#even if he doesn't necessarily kill anymore.

[doctorweebmd]

hey you ever think that, since kyouka's parents were both assassins, even if they survived she still would have ended up a killer?

[anomaliex]

I think the bad kids would share clothes. Not necessarily intentionally (at first) I think it just kinda happens as a product of adventuring together and then it sticks.

Especially and mainly the Mordred Manor gang at first but it spreads, and eventually part of everyone's wardrobe is at Mordred but also Seacaster Manor but also who knows what Riz snagged and stuffed into the briefcase and also who knows what's lying around in the bottomless pit.

"Hey Gorgug do you have an extra hoodie" "sure" and then it gets passed down and a month later Kristen is using it as a sleeping shirt and "where did you get that" "I actually don't remember it just showed up in my things". Obviously the others can't exactly wear Riz's clothes because he's. Small. But I think that's all the more insensitive for him to steal theirs lmao. Gorgug's clothes fit everyone but I actually think the clothes that get passed around the most are Fabian's because a) he has the most and b) he is always the first to hand them out because he likes giving things to his friends. I think if Riz had a really big shirt Fabian would try to wear it as a crop top but this does not end well because his shoulders are almost as broad as Riz is long (exaggerating). Speaking of crop tops after Fabian kills toxic masculinity he wears ones from Fig (I think they're close in height and boob to muscle ratio makes them at least close to the same size lmao) He would also own ridiculously short shorts for dancing, this is turning into a Fabian wardrobe post I don't even think anyone else would want to take these (except maybe Riz since they actually cover his ass? He just has to tighten them a lot so they stay on his hips)

Adaine is hesitant about sharing clothes for a while I think but she's hesitant about a lot of things and also she really doesn't have "normal" wardrobe at first. Also her clothes kinda go bye bye with her house?? Kristen and Fig share casual clothes with her a lot (especially the ones Fig still has but doesn't wear anymore because style change) and Fabian buys her nice like going out clothes and then lies that they're his mother's that she didn't want anymore when Adaine asks him not to spend money on her.

Also I think that generally Kristen borrows more clothes from Gorgug and maybe Fabian than the girls. The boys' are more comfortable idk.

Riz would drown in Gorgug's hoodie but hey maybe that's comfortable to sleep in in the winter. It could fully be a little nest, which actually yeah that would be so good I want it.

[twilightcitysky]

Everything Is Meant (long S2 analysis, part 2)

Part one here

Okay, so that's how I think the pre-creation scene and Gabriel's arc connect to Aziraphale's choice. I also think the ineffable bureaucracy speedrun exists to prove totally different things to Aziraphale and Crowley: Aziraphale loves that they can love each other but notes they have to run away to be together; Crowley sees this and immediately thinks "hey, we can do that too!", forgetting that running away is not a solution Aziraphale has ever been interested in. It's the mentality of an individualist vs a group-oriented mind, and neither of them is necessarily wrong, it's just that their priorities are different and they HAVE TO TALK ABOUT IT, which they don't.

Continued analysis under the cut:

3. Let's take the Job minisode. Why include it? We already mentioned that it proves Aziraphale remembers Crowley as an angel, since he mentions it. And he believes Crowley is the same person he always was, and that he doesn't want to harm Job's crops or animals or children. Crowley tries to convince him he's a Big Bad Demon who is all in on this assignment, but fails utterly to kill even a single goat, soooo... Aziraphale comes to the conclusion that he knows what Crowley wants. Alert! Alert! This is a big problem! Crowley says, "What do you know about what I want?" Aziraphale: "I know you." Crowley: "You do not know me." But because Aziraphale got it right this time, he goes ahead assuming he'll always get it right, which is a crucial failure when it comes to the final reckoning. He doesn't ever ASK Crowley what he wants, he just assumes. When you assume you know what someone wants, you usually assume their priorities align with yours... he couldn't be more wrong about that. The Job minisode sets up this dynamic for them, and they never really manage to change it.

The other thing happens at the end of the minisode. Crowley acknowledges two crucial points: 1) he's lonely ("But you said it wasn't!" "I'm a demon. I lied"), 2) he doesn't think Aziraphale would like Hell. Aziraphale DOESN'T like Hell. Aziraphale hates Hell for what they've done to Crowley. He doesn't see Heaven as innocent or benign, but importantly, Heaven has never tried to hurt Crowley directly. They never threatened his safety. They never tortured him (as it's heavily implied that Hell did). Fast forward to the last ten mins of season 2: Aziraphale excited to tell Crowley that he can be an angel again BECAUSE: he never has to go back to Hell. They can never hurt him again, not the way they did before. And he doesn't have to be lonely anymore.

Last point before I leave Job: Crowley has the chance to cause Aziraphale to Fall, here, probably. ("I lied to Heaven to thwart the will of God!" "You did, but I'm not going to tell anybody. Are you? ...good, then nothing has to change.") He doesn't take it. He doesn't want Aziraphale to be a demon. He loves Aziraphale as he is. "Angel" as an affectionate. Aziraphale certainly doesn't use "demon" as a pet name for Crowley. I think they set up this scene to contrast the final one, and show how deeply hurt Crowley is that Aziraphale suggest he change.

4. Moving on to Victorian Scotland. This one confused me at first. I was delighted that they brought back the "the lower you start the more opportunity you have to rise" dialogue from the book, but apart from that I didn't really see the point of it. It seems like the statue of Gabriel and the fact that he and Beelz ended up at that pub in the present were more or less coincidental.

The point, I think, is actually not the girl, but the doctor. He's a person who is trying to do good by working in a system that's deeply flawed, and engaging in questionable moral practices for the greater good. (Cadaver dissection is still an essential part of medical school. You need dead bodies to understand living ones.) He shows Aziraphale a tumor he removed from a child who died, and Aziraphale clutches it to his chest. The camera zooms in and lingers to tell us that this is a guardian through and through. He wants to protect people. He wants to do good with every fiber of his being.

To Crowley, it's enough to just "be an us" with Aziraphale. He doesn't really want anything more than that. That's an issue! For one thing, it fosters unhealthy codependency, and for another, Aziraphale would never be happy without the opportunity to help and protect people. It's an essential part of who he is. Metatron knows that, and he plays Aziraphale like a fiddle. The doctor showed Aziraphale that you can make a difference even in systems that are flawed, and even if you have to do things you'd rather not do. Aziraphale doesn't want to go back to Heaven, but he truly thinks he can change things; thinks he can be a guardian with some real power. In his mind, that's the right thing to do.

Last thing that happens in Scotland: Crowley saves a soul from Hell, arguably, by preventing a suicide. He gets in Big Trouble. Whatever happened to him downstairs resulted in him coming back up, leaning on a cane, and asking Aziraphale to give him holy water. Go back and watch that scene knowing what we know now about the Victorian minisode. Ask yourself how Aziraphale must have felt. He likely blamed himself for what happened, because if he hadn't meddled then they never would have been there in the first place. He knew where Crowley was, and why he was there, and he had to sit with that knowledge for years. He desperately wants Crowley to be safe; is perfectly willing to push him away to keep him safe-- which is what he does do, the minute Crowley gets back.

Now think again about what Metatron offered him. A chance to keep Crowley safe forever. He'd never be harmed again. Aziraphale is going to take that offer, no matter what else is asked of him. He's shown over and over again that he'll sacrifice his own happiness to make sure nothing happens to Crowley. And he'll do it without talking to Crowley about it first, because he is a moron who doesn't know how to use his words. Leading Crowley to assume that Aziraphale doesn't love him. The idiot angel is doing it all out of love, but because he doesn't make himself clear Crowley doesn't know that.

Part 3: Maggie and Nina, and their roles as mirror couple/ Greek chorus!

[appleblueberry-pie]

I just read through all your 42 Miles posts and I am going to explode. I swear, I’m so obsessed he looks shy in comparison. On that note, what if the reader finds out about his yandere behavior…and is perfectly fine with it. Maybe they even encourage it, giggling like a schoolgirl when they catch him following them home and giving him extra kisses when he tells them how he killed the guy who flirted with them. Definitely not just describing myself here-

I LIKE IT. JUST A LITTLE BIT<3

Miles gets greedy when it comes to you. He shouldn't, but he just hates sharing. So, using the tools he has, he gets rid of all possible competition. It's dangerous, it's reckless, and it's not smart to do, but you make him do stupid, dangerous and reckless things. Can you blame him? You're everything he's ever asked for in a girl.

So sweet to him, giving him all of your attention whenever you can. Texting him often, reciprocating his energy and letting him give the love and energy he feels you deserve. And you deserve every drop of his energy.

