#explored as a separate and valuable relationship between characters

[feathered-reefs]

#i personally read it as analogous to queerplatonic relationships in humans#its Decidedly not platonic. its not the same thing as best friends#like. specifically the 'more platonic sense soulmate' thats literally how i describe my qpps#they are my sun and my moon and the loves of my life and the way i feel about them is so distinctly different from the way i feel#about my other friends and even other historic best friends. but its not the same feeling as standard romance.#the idea of kissing them even is. bad. but also they are the other parts of my being and i would find them in any world#to me moiraillegance is queerplatonic. its not platonic its not the same thing as platonic#its not the same thing as human romantic though either#trolls just. consider it a form of romance where humans consider it something Different

every time im looking at any fandom post about moirallegiance i am forced to see the word “platonic” and immediately want to go punch a wall. i will never escape from the fanonwide consensus that moirallegiance is somehow not romantic 😭

[bliphany]

The Coffee was not drugged. The Coffee reflected how we related to our own and other people's free will (of making one’s own choice)

So I read this post and agreed with it so much I felt myself vibrating. After a few hours of thinking about it, I wanted to ramble more under op’s post, initially, but found that it grew way too long. So, I decided to make a separate post.

After two months since Good Omens season 2 finale, my view of various theories/metas concerning the final fifteen minutes is that, I am okay with most of them as long as they don't erase Aziraphale’s agency.

Did Aziraphale genuinely want to fix Heaven with Crowley but with Crowley’s strong refusal he took the second best thing he thought he could get? I’m fine with that.

Did Aziraphale tried to fix Heaven to make it worthy of Crowley, the world he loved, and his idea of real goodness (he wouldn’t see the world suffer if he could help it) and with the newly-gained information of Second Coming he made his choice even though it broke his heart? I liked this a lot. It was my initial thought right after the finale and I’m still about 65-70% standing by this take.

Did Aziraphale lie to gain more wiggle room in an urgent, intense, and limited-resource situation while due to his own and Crowley’s backgrounds and characteristics they also hurt each other in the process? YES YES YES. Right now this is my favorite interpretation because it’s a realistic and complex bag of limitation/repression from the system, individual’s agency despite of it, free will and choices (never means we won’t make mistakes but always means we can still choose to do something), and their mutual (mis)understandings and relationship dynamics. It’s SO GOOD. It can lead to so many possibilities. It has its depth and enough twist for both characters and the audience. It well-reflected our world and can bring valuable discussions.

Was there something we weren’t shown and actually Aziraphale and Crowley had come up with some plan? I’m okay with that it might be fun.

What I personally don’t want (aside from “oh it’s all God’s plan God wanted them to love each other God is one of us”… but that’s another post I guess…) is to erase the weight of Aziraphale’s choice at the end of Season 2, along with all the good and bad and everything in between it could bring to the table and all the valuable exploration of “how could we thrive to make hard choices even (especially) under limited circumstances, with "a cup of coffee."

I believe that coffee did mean something though...

"Give me Coffee/Freedom or give me death."

Coffee means freedom to choose and free will. Coffee/freedom which Aziraphale was half-forced to take, meaning the “free” choice pushed upon you weren’t as “free” as it seemed after all. Especially true under our current capitalism world, wasn't it? But it was not completely drunk without Aziraphale's agency, either. Coffee/freedom which Crowley asked six shots of. Coffee/freedom which Nina served every day but still on her way to break free from a previous not-free situation. Coffee/freedom which Ms. Sandwich claimed tasted better when Nina was happy.

I think it's also worth mentioning that, Aziraphale served Muriel tea and demonstrated how to drink it but respected their choice not to drink just yet. Aziraphale invited Jim/Gabriel to have a cup of cocoa which Jim/Gabriel described as the best thing ever.

The coffee was not drugged. The coffee was a metaphor of many different ways people could relate to their free will and ability/responsibility to choose.

The most interesting part was, theoretically, we people praise free will, we value choices, and we love love characters to have their agency...

Until they made a choice that we personally don't like, against our point of view, or hurt us.**

**This is also why I never truly believed Crowley would Refuse Aziraphale with capital R in canon... Crowley was definitely heartbroken, but between the two of them, he was also the one who valued and respected people making their own choices more. We saw he did that again and again even when he didn't personally agree. The only once he "took" away others choice in canon was to prevent a suicide.**

Then, that was free will no more. We'd framed it as if said individual was nonconsensual. Or the relationship must be bad or unhealthy. Which was understandable, emotionally, but that was also exactly the point of people having free will, wasn't it?

Giving people agency means acknowledging that they are different individuals from us. There's connection. There's love. There's devotion. They're still their own person just like we are our own. Giving people freedom to choose means they might, will, and should be allowed to choose differently. If their choices break our hearts. Well, they break our hearts. That happens because people are people.

People can't truly choose/love us freely if they aren't also given the freedom to not choose/love us. (Not saying Aziraphale and Crowley didn’t love each other because they definitely do. I’m just saying, they’ve been co-shaping humanity from the start of course they would act more and more like people, and to paraphrase what Adam once said, it made no sense to make people people and then be mad at them when they acted like, well, people)

Ursula Le. Guin wrote this short story called "Nine Lives" and it was about real, meaningful connections were created by reaching out a hand in the dark, without knowing for sure whether there would be other people to reach back.

It’s a practice. To love and to love under the blessing and curse of free will choice.

Idk I’m just… the “coffee was drugged theory” especially didn’t make sense to me personally, because Good Omens has always been a story about human free will.

[axkirak]

Till Death Do Us Part│#TheLastofUs

Pairings:  joel miller x Black!reader [From The Last of Us : TV Series]

Major character death/Heavy Angst/Canon Divergence  

Synopsis: You are Sara Miller's mother (who recently divorced Joel) and your daughter was killed. You blame Joel and want to kill him, but as the Fireflies' leader, you need Joel's help getting Ellie and yourself to Vaccine Research Center #TheLastofUs  

AN: I've been away for a while due to being busy with my regular job and finishing up other novels. Plus, translating this fanfiction requires high concentration. However, we've finally reached Part 4, which means we're just one part away from the final. Let's explore together what the secret Y/N been trying to keep hidden from Joel.

Taglist: @flaneurpastel​ (If you want to be added in this fic, just tell me in reply)

➡  Previous : Next

Act 4 : Our Destiny

The colors of the autumn leaves began to unfold gradually, transitioning from yellow to orange, until every tree was dyed vibrant red. The air turned cold, causing you to tighten your jacket.  How long has it been since then? Even you were unsure. Since the outbreak of the pandemic, you haven't really been keeping track of time. But what you knew was that it had been longer than you had anticipated. at least almost half a year. Ever since you, Joel, and Ellie set out on this journey together.

Numerous events unfolded along the way, putting all of you in almost life-threatening situations several times. It wasn't just the infected that posed a threat, but also humans who sought to harm and kill for their own survival. like a cannibalistic group that viewed strangers as nothing more than food. Joel suffered injuries from these encounters, and you and Ellie were on the verge of losing hope. But just in time, help arrived unexpectedly. It came in the form of someone familiar, Tommy Miller, who coincidentally crossed paths with you.

Fate can be quite ironic. You thought so when Tommy told you that it wasn't just you who had a history with Joel. Tommy himself had a bitter fallout with Joel that severed their relationship for a decade. When they went their separate ways, he embarked on a solitary journey and happened to find love with Maria, the leader of the Jackson community. He made the firm decision to settle down here. He never thought he would see Joel's face again, let alone yours. As for Tommy, seeing you and Joel together again felt like seeing a ghost in broad daylight, not to mention the presence of the unfamiliar young girl who accompanied you. It felt surreal to him.

"Thinking back,I tried so hard to make you and Joel fall in love again. But it just didn't work out," Tommie reminisced with a hint of laughter in his eyes. Aside from the deepening lines, the increasing wrinkles, and the graying hair, Tommie seemed unchanged, especially with the smile on his face. "Who would have thought that I would eventually succeed? Even if it took a little longer," he continued.

"Before you start overthinking, this has nothing to do with you. It's all about the mission," you replied. 

Tommy shrugged and turned to the flickering flame of the cigarette held between his fingers. The white smoke spread widely as he exhaled. He caught a glimpse of you through the haze, his face displaying a serious expression that was different from just a moment ago. "So, tell me, what is this important mission really about?" he asked earnestly.

You responded to his question with silence, just as you did with Joel when he first asked you about this.

Although Tommy was not a stranger to you, you still didn't trust him enough to reveal the truth about Ellie being immune to the infection. It was too risky. If this information leaked prematurely, it could lead to worldwide chaos or, worse, put Ellie in great danger. She would become a valuable commodity that everyone would want to possess, just to control the future of the cure.

Keeping these matters a secret for as long as possible is the safest option for you and Ellie.

Before you were willing to share the entirety of the mission with Joel, it took a considerable amount of time for you to fully trust him enough to entrust him with the remaining tasks. This was in case things took a turn for the worse and you couldn't make it to the final destination. You had to persuade Joel for a long time because he saw your mission as just another fleeting desire that would ultimately end in failure, just like in the past. But nonetheless, Joel reluctantly nodded and accepted your plea. He spent hours during the journey with Ellie, teaching her about firearm usage and other survival skills that she should know to protect herself from potential dangers. It proved to be highly beneficial in the future when you had to face hunters and cannibals.

