-heeled man who will give her comfort and security for the child, ultimately what she wanted in the end anyway.

Yes, Colin is going to be angry. VERY angry. At first. But I think Colin is not going to be as surprised by the news as some folks anticipate. Pen sort of dropped a clue, inadvertently, in their first kiss scene. She says Whistledown had to write about them, “it would be suspicious if she did not”

The word suspicious is the clue. And look at Colin’s face when he hears that. He catches the word and it confuses him, gets his brain whirling BUT then Pen makes him feral with her request and all the blood rushes from his brain to his southern hemisphere.

I think the anger we will see will be short lived. It will be a serious argument and scene but it’s not going to take four episodes to resolve. I also think that anger might fuel the “we break some furniture” scene Luke and Nicola keep teasing. Why do I think that? I’m glad you asked.

In romance novels, we use the trope of the hero and heroine so angry with each other that it fuels the passion. The rage morphs into passion and the main couple ends up ripping each other’s clothes off in a frenzy. I call it the “I’m so angry with you I can’t see straight but I need you naked and writhing beneath me NOW!” Moment. I think we’re going to see that somewhere and the Whistledown reveal scene would be one place that would fit it perfectly. Go feral Polin.

Thanks for staying around for more of my ramblings, if you made it this far.

I’m thinking of doing some analysis of scenes in season 3, like I did when I was on my Jonsa bullshit for GoT. But who knows.

[ninja-knox-ur-sox-off]

Rereading chapter 6 of Journey to the West with my bros is giving me SUCH an appreciation for Erlang WHY DOES EVERYONE ALWAYS WRITE HIM SO EDGY AROUND SWK?? THIS CHAPTER IS LITERALLY LIKE

Erlang: what a fiend, wdym this guy gets to call himself Equal to Heaven

Erlangs sworn bro squad: stop admiring him and go fight ya weirdo.

-

Monkeys: SOMEONE’S HERE TO FIGHT YOU KING

Sun Wukong: HOL UP HE’S LIKE, SO COOL LOOKING THO? AYO?? I see you bro, i pick up what u putting down, u STYLIN [insert a poem about how cool Erlang looks]

Erlang, grinning: what’s up stable boy

Sun Wukong, grinning wider: where’s your mama at

Erlang: HAHAHA FIGHT. ME.

Dude the whole time they are just having their time of their lives

Other observations are just absolutely FASCINATING to see Guanyin orchestrate everything. She’s the one that suggests Erlang. She knows how to get Erlang to go fight SWK because you bet that dude ignores summons from his uncle. She knows how to peak his interest, knows he won’t kill—did you know he wasn’t trying to kill monkey king? Most of the other people who fought him fought with the intent to capture or KILL but Erlang just wanted to fight. Also dude the way Erlang’s strategy was at 500% I could ramble on about how the fight went because it was like, Erlang tells people where to go and what to do, then goes to fight. Monkey King matches everything he does until his monkeys get scared and then he’s APPALLED by that and starts running away. Erlang chases him, monkey king just LEAVES the entrapment, goes and pays Erlangs house a visit, Erlang pulls up, fights him all the way back to Flowerfruit mountain, then tells everyone to stand on guard, all his guys make a circle around them fight ring style to keep monkey king from escaping and they go back to fighting. Guanyin looks down and goes “ohhhh y’know I’d love to help….. I’ll throw my vase down….” And Lao Zi steps in going “Nono your vase will break I’ll do it.” Dude it’s SO WILD how she orchestrates everything. Bro hits monkey king in the head with his bracelet (diamond snare,) monkey king gets bit by dog, then gets tied the heck up and stabbed and they gottem. Like….bro, and then Erlang’s like y’all go home i got this I’ll take him back—DUDE MY MIND IS WHIRLING, listen this is a really really good book y’all should read it. I’m just rambling this isn’t a real analysis post or anything I’m just WOUGH BRAIN FULL, Guanyin is the source of so many things, she’s the reason Sun Wukong was captured, the reason he’s alive, the reason he is freed later, she’s his defender, his doom, she’s where he goes when no one else listens to him, she’s the reason he started a redemption without him knowing, i’M THINKING REAL INTENTLY ABOUT THIS. I don’t remember which translation this is but OUGHHHH it’s crazy.