But sometimes, he takes it too far. He's been mean-mugging everyone lately. His friends don't like him as much because they say he's been paranoid over 'some random bitch he be talkin to'. And he doesn't let things like talking behind his back, or yours, be taken lightly. Which is why they don't talk to him the next day, or the day after that.

And it's also why people don't talk to you anymore either. Or any of your male friends. Or your girl friends.....he drove them all away. Every time someone sees you, he's not too far behind. And you don't do a damn thing about it. Which causes rumors to spread, but they die as quickly as they fire up. Because he always finds the source before shit goes south. Still, you don't do a damn thing about it.

You don't necessarily encourage him to do it, but he always gets the same amount of love from you whether he gives hell to everyone else or not. So, he keeps doing it. If he wants all of you, he's going to have all of you.

If someone asks about you in a crooked tone, he gets iffy about it, and now they scared. If someone mentions your name, their feeling that sharp stare on the back of their neck, telling them to let their tongue slip one more time. Everyone's getting the hint and he'll make sure of it.

You always smile looking back at him when he follows you in the hallways or when he's following you home.

You let him give you overly-obsessive notes in your locker. You let him like all of your stories, all of your posts. You let him stalk every single one of your socials and even the ones no one is supposed to know abut. You let him blow up your phone.

When he finally has the courage to talk to your face, you two have been by each other's side like glue. You let him whisper in your ear when he doesn't want a damn soul to hear what you guys are talking about. You let him buy you lunch every day. He always holds your hand tight as shit when walking you to class. He can be a little late. He does almost everything for you. He's real good at helping you with homework(and getting rid of niggas that bother you), and it makes your stress load so much lighter.

He's such good boyfriend material.

[rainyinautumn]

there's a parallel in last life that I don't see talked about as much as it deserves and so I'm going to dissect the ever-living hell out of it. remember the ghast farm incident? everyone remembers the ghast farm incident. Grian turns red, he starts knocking blocks of a bridge out from under Mumbo, "there's a way we can still be friends," etc etc etc. it's fantastic. WELL. two sessions earlier, there's a similar confrontation between Scar and Joel after Joel turns red, except the roles are reversed. Joel approaches and it's Scar who starts breaking blocks of the bridge, trying to put distance between the two of them. HOWEVER, the interesting difference here is that Scar is doing it not because he doesn't want to be Joel's friend anymore, but because he still wants to be. lets take a look at a transcript of part of that scene, shall we?

[Scar breaks several blocks of the bridge.] Joel: Scar, what are you doing? I know you're not my friend anymore, but come on, Scar. Not the bridge. Scar: I wanted to make an arrangement. Are- are we not friends? Joel: We can't be friends, Scar. We can't be friends.

Scar knows that Joel is a red life and that he might hurt him, but he still wants to be friends, so he's providing a way that they can be near each other while he isn't in any danger by putting a gap in the bridge. he even breaks it again when he comes by to chat later. during that chat, Joel reminds him of how dangerous he is, Scar says he "gets it," and then proceeds to let him continue living under magical mountain. Scar doesn't "get" that he needs to be cautious of Joel—what he "gets" is that he's taking a risk by letting him stay and that he's already accepted something might happen. and he's OKAY with that. Joel is red. he gets it.

now compare that to this excerpt from the ghast farm incident:

Grian: Y'know, Mumbo, there's a way we can still be friends. Mumbo: Yeah? Grian: Yeah. [he starts breaking blocks at of Mumbo's feet] You could join me.

with Joel and Scar, it's a red life choosing to step away from his friend in order to protect him, while said friend tries to find a way that they can still be near each other without placing himself in danger. with Grian and Mumbo, it's a red life choosing to try to take his friend down with him so that they can be near each other because he can't accept not being his friend. the fact that in BOTH scenarios the friendship is symbolized by a bridge being broken is a perfect illustration of one of Grian's lines from the ghast farm incident: "it was a bad idea for the wrong reasons." those friendships should have been a good idea, those bridges should have been a good idea, but now they provide a connection that isn't safe, and they all know that.

and I'm not done talking about this. no no no no no. this offers a FASCINATING insight into why desert duo is Like That. Scar would sooner let Grian kill him than have to stop being his friend. Grian would sooner kill Scar than have to stop being his friend. which is all kinds of perfectly fucked up and explains exactly why 3rd life ended the way that it did. it also makes the cactus scene from double life very interesting to think about. remember the cactus scene? it's a doozy.

Grian starts session by dropping a stalactite on Scar's head as a prank and (unintentionally) taking them down to two and a half hearts. Scar then retaliates by leaning against a cactus until Grian breaks it. he then leans against Yet Another Cactus until Grian breaks that one too, at which point they are at only one heart. a question I've been asking since that day is this: if Grian hadn't broken the cactus, would Scar have stepped away before it was too late?

using bridge theory, we can find an answer to this.

the answer is no.

this isn't necessarily because Scar is actively trying to get them killed—it's more because he knows with absolute certainty that Grian will break the cactus. he's not prepared to step away because he isn't worried he needs to. see, the difference between Grian and Scar is that Grian is willing to throw around the lives of other people to get what he wants, and Scar is willing to throw around his own life to get what he wants (the fact that what they really want out of all this is often the other's trust is an issue I will dissect another day). once again, last life is the perfect example of this. Grian steals a life from Scar right off the bat and gets another one out of him by force a few episodes later. meanwhile, Scar makes a business out of selling his soul and threatens Team BEST that he'll kill himself in order to go red life crazy on them. and they don't doubt him! and they SHOULDN'T doubt him, because Scar is the kind of guy that would do that! the same way that Grian is the kind of guy who will drop a stalactite on his soulmate's head but break the cactus he's leaning against.

Grian is willing to risk Scar's life, but he's not okay with Scar risking his own life, because he knows that he's completely willing to stand against a cactus until he dies if it makes a point. so Grian breaks it.

but Scar knows Grian as well as Grian knows him. Scar knows that this is hardly a risk at all. so he leans against the cactus a third second time.

[greyskyflowers]

I have a lot of half thoughts about the hell scenes so I'm just going to ramble them out on here and hope they're semi coherent.

1.) I think it's so interesting that Edwin screamed for Charles while he was being taken to hell.

I would bet that Edwin cried for someone his his first trip down to hell too.

I really can't think of who he would have called for specifically. His parents? Maybe. I do think that there's something in everyone that wants the comfort of their mother when they're truely terrified but it doesn't seem like Edwin would have screamed for them. That goes for any siblings too.

He certainly didn't seem to have any friends that he could have cried for. Doesn't necessarily strike me as the type to be close to God but this situation would make a holy man out of anyone. Maybe he just called for every name that crossed his mind. Family, grade school friends, neighbors, teachers, etc.

Regardless, even if he had screamed for them, what would they have done? Who would have answered?

No one. No one answered. No one came. They were never coming.

He was completely alone.

He does scream for Charles though. Charles will always respond. Charles will always come get him.

I dont know, just seems like he screamed this time because he knew someone was listening. He said a name because he knew that person would come.

2.) I wonder if a very small, little sliver of Charles hated Crystal for just a split second when he found Edwin in hell and realized what exactly happens to him down there.

Crystal was very brave to want to come and that's important, she cares and wanted to help. I think that means a lot to Charles and Edwin.

However, she pushed back after she was told no, and that humans couldn't go to hell.

She argued with Charles and it might have been just a few minutes but how many times did Edwin get ripped apart in those few minutes?

That awful pile in the corner says many times.

3.) I'm curious what Edwin being taken back to hell would have looked like if we had followed him instead of staying with Charles.

Did the spider demon wait until it got to those horrid hallways before starting to chase?

Did it throw Edwin in there and muscle memory had him take off running the second his bare feet hit the ground? The demon already behind him and catching up quick.

Was he torn apart and back before he even knew what happened? How many times did it take before it hit him that he's really back?

This particular ones gets me. The idea that he was still in shock from being taken, was killed and back again while still trying to figure out what was even happening is heartbreaking.

If Edwin was torn apart and back before he even realized it, maybe that means it was a quick first death. Maybe the demon spider was too excited to have it's toy back.

I guess when the realization would have hit him that this was real, that he had already started the loop of runhurtagainrunhurtagain, that's what gets me.

Also, how familiar it probably was. How horrible to be so familiar with a certain type of pain that it would have immediately brushed aside all the scattered and chaotic thoughts in his head and narrowed it down to, he's back.

4.) Charles held it together pretty well in hell. Especially because I feel like he was probably furious. Everything in the past few days has been adding to his anger and what's a great way to piss him off even when he's not in a bad mood? Fucking around with Edwin.

The night nurse has made a liar out of him. She called that awful thing to Edwin, as accidental as it might have been, and it took him.