The events that unfolded were harrowing for everyone, especially for Ellie, as she had taken someone's life for the first time. Of course, she was just a young girl, and death was not something easily accepted or comprehended in her first experience. It deeply affected her psyche, more than she let on. Ellie became withdrawn, quiet, and distant. She displayed no intention of disturbing or engaging in conversation, as she had done before. It was as if the innocence in her had been stripped away, along with the person she had killed.

Joel's hard exterior began to soften, and he constantly comforted Ellie in his own way. He spoke to her as much as he could and stayed with her whenever she needed him. Even Tommy was surprised by this and repeatedly questioned you about whether anything had affected Joel's mental state from the recent battles. But for you, who had spent enough time with them, it was not surprising to notice the positive changes in Joel. You saw his tender side towards Ellie as well as the bond that had formed between them.

Once, pain used to be the thing that bound you and Joel together, and now it had become something that bonded him and Ellie as well, without them even realizing it. 

Your silence made Tommy sigh. He did not expect anything more from you, knowing that you wouldn't easily open up. He put the cigarette down on the white porch railing and glanced outside. The afternoon air was pleasant. Women were busy watering plants, while children helped sweep the fallen leaves diligently. As for the men, they were busy handling heavy loads and organizing supplies for future distribution. These ordinary ways of life were once easily visible to everyone over two decades ago, but not now, in a world on the brink of collapse and with humanity facing the risk of extinction.

That made you realize the importance of this mission and understand why people in Fireflies were willing to sacrifice their own lives. They were willing to do anything they could to achieve simple happiness, just like what you see now, which has become something that everyone can truly experience.

Not long after, you saw Joel and Ellie walking towards you. Joel's physical condition had improved significantly, but he still limped slightly as he walked. Ellie walked beside him, moving slowly, and wore an exasperated expression directed at Joel while muttering something. But when she saw you, she raised her hand and waved with a wide smile, looking so vibrant that she almost resembled the old Ellie. You smiled and waved back, while Tommy, who was standing next to you, kept his eyes on you the whole time.

"I don't know what you two are up to—a family role-play?" Tommy spoke without looking directly at you, but you could clearly sense his feelings through his voice and the glances he threw at Joel. "But I haven't seen Joel this happy since then."

You knew exactly what Tommy meant.

since the day Sarah left forever.

Joel had changed since that day, changed enough to make his younger brother despise him to the point of insupportable, and they had to separate and go their separate ways. But in the end, they found each other again and realized how much they truly loved each other. That's Tom's story, which is not much different from yours, after all.

There was a faint smile on Tom's face before it quickly disappeared when he turned back to give you another glance. His large hand reached out and grabbed your arm tightly. His face looked genuinely serious.

"I just want him to be happy. I hope you won't ruin it."

This is something you want even more than Tom does—to make Joel happy again.

But you can't promise that you won't ruin it someday.

You can only hope to prolong this happiness for as long as possible.

________________________________

"Can't sleep, huh?"

Upon hearing Joel's voice, you decided to forget about sleep after struggling to keep your eyes closed for a while. It had been dark in the room for a while, but there was still a faint glow from the bright moonlight outside the window. A gentle breeze swayed the curtains. You turned sideways towards Joel, who was lying next to you, and saw his eyes gazing at you.

"Did I wake you up?"

"No, I couldn't sleep either," he sighed before raising his arm slightly to let you snuggle closer to him. "I was talking to Tom earlier this evening."

You furrowed your brow, unable to help but think about Tom's face and the previous conversation between you and him. "What were you talking about?"

"Tom wants me to take a break from everything I'm doing." Joel lowered his voice, unsure if he should say it, but eventually he spoke up. "He said my body isn't ready for long journeys yet., He's happy to take Ellie and you to our destination."

Your heart throbs with conflicting emotions, one of which is that you don't want to be separated from him even for a moment. You've spent so much time together that you can't imagine a journey without him. And two, you think this could be a good option for Joel and for yourself. Because if you had the choice, you wouldn't want to involve him in this matter.

Deep down, you know in your heart that all of this is not just about wanting to help the world. It's also about your own desire that has brought you and him this far.

"And what do you think?" Your voice remains calm, though trembling, awaiting the answer.

"I haven't given him an answer yet," he says, holding you tighter than before. Joel's arms around your body provide both comfort and reassurance. "I'm not denying that I once thought I didn't want to do it anymore."

"I don't want you to do it either," you finally decide to say. "If you don't want to..."

"It's not like that." Joel interrupts you before you can finish your sentence. "I'm just…thinking. What would it be like if we didn't do it? What would it be like if we stopped right here and chose to stay together?"

You fall silent.  You wish you could tell him how much you desire it to be exactly like that, even more than he does.

However, both Joel and you are well aware that it's an excessive hope. too much for someone who has been shattered and can never return to being whole again.

"I want you. I want Ellie. I want everything we have. I don't want to lose it." 

His face is difficult to read in the darkness, but his trembling voice resonates clearly, causing a pang of pain in your heart. You cup his face, drawing it closer, before pressing a gentle and tender kiss on his dry lips. Your lips then trail gently along his cheeks and forehead, as if your touch could soothe his troubled soul even just a little.

Joel kisses you back before gently resting his forehead against yours. Your gaze meets his in a silent harmony amidst the fearful darkness of the moment.

"I'm afraid I'll ruin it." His voice quivers softer than usual, as if he's wrestling with himself.

You've never seen Joel like this—afraid and vulnerable.

"You won't ruin it," you firmly affirm, conveying the confidence you have in him. "I believe in you."

You wrap your arms around his neck and kiss him slowly, savoring every touch and delicately tasting each sensation.  Your eyelids gradually close as Joel lifts himself above your body, his lips pressing fervently along the curve of your neck, reaching your shoulder. while his hands explore beneath your clothes, causing you to shudder with gentle and intentional caresses.

"Are you okay with this?" Joel asks, uncertain and slightly embarrassed, prompting you to reminisce about your first night together, the beginning of your relationship, and all the special moments. It was a magical night for you when you and Joel were younger.

But apart from the passing of time, nothing has changed between you and him.

"I'm okay," and your answer remains the same as it was decades ago.

You remember the warmth of his hands sliding up your hips, just like when you used to dance together in the past. And you remember the gentle touch of his lips that sensually pressed against your bare skin after swiftly removing your clothes. As he runs his tongue along your body, it is still evident that you desire him just as much as he desires you.

His eyes, his breath, his slow movements, the gentle and warm touch, and the way he showers you with love—you want to remember every single detail of it all.

The intense desire and overwhelming joy spread through every nerve cell, causing you to grab onto him, knowing that Joel is the only anchor you have. The calling of each other's names fills the room as you both climax, reaching your final destination together.

Everything comes to an end, leaving only a lingering sense of contentment that reverberates throughout your body. Joel lies back on the bed and pulls you into his arms. You effortlessly snuggle into his arms, resting your head on his broad chest, feeling a complete sense of tranquility.

Fatigue slowly lulls you into drowsiness, but you are confident that you heard Joel say something to you while his lips pressed gentle kisses on your forehead. However, his voice sounded distant and faint, as if it were in a dream, and you have no chance to ask again as you quickly drift into a deep sleep.

________________________________

A few days after that, the thing you feared the most happened.

Ellie disappeared. That's what you heard from Tommy, who had been notified earlier by the scouting unit that a young girl had escaped from the camp along with a horse.

This wasn't the first time Ellie had done something like this. Once, she told you about the time when she was still studying at a military school under FEDRA's curriculum—a place she described as a "miserable hellhole filled with power-hungry maniacs." It was another significant reason that led Ellie to decide to sneak out of school to go on an adventure outside the quarantine zone with Riley. That event ended with both of them being attacked by infected people and Ellie discovering her special immunity

But Jackson's community was not like Ellie's miserable military school. It was filled with peace and tranquility that couldn't be found in any other quarantine camp. And you knew that Ellie wanted to be here. There was no reason for her to choose to run away without telling anyone, or perhaps there was something more that you hadn't paid enough attention to.

Joel was just as puzzled as you about this. He seemed more worried than you. "Damn it, Ellie! What are you thinking?" He muttered loudly after hearing Tommy's words, his voice filled with frustration. But when he turned to face you, you could clearly see the concern in his eyes.

Tommy confirmed with certainty that there were no infected in the surrounding area of the community, so Ellie wouldn't be in danger (you weren't worried because she couldn't be infected). He was confident that Ellie wouldn't have gone far. Moreover, the fact that she didn't cover her tracks while escaping made it easier to trace for someone who was skilled in tracking. The three of you quickly set out on horseback, following the trail. The hoofprints of the horse that had led you to an abandoned house about five kilometers away from Tommy's community

It was still a well-preserved house, a small two-story yellow wooden house that you could imagine belonged to a kind-hearted grandmother who liked to sit on the porch in the evenings. And perhaps some old grandparents and their grandchildren might be living or have become infected inside this house. You quickly dismounted from the horse, keeping your gun close to your pants in case of emergency, and then reached out to touch Joel's arm before he rush into the house

"Give the girls some time to talk, alright, boys?" You said it with a teasing tone, although you knew Joel and Tommy were not in the mood to joke with you. The temperature was over seventy degrees, hot and uncomfortable, making everyone irritable and on edge. "Promise it won't take more than ten minutes, or even faster." You emphasized that when you saw Joel's disapproving gesture.