Chapter 6 man, it’s so good

[ventique18]

Book 7, Chapter 7, Episode 106

Ortho wakes up as a projection in STYX. His mama tells him that his body was completely destroyed, but they managed to salvage his core. She also informed him that his two dogs were also killed, which made Ortho sad because he was hoping to return safe and sound with them.

Mama Shroud: "Once the magic domain is lifted, we'll definitely salvage their parts. Then mama will fix them up right as rain."

Then Ortho apologizes to his parents. It seems he feels like he's been a burden. Mama cuts him off though.

Mama Shroud: "What are you saying! As long as you're safe and sound, nothing else matters."

Papa Shroud: "Welcome home, Ortho. We're glad you're back."

Ortho: "... Mm. I'm home."

And they hugged Ortho's projection. Omfg, my heart, my heart...

Then Ortho remembers his mission. What happened to the anchors? They tell him that Ortho fulfilled his mission, and that the data is now handed over to the analysis team. Malleus' domain is multi-layered and incredibly complex.

"It reminds me of Subject F's... I mean, the ancient magic casted on Grim."

"However, with Briar Valley's cooperation, we were quickly able to understand how the spell was constructed."

(They were able to contact grandma Maleficia?)

Ortho celebrates. What wonderful results! But then papa Shroud mutters the opposite; this is actually terrible.

Ortho: "Eh? Why? Didn't you manage to uncover how Malleus Draconia's magic domain works?"

"Malleus Draconia needs to voluntarily let up the domain himself. Because there's a 99.8% chance that the domain is indestructible, unless the caster himself is eliminated."

Mama Shroud further explains that within the domain, even reality itself twists in favor of Malleus' wishes. Even if you take all the strength of every powerful magic cannon in the world to break the barrier, once inside, you're still completely powerless.

Mama Shroud: "We might stand a chance if we could deploy 100,000 Cerberus Gears at once, but..."

Mama Shroud: "But before mama could make a hundred thousand autopilot Cerberus Gears, the entire world would be swallowed up by the domain first."

Papa Shroud adds that everyone within the domain has their minds completely entrapped and are stuck in their own dreams. The domain is holding their souls hostage. There, "dreams" are "reality". So,

"If you forcefully destroy the magic domain, there's a possibility that everyone trapped within will have their souls destroyed as well."

Ortho liken this to a large server where if destroyed, then all data within are destroyed as well.

"In other words, "Persuade Malleus in some way or another, have him release his domain, and set everyone free.""

"... That's the only solution."

[verdantwyrm]

I get the impression you might like or at least have thoughts about the Jimquisition analysis on Curly through the lens of disability. I think it plays well with the idea of Curly being an imperfect victim. Since like, it sucks and is a superficial take to say Curly deserves his fate for his inaction. Like there is some cause/effect responsibility on Curly's part - but it wasn't as instrumental as Jimmy's decision to crash the ship. Or Jimmy's decision to rape Anya, in the first place.

It was yeah, there's definitely some cause and effect on Curly's inability to act, but I need to reiterate more that nothing he could have done will be as bad, or somehow worse than Jimmy's. And it is a rather forgiving situation regarding the hellish circumstances all of them, especially Curly and Anya, were sandwiched between. It is unfair to say that Curly's mistakes are on any level as bad or worse than Jimmy's and to understand that trying to split the blame even takes away the responsibility and ultimately undermines the impact of what Jimmy did.

Culry's decisions, the choices he makes, and ultimately the outcome of them, are never once even met with any kind of negativity (besides the comments the others make under the impression he crashed the ship)

Not even Anya herself mentions his inaction or his failures, because everything that he tried to do, wanted to do, or was even in the possibility to currently doing was cut short by Jimmy crashing the ship possibly not even an hour later.

I really empathize with Jim Sterling's comments about Curly's entrapment in not only his job, but also his newfound disability, and how utterly terrifying it is to be stuck like that and have no way out of it, no voice, no autonomy, nothing. And it's disgusting to say that it's a punishment of any kind or to even try and imply that it's revenge for how Anya felt. Overall it's a really good video, and I don't agree with a lot of it, but I do in the parts I understand the most as a victim and as someone that's physically disabled

[hongluboobs]

ok i was cooking up another hong lu analysis thing bc i noticed SEVERAL things in his base id art the other day and wanted to share with the class but they just dropped a new one in the canto V trailer and i have some stuff i wanna talk about that one:)

My Hong Lu knowledge and interpretation is very heavily influenced by reading Dream of the Red Chamber, which may not be the best because I don’t know how much Limbus will pull from the book because it’s Long as fuck but I think it’s given me a deeper knowledge of Hong Lu.