Charles promised that Edwin would not go back to hell. He said he was going to fight whoever and whatever he needed to in order to keep them together and Edwin out of hell.

Edwin is in hell. They're not together anymore.

It happened so quickly and unexpectedly that Charles wasn't able to do anything.

He has broken two promises in the seconds it took the demon spider to grab Edwin and disappear.

When he finds Edwin the second time and he gets the run down of what really happens here, he did this thing while Edwin's hand is still over his mouth where he kind of closes his eyes and nods a few times.

It's like he's telling himself to pull it together. Trying to passively take in the information and doing the equivalent of taking a few deep breathes while incredibly anxious or stressed and forcing yourself to focus on specific things one at a time.

Okay. Okay. Okay.

Swallow it all down, all the devastation and fury and fear.

Edwin needs him to be okay and calm because Edwin is absolutely not okay and not calm.

So even though Charles is probably feeling a lot things right now, he swallows it down and says Okay. Let's get you out of here.

Charles is a fixer. He's a protecter. He's a fighter.

He can do none of those things right now. Not really. The only thing he can really do is give Edwin enough hope to run though hell with him.

Add in the later stuff with Esther and Charles has got to be thinking 'how many times do we have to go through this before everyone gets the message and backs the fuck off?'

[glossglamour]

Full Robert Sean Leonard 'House'-a-palooza Interview: "As we know, I’m straight, but yeah, it’s like, homina homina homina."

May 01 2006 | By Maureen Ryan

Do you watch the show much?

"I can't watch it. I mean, Hugh doesn't watch it because he's anal and … eight years old. [laughs] And by the way, I don’t buy it, I think he does watch it.

“I watched in the first year. We live in New York and [my fiancé] was in California] and she likes it because I’m on it. But then she left, she had to come back to New York, and what are you going to do? The idea of me watching myself on TV, alone in Santa Monica, was just about... just short of, like, a bottle of Maker’s Mark and a shotgun away from shooting myself. [much laughter]  So I haven’t watched it all season. But when I have watched it, I’ve been mildly confused and Hugh is appropriately grumpy."

I have this theory that a lot of my favorite shows aren’t even about what they’re supposed to be about -- they have to be set in a hospital or police station or outer space or whatever because the network can market that, but they’re secretly not even about that. Like, “House” is really about ethics and morality.

“Yeah, sure, I think that’s true.”

But you can’t pitch that show to the network. “Hey, we have this great show that examines personal morality!"

“‘It’s based on “A View from the Bridge.”’

Right! They’re really going to for that.

“Yeah. [laughs] I think it’s good, and when it’s right, when the show works, the mystery works. It has a Sherlock Holmes-ian feel to it, and you do kind of want to know what’s wrong with [the patients]. And it is interesting, the turns and twists that get you there. And there’s always a little bit of character-driven fun stuff in between, of who these people are and how they affect each other. And that’s it at its best. And I guess that could be true of any show.

“It’s tricky, you’ve got a lead character [who’s different from the TV norm] and you’ve got to be careful because those characters can be one-note. He’s the cranky guy, he’s the Australian guy, I’m the friend in one or two scenes a week. You just have to be careful, and I think we are, we have a really great team of writers. And the numbers are building, people are watching.”

So this two-parter on May 2 and 3, I think the unofficial subtitle is the “Festival of Foreman.” I guess they’re his Emmy episodes, and that’s fine. But you’re hardly in them, what’s up with that?

“Honestly, I’m okay. I don’t want an Emmy. This is what I want -- I know exactly what I want. I did play with a guy named Skip Sudduth, ‘The Iceman Cometh,’ seven years ago. I saw him five years later, and I said, ‘Geez, Skip, where have you been? I don’t see you at readings anymore.’ He said, ‘I’ve been on “Third Watch.”’ It sounded familiar but I’d never seen it. He said, ‘I’ve been doing it for five years.’ I said, ‘Holy crap!’ And he was back doing theater. That’s my dream.

“And it’s happening. I walk down the street and people say, ‘Where are you?’ and I say, ‘I’m on this show called “House.”’ My friend Lewis Black [from 'The Daily Show'] said, ‘What is it called? “Head”?’

“I’m okay. I’ve never been happier than where my career is now. And I don’t want it to change necessarily. Money’s good, and I’m glad I’m getting that, and I’m putting it away for later in life when I do more Tom Stoppard plays at Lincoln Center and make no money. But really, I’m great. I don’t mind working two days a week.

“Because those other guys, the Scooby gang, or the Mod Squad -- they are at that studio for 16 hours a day saying ‘tachycardia, lupus, blablahdeblah.’ Honestly, I’d kill myself if  had to do those scenes for that long. I’m very happy with the size of my role, I don’t want it to get any bigger. I’m happy.”

So we won’t see the very special “House” episode where Dr. Wilson almost dies?

“That might be how I get off the show.” [laughs]

Well, you could die and come back as a ghost. Then it would be the “House Whisperer.”

“Yeah [laughs]. The hair makeup people were saying one day, ‘Oh, I love those scenes with you and Hugh, there should be more of that.’ And I’m like, ‘Shhh! Don’t say that!’ I’m the luckiest man in Hollywood. I work only with Hugh, pretty much, who’s great. And I work two days a week.”

Do you fly back and forth to New York then?

"No, not really. They don’t let me because they need me around, the schedule changes so much. I’m going to try to get away with that a little more [in the upcoming season]. Now that [my fiancé] is here, I really will kill myself if I’m out there as much as I was last year, without her.”

So five days a week you’re doing what – Botox injections? Going to the mall? Watching “Maury”?

“Rob Lowe once said the secret to being an actor in L.A. is sleeping as late as you possibly can and going to be as early as possible. I remember him saying, ‘I recommend pajamas by 4:30 p.m.’”

What’s interesting about this show is that they’re taken something that could be a very formulaic procedural and quite often turn it on its head.

“I didn’t know anything about TV, I’d never done [a TV show], but I now know very well that there are procedurals and character-driven shows. ‘Law & Order’ is a procedural and ‘Grey’s Anatomy’ is a character-driven show. The test [as to which category a show is in], someone once said to me, which I thought was hysterical, is this question: Did Sam Waterston sleep with [the assistant DA] on ‘Law & Order’? If the answer is ‘I don’t give a [hoot], I want to know the next element of the case,’ then it’s a procedural.

“Our show is weirdly, and there must be precedent for this, but it’s weirdly equally both. I think it’s very much a procedural, and without that sick patient every week, we wouldn’t work. And without the character stuff it wouldn’t work. And weirdly, people do care if House sleeps with one of our characters, and also care equally what’s wrong with this person and how they’re going to solve the case.”

I guess I like the character stuff better, but you’re right, it probably wouldn’t work without the suspense of the weekly case and somebody being critically ill.

“No, I think you need that. I think the echoes of Sherlock Holmes are too strong. The original idea of the show was House and Wilson, like Holmes and Watson. But it got away from that, and his team is Watson, if you want to be technical about it.

“I’m more like … the only way I’ve found to define it, and it’s so pretentious that it makes me want to jump out a window, is like King Lear’s fool. I’m like the only one who tells him the truth. And [Wilson] has nothing to lose. I don’t work for him and he doesn’t work for me. I’m the only character who chooses to be with him as opposed to being there because of a job. And because of that I have the freedom to tell him what I think. Not that Cuddy holds back much.”

I think her role is to say, "No! Bad House!"

“Have you talked to Lisa Edelstein [who plays Cuddy]? She’s so great. This Japanese woman once said to her, ‘You on “ER”!’ And she said, ‘I have been on “ER,” but now I’m on “House.”’ And [the woman says] ‘Oh yes, “House.” You say, “No, you don’t!”’ Every time we do the table read, I burst into laughter at some point, because there is the voice of that woman in my head, ‘You say “No, you don’t!”’ That’s the entire definition of Lisa’s character. Not completely, but we laugh [about it]. We have the same dilemma. We’re on this show that we’re … kind of on. Crew members say, ‘How long have you been on the show?’ ‘Uh, since the pilot.’ They really don’t know what we’re doing there.”

So in terms of the other stuff going on in your career, that’s going well, all the theater stuff?

“I’ve achieved everything I wanted to do. When I was growing up, I wanted to be Kevin Kline, Sam Waterston. I grew up watching the Public Theater and Shakespeare in the park and Marion Seldes. I mean, I may as well be gay.”

I’m not entirely sure you’re not.

[laughs] “But the thing is, I got it [i.e. his goals]. I’ve done 14 Broadway shows and got a Tony award, and now I’m making money and no one even really knows. I’m getting away with murder. If I come back to New York in two years and nothing’s changed, I’ll be thrilled. All I really want to do is [act in] plays, play with my dog, have kids. My desires are pretty simple. I don’t really want to do movies anymore. I’m pretty tired of camera acting.”