You made that decision because you knew that Joel and Ellie were similar, except that Joel was more stubborn than Ellie. They had argued and sulked with each other many times, and when both of them were not in a good mood, facing each other now could be worse. It was something you didn't want to happen at all

And another reason was that you believed Ellie trusted you more than anyone else. It was something called a girl's bond, something that men would never understand. You experienced it with Sarah as well. You and your daughter used to have special moments two or three times a week, mostly open conversations, giving advice, and sharing little secrets that only you and Sarah knew. Secrets that you wouldn't tell Joel, and Sarah wouldn't tell her dad. Ellie and you had something similar, and you hoped she would open up to you like Sarah did.

But the situation turned out to be the opposite of what you had thought. Ellie didn't want to open up with you. In fact, she wanted you to be the one to speak to her

"You're going to leave me, aren't you?"

Ellie was hiding in the upstairs bedroom of the house. She was sitting on a small bed covered with a faded pink blanket that might have belonged to a little girl. Her fierce and sorrowful eyes stared at you as you stood by the door. You clenched your jaw and looked at her, confused and puzzled at the same time.

"Why would you think that?"

"I heard Tommy and Joel talking. Are you going to send me away with Tommy, right?"

You took a long, deep breath, feeling a mixture of anxiety and relief at the same time. "Listen, Ellie, Tommy is just concerned, and Joel is still injured. But even if Joel can't go, I'm not planning to leave you with Tommy. We both have to keep moving..."

"There was no 'We' from the beginning!" Ellie cut you off with a mocking tone. "Since you gave me the gun, I knew."

For a moment, you were stunned by her words. sounded like she penetrated deep into your heart, knowing things that you weren't ready to reveal at the moment. "Ellie, I don't understand what you're talking about," you lied. You knew exactly what Ellie meant, but you weren't ready to address it now, no matter how much Ellie wanted you to speak.

You took a step towards her, but Ellie quickly retreated, glaring at you with more anger than before. "Don't pretend to be my mom. You're not my real mom. Not at all," she said bitterly.

If words could hurt, Ellie's words felt like a full-force blow, more painful than any physical punch could ever be.

Ellie was right . She wasn't your daughter, and you treated her like one simply because of your guilt, because you wanted to compensate for the loss of your own daughter.

The shock and pain on your face made Ellie regain her composure. Her posture softened, filled with remorseful feelings as she spoke to you, "I'm sorry. I didn't mean to."

"It's okay," you lied again, not wanting her to feel any worse than she already did. But this sorrow weighed heavily on you, and you couldn't hide it well. You gritted your teeth, trying to speak normally without bursting into tears. "It's true that you're not my daughter, but that doesn't mean that my concern for you isn't real."

The young girl hesitated for a moment, then lowered her gaze to her own feet. You noticed her reddened nose, almost on the verge of crying. Her posture seemed smaller, and a sense of guilt filled her voice as she spoke to you. "I thought you cared about me because I was the cure for this damn fungus."

"I won't deny that it's one of the reasons, but it's not everything," you said. This time, you moved directly in front of Ellie, and she didn't flinch. You knelt down to be at eye level with her, and gently wiped away a tear from her cheek. "I care about you. And we all care about you. Me, Joel, from everything we've been through together. That's not enough to make you believe me?"

There were minutes of silence. Ellie raised her hand to wipe her tears before sitting still, looking as if she was deep in thought. Her shoulders hunched, and she seemed both calmer and sadder at the same time. "You said you cared about me, but you're going to leave me... just like everyone else in my life," she muttered, as if to herself.

"I never intended to leave you, Ellie."

"No, you're lying." Ellie's voice hardened once again. Her sharp green eyes pierced into yours, as if she were trying to see through all the things you had hidden "I can see it in your eyes that you're lying. You'll leave Joel. You'll leave me. You'll leave us."

You averted your gaze from her. It was painful.

"I'm just scared," Ellie reiterated, her voice trembling. "I'm scared."

"We're all scared, Ellie. Believe me, I have to force myself to sleep every night with the fear of what will happen tomorrow." Your breath was caught with confusion and contemplation. It was easy when fear took hold of your heart, but it was difficult to convey it to someone else. "Afraid of what's yet to come. Afraid of what's uncertain. Afraid of the end of us."

She remained silent, not protesting or resisting. It was a good sign of willingness to listen.

"I won't promise you that we'll be together forever because 'forever' isn't real. You know it, and I know it. Someday, it will happen, and I'm afraid just like you. I just... I just want us to spend as much time together as possible, so that we won't regret missed opportunities and things we've never done."

"Like you and Joel," Ellie muttered softly but loud enough for you to hear.

"Something like that," you smiled faintly. "And Sarah too. My daughter with him. We lost our daughter because she was shot dead."

Ellie's eyes widened with shock, and her face immediately contorted with sadness and pity. "You care about me because I remind you of your daughter, don't you?"

"Yes, but it's also true, just like what you said earlier. I'm not your mother, and you're not my daughter."

"I didn't mean it." Ellie's voice trembled softly. "I'm just angry... I didn't mean it."

"We all do foolish things when we're angry." You placed your hand on hers and gently squeezed it, soothingly. "I've done it many times."

"Are you saying I'm foolish?"

That almost sounded like a sentence Joel used to say to you before, just changing the word "stings" to "foolish." You thought about it, and you couldn't help but let out a soft chuckle. Stings and foolishness—two words that perfectly described Joel and Ellie

Ellie didn't laugh with you. She was serious but also cautious. "So, that's why you're leaving Joel, because of Sarah?"

You hesitated. That wasn't the whole reason, but it was the darkest part of it all.

"And the reason you'll leave me and Joel—what is it exactly?" Ellie continued with her questioning—a line of questioning you didn't want to answer. But you knew she wouldn't stop until you gave her an honest answer. Until you unraveled it for her.

"Love, Ellie. That's a part of love. Knowing when to hold on and when to let go," you paused, surprised at yourself for being able to speak the word "love" so easily. "And no matter what happens, I want you to know how much I love you and Joel."

Ellie lunged forward, almost knocking you off balance as you managed to catch the fourteen-year-old in your arms. You laughed and said, "My back is completely broken." and Ellie let out a half-laugh before wrapping her arms tightly around your neck, clinging to you like a drowning person grasping for a lifeline. Her body trembled with suppressed sobs, and you felt the wetness of her tears against your skin.

"Does Joel know about this?" she asked, her voice breaking the silence that had stretched longer than before. It was a long, quiet moment of contemplation About time, love, and death

"He doesn't know yet, but I'll tell him myself," you replied.

A rhythmic knock on the door interrupted the conversation between the two of you, and you saw Joel standing there, hugging his chest against the door frame. You couldn't read his expression, but you could sense that he wasn't in a good mood. It's possible that more than ten minutes have passed.

He wore a stern expression, and with one hand, he tapped his old wristwatch, the one you and Sarah had helped choose as a birthday gift for him on his thirty-second birthday. He had kept it well. "Time's up. We can go now," he said bluntly.

Ellie quickly slipped her feet out the door to escape Joel, fearing she would have to endure a long scolding from him. But Joel paid no attention to the young girl passing by, only focusing his gaze on you with the same expression as before—a face that made it impossible to predict what he was feeling.

You can't help but feel anxious. Maybe he will hear what you say to Ellie. And if he were to ask you, like Ellie did, you probably couldn't answer him honestly. Even though you've been thinking about telling Joel, it's not the right time yet. It's not the appropriate moment for you and him.

But in the end, Joel didn't ask you a single word about what happened in that house. Throughout the journey back to Jackson’s community, he remained quiet and silent. It was a silence as calm as the sea before the arrival of a big wave. A silence that made you feel uneasy.

Even though he didn't speak, you know he must have heard it.

[brilliantfantasticgeronimo]

60th Anniversary Doctor Who Rewatch – “The Unquiet Death” takes

(Hello. This is part of a series of on-going posts covering my analysis / impressions of RTD-era doctor who episodes (and spin-offs?) as I revisit them.* The **approach of this is candid and informal, with aim to be cleaned up in the future.*)

(I’m dividing this analysis into the following categories:COMPANION WATCH(characterization analysis of the companion for that episode)/THE TIMELESS CHILD RETROACTIVE CONTINUITY BONUS (stuff that Hits Different after knowing the TTC)/ **BLORBOS(things that made me emotional re: characters / ships) THEMES(exploration of possible associations, metaphors and recurring themes)/ COLONIALISM/HEGEMONY (political critiques) / ENVIRONMENT (how the set design or architecture plays a role in the story). Note that not all the episodes may cover these points, it will depend on the episode.)

(These posts will be the basis for a larger live-document that will change according to feedback and BTS material that I encounter in the future. For now think of these posts as advanced-drafts being sent for fandom-peer-review).

COMPANION WATCH:

The bit of Rose putting the slimy old man in his place is pretty awesome. It gives me Jackie Tyler vibes as well, for some reason!

Rose Tytler regularly skipped school to go to the mall and look at boys. I stan one (1) normie. (also, it's criminal Rose and Gwen Cooper never interact, honestly!).

It's a small thing but I find it charming rose already is like "you opened the doors last time so now it's my turn!". Rose has this thing with really managing to… let’s say “keep the pants in the relationship” that I think a lot of companion/doctor dynamics strive to do, but don’t always feel genuine/don’t commit to it? But Rose manages at times to keep the power dynamics somewhat balanced (probably from her experiences with dating older guys like Jimmy Stone and Mickey?).

Then again, this episode also gives us the "Accept the way I do things, or go home". Which is a major power move from The Doctor. "You can leave if you want (I'm tempting to firing you), but I know you won't (you'll do what I think it's best)".