Keep in mind this ego is NOT out yet so i could be totally off base depending on what the full animation/corrosion/sin affinities are like and this is totally theorizing but I wanted to have a go at anyway!! And this got totally out of hand so reading is appreciated :)

One of the first things I noticed here is this Hong Lu seems VERY Bao-yu. We still don’t know for sure what Hong Lu is within the context of Red Chamber (i don’t think it’ll be straightforward considering how that book works) but it’s important to note!

He has this little hat on (this is the best pic i can get atm to show it’s not a fancy hair tie, unfortunately the footage we have rn is a little scuffed)

and Bao-yu is ALWAYS depicted with a hat like this.

This could just be because that’s the appropriate outfit for Chinese nobility (I unfortunately have little to no reference point here, feel free to correct me, but from some quick searches hats aren’t ubiquitous and ESPECIALLY not ones of this style.) I think it’s worth noting because it comes up in nearly all modern depictions of Bao-yu.

There’s also the pearl Hong Lu is wearing on his neck/chest area, which is where Bao-yu wears the magic jade he was born with. His jade is translated into Limbus as Hong Lu’s jade eye, but this plus his hat and the abno’s themes REALLY makes me think we are dealing with some Bao-Yu stuff here.

Speaking of the Abno’s themes, now i can actually go over them! All we have for Walking Pearl right now is the MD event (as well as general observation), but there’s a few things that are relevant.

Just based off design, the abnormality seems to be mostly about the precious (the pearl) and the filth (the muck) intermixing. which makes sense with the EGO being named “Effervescent Corrosion” and our holders being Hong Lu and Rodya.

There’s some symbolism around greed/wealth (the offspring filled muck desiring the pearl and fighting for which one will earn it? the muck tarnishing the pearl? ) and I think we should read into that because it’s Hong Lu and Rodya who have this one and they’re both very tied to their financial status. Those two sharing an ego makes me insane for a bunch of reasons but that’s probably for another analysis piece! But duality is REALLY important for those guys and that’s a theme they’re emphasizing here with both the pearl and muck within the clam.

There’s also some elements of shelter/protection/potentially entrapment with the clam’s shell which are HUGE for Hong Lu, especially with his egos so I think those may come up.

But mostly it’s about the mixing of the precious (likely “wealth” here) and the unsavory, which works very well with what we know of the Jia family. The design likely referencing Bao-yu and thematically dealing with the Jia family makes me think each of those individual readings are more likely because they’re deeply tied together!

And now onto the MD event! I did not write this in order so I may repeat stuff here but. I realized I had to cover the design first so here we are!

First thing that stuck out of me is this portion when you choose to sample some of the clam’s slime.

Sibling/family infighting is very Jia family. It reminds me a lot of this line base Hong Lu says.

You could take this a step further because the clam is something that would typically offer shelter from the rest of the world, and even though it protects, its offspring continue to kill and eat each other.

It seems fine, the offspring have this lovely shell for protection, and they have the precious pearl held within, but even as they are sheltered and wealthy. They are still getting killed and eaten by one another! Reminds me of someone I know:)

It reminds me of some bits in the later half of Red Chamber, where family members more obviously start acting behind each other’s backs or turning on each other, some even killing other family members.

Another part of the MD event that I got something out of was the beginning portion.

using specifically jade as the color for the seawater is a Hong Lu thing. I may be reaching with this bc it’s more than likely just flavor text BUT when taking this color with the fact that there’s nothing in the water it makes me think of an important scene in Red Chamber where Bao-Yu is described as an empty shell, so I wanted to mention it. We know Hong Lu has TONS of water motifs, especially when relating to his family (see his base ego)

The main reason I brought up this section of the MD event is because of the question brought up by the last portion.