Why are you tired of camera acting? Is it the repetition of it?

“No, no, quite the opposite. We don’t rehearse enough. We do scenes where people barely know their lines, where people just about know their lines. In theater, you do it so many times and you get so familiar that then you can actually start having fun with it. And I really miss that feeling.

“It’s true of films too. I don’t know. I think I’m fine on film, but … I have walked offstage and thought, ‘Wow, no one has done that better. People may have done it as well, but not better.' I’ve actually had that feeling after ‘Long Day’s Journey Into Night,’ or a Shaw play or whatever. I’ve never felt that way with film. I always feel like, ‘Boy, Donald Sutherland would have done that a lot better.’ [laughs] I just don’t think it’s what I do best. I think I’m fine, but there are people who are eerily good at it. In all humility, of which I have none [laughs], that’s how I feel about my work on stage. I really do feel that I’m gifted at it.”

Just to change gears completely, what happens in the finale?

“Well, I think the finale is a bit of a cliffhanger. Something very exciting happens. It’s extremely exciting and freaky and I think it’s great. I can’t say what it is. You end this season very curious about how the next season is going to start. It’s a great final show and a big cliffhanger.”

So it seems like Hugh Laurie is so disparaging of his own talents. But he’s so good as House.

“Some people ask me, ‘Oh, why does Wilson want to hang out with House so much?’ and I’m like, ‘You idiot.’ [laughs] House is designed to be attractive! He’s brilliant, he’s self-deprecating, he has a limp. But yeah, Hugh hates himself and he’s very funny about it.  There’s no better combination in my book. Like Lewis Black.”

But as an acting partner, he’s good to work with?

“Oh yeah. The thing is, with this part, Hugh has a huge obstacle he has to deal with, having an American accent. His problem isn’t our problem. We as the audience don’t have that problem, because what he doesn’t know is that he does it perfectly. But of course he doesn’t hear that. That’s why he can’t watch the show.

“When you’re doing an accent, you don’t feel like you’re interesting in the role. Even if everyone around is telling you that you are. And to be in a play is one thing, but to be on TV show that runs for years, I don’t know how he’s going to do it. To be that hard on yourself and be that disappointed in your own work. But as I said, and underline this four times, he’s wrong.”

And then he obviously hates when anyone calls him a sex symbol. You read his quotes when people ask him about that stuff and you can feel the embarrassment rising off the page.

“Yeah, he hates that stuff. And even more than the ‘sexy’ stuff, he hates the ‘you’re brilliant’ stuff. Of course there’s a part of him that likes him, there’s a part of all of us that likes that. [But him being hard on his performance], it’s not false vanity.

“I think Hugh does work he’s proud of and does work he thinks is good, I’m just not sure it’ll ever be this [show]. Having an accent… acting is letting go and forgetting yourself, it’s the opposite of ego. It’s flying away and getting away from yourself and forgetting. And when you’re doing an accent, it’s virtually impossible to do that.

“It’s hard when you're in a play, doing the same lines, the same way for eight months. Hugh learns 72 new lines a day and has to put an American accent on them. It really is an actor’s nightmare. I’ve done [with accents] Brian Friel plays, Martin Sherman plays, Tom Stoppard plays, and maybe five months into it you have a night where you kind of feel OK and kind of forget the accent and let go and let the scene happen. To have a strange accent in your mouth while playing a role, and then be judged for it, that’s hard stuff.

“And can I tell you, when you have dinner with Hugh Laurie [speaking in his real accent]… I miss that voice.”

Yeah. He called me once directly for an interview. I was expecting the publicist to put him through, but it was just that voice on the phone. I was sort of thrown for a minute.

“As we know, I’m straight, but yeah, it’s like, homina homina homina.” [laughs]

---- [source (part 2)] | part 1 | part 3 ---

it took me two hours to track this interview down. it might be the longest one he's ever done. first i tracked it down to tumblr pages posting about it with no source please stop doing that. then i found a short youtube video of laurie saying "homina homina" on an snl skit i think and someone in the comments mentioned the site where the rsl interview was posted. however the site wouldn't let me in, i guess they took it down so i headed to archive dot org. i didn't have a specific link though so that didn't really work out either. then for nearly an hour i tried a wide range of word combinations on google until i stumbled upon a livejournal page of rpf hugh laurie/rsl fanfic. SOMEONE tysm karaokegal posted the exact link i was looking for in the comments. quick trip to the wayback machine and here you go!

i should be on those ethical hacking competition things

[snailchimera]

Having watched Nightmare on Elm Street for the first time last night, with no other context for the series, I have a proposition I would like to put forth to you:

The real actual human being, Fred Kreuger, may have been innocent.

Whether he was or not, the dream monster Freddy Kreuger actually originates from the minds of the parents, as the feverishly paranoid idea of an outsider predator lurking in a Nice Suburban Neighborhood amplified by the real lived experience of having a serial killer in your area growing up, and the necessary justification for burning a man to death in his own home and stealing his weird art gloves as a trophy you keep in your basement for some reason.

I don't really have enough of a functioning brain right this second to do a full essay right now, but. There's something about how the parents of the targeted kids in Nightmare on Elm Street are antagonists in a similar way to the mayor in JAWS, ignoring, dismissing, or misappropriating blame for the problem of Freddy Kreuger even once it becomes obvious that something out of the ordinary is happening. I'm not saying it actually makes sense to jump straight to "my daughter really is being attacked by a Dream Murderer", but throughout the film there's not only this intense insistence that Everything Is Fine Now even after multiple murders have occurred, there's a deep hostility towards any action implying that things are not fine now or acting like a problem still exists after it's been "dealt with", and an ongoing theme of looking away from the problem and acting like that makes it fine when it doesn't (which even helps make sense of that strangely abrupt ending).

The parents want simple actions and simple answers, and they want to not have to deal with the situation anymore. The clean even slashes on Tina's nightgown must be from too-long fingernails. Rod was the murderer and he killed himself, case closed. Nancy's acting "crazy", she must be dangerous herself. Would it be that surprising if people with this approach to danger, who know themselves to be in danger and crave a simple solution, two of whom grew up to be a cop and his daydrinking "learn to look away" wife, looked at a man acquitted of murder and decided that him being wrongly acquitted was an easier, more comfortable answer than still not knowing who the threat actually was? Would it be that far-fetched for people with these thought patterns and behaviors to have cemented said thinking and behavior by enacting horrifying mob violence (because burning someone to death is a hell of a thing to do, and to witness, regardless of who's burning to death or why) and needing to be able to live with that afterward?

And Kreuger doesn't act like a real person. Sure, yeah, it's a slasher movie, you're not necessarily going to expect a slasher killer to act like a real person. Also, horrible people can in fact be horrible in uncomplicated, unsubtle, over-the-top ways (see Donald Trump). Kreuger, though, is practically a distillation of the child predator and murderer as imagined by the kind of person who legitimately believes people are putting heroin and razor blades in Halloween candy, you know? Outsider, dirty and disheveled, visibly marked as Different (by their own actions), flat and seedy hypersexual behavior, a person whose only motive is to instill fear and who has no internal or external justifications otherwise. He's the, word choice intentional, reality-disconnected nightmare of an upper-middle-class centrist-to-conservative white suburbanite, a perfect subhuman threat of a monster, the kind you can look at and go "yeah, setting this guy on fire was a fair call".

(Speaking of, it's... interesting, the way he reacts to being set on fire, isn't it? Everywhere else he's either implausibly resilient and unconcerned, furious and still threatening, or has a hammy movie villain sort of distress when threatened or thwarted. But he sure does act like an actual person who's on fire there, doesn't he? Like the sort of scene that might be indelibly marked on someone's memory, if they watched a real person burn to death?)

And he's also pretty explicitly framed in the movie as a construction of some kind, much moreso than as a vengeful ghost. The (weirdly casually racist but period typical) lucid dreaming explanation, and Nancy's approach from that point on, certainly support that framing, as does the fixation on (drawing strength from?) fear and belief. Nancy seems to think he's coming from her brain, and maybe he is by that point, but Nancy didn't know who Fred Kreuger was when all this started. Her parents and her friends' parents did.

I dunno. Like I said, this is a ramble, not a coherent essay. But I think there's a decent argument to be made that the real Fred Kreuger was never involved here at all, except as a fossilized impression in the psyches of a nightmare's true source.

[finleycannotdraw]

okay so.