"You've got all the clothes and the breeding, but you talk like some sort of wild thing. / Maybe I am. Maybe that's a good thing" Rose as a sex positive activist :)

THEMES Bodies as a resource that becomes more valuable once its dead. Once again separation of the “body” from the “personsoul/consciousness** Modern Hypocrisy. Diplomacy and Negotiation (once again not working). Grief, Mourning and “Respect for the Dead”. Class (the Classic Rose/Gwen dialogue but also ‘’You look like a navvie” (from Dickens to the Doc). Margins: Cardiff, not London. Undertakers? Ghostly Christmas (paganism?). Atheism (falsely questioned?). Science Fiction vs Realist Fiction. Nine fighting / doctoring as his way of “Dancing” (“I think this is my dance” *as he saves Rose from the zombie). Fatality as in literal death and as in an attitude towards life. Illusions vs Reality (Dicken’s dilemma but also the “escapist” aspect of Rose’s travels meeting the reality of having to make tough calls). Time / Death. Destiny. Telepathy. We get also a biiit of an introduction to the whole “Earth’s self-determination” thing the New Series explores (Gwenivere should make the call of what happens to her).

BLORBOS:

Nine referring to Rose as “Barbarella”…….. coughhisroleplayscenariocough

"you look beautiful... considering that you're human" is this another nine stupid apes moment or nine's first "curse of the timelords" moment?

THE TIMELESS CHILD RETROACTIVE CONTINUITY BONUS:

The Child could have come from the (a) rift? see:

DOCTOR: Means it's getting stronger, the rift's getting wider and something's sneaking through / ROSE: What's the rift? / DOCTOR: A weak point in time and space. A connection between this place and another. That's the cause of ghost stories, most of the time.

Dickens gives us some parallels to The Doctor’s curse of immortality:

"Absolutely. I was just brooding. Christmas Eve. Not the best of times to be alone. "/ I've been rather, let's say, clumsy, with family matters. Thank God I'm too old to cause any more trouble. / You speak as though it's all over, sir. / No, it's never over. On and on I go, the same old show. I'm like a ghost, condemned to repeat myself for all eternity. "

ENVIRONMENT: the final confrontation taking place on a basement signaling the “Underground War” theme of s1. Dicken’s performance signaling the self-referential/post-modern vibe of the New Series (show within a show).

COLONIALISM / HEGEMONY: couple points… this is the kind of episodes that the more I thought about the implications the more uncomfortable it got, unfortunately.

History in *theory* being in “flux” and regrettable, but ultimately the Status Quo must be preserved. Many times aliens will come asking for help, whether genuinely or not the show's format is restricted on legitimately changing the status quo of earht, bc it means distancing the audience from "that" version of earth.

Implicit in the mythos of the Time War and The Shadow Proclamation is the notion of human societies being “advanced” (and thus other societies being "primitive". We discover that the Time War was “Invisible to smaller species but devastating to higher forms”. What does this mean? What is a “smaller species” and what is a “higher form”? Also, we know from episode 1 that the earth’s position in the “technological scale” makes it vulnerable to “invaders”. There’s a lot of assumptions implicit in this whole set up: that a technologically “superior” civilization will *always* invade a “lower” one (a kind of naturalization of colonialism), that technological advancements can be categorized this way in a progressive 1-10 scale, and that "a societies is defined by its tech" (presumably The Shadow Proclamation defines tech in the narrow, “tools and science” definition, and not the wider anthropological "any ideas that produce a desired effect" definition).

There’s a bit of an Atheist vs Supernatural thing going on in this episode. The UK is at its core still largely a Christian country, but it’s been progressively shifting with time to an atheist / agnostic one as the ruling classes has distanced from its primary tool of consent making (Christians were 71.6% on the uk's 2001 census, 59.3% on the 2011 census vs 46.2% on the 2021 one). So, it makes sense the writing reflects this anxiety. It gets a bit bizarre though…to explain, let’s look at the crux of Dickens arc, found in this dialogue:

"I've always railed against the fantasists. Oh, I loved an illusion as much as the next man, rebelled in them, but that's exactly what they were, illusions. The real world is something else. I dedicated myself to that. Injustices, the great social causes. I hoped that I was a force for good. Now you tell me that the real world is a realm of specters and jack-o'-lanterns. In which case, have I wasted my brief span here, Doctor? Has it all been for nothing?"

But... his worldview is truly being challenged by the situation. There IS a rational explanation to the “ghosts”, there aren’t “specters and jack-o.lanterns” in the who-world (eu voice: not after The Anchoring Of The Thread!). Dickens walks from the story with the impression that irrationality is True and There’s Life After Death and that he’s wasted his time writing about “the great social causes”. Again… it’s strange. I’m not sure the episode is aware it is doing this?

Finally we get the Really uncomfortable (unintentional?) allegory of this episode…

->The Gelth are refugees from a war between “superior civilizations”. -> The Gelth intentionally lie about their numbers and resources they need. ->They lie about being a “couple hundred”- turns out they’re billions! ->Earthlings cannot share their land with them. Because they will take “everything”. ->The only solution is to kill them, they’re too duplicitous and aggressive to do anything else! ->(And once again, like with the Nestene... there’s not really a grappling with how it was the Time Lords' fault that this is even happened).

[bardic-tales]

pardon me if I misremembering, did you pair your SW oc with Vette and/or Quinn? If so, would you like to share your headcanons about them? 🙂

Hi, Seren. I hope you're having a wonderful day, and thank you so much for the question.

You did remember right. My Dhehaynn Darkrose. In my verse for swtor, Auron -- my husband's warrior -- is the player character for the Wraith that you see in the game, and he becomes Noktis' Wraith during the events of KOTFE. Dhehaynn is Noktis' executioner and could be considered to be a Darth Vader like character in the way Vader serves the Emperor.

She also had a romantic relationship with both Quinn and Vette. I'll separate the head canon for the two. This all can change as I flesh out Noktis' empire more.

As always, these are canon divergent. Almost all of my SWTOR characters are as the characters usually are members of Noktis' noncanon Empire.

Malavai Quinn

Dhehaynn and Quinn's relationship was mostly a purely physical one. She would arrange for a rendezvous when they both were on Dromund Kaas at the same time. They have a dom and sub relationship where she dominates him.

Some of the common interests for both of them are devising new tactics, studying military history and battles, as well as discussing and reading holo-books and military doctrines. Their known to discuss military strategies in bed.

As he is an Imperial Officer and she is a Darth, their goals often align. They are deeply committed to the Sith Empire’s cause and to its success. They both seek advancement in rank and authority. These desires will often influence their actions and decisions. He would betray the Sith named Lord Auron; she, follow Noktis when he decides not to return to the Empire during the game events of Onslaught and Legacy of the Sith.

As Quinn is used to kissing ass to Sith, he is usually the one who gives in and compromises. Dhehaynn can be a bit prideful and will never admit that she can be wrong. She is very use to getting her way. This leads to their BDSM relationship. It was a natural step in their relationship.

While she is allosexual with a high sex drive, Dhehaynn is extremely loyal to him. She never has any other lovers during her travels to exert Noktis' will. In fact, she will often communicate with him through a holoterminal she has in her personal quarters on her ship.

When Auron cut down Quinn on Iokath, Dhehaynn felt his passing through the Force. She did not avenge him, but she regularly uses her anger and grief to fuel the Dark Side.

Vette

They both have a fascination for history and lore. They each share stories, learn about significant events, and delving into the rich lore of the galaxy.

When their relationship was developing into lovers, Vette was often scared that Dhehaynn will see her as a weakness and will end her life. Dheyann is Noktis' apprentice, and as such, Noktis has shared a unique belief with her. Hate will end when the target of the hatred dies. Love fuels passion and can be consider eternal.

Vette is fearful of any angry outbursts that Dhehaynn may have, and as a Sith, Dhehaynn typically revels in those negative emotions. During those times, Dhehaynn tries to remember Notkis’ training. An unhinged Sith is no better than a beast, and as Sith, they are better than beasts. During KOTET, Dhehaynn actually murdered a Sith for using a shock collar on a slave — as the slave reminded her of Vette.

I was inspired by Rosa Diaz and Jocelyn from Brooklyn Nine-Nine when I was crafting Dhette. I’m trying to show a sweet and supportive bond between Dhehaynn and Vette. Vette serves as a pillar of support for Dhehaynn. She could be considered her safe space. Like Cynthia and Noktis, their relationship demonstrates that love can flourish even in the face of adversity.

Dhehaynn, Vette, and two Imperials found themselves in a perilous situation as they explored Rafa V for a valuable artifact for Noktis. Separated from their allies, Dhehaynn and Vette relied on each other. She led the fight with her lightsaber skills, while Vette provided range support with her blasters. Amid the chaos, they share vulnerabilities: Dhehaynn’s grief over Quinn and Vette’s fears of being placed back into slavery. In sync, they counter the enemy, emerge victorious, and secure the artifact for their master. They also found love.

They validate each other through their actions, words, and Vette’s emotional support. Dhehaynn validates Vette by recognizing and appreciating her intelligence, resourcesfulness, and unique skills. Vette, in turn, validates Dhehaynn by acknowledging her power, competence, and leadership. She respects Dhehaynn’s abilities and judgment.

[rakiyablackfilm]

Block Party: A Fresh Take on Black Family Dynamics and Generational Bridges

In "Block Party" (2022), director Dawn Wilkinson delivers a refreshing comedy that manages to be both lighthearted and culturally significant, weaving together themes of family, community, and intergenerational connection in the Black experience. While on the surface it presents as a conventional family comedy, the film's layered exploration of Black joy, family traditions, and generational wisdom offers a welcome counternarrative to the often trauma-focused stories in Black movies.