If you take one thing from Dream Of The Red Chamber into your perception of Hong Lu as a character, it should be the themes of ambiguity, duality, and being between binaries. Because he sure as hell does that a lot!!! (and i’m not just talking about his gender) He is both genuinely curious and sheltered with an urge to learn as much as he can, but he also plays dumb frequently, backpedals and asks a lot of stupid questions on purpose to maintain others’ perceptions of him. He is CONSTANTLY walking the line between truth and illusion and it can be hard to tell which is which and precisely how much is fake or real, which is why I find him such an interesting character to think about.

Tangent about Hong Lu's characterization aside, it's really easy to read this line as about his family's perceptions of him.

Hong Lu (or rather, Bao-yu) can be read as being the source of the contamination in that he is the heir of the Jia family who is just an absolute fucking failure of everything you’d want in an heir for that time period.

The clam containing the filth can be read as Hong Lu’s lies (whether conscious lies or otherwise) to himself and others about the true “filth” of his family. Really good example of this is with another bit of window dialogue, but these lies and half truths come up quite a bit if you know where to look. (what happened to cohort of kin looking to stab each other in the back at every turn???)

We already have Hong Lu’s assorted water motifs (his feet make ripples on the water in his base id, land of illusion has so much water theming and shows the Jia mansion is surrounded by water) so I think this is a reasonable analysis to make :)

There’s some other sections to the MD event, but there’s nothing of note that triggered the Hong Lu sleeper agent in my brain & also this has gone on long enough that I wanna talk about predicting some stuff for the ego!

I am manifesting Gluttony/Gloom/Wrath for this ego!!

Gluttony and gloom are in the MD event’s skill check already and I think tie in nicely with the themes. Gluttony works with the offspring in the muck killing and eating each other and themes of greed with the pearl (plus the ego is primarily green and that’s a pretty good clue) and then gloom comes up a LOT with Hong Lu’s family (Liu Hong Lu, the only one that remarks on his jade eye, is also the only Hong Lu with gloom. land of illusion requires 5 gloom resources and also relates a lot to red chamber/his family) Gloom’s also generally a stand-in for water which exists here.

Wrath in Hong Lu generally manifests in him going “yeah, maybe my family was a little fucked up actually” internally, instead of manifesting as taking direct action about the fucked up things like it works for most other sinners, and acknowledging that his family was at least partially filth and killing and eating eachother (metaphorically. maybe literally) works for that

i am not an expert on sin analysis but i wanted to take a prediction bc it’s fun :)

I have a couple of predictions for corrosion and i’ll be real they are the main reason i wrote this thing because i LOVE when bad things happen to Hong Lu!!

Since this ego seems to be referencing Bao-yu so much i can pull stuff from Red Chamber too which makes it more fun :)

First one I came up with is Hong Lu taking the place of the pearl within the clam and getting locked in there! A bunch of his egos have to do with being controlled/trapped so i think it works and it also can work as a parallel for Bao-yu’s treatment by his family. Bao-yu’s name means precious jade, and he’s often treated more like his namesake than a person, heavily controlled and never allowed to leave the Jia mansion (or, in this case, the clam.) I just think it’d be fun!

My other concept has to do with more Red Chamber stuff, notably what happens when Bao-yu loses his jade. I’m not quite there yet in the text, but from what i’ve heard he becomes incredibly unstable and essentially loses his mind. This sets the Jia family’s downfall into even faster motion and from that point things get REALLY fucked up. Since the pearl here parallels Bao-yu’s jade, I think having a reference to that part of the book would be really fucking crazy for all 5 people who have read 1800+ pages of red chanber to get to chapter 94 where he loses that thing. Also i just want to see Hong Lu lose his mind i KNOW it would be terrifying and chilling. but they may be saving that for his distortion (manifesting)

In my skimming Red Chamber table of contents to find when Bao-yu loses his jade i just found a chapter where Bao-yu’s father admires a pearl but we will just ignore that for now bc this has taken long enough to type already and that is several chapters off. but there may be more analysis when this thing actually comes out!

Thank you for reading this far!! I hope you enjoyed me looking far too deep into an unreleased ego we know next to nothing about for fun! this took WAY longer than expected to type out but i’m glad I did because I loveee telling people about Hong Lu!

There is a very real chance very little of my analysis and prediction is reflected in canon BUT please remember that truth becomes fiction when the fiction’s true and even if this doesn’t turn out to be correct now u know a little more about Hong Lu and the themes he plays with :)