Hell's Lust Room.

something about it is making me insane.

something about edwin wearing white clothes, not even stained with his own blood anymore, entering that room and being groped and dragged down, and then shouting for charles to help him.

something about how edwin died in edwardian england, sacrificed to hell because of queerness in some form (simon's internalized homophobia + "mary ann" being a derogatory term for gay men in that time), having zero positive relationships in regards to his sexuality. he had his sexual awakening when the cat king decided to prey on that aspect of him for his punishment, and then later tells monty that he'd thought "those feelings were never to be spoken of."

something about queer sexuality being shamed and silenced so much, we hurt ourselves with it. edwin not fully believing what he says to simon, because simon is able to move on with that forgiveness and edwin gets, once again, dragged to the ground in the lust room. instead of fully realizing that being queer in itself isn't wrong or disgusting, i think that his talk with simon is edwin becoming aware of his own shame and guilt and self-punishment, but he still hasn't entirely let go of it, and i argue this because of—you guessed it—the lust room.

something about edwin growing up being told that sexuality, especially homosexuality, is disgusting and never to be talked about. something about him then having these awakenings and realizations about himself and his feelings for his best friend, which relate specifically and intrinsically to sexuality. and almost immediately after having the realizations that his sexuality is real, he is attracted to men, and he is attracted to his best friend (and the subliminal guilt that entails), he is faced with a viscerally horrifying room full of blood and gore and sex.

something about edwin, wearing all white, being grabbed by the mass of bloody hands. during this scene, he isn't even covered in his own blood anymore. the only blood on him now is what is smeared onto him by the writhing, mindless souls being punished for their desires. what is he supposed to think? in this scene, he becomes literally stained by sexuality, expressed in an animalistic manner. charles doesn't get pulled so roughly into the mess, because edwin is the only one still actively processing the very concept of sexuality, and he hasn't entirely unlearned what he was taught about his own sexuality.

something about edwin's sexuality—not necessarily his homosexuality, just his sexuality—constantly being used to manipulate him. the cat king gets into his head by confronting him with physical attraction. monty very innocently flirts with him, then kisses him, and then leads him into a trap. simon killing him because he had feelings for edwin and didn't know how to handle them. edwin's sexuality has only ever been used against him, and during every single instance, other people have been hurt. knowing this, is it really wrong to assume that a small part of edwin probably saw the horror in that room and thought 'i belong here too'??

AND HE REACHES FOR CHARLES. who drags him out of that gory orgy (...gorgy??) (well. move the G to the front of orgy and you have gory. do with that what you will.) without a second thought. edwin loves charles, and is attracted to charles, and charles has never judged him or shamed him for that. so charles is the only person who could've possibly pulled edwin free.

[caligvlasaqvarivm]

hi! i saw on your shipping chart you had meenah and cronus as moirails and noted 'would have prevented all problems' and ive never really seen that take before. id love to hear your thoughts on that if you wanted to talk about them, your analysis in general is always amazing

Sure! I know this one's going to be controversial, but TBH I'm kind of fascinated by their dynamic. So please bear with me here and come into it with an open mind; I was also really surprised when I noticed what was going on.

Also, standard disclaimer that nobody has to agree with me or ship my ships, I literally don't care, HCs are valid, death of the author, etc. etc. This is just a canon discussion blog, and there's kind of a weird amount to read into in the canon between these two.

Okay, so, first of all, quick refresher on moirallegiance: it's not necessarily about being BFFs, it's very specifically about pacifying each other, keeping each other calm and stable, and preventing each other from causing harm to oneself or to others.

Ergo, the marker of moirallegiance rests not on "do these two get along as BFFs?" and instead on "do these two keep each other calm and/or mitigate each others' harm".

So with that out of the way, Cronus and Meenah. We know that Cronus has a redcrush on her, echoing Eridan's redcrush on Feferi, and that Meenah is not interested at all. Cronus shoots his shot with her, she's like ick, no & leaves, and that's that on that. Cronus then rounds on Mituna and says some unbelievably cruel and shitty stuff, but here's Point #1 - Meenah shows up again, and Cronus stops immediately, and then is noticeably calmer and friendlier to Mituna. Compare:

CRONUS: you are a brain damaged reject on a team full of rejects. a rejects reject. i vwould havwe culled you myself if that vword meant vwhat it should havwe on our planet.

-

CRONUS: vwell, this is clearly absurd, but nyeh, vwhat the heck. CRONUS: mituna, i just cant take it anymore. i think my ghost is going to kill itself. MITUNA: WH0W4H L375 FUCK!!!!! CRONUS: vwait... CRONUS: really? MITUNA: N0 0Y0 P135H3 0FF 1ND107 FUGG1NG G4R484G3  #FUCKY0UFUCKY0UFUCKY0UFUCKY0UFUCKY0U CRONUS: oh.

So at the very least, SOMETHING conciliatory seems to be happening here, whether that's pale or ashen. But I'm going with pale, because it continues.

Their second conversation together is really interesting - not only has Cronus stopped redflirting with her, but he no longer even seems interested. Compare this to the section with Mituna above:

CRONUS: oh sure. no grub sauce on your hands! MEENAH: wow you did it MEENAH: ampora you totally changed my mind about you lets start makin out immediately  #not CRONUS: just admit it. you havwe it vwithin you to be just as harsh to our behelmeted buddy as i am, if not more

Like, he doesn't even ACKNOWLEDGE the "let's make out #not". Not even in an indignant "see, you keep playing with my collapsing and expanding bladder based vwascular system" kind of way. Literally just breezes right by it, which says to me that he isn't even really that into her concupiscently.

But more interesting are the actual contents of the conversation. Cronus is the only person on the entire team who's able to make Meenah have misgivings about how awesome the Condy is.

MEENAH: man MEENAH: a girls gotta have fuel for her pimp ride know what im sayin MEENAH: like MEENAH: i probably took care of him good MEENAH: you know how it is someones gotta take care of the guy anyways MEENAH: and... yeah #38(

This is the first and only time that Meenah even acknowledges that the Condy - herself at her worst - is kind of shitty. This is the first and only time she's ever expressed any emotion for the Condy other than fangirlish admiration or rage against Caluborn for enslaving her. For whatever reason, she actually listens to Cronus when Cronus takes her to task, and he's actually able to make her genuinely reflect on her worst tendencies.

But maybe more damning is the fact that in their first real conversation together for nearly an eon, she almost fixes him:

MEENAH: i heard a rumor you think youre a human now MEENAH: that true CRONUS: its a privwate matter. i dont see vwhy i should havwe to talk about it vwith you, and open myself up to more of your judgmental scorn. MEENAH: sounds like another desperate cry for attention imo

[...]

CRONUS: to be honest, she might be right. sometimes i think i might only be saying im a human to get attention. maybe i should givwe it up.

Cronus's fundamental emotional problem is a sense of purposelesness and ennui. Born into a caste of high privilege, with his identity overshadowed by said position, he's been handed an unpleasant cocktail of entitlement, lack of true emotional support or connection, and lack of a real, authentic personal identity - especially because the thing he DID seem to derive a sense of identity and purpose from - his little Harry Potter wizard backstory - was driven out of him. In other words, he's kind of a shitty rich kid that doesn't really know who he is outside of that, and his humankin stuff is an attempt to fill the wizard hole without addressing his real underlying issues. It's a Bad Thing for him to be doing, and something he should drop in order to start addressing his genuine insecurities, feelings of emptiness, and lack of identity or purpose. In other words, it's harm he's performing on himself, and a single conversation with Meenah being enough to make him reconsider it? Hmmmmmm.

In fact, I'm not the only one picking up on the pale vibes. The specific way that Kankri interrupts the two reads as incredibly pick-me in pale:

KANKRI: Listen, I was d9ing y9u a fav9r. Y9u d9n't need t9 6e dating any9ne wh9 can't appreciate y9u f9r wh9 y9u really are, 9r m9re imp9rtantly, which fantasy versi9n 9f y9urself y9u m9st str9ngly identify with.

[...]

I just wanted y9u t9 kn9w that I'm here f9r y9u, and am prepared t9 lecture t9 y9u extensively, I mean, listen t9 y9u extensively, a69ut y9ur ultra-imp9rtant pr96lem.

"Don't take Meenah's advice about your problems! Take mine instead, I care about you sooo much more than she does!" lol. I have a whole essay on how Kankri and Cronus are actually super toxic for each other, in an interesting foil to Karkat and Eridan, which I'll link here in a bit (I'm on mobile RN and it's hard enough C/Ping my sources).

In any case, Kankri slides in at exactly the moment where Meenah's about to fix Cronus, and proceeds to make Cronus worse. The details are in the Cronus and Kankri essay, but TL;DR it's kind of implied that Kankri is the one who talked Cronus out of the wizard stuff in the first place, which pretty much disqualifies the two's relationship from pale, given how harmful that was. This whole thing is pretty reminiscent of Gamzee coming between Karkat and Eridan when Eridan is trying to comfort Karkat about Sollux dying, because it's implied Gamzee has a palecrush on the guy. That might be subjective, though.