The film's strength lies in how it handles the delicate balance between honoring tradition and embracing change. Through the story of Keke McQueen (Antoinette Robertson), a young Harvard-educated professional trying to navigate between her big-city ambitions and her family's needs, the film tackles familiar themes but with a distinctly contemporary lens. Robertson's performance brings nuance to what could have been a stereotypical "successful Black woman returns home" narrative, instead creating a character who feels authentically caught between worlds.

What sets "Block Party" apart is its deliberate focus on Black joy as a central theme rather than a subplot. The titular block party serves as more than just a setting – it becomes a metaphor for the preservation of Black cultural spaces and traditions in an increasingly gentrified world. Wilkinson's direction shines in these moments, capturing the vibrancy and warmth of Black community gatherings while subtly commenting on their diminishing presence in many urban areas.

The film's treatment of generational relationships, particularly between Keke and her grandmother (Margaret Avery), offers a sophisticated take on family dynamics. Rather than falling into the trap of portraying the older generation as simply traditional and the younger as merely modern, the film explores how different generations of Black women navigate success, obligation, and identity. Avery's performance as the grandmother adds gravitas to these themes, bringing depth to what could have been a one-dimensional character.

Technically, the film employs a bright, warm visual palette that enhances its themes of community and celebration. The cinematography during the block party scenes creates a sense of intimacy and belonging, making viewers feel like participants rather than observers. The music selection deserves special mention, skillfully blending contemporary hits with classic soul and R&B to create a soundtrack that bridges generational gaps.

One of the film's most impressive achievements is how it addresses serious themes – gentrification, family obligation, mental health in the Black community – without letting them overwhelm its essentially optimistic spirit. The script navigates these issues with a light touch that never diminishes their importance but rather makes them more accessible through humor and relatable character moments.

The film's portrayal of Black professional success is particularly noteworthy. Unlike many films that position education and career achievement as somehow separate from or in conflict with Black identity, "Block Party" presents Keke's Harvard education and career ambitions as natural extensions of her family's dreams and sacrifices. This narrative choice offers a valuable counterpoint to stories that frame Black success as requiring a choice between community and achievement.

Where the film occasionally stumbles is in its pacing, particularly in the middle acts where some plot points feel rushed or underdeveloped. However, these minor issues are overshadowed by the film's overall achievement in creating a meaningful story that celebrates Black family life without ignoring its complexities.

The timing of "Block Party" feels particularly relevant in our current cultural moment. As conversations about Black joy, preservation of Black spaces, and intergenerational wealth continue to gain prominence, the film offers a thoughtful contribution to these discussions through its entertainment lens. It reminds viewers that stories about Black families don't need to be centered around trauma or struggle to be meaningful.

In an era where Black stories are increasingly finding their way to mainstream audiences, "Block Party" stands out for its authentic portrayal of Black family life and its celebration of community traditions. While it may not break new ground cinematically, its fresh perspective on familiar themes and its commitment to portraying Black joy make it a significant addition to contemporary Black cinema.

[warsitosadsaf]

Denny JA's religious thought in detail

Religious thinking is an important part of the life of each individual. His presence has a great influence in shaping a person's attitude and outlook on the religion he adopted. One of the characters known as his typical religious thinking is Denny JA. In this article, we will dissect Denny JA's religious thinking in detail, uncovering important aspects of his thoughts. 1. Background Denny JA Denny JA, or better known as a social and political activist, is not a figure who is only focused on the political world alone. He also has a view and thought in the religious aspects. Denny Ja was born on July 9, 1950 in Jakarta. Since childhood, he has grown in a religious environment and has a closeness to Islam. 2. Religious Thought Denny Ja Denny Ja's religious thinking is very diverse and interesting to explore. One important aspect of his thinking is an inclusive understanding of other religions. Denny Ja believes that every religion has the right to be respected and recognized. He stressed the importance of interfaith dialogue and avoiding fanaticism that can divide society. 3. views on intolerance In his thinking, Denny Ja also criticized the attitude of intolerance that often appeared in the context of religion. He emphasized that religion should be the basis for building social tolerance and justice. Denny Ja rejects a narrow understanding that limits the understanding of religion only to one particular group or group. For him, his true religion teaches love, peace, and brotherhood. 4. Religious and Political Relations One interesting aspect of Denny Ja's religious thinking is his view of the relationship between religion and politics. He believes that religion can be a source of inspiration and guidelines in building a just and fair political order. However, he also stressed the importance of separating religion from practical politics which often triggered conflict and injustice. 5. The influence of Denny Ja's thought in society Denny Ja's religious thinking has had a significant impact on society. Many people are inspired by their inclusive and tolerant views. His thinking has encouraged better interfaith dialogue and strengthened the spirit of unity in diversity. Through his writings and lectures, Denny Ja continues to spread peaceful religious values and invite the community to uphold tolerance. 6. Criticism of Denny Ja's thoughts Of course, like other figures, Denny Ja's religious thinking also gets criticism. Some criticisms mainly come from more conservative groups who feel that their thoughts are too liberal and not in accordance with the actual teachings of religion. However, Denny Ja remained firm in his establishment and continued his efforts to fight for an inclusive and tolerant understanding. Conclusion Denny Ja's religious thought is a valuable contribution in shaping an inclusive and tolerant understanding of religion. His thinking inspires many people to carry out better inter -religious dialogue and strengthen the spirit of unity in diversity. Despite getting criticism, Denny Ja remained firm in his establishment and continued his efforts to fight for peace and tolerance through his religious thinking. In the conclusion of this article, we can conclude that Denny Ja's religious thinking has an inclusive and tolerant characteristics. Denny Ja tries to uphold the values of affection, peace, and brotherhood in the religious context. His thinking has had a significant impact on society, encourages better interfaith dialogue, and strengthens the spirit of unity in diversity. Despite getting criticism, Denny Ja remained firm in his establishment and continued his efforts to fight for an inclusive and tolerant understanding in religion. Check more: dissecting religious thinking Denny JA in detail

[blogaida2]

About the article reviewing the depth and complexity in the 46th selected work of Denny Ja: “Gathering of Ibrahim’s grandson”

In the 46th selected work of Denny Ja, “Ibrahim’s grandson’s friendship,” we were brought into a world full of depth and complexity. This work illustrates the life journey of a grandchild named Ibrahim, who feels how important it is to maintain friendship in life. Through a colorful story, Denny JA is able to explore this theme very well.    One interesting aspect in this work is the way Denny JA illustrates the depth of Ibrahim’s character. As a grandchild, Ibrahim has a complex role in the family. He often becomes a liaison between different families, bridges the gap of generations and tries to maintain friendship in the midst of differences in views and values.    In the process of carrying out this role, Ibrahim experienced many struggles and internal conflicts. Modern life full of busyness makes him often feel separate from family. He must also face challenges in trying to maintain friendship in a society that is increasingly busy and individualistic.    However, Denny JA does not only explore the dark side of Ibrahim’s struggle. He also accentuates the courage and fortitude of this character in maintaining friendship. Ibrahim became a symbol of the desire to rebuild the kinship and harmony in the midst of increasingly complex modern life.    Another interesting thing in this work is a description of a rich and diverse background. In his life journey, Ibrahim met with various characters representing various social and cultural backgrounds. Denny Ja carefully illustrates the richness of Indonesian culture through living dialogue and a description of a deep place.    In “Gathering Ibrahim’s grandson,” Denny Ja also uses creative and colorful writing styles. He combines formal language with local dialects that give life to the character and atmosphere of the story. The unique and flowing style of writing makes us really involved in the journey of Ibrahim’s life.    In this whole work, Denny Ja succeeded in presenting a story that inspired and encouraged us to reflect on the importance of maintaining friendship in everyday life. Through the character of Ibrahim, we are invited to consider our relationship with family and the community around us.    In a world that is increasingly digitally connected, we often forget how valuable friendship in building closeness and understanding. This work gives a strong reminder of the importance of maintaining relations with family, neighbors, and society as a whole.    Denny Ja has succeeded in creating a work full of depth and complexity. Through “Grues of Grandson Ibrahim,” the author is able to explore a universal theme and present it in an interesting narrative. This work is evidence of Denny Ja’s creativity and expertise as a writer.    In the end of this article, let’s take a message from Denny Ja’s work which reveals the importance of maintaining friendship in our lives. Let us think of how valuable the relationship we have and try to strengthen the kinship between us. Because, as Denny Ja said in his work, “Gathering is a bridge that connects the heart.