What isn't subjective is the fact that Meenah unironically defends Cronus's wizard beliefs when Aranea starts shitting on them.

ARANEA: Whatever the case, it was pro8a8ly for the 8est, since pretty much everyone who had half a think pan thought [Cronus's wizard beliefs were] all a 8unch of ridiculous nonsense. MEENAH: serket why do you got to hate on other peoples religions MEENAH: dont you kno they just as much a load of crackpotty bunk as all your spiritual bullfuck ARANEA: 8ut I........ ARANEA: Yes, I guess I was out of line.

She doesn't do this for anybody else. Not long after, it turns out she's absolutely joking about defending Kurloz:

MEENAH: wow serket MEENAH: just wow so rude MEENAH: poor clown ARANEA: Don't give me that! I seem to remem8er you having more than a few unkind words for him 8ehind his 8ack. MEENAH: yeah im messin witchu he sux

And even proceeds to shit on HIS spiritual bullfuck:

MEENAH: )(ONK ARANEA: Honk honk! ::::) MEENAH: lol im glad we can both agree that clowny fuckin soda cult is the dumbest shit ever

So... weird, huh? Seems like she gives Cronus special treatment for some reason.

That's it for the diegetic stuff to go over, which, yes, means that there's a bit of non-diegetic stuff to discuss. It's not much, but here's Hussie's commentary from the Act 5 Act 2 book, on Mindfang's journal entries about Dualscar leading up to the 3x showdown (emphasis mine):

In the end, even though violets are the ruling class, she doesn't care much about them either. All she cares about is keeping her stranglehold on power with this complex, staggered, oppression-based sort of pyramid scheme. Note how it says the Condesce doesn't even know who Dualscar is. That's how insignificant he is, ultimately. Similarly, all Eridan was to Feferi after a while was a tiresome pest. The way that situation played out could also be seen as long-delayed karmic backlash for Dualscar's irrelevance to her, at least from a very Amporan point of view.

Now, while the specific context here is about how, from the point of view of a shitty entitled guy, Eridan killing Feferi is kind of a retribution for the Condy not giving a shit about Dualscar, all of Hussie's commentary is meant to be interrogated just as much as the base text, and it just makes me wonder. The dancestors very much treat their Alternian counterparts as alternate versions of themselves, consistent throughout their interactions, meaning we ought to consider Duascar and the Condesce to be versions of Cronus and Meenah.

If it is, in fact, the case that Cronus and Meenah would've made for excellent, harm-reducing moirails for each other, then murderstuck being a karmic backlash for their ultimate irrelevance to each other takes on a much greater implication - one that traces back to Cronus's classpect.

Bards start off massive karmic chain reactions, resulting in improbable victory or abject defeat, sometimes both; Hope is an aspect whose main application is making fake things real.

So I'm not saying that Cronus believing that an evil wizard attacked him when he was younger but was inadvertently sealed away and that Cronus was therefore karmically destined to defeat this wizard, but then having his beliefs shattered halfway through, led to him karmically contributing to the eventual creation of LE via his Hope abilities "inviting destruction" by making only the first half of his fake prophecy true, but - oh, no, wait, I am saying that. Man, that really sucks for everybody. If only Cronus had a friend who was, for whatever reason, willing to stick up for his dumbass wizard faith.

If only.

[openphrase123]

i just finished this fic! it's good!

and because it's all done i want to like... be a LITTLE self indulgent and talk under the cut about some miscellaneous things that i ran into while writing it. don't click the readmore if you're interested in the fic and haven't read it yet i'm about to spoil the Whole thing.

also there is an epilogue to this fic now - go read that before this post if you're getting to this before the update!!

so!! i haven't written fanfiction in like FIVE YEARS. it's been a while! part of that is because i was doing original stuff and part of it was i was in a creative slump. so isat kind of dug me out of that and i owe it my thanks. i've been able to do a crazy amount of original work since starting this fic, it's brought back my creative discipline. in like seven years when my video game comes out you can thank isat for that probably

i originally set out thinking this was the only fic for isat i was going to write. and then as i was writing this i fell deeper into it. i kind of got out of isat a little disappointed in how it ended?? but now that i'm here i'm like ah it's fine. just cause i would have done something different in dev's position doesn't mean it's bad. it does mean i can write a bunch of fanfiction exploring things i wish had been tackled more in the game though LOL

i said this in one of the chapter authors notes but i DID start out curtain call hating loop with every fiber of my being. (as in i liked them as a character UNTIL the act 6 reveal which i thought was lame) and then i played through the game a second time knowing the loop twist and went "oh nvm this makes sense" so a lot of the loop stuff in this fic was actually written twice. originally i was just gonna have them soulmerge with siffrin and not be present at all but then i was like. no. i do want to keep this lighthearted and that's too depressing of an end for loop. i do have a loop postcanon doc so i'll go repay them for their slapdashed involvement in curtain call someday

i'm in a weird position with curtain call in that i wrote the themes and major conflicts Directly After playing through isat the first time. before i could really marinate and analyze the characters fully. so there are a lot of scenes and points where i think i wouldn't characterize certain people like that if i were to rewrite this from scratch? however i don't disagree with what i've written either - it's just an interpretation that i don't necessarily think is my favorite anymore.

neither is any of the worldbuilding i did for any of this - it works for curtain call and i think it was nice but i don't necessarily think it's my current interpretation of what the culture and people were like? i like the wishes being permanent thing, i like the language stuff, but i'd probably go in a different direction if i went through this again

i do actually still think "the forgotten island was destroyed by a volcano" is my solid headcanon explanation of what happened to it. in my heart. i think like - with siffrin as a character especially it's very important that he's always missing something, that it's not idyllically happy for them at the end of everything. so even if he can remember more from their own past, it's - you know - there's no way to go back. only forward.

in the vein of this i probably could have killed siffrin/loop's entire childhood family but i did not. mostly because i did think it was fun for him to have to explain all of those cultural taboos they broke to survive. which, of course, was not a big deal - any good parent would rather their kid be alive than lawful - but what is isat other than a vehicle to make siffrin work through every moral compulsion and spiral they experience

i had a thought halfway through writing the fic that i was stepping on the very good and beautiful odile friendquest by making the island real and having a lot of siffrin's personality dictate how it went. but i ultimately decided on keeping siffrin very close to their country, more than odile is to vaugarde, because siffrin actually DID live on the island when he was a kid and that i think is a Different type of "longing for your country" trauma than odile's. i think they can still drink over the feelings together though

writing bonnie is very fun but very emotional for me. the bonnie&siffrin age gap (preteen to late-20s) is the exact age gap between me and my niece so every time i need to sit down and write something for them i think about her and how much she's a little baby growing up. this has nothing to do with bonnie it just makes writing bonnie really hard for me

if the entire history of my ao3 account was not an indicator, i'm a very big fan of writing romance, but i did not want it to take over curtain call at all. i also could have left out sloopis entirely and almost did, but thought "you know. with the way loop functions in this fic. i should at least let that be open ended" cause sharing a body with a version of you who is dating some other guy is gonna get messy no matter what. it's just not necessarily something i had time to or the urge to explore here. think of it as a fun spiritual nod to the fact that isafrin is technically open ended in isat (<- cop out answer)

i think i'm pretty vocal in how much i am absolutely insane for the flashback "happiest i can remember being" conversation. who let them do that. i think a lot of how i worked with mirabelle and siffrin's relationship in this fic kind of revolved around that. important to me that it ends with mira checking in on him and getting the answer she was looking for all along <3

overall i'm happy with curtain call. glad i am done with it though. there's so much that's running in with it at once. i'll probably wait a month and reread the whole thing to myself front to back before i start having fond memories of this. i mean it's always gonna be the fic my nephew was born during and i'll always remember having a panic attack in the airport right after posting chapter 7 but it's gonna be weird letting this one sail off into the ocean of the internet. however feel free to ask anything about the fic, i wrote this in a lil hurry on a bad day and probably didn't cover everything

goodbye, curtain call!! i love you!!!!! i'll miss you!!!!

[looks both ways, waiting for most people to leave]

also. if you've read this far. i hope it's not too gauche of me to link my personal project. if you've read over 100k words of this you might enjoy the game i'm developing? i've been working on it for almost a year but i just started the devlog last month. it's still in early baby stages as far as a full video game goes but if you liked this you'll like the game when it comes out (similar nickname culture, timeloop trauma, petty interpersonal drama, very stupid jokes, natural disaster angst)

also there isn't a lot on the devblog yet, i've mostly been doing programming on it, i JUST started visdev i'm sorry if it's uglyyyyy (FOR NOW)

anyway i'm trusting you with that link. i'm going to use my professional name on that project when it airs don't cross the wires pretty please just pretend that's a butch-y cis woman's game <3 guard the closet door babeyyyyy

[eldritch-spouse]

I love apocalypse AU!Santi smmm its so cute to me ｡°(°.◜ᯅ◝°)°｡ is it okay to ask you to write some moreee for example like he comes across his s/o in that scenario? Tysm in advanceee

I think it was kind of implied in the first post regarding that silly AU that Santi doesn't necessarily go looking for you, and neither do you, you run into each other in a very critical moment.

Specifically for you. You were surrounded, not enough resources were available to kill most of the feral undead, and at that point it was likely you were making peace with certain death.

Santi, on the other hand, was likely dozing somewhere to preserve what little energy he has left. Dozing, however, doesn't mean he has the privilege to ignore sound cues. Because as resistant as he appears to be to this infection, he's still vulnerable. Sounds could mean a lot of things, but a scream in particular can signal one thing he desperately needs- A food source. If he followed the loud cry and found a living person who could feed him, Santi could survive, instead of rotting away to his own demise.

That's why he barrels in, with all the strength that he still has, to save you, to get you the fuck out of there, doing anything and everything to entice you into letting him feed off you.

Before meeting you, he was probably not doing much of any relevance, stuck in the existential dread of "Should I waste my energy further to try and find living people I can feed from and risk dying along the way?" or "Should I rest for as long as possible and hope that someone stumbles into the general vicinity?". His biggest problem are not the zombies themselves, he's a high-ranker, he can dispatch many of them (not all), it's that he just doesn't have food sources anymore. Even if he did find someone, what are the chances that person doesn't trust him? That they won't let him seduce them because their walls are too high, they're on constant alert, and he doesn't have the energy to use pheromones/charms?

His only option there would be to force himself, but if he's going to do that, he needs to be cold enough to realize he's going to have to keep that person as some kind of cattle-pet (because they'll likely try to run off or kill them if he doesn't). Santi considered doing this to you. And yet, probably because you were so cooperative and so willing to team up with him, so unafraid and trusting- He can't.

Well, he doesn't want to. But, if in his moment of weakness, you deny the incubus, then you will unfortunately be subjected to such a fate.

What were you doing before? Well, surviving probably. Finding a safe location, doing resource raids, looking for other survivors maybe (or actively avoiding them).

[starleavess]

it's honestly kind of crazy how much of dave's behavior you can compare to a dog's. he's lonely -- he lost henry. he's been abandoned -- by henry dying; he's lost the only person who he considered family before jack. he's hurt -- because of henry and his past, even if he doesn't fully realize that. one of dave's first reactions to rejection and abandonment is sadness. when you decline his offer of murdering children in dsaf 1 is an exception, as it's simply an invitation for jack to 'hang out' with him. one of their first interactions in the trilogy is him suggesting they kill kids to get out of this place that jack got hired at like 5 minutes ago. and... that's quite literally all he knows. he was never taught normal things, he was never taught how to play with other kids or how to talk to people or how to do normal, fun activities. he was taught how to take lives instead. he was taught what to do so that things would go his way, even if he doesn't often use that ability to benefit himself. his number one priority seems to be jack, now that henry isn't around anymore. he focuses solely on him, and if he's going to make fazbenders go down, dave'll help him along the way. he considers jack his family, his partner, his second half. he is forced to love the people he considers close unconditionally on top of everything he does, because that's what he was taught to do. it became his instinct, much like a dog's. his instinct, which he couldn't ignore in the end, nor disobey. henry was the one who forcefully drilled that mindset into his brain through all of the abuse he made him go through and how he kept on treating him when he was younger. dave didn't know he was being manipulated nor used and therefore he thought that this was love. if he wants to be loved, he has to obey. if there isn't anything you can compare something to, how can you know it's right? how could he know what love was if he never truly experienced it?

in the bad ending of dsaf 3, he doesn't push jack away. he doesn't struggle against him as he breaks more than his heart. he simply begs him not to do this as all he does is helplessly "sit" still in one place. a dog which knows its doom is near and all it can do about it is accept it. and those still aren't his final words. his final words are "i love you" directed at jack. his family. a part of him does not want to obey. a part of him wants to lash out, be angry, be angry at the world which turned against him. no longer stay the victim. and we see just that in davetrap, which is a live (even if he's dead) manifestation of that part of dave. no matter how much he tries to get rid of his deeply rooted mindset which makes him hardwired to do what others want him to do, he can't. davetrap can't. he can't because he unreservedly loves people who hurt him. he loves henry and he loves jack. it's just like an instinct. when jack tells him to get out of his restaurant in the neutral ending of dsaf 3, he obeys. when henry asks him a question, he answers. they're his family -- how can he not listen to them and trust them with his life? that's what family's supposed to do, anyway. he learned that family members don't keep secrets from eachother. he didn't mention the box to jack until the bad ending in dsaf 3, which means that he did keep secrets from him in the past, long before he confessed he considered him his family. again, you can't keep secrets around people you love. he gave jack a key to the box and asked him to open it with him like it was a tradition. like it was something they've been doing together for 20 years, something dave can't let go of. dave likes simplicity. i can only think of three examples of simple things which bring him comfort, and the last two are not necessarily… uncomplicated. they wouldn't come across a normal person's mind if you had told them to think of something plain they enjoy doing. but those things are simple to Him and i think that that's very important for his character. even if complicated, it is easy to him. the first thing is vegas. in vegas, he has the chance to just have fun. like a normal person. a normal person with a fucked up and soulless friend, but a friend nonetheless. a person who doesn't kill innocent children. a person who wasn't abused in the past. a person just like all the other people currently at a club with him in las vegas. the second example is animatronics and just tampering with mechanics in general. that is something he is good at, most importantly. he's been working with henry long enough to just tamper with fazbender's animatronics for fun or to disable them to his advantage. he got used to this and it became simple to him with time. and the last thing on the list -- killing kids. that doesn't bring him joy, obviously, but it works as a last resort if things go south. an easy option like many other. he has murdered many in the past, so do just a few more children make that big of a difference? jack is simple to him because that's just someone who he is "friends" with, if you can even put it that way. he clings to him. he's simple, even if he is a very complex character. dave himself is, too, or atleast in henry's eyes. the doctor sees him as dimwitted, someone who's unable to comprehend his genius. like a dog, far below a human person. simplicity isn't something that dave was exposed to very often as a child. he had to constantly perform for food and sleep outside and whatnot just to survive. a kid shouldn't have to be on his own for years. simplicity just wasn't something that was available to him for free in those times.

that was, until he met henry. henry made it better for him, even if there were layers upon layers of abuse under how he was helping dave. he did make it better. he no longer had to fend for himself, alone. he was no longer abandoned, much like a terrified dog picked up from the damp streets. everything was better, so he didn't question anything. he was loved, he had someone close to him, he had shelter, a purpose, even if it was to be used and later discarded, no longer a man with hope for the future. but how could he know? and now, he is drawn to things which he lacked in his childhood. simple things. he loves them unconditionally. they remind him of henry.

[byghostface]

BATMAN AND ROBIN(2023) #10 SPOILERS

Does this mean after Lazarus planet Nika doesn't necessarily need to kill ppl to gain skills now? Her power is strong enough just has to hang around the hospital and dying folks to pick up some skills? (maybe this is what she meant by she wants to relax and wander around an old folk's home in #7?)

Does this mean when ppl are seriously dying she can sense their death too?? I can't wait for more stories to develop her powers omg (I could be wrong about all this and just thinking too hard on it😞)

Damian's compassion for the animals is so strong I love it sm

Nikola's Nika is sooo prettyy🥺🫶♥️ Damian is almost the same height with Nika now

He takes her hands in his and prepares for the farewell…

The way Nika looks at Damian and caresses his face, telling him it's good for him to have a normal school life…he leans into her hand…and Nika hugs him so tightly🥹😭🤍♥️♥️

She can see how good Damian is, and given enough time people would love him. She wants Damian not to give the girls any wrong ideas😭 (jealous and pinging Nika omfggg she adored him so so much)

AND THIS PART OWEEE NIKA WOULD RATHER TAKE THE BLAM/BURDEN ONTO HERSELF THAN SEEING THE PEOPLE SHE LOVE HURTING😭☹️☹️

The way she hastily ran away and held back her tears… I can’t take this anymore😭😭💔💔

(↑Batman and Robin #8 for vulnerable/angst Nika parallel☹️)

SHE CARES FOR DAMIAN SM SHE SAYS MORE THAN ANYONE WILL EVER UNDERSTAND😭😭♥️

She doesn't want anyone to get worried for her and always keeps herself cool and collected. Facing problems alone firsthand to protect her loved ones… even if it means disregarding her own feelings to do so… Nika my daughter I can't with you😭😭😭💔 (I fear that the confidence she has in herself will crumble one day😭😞😞)

This is so sweet☹️ Bruce had made dinner(vegetarian dishes) for them to enjoy the father and son time, and under the beautiful night sky view too (how I wish for Talia to see this…)

GOLIATHHH AND MAYAAA 😭😭😭 They still keep in touch omggg

So excited for them to come back but also Damian will have to face Bane…

I'm thinking Nika properly will be back in later issues with Ra's plotline after Damian deals with Bane about Alfred's death

[gffa]

One of the biggest hurdles with the Lockwood and Co. books is that they're set entirely from Lucy Carlyle's point of view and there is a whole lot of body shaming that really set my teeth on edge when I first read it. Some of it is still just awful, but I've come around on that I can read a lot of it as Lucy's unexamined issues from childhood rearing their heads in some nasty ways.