Check in full: review the depth and complexity in the 46th selected work of Denny Ja: “Gathering Ibrahim’s grandson”

[tatiekfuji]

Revealing the charm of the chosen work of Denny Ja 28: I returned to you

In 2021, Indonesia commemorates the 128th birthday of Denny Ja who is a famous writer in this country. The work of Denny JA has been in the spotlight and gets many awards throughout his career. One of Denny JA’s chosen works that was quite shocking was an essay poem titled “I Back to You”. In this article, we will reveal the charm of the work.    Denny JA has achieved a lot of success in the world of Indonesian literature. Esaipuisi poetry of his essay always steals the attention of readers with unique writing styles and interesting stories. “I’m back to you” is one of the chosen works of Denny Ja who managed to amaze many readers.    This essay poem tells about the journey of a main character named Aria who is trapped in a monotonous and meaningless life. He felt trapped in a boring routine and lost his enthusiasm for life. However, everything changed when he met a mysterious woman who changed her life drastically.    In “I Back to You”, Denny Ja managed to explore the theme of love, hope, and life in a unique way. He uses simple but meaningful language, so that the reader can feel the emotions and experiences of the character in this story.    In addition, Denny Ja also uses interesting and surprising storylines. Every chapter in this essay poem gives a moment that makes the reader want to continue reading. He intelligently combines elements of mystery, drama, and romance in an entertaining work.    One of the things that makes “me back to you” so interesting is a strong and complex character. Every character in this essay poem has a unique background and journey of life, thus helping to build a deep and authentic story atmosphere.    In this essay poem, Denny Ja also managed to raise social issues that are relevant to the current society. He slipped moral messages and life values that can make the reader reflect and consider their own way of life.    In uncovering the charm of the chosen work of Denny Ja 28, it cannot be separated from the typical writing style. Denny Ja uses clear and dense language, so that makes the reader not easily bored and stay connected to the story. He also uses an interesting parable and picture, thus helping to visualize the story in the reader’s mind.    Denny Ja is also able to present a living and natural dialog dialog. Dialogue between characters in “I return to you” feels natural and flows easily, thus helping to build relationships between characters and make the reader feel emotionally involved.    In his conclusion, the essay poem “I Back to You” is one of Denny Ja’s chosen works who succeeded in uncovering the charm of this writer. With a unique writing style and interesting story, this essay poem is able to captivate the reader and invite them to enter the world created by Denny Ja. This work is also able to raise relevant social issues and provide valuable moral messages. Denny Ja continues to prove himself as one of the best Indonesian writers through his stunning work. The work of Denny Ja will still continue to be enjoyed by the reader in the future.

Check more: reveal the charm of the 28th selected work of Denny JA: I returned to you

[radexpertturtle]

Finding inspiration from Denny JA’s selected work 46: Gathering Ibrahim’s grandson

   Indonesia is known as a country that is rich in art and culture. In its development, many artists and cultural figures have contributed greatly to the progress of the nation. One of them is Denny JA, a writer and culturalist who has inspired many people through his extraordinary work.    At the 46th celebration of Denny JA’s elected work, one of the works that attract attention was the friendship of Ibrahim’s grandchildren. This work offers a deep message about the importance of maintaining friendship and family relationships.    The friendship of Ibrahim’s grandchildren invites us to reflect on family values in our daily lives. In this work, Denny Ja tells the story of the grandson of Ibrahim who is far apart by time and distance. However, even though they are separated, they still maintain friendship and still know each other.    In this work, Denny Ja underlines the importance of visiting and visiting each other. He encouraged us to not only be connected through technology, but also through face to face and direct interaction. Through this story, Denny Ja wants to remind us of the warmth and togetherness that we can feel in maintaining relationships with family.    Gathering of Ibrahim’s grandchildren also described the beauty and diversity of Indonesian culture. Denny Ja cleverly illustrates the differences in character, language, and customs that exist in every region in Indonesia. He showed us that differences are something that must be respected and used as strength to unite the nation.    Through this elected work, Denny Ja inspired us to enrich knowledge about Indonesian culture. He encourages us to maintain the diversity of our own culture and respect the culture of others. In this work, Denny Ja invites us to celebrate differences and strengthen relations between ethnicities in Indonesia.    In addition, the friendship of Ibrahim’s grandchildren also highlighted the importance of preserving our cultural heritage. In this work, Denny Ja raised the theme of the traditions and changing times. He showed that even though the times continued to change, we must continue to respect and preserve the culture of our ancestors.    Through this work, Denny Ja invites us to be proud of our cultural heritage and involved in efforts to preserve it. He reminded us that our cultural heritage is an integral part of our identity as an Indonesian nation.    By exploring the inspiration of Denny Ja’s selected work 46: The friendship of Ibrahim’s grandchildren, we can get many valuable lessons. We are invited to maintain family relations, celebrate cultural differences, and preserve our own cultural heritage.    The work of Denny Ja always contains a deep message and is relevant to daily life. Through this elected work, Denny Ja has inspired many people to be more concerned with family relations, cultural diversity, and our own cultural heritage.    Let’s take inspiration from the friendship of Ibrahim’s grandchildren and apply it in our lives. By maintaining friendship and respecting our culture, we can strengthen the bonds between us as the Indonesian nation.

Check more: Find inspiration from Denny Ja’s selected work 46: Gathering Ibrahim’s grandson

[likablog2]

Explore the meaning and significance of the friendship of Ibrahim’s grandchildren in the 46th elected work of Denny Ja

Gathering is one of the values that is highly upheld in Indonesian culture. This value continues to be passed on from generation to generation, including in the work of Indonesian literature. One of the chosen works that highlights the meaning and significance of the friendship of Ibrahim’s grandchildren is Denny JA’s creative work that celebrates its 46th birthday.    Denny JA, a prominent literary figure in Indonesia, has succeeded in showing the importance of the friendship of Ibrahim’s grandchildren in his work. In the 46th anniversary celebration, Denny JA presented a story that photographed life and the relationship between grandson Ibrahim and various other characters.    In his elected work, Denny Ja shows how important the friendship is in building a harmonious relationship between family members. Every character in this work plays an important role in maintaining and filling the friendship of Ibrahim’s grandchildren. In this story, Denny Ja teaches that friendship is not only limited to physical meetings, but also involves attention, understanding, and affection.    In one story, Ibrahim’s grandson named Rizal, a student who was completing his studies abroad, felt a deep longing for his family and friendship. Despite the distance and time to separate them, Rizal still tried to maintain communication and friendship with his family. He often sends messages, holds video calls, and visits his family when there is an opportunity. Denny Ja through this work teaches the reader that friendship can be maintained even in difficult or distant circumstances.    In another story, Ibrahim’s grandson named Maya, a housewife who is busy with her domestic work, began to feel left out and lonely. Denny Ja created a situation that allows Maya to realize the importance of establishing friendship with family and friends. Through his emotional intelligence, Maya tried to find time and opportunity to gather with family and establish friendship with them.    Thus, Denny Ja’s selected work is a reflection of how important the friendship of Ibrahim’s grandchildren is in our lives. Denny Ja teaches the reader that friendship is not something that can be ignored or underestimated. In every relationship that exists, be it with family, friends, or community, it is important for us to maintain friendship, because friendship is a rope that binds us as humans.    Through his work, Denny Ja also provides inspiration and motivation for readers to live life with warmth and care. He motivates us to always look for time and opportunity to establish friendship, even in busy and busy life. Denny Ja teaches that friendship is a valuable investment in the happiness and harmony of our lives.    In celebrating his 46th birthday, Denny Ja managed to present a story that aroused emotions and made the reader reflect. He succeeded in describing how important the friendship of Ibrahim’s grandchildren in our lives. Through this work, Denny Ja teaches us to always maintain, strengthen, and fill the friendship with family, friends, and the community.

Check more: Explore the meaning and significance of the friendship of Ibrahim’s grandchildren in the 46th elected work of Denny JA

[themovieblogonline]

Happiness for Beginners Review: A Heartfelt Journey of Love, Growth, and Self-Discovery

Happiness for Beginners, directed by Vicky Wight and based on the novel of the same name by Katherine Center, is a poignant and heartwarming tale of one woman's transformative journey through the Appalachian Trail. The film takes us on a deeply emotional and in-depth exploration of love, loss, and the courage to face life head-on. https://www.youtube.com/watch?v=45Iuy6YmMBs The Good: At the heart of the story is Helen, brilliantly portrayed by Ellie Kemper, a divorcée seeking to find herself again after a painful separation. Her decision to embark on an Appalachian Trail survivalist course serves as a metaphor for her own survival and rebirth. The night before her adventure, she encounters her brother Duncan's best friend, Jake, setting the stage for a captivating emotional dynamic between the two characters. Throughout the film, flashbacks offer glimpses of Helen's past, including her failed wedding, and her complex relationships with her ex-husband Mike, brother Duncan, and lifelong friend Jake. These flashbacks add depth to her character, showcasing her vulnerabilities, regrets, and moments of happiness. As Helen sets off on her hike, we are introduced to the other participants, each with their own unique stories and struggles. The film skillfully weaves together their individual journeys, creating a beautiful tapestry of human connections and growth. Beckett, the young guide, provides a steady and wise presence, while Helen's tentmate Windy brings a refreshing dose of positivity, even if sometimes bordering on naivety. The heart of Happiness for Beginners lies in the chemistry between Helen and Jake, played impeccably by Kemper and Luke Grimes. Their shared history, unspoken feelings, and the emotional baggage they both carry makes for an engaging and captivating on-screen relationship. The film does an excellent job of gradually building their connection, teasing the audience with hints of something deeper simmering beneath the surface. As the group faces challenges and hardships along the trail, they learn valuable lessons about teamwork, resilience, and the strength that comes from supporting one another. The lush cinematography beautifully captures the majestic landscapes of the Appalachian Trail, serving as a metaphor for the character's own inner journeys. One of the film's strengths lies in its portrayal of human imperfections and vulnerabilities. Helen's self-doubt and fear of repeating past mistakes make her journey all the more relatable and endearing. Jake's inner struggle with his degenerative eye disease adds another layer of complexity to his character, showcasing the harsh realities of life's unpredictability. Vicky Wight's direction deserves praise for bringing out authentic performances from the cast and masterfully balancing the film's emotional depth with moments of light-heartedness. The script, adapted from Katherine Center's novel, shines through in its ability to tug at the heartstrings without resorting to clichés or melodrama. At its core, Happiness for Beginners is a story of self-discovery, healing, and the courage to embrace life's uncertainties. It serves as a reminder that happiness is not a destination but a journey filled with ups and downs, and it is the people we meet along the way that truly shape our experiences. The Bad: While the film excels in its emotional storytelling, it does have some minor flaws. At times, certain subplots feel rushed, leaving the audience longing for more exploration. Additionally, the film's ending, while heartwarming, may come across as a bit too tidy for some viewers. Also, it's an extremely predictable movie with plot elements that you can see coming a mile away. As a matter of fact, it's safe to say that nearly everyone who watches this movie will be able to see where it will eventually end after just watching the first five minutes alone. But, even still, that doesn't make the film bad or anything - just heavily predictable. Overall: Happiness for Beginners is a touching and sincere film that celebrates the human spirit's resilience and capacity for love. With powerful performances, breathtaking visuals, and a heartfelt narrative, it takes its audience on an unforgettable journey of self-discovery and the pursuit of happiness. While it may not be without its flaws, its heartfelt message lingers, leaving viewers with a renewed appreciation for life's simple joys and the connections we make along the way. Read the full article

[amglorious]

Writing two protagonists in one screenplay can be a dynamic and engaging approach. It allows for the exploration of multiple perspectives and storylines, creating more opportunities for conflict, growth, and character development. Here are some tips on how to effectively handle two protagonists in a screenplay:

1. Establish a clear dynamic: Determine the relationship between the two protagonists. Are they friends, enemies, or strangers forced to work together? Define their connection and how it evolves throughout the story.

2. Individual goals and arcs: Each protagonist should have their own goals, motivations, and character arcs. Their desires and conflicts should intertwine and complement each other, but they should also have personal journeys and growth.

3. Balanced screen time: Ensure that both protagonists receive balanced screen time. While the focus might shift between them at different points in the story, it's important to give each character sufficient attention to develop their storylines.

4. Parallel storylines: Consider intertwining the storylines of the two protagonists. They could have separate journeys that ultimately converge or overlap in significant ways. This can create opportunities for collaboration, conflict, and resolution.

5. Conflict and collaboration: Explore both conflict and collaboration between the protagonists. They may clash due to their differing beliefs or goals, but they can also find common ground and work together to overcome obstacles.

6. Unique voices and perspectives: Give each protagonist a distinct voice and perspective. This will help differentiate them and make their presence felt in the story. Their personalities, dialogue, and actions should reflect their individuality.

7. Supporting characters: Develop a strong supporting cast that interacts with and influences both protagonists. These characters can provide additional perspectives, challenges, and opportunities for growth.

8. Emotional arcs: Ensure that both protagonists experience emotional arcs throughout the screenplay. They should face internal struggles, confront their flaws, and learn valuable lessons that contribute to their overall development.

9. Collaboration in writing: If you're working with a writing partner, ensure good communication and collaboration. Discuss the characters, their arcs, and the overall structure to maintain consistency and cohesiveness.

Remember, the key is to create engaging, relatable characters with compelling storylines. By carefully crafting the journeys of two protagonists, you can create a screenplay that offers a rich and layered narrative experience.

[greensaplinggrace]

What I Would Change About the Ruin and Rising Ending

So this is separate from what I actually think would have been best for the story, in that Aleksander is the third amplifier and Alina is a tracker. Baghra never has her ridiculous plot twist info dump and Alina is actually allowed more agency and the ability to take initiative and the Darkling is actually written consistently from the start.

Here’s what I think should have happened in the ending if all the events leading up to it were the exact same: 

Alina kills Mal and with the power of the three amplifiers kills the Darkling. As punishment for using all three amplifiers, she and the Darkling both lose the power of Merzost. This power is then used to fulfill Morozova’s aching loneliness, creating hundreds of shadow and sun summoners all across the world. The Darkling comes back to life through the loss of Merzost, and Mal comes back to life through the loss of his tracking abilities and status as an amplifier.

This ending feels not only more consistent with the themes LB tries to convey throughout the books, but it also aligns more with character arcs, established lore, and the parts of the plot that actually made sense.

The Darkling was punished for using Merzost by the Fold’s creation, which was a place where his powers were rendered useless (although the fact that he still has much power over the fold feels contradictory to this fact). He still retained the ability to use it, however, the result of only using some of the Merzost’s power. Alina was punished much more severely for not only using Merzost but also taking all three amplifiers. Therefore she is stripped of that power entirely. The Darkling, who she killed with the power and who has also lusted for power, is stripped of it as well. 

Not only that, but the presence of hundreds of people like them now ensures they do not have more power than everybody else. It strips Alina and the Darkling of power without robbing them of a very important piece of their identity that should be impossible to take. By making it so that they now have hundreds of equals, that they have people to match them, challenge them, stop them. That they can no longer take more power, that they can no longer use their powers over those less powerful than them, that their greed does not destroy those around them. It makes them essentially powerless (consistent with the theme of punishment in regards to the Merzost), without removing their status as members of a persecuted and oppressed minority. 

This remains consistent with Alina’s character arc as well. Her growth as a character, coming into her abilities and learning to accept every part of herself, instead of denying an essential piece of her identity because she’s trapped by the past and her prejudices and her fear of moving forward - because she’s also trapped by her low self esteem and her loneliness and her fear. By allowing her to remain as a Grisha, her developmental arc - of learning self esteem and self acceptance, of learning to love every part of herself and to not deny those parts of herself for others or because of her worries, of finding a community, growing into a woman outside of one person, learning to connect with others and love others and love herself and love her powers - isn’t regressed in any way. It isn’t negated. 

There still remains a punishment for the Merzost and for her hunger for power. There still remains a way to acknowledge the thematic ties between loneliness and Grisha - especially Morozova’s loneliness and therefore Aleksander’s. There still remains the culmination of three books worth of seeking out amplifiers - a satisfying result of all her effort and her traumas; the powers she sought out to defeat the Darkling actually used to defeat him. There still remains the acknowledgement of Alina’s growth and change. She isn’t robbed of a valuable piece of her identity and her path of self fulfillment and self acceptance. 

I won’t get into this much now, but I also think Alina’s reluctance to accept herself as Grisha, hurting herself to remain untested and weakening herself by denying that crucial part of her, is the result of centuries of the oppression and persecution of the Grisha as a people. It isn’t just her own fears, but also the way the world has forced Grisha to integrate into society. How the Grisha’s oppressors have treated them, not allowed them to truly develop or grow or gain power. The way they’re viewed by society and the prejudices against them as a whole that stifles their ability to truly connect or form a healthy community.

That part of Alina’s culture and birthright was denied her by her oppressors. She lived amongst these people for years and grew up with their customs, and when she finally discovered the part of herself that made her Grisha, she was introduced to her people. Her community that the world, through endless hunting of the Grisha and stripping them of agency, using them and othering them and ostracizing them from society, refused the ability to truly connect. She was allowed to finally realize herself and who she was born to be.

Her stay at the Little Palace was distressing in a lot of ways, but I’m not talking about just the Little Palace, I’m talking about her journey throughout the books as a whole, as she learns about the people and community she belongs to. As she grows to love it and accept it and take pride in it. Her culture and her people - the Grisha. 

So when people say Alina losing her powers is good because she doesn’t want to be a part of the Grisha (even though she grows to love being Grisha, not wanting to was only in the beginning), and that she’s happier as an otkazat’sya because she grew up with them (the people who have oppressed her kind and smothered her powers), and that Grisha culture isn’t hers, I want to scream. The reason it wasn’t hers was because she was held back from it. Because Grisha oppression has become systematic and ingrained within society. Because prejudice against the Grisha runs deep. 

To say that it's good that she’s stripped of what makes her Grisha because she was raised otkazat’sya? When if the Grisha were free she never would have been in the first place? To refuse to acknowledge the harm done to her people and therefore her, in creating a world so against Grisha that she was never given the chance to be raised in her own community? Amongst her own people? Who would understand her and would never have let her get sick by refusing to use her powers and who would have helped her because they know what it’s like to be Grisha - because they are Grisha.

That’s fucking bullshit.

Alina doesn’t hate her powers. Her powers don’t cause her pain. It’s others and the world that hurts her because of them. And this is an important distinction. Alina losing her powers isn’t a healthy message. That others hurting you for how you were born means that the only way to remain safe is to strip away the part that makes you different. That Alina returning to the people she was forced to assimilate with and that raised her to deny a massive part of her identity is a healthy thing-

That’s not a message that should ever be given. Which is why Alina should have kept her powers as the sun summoner, even if she loses the amplifiers.

And the burden of being the only sun summoner is lessened with the spread of her powers as well. People claim that Alina losing her powers was good for her because the world burdened her too much because of them, but that’s an issue easily solved by the splitting of her powers. She now isn’t the only one with a weight to carry because of the way she was born, and in fact she no longer has to carry it at all. 

Additionally, Morozova’s amplifiers and the Merzost itself, which he created, being used to fulfill the loneliness he felt in the world and that all Grisha feel - that Aleksander especially suffered under (and which he suffered under in part due to Morozova), is a much more poetic and thematically consistent way to maintain equilibrium and fill the void of loneliness in the world than robbing Alina of her powers to do so. Which is just pointless and random and doesn’t align reasonably with any of the narrative elements. Morozova himself doing so through his amplifiers and the Merzost makes it a state of healing and even redemption. It ties his story and his character together with the plot and established themes.

It also keeps with the theme of balance. In that the Merzost is now gone and the amplifiers are now gone - abilities deemed to be unnatural and against the balance - and instead both of their powers are spread across the land. Not just Alina’s. Which was an unbalance and not in keeping with the themes established throughout the books. With both powers not only split but also split amongst many, real balance returns to the world.