Her relationships with all the characters around her are contentious and full of conflict even just in her thoughts, she's so nasty to George, to Holly, to the Skull, to Kipps, to Barnes, etc. It most especially comes out with Holly (and Kat Godwin before her, then Flo Bones as well) and it's very easy to read Lucy as reacting badly to her own attraction to women, her envy of them and her inability to let herself be attracted to them, because she's closed off so tightly.

But it's also her relationship with the Skull, who she constantly argues with and says she hates, she has nothing but poison for it in her thoughts, but as soon as it goes missing, she's desperate to get it back.

It's also in her relationship with George, who she constantly nettles and thinks mean thoughts about, but it's obvious that she cares about him deeply and has grown to love him as a friend, even if she can't necessarily admit that to herself.

Her entire dynamic with Holly is centered around how feminine Holly is, how pretty she is, how Lucy just cannot stop thinking about how Holly dresses, how she does her hair, how soft her skin looks, how her little hand motions are so delicate and proper. And, yeah, some of it is envy and feeling insecure, that other people will like Holly more than her, but it's also just so much attention on all the little details that it comes off as unrealized physical attraction.

And then suddenly, I'm looking at all of the relationships Lucy has with people, where almost all the people she likes and respects are ones she's nasty to. Which clicked into place for me when she went back to visit her home town and was miserable there, the poor relationship she had with her family suddenly making so much sense in the way she rejects people before they can reject her, that she's so terrified of being vulnerable that she schools her thoughts and actions and words into prickly meanness so that she doesn't get hurt when they don't want her.

Lockwood is the exception to this, because he's the one who took all her nastiness and kept being mostly kind to her, he allowed a certain amount of vulnerability to himself and Lucy slowly started to come around on him and thought nicer of him. Sure, part of it is that she has feelings for him and so her thoughts are kinder, but I think it goes hand in hand with the way Lockwood is the one that never really sniped back at her or egged her on in any way, he started to feel safe to her, he started to feel secure to her.

And then she breaks his trust! She sneaks into the locked room to find out about his history, in a moment of anger and frustration, she breaks the thing that he asked them not to poke into, and she knows he would have every right to be angry enough at her to kick her out! But he's nice to her about it! He says, no, it was time to tell you guys about it anyway. He's open and vulnerable about something that she desperately feared rejection over!

Which is of course why her feelings reach a certain point and she has to acknowledge them, she can't deny them anymore, so the slightest push (the ghost wearing Lockwood's face, saying that she would do this to him, get him killed) has her running off from the agency and going independent, because she's terrified that she'll get Lockwood killed/terrified of actually stepping across that line into having feelings that could really hurt her if she's not accepted.

She's complicated and messy and I love her, she's a great character with a great, dynamic arc--but it does require reading into some of the more problematic elements of the character and taking a more generous view of them, even when I know much of the real answer is that the author probably didn't see the problem with the way he would have her describe characters (especially anyone that was overweight) and you have to find the mental line you're willing to walk with that. But if you're okay with wincing through some of the earliest stuff, I think there's a really cool Hot Mess Lady character waiting on the other side.

[mermaidsirennikita]

I feel I should say I’m one of those people who read Wuthering Heights as a full-grown adult and was like, “How in the hell is this romantic? Cathy married someone else to get away from Heathcliff, and then her murderous ghost kills him for what he did to her children.”

To only focus on young Cathy and Heathcliff’s doomed romance is to seriously miss the point of the book.

I don't think the novel was ever intended to be romantic (... in a conventional sense), but it has a very compelling romantic relationship between two people that influenced later straightforward fictional love stories, which is why it is what it is today.

However, I will disagree on the take on Cathy's motives for marrying Linton. She doesn't marry Linton to escape Heathcliff; she marries Linton to go TO a level of status that she does not currently have. She does love Linton, in her way, and appreciates the gentleness and stability her offers.

However, Cathy does not present Heathcliff as someone she "will not" marry when explaining her mindset to Nelly. She presents him as someone she CANNOT marry because he's too "low" for her. At this point, he doesn't have the wealth he'll have when he comes back, and I would also say: Heathcliff is NOT the degree of fucked up that he is when he returns. He's super abused and angry... but he's a teenager. He doesn't have shit. He's not angry at Cathy the way he is when he returns, because though he knows she's heading towards something with Linton and is acting differently, she has not married Linton YET. He's possessive of her, but the relationship is not in the place that it is in when he returns from his mysterious absence.

If Heathcliff was not low, Cathy would quite possibly (probably?) marry him. Her big speech is telling Nelly that she loves both men, but her "pretty" love for Linton will fade. Her love for Heathcliff is an "ugly" love, but it is enduring and will always endure. Cathy doesn't see him as something to run from as a person; she sees him as an extension of herself. Catherine and Heathcliff, especially Catherine because she dies so young, lack separate identities. They are basically one person growing up—and in fact, at points Catherine is the worse one, as she takes part, as a child, in the abuse of Heathcliff before growing to love him. (I mean, she's a child motivated in part by jealousy... but still.) She's also manipulative , abusive to Nelly (the "help"), and basically puts on a good face to Edgar Linton that disguises how fucked up she actually is.

Catherine Earnshaw is essentially denying her actual self (not necessarily her best self, but who she is at her core) when she marries Linton. She is turning her back on whatever identity she has, however fractured and enmeshed with Heathcliff's it may be.

Catherine has become somewhat tamed when Heathcliff returns, and she's fully aware of how bad his behavior is (see: Isabella Linton). But that doesn't mean she doesn't want him around. She wants him and Linton to settle their conflict, she wants him to be "her" Heathcliff again (versus who he is when he returns successful and even more embittered) and it reads as very "have my cake and eat it too". Which is consistent with the selfishness that seems inherent to her even in childhood.

She wants her marriage to Linton. She also wants Heathcliff to settle down (emotionally speaking... not with another woman lol) so that she doesn't have to worry about their conflict anymore and clearly has much more passion for Heathcliff. Her death is linked in part to that passion; she's mentally ill, she's stressed about Linton barring her from Heathcliff, she's not eating and isolating herself, all while pregnant. She declares her love for him right before she dies and basically gives him shit for like... not at the same time... because she can't handle the idea of him being alive when she's not. She basically screams at him to stay with her when he's about to dip because Linton is returning from his errand (while Nelly sits there like OH FUCK OH FUCK OH FUCK as her super pregnant and super dying mistress like... basically makes out with Heathcliff.... and her husband is heading up the stairs about to burst into the room....).

And Heathcliff in turn wastes away (maybe self-starvation?) because he wants to be with Cathy's ghost. The description of his corpse indicates that he looks happy to die and be with Cathy. I don't think her ghost killed him by any means—but if she did, it was exactly what both of them wanted. Eternity together in death.

I mean, who knows what Catherine Earnshaw would've bene like as a mom to Cathy II. But I kind of highly doubt she would've been a good one. As soon as Heathcliff was back on the scene, she started denying her husband and obsessing over him, and if she'd made it past the birth, I don't think that would've changed at all. Catherine is, from jump, a shitty person, and I feel that her ability to be shitty and passionate and very much a partial architect of her own destruction (mutually with Heathcliff, and she in turn his a mutual architect of his downfall like, she and Heathcliff are essentially planning their long game suicide pact in their last scene together lol... and it's Heathcliff's bitterness and determination for vengeance that keeps him dying sooner, versus a lack of desire to be dead with Cathy) is what makes Catherine such a fabulous character.

Heathcliff is a horrible person, but Catherine isn't THAT much better, and she does not seem to truly WANT to be that much better when we take away what she thinks she should be.