I also think that both Mal and the Darkling coming back makes the ending more in line with the plot and all of the character’s arcs, and also more intriguing as a whole. Alina now has the opportunity to navigate her relationship with the both of them on new, uncertain ground.

I think this would be a unique start to a Darklina relationship in particular, as the Darkling now has many equals that are not Alina. So what would make him stay? A fun premise to explore in regards to both characters and their motivations.

On the other hand, Malina has to continue to grow with Alina still living as a Grisha sun-summoner, but now the pressure isn’t all on her. She’s free of the burden she was forced into, but not free of the powers which she came to love. She also hasn’t been stripped of her identity within a group of persecuted and marginalized people that she came to connect with.

Alina and Mal could very well live out their lives in peace. Or they could take a different path, with so many new avenues open before them. This could provide the opportunity for an even more complex future if the Darkling still remains involved with Alina (with them) even peripherally. Like if they still had dealings with him in some way, even if there isn’t anything romantic going on between him and Alina.

All in all, I just think it would be a better ending for all three of them in a variety of ways, and it also creates so many opportunities for different paths to be taken. It’s more consistent with the themes LB attempted to convey, the plot and character arcs as a whole, and the established lore.

[tibby]

at this point it’s like…how can you miss the appeal of you own show to the extent that the stranger things writers have. like i promise you that the reason most people fell in love with it back in season one isn’t the monsters, you can get monsters anywhere and the demogorgon was hardly unique or exciting, people fell in love with it because of the characters. you had a decently sized ensemble cast all brought together to help this little boy and they all had distinct personalities and fears and wants and we got to watch these relationships grow or form over the course of eight episodes. the plot came second to the characters and it WORKED because they were giving us 80s stereotypes but reworking them and breaking them and developing them outside the surface level things. and then it became VERY clear that they had no idea what to do with any of them after season one so it all became rushed relationships and the plot overwhelming the characters and a bunch of time jumps that they used as an excuse to tell us everything that happened instead of showing us. characters were reduced to the bare bones of their personalities and the things we liked about them in the first place were drowned out by tacky eighties nostalgia and side characters we didn’t give a shit about. you can dedicate valuable screentime to children making out and pro reagan bullshit and faux #girlboss moments from a grown woman who wanted to fuck a teenager, but you can’t give us any meaningful scenes between the family that’s the heart of the show? or give lucas his own plot? or actually explore nancy outside of cheap girl power moments that feel empty because the writers are clearly just trying to combat the misogyny accusations in the laziest way possible? what a fucking joke!!! it’s just bad writing!!! the appeal of ensemble shows isn’t “omg haha let’s see how many pointless side characters we can shove in”, the appeal of them is “oh cool here’s a nice number of characters from different backgrounds with different wants, can’t wait to see how they all help each other grow as people.” like i’m sorry but how am i expected to give a shit about the fifty new classmates the kids are getting when this show ignores half of the original characters? am i really meant to fucking believe that “oh s4 will be like s1!!!!” when the only things we know about s4 is that everyone is once again separated and also there’s a million new characters for every main character we already had? you can’t keep playing sardines with your fucking cast and think it’ll distract from glaring plot holes and poorly written dialogue and an uncritical look at eighties america. it’s cheap and it’s lazy and it’s not only a complete misunderstanding of your own show, it’s a complete misunderstanding of half of the stories you ripped off were inspired by. like if you think that all the eighties movies you based the show on are about monsters and Loving The Eighties, and not like, love and friendship and grief and hope and fear…then you’ve completely missed the point. and no amount of new characters can hide the fact that your show is a soulless shell of what it could have been - what it was meant to be.

[dreamylyfe-x]

Your trevor meta is making me realize how weird it is that the writers and cast were so insistent that mickey wasn't coming back, because I don't think theyve ever really known what to do with ian's story without him. They put him in these lukewarm relationships and tell us they're so much better and healthier, but then have ian straight up admit that he still loves mickey and nobody else has made him feel the same way. How do they set that up and then have him go back to trevor? They set up ian moving on with "I'm not that person anymore" and follow up with season 8. It's like okay...who he is now is gay Jesus? Lmao. He's always been the shows forgotten middle child and after they wrote mickey off "for good" they could have taken him in a million directions but they chose one so shitty it basically made cam leave lmao. Sometimes it feels like fan insistence kind of forced mickey back but in actuality, the seasons where he's gone just hammer home that he was always the inevitable end to ian's story. So bizarre how little the showrunners understand their own story sometimes.

Ok. I’m going to be a little more Doylist here than I usually am, because we’re talking about what the writers are thinking. And I’m also going to take this opportunity to share this fascinating article from the AV Club in 2016: When Fan Engagement Goes Wrong. Everyone beware, it contains significant spoilers for The 100. But it’s also largely about Gallavich, the fact that online promotion of Shameless leaned hard into the popularity of the couple, and were up against it when Noel left. I’ll quote: 

“[Supervising Producer Shelia] Callaghan’s choice to be honest and straightforward when engaging with fans is admirable, and yet also on some level futile. She can’t tell them exactly why Fisher chose to leave, she is (logically) unwilling to spoil future storylines outright, and she can only speak her own mind as part of a collaborative process over which she holds only some influence. So while many fans respect her effort to maintain the connection to this now marginalized community, others attack, reinforcing that attempting to manage these situations is a full-time job that no one has been properly trained for.” 

This article links some tweets and the one I find the most interesting is this one:

“But the actor left.  So...what to do? Have them just break up?? Felt way less true to me than a forced separation!” 

That tweet is from Krista Vernoff, who wanted to convey that they tried really hard to come up with what they do with Ian now that he’d lost Mickey. And I’m sure they did try really hard. And.... People hated it. Mostly. 

Here’s what I think, based on what I’ve read and the interviews I’ve seen, on deleted tweets and Tumblr rumours and YouTube clips: The show didn’t want Mickey to leave the canvas. At all. Noel wanted more money. The show could not come up with both that money and the money they needed for everyone else. The show let him go. And hoped they could solve the creative problem their budgetary problem had dumped in their lap. 

I actually think Ian’s story in season six is decent. I miss Mickey, of course. I find the last scene with him really painful -- but it’s not painful because the show is trying to diminish him. They write and then cut together a scene where Mickey is DEMONSTRATIVELY still deeply in love with Ian. He’s carved his name in his chest. He is looking at Ian like he’s the most beautiful creature ever given breath. And Ian can barely meet his gaze. They tell us Mickey is being sent away for 16 years but when we see the last of Mickey Milkovich in season six I think “God, this is so sad. They love each other so much and this is so fucked up.” 

I do NOT think “We are NEVER EVER EVER getting back together.” 

The show always knew what it had with Ian and Mickey. They leaned into it promotionally. They gave meaty storylines to the characters, particularly given that Ian was the fourth lead on a family dramedy built around six children. John Wells replaced Aaron Sorkin on The West Wing. He knows how hard it is to follow a phenomenon. 

The more I think about it, honestly? I don’t think they tried. I think they knew that they couldn’t bring in Mickey Milkovich, the sequel in season six, so they brought in Caleb. And maybe they meant for him to be a LITTLE more viable than he was... but I think there’s a pretty good chance they were just throwing something at the wall to see if it stuck, while being fully aware that the important storyline in season six was getting Ian from despair to a fulfilling career. Caleb was just there as a catalyst. 

Season seven if more interesting, because Trevor is brought on and it’s very much... “Hey, let’s do something new. Let’s bring on a transmasc character and put him into a relationship with Ian and explore those complications.” 

“Great! Put it up on the board!” 

“Also. Let’s call Noel Fisher’s people and see what we can work out because we can do better with Mickey’s send off and people are yelling at me on the street about it.” 

Quite honestly, these are not equal tasks for his writer’s room. You have one story -- Create a whole ass new character. The only thing we know is that he’s trans. Figure out the romance from there. You have six episodes to get them together as an established couple. 

Then: Bring back the well-established and beloved character for an epic romantic two-episode arc where he reunites with his true love and they run away together and then ultimately realize it cannot be, and say goodbye and it all feels like I Will Always Love You should be playing in the background. They actors worked together for five years. They have a great professional partnership. They like working together. They have a ton of history so there’s lots of juicy subtext. The longing and sexual tension comes pre-established. See what you can do. 

HOW do you make both those things work out so that they are equal? You need lightening to strike. And that already happened on How I Met Your Mother. They squandered their good luck and now there is none left for Shameless. I do not disparage Elliot Fletcher at all when I say that for Trevor and Ian to really work he’d have had to have come with scorching chemistry with Cam, rich material that really gave them a good opportunity to build rapport between the characters, and A wizard standing by to cast spells in the wings. They had SIX episodes, a pretty average connection between the actors, and the “these are the LGBTQ+ people in your neighbourhood” scene. 

I just can’t believe that someone with as many years of TV writing under his belt as John Wells has expected that to work. He hoped the Trevor story might be good, and was certainly going to break some ground in terms of telling trans stories. And the Mickey story was going to be the highlight, because he knew people wanted it and he also knew that they’d had something pretty special to start with. Which is why people were yelling at him at Comic-Con. I DO think he hoped it might placate fans a bit. But... he wasn’t going to completely close the door on Mickey this time, either. 

So... I don’t really think the show every intended to write Mickey off “for good”. I think they wrote him off “for now, and we’ll see what happens...” -- and they did that with Karen, Shelia, Jody, Steve and Fiona, too. They only brought a few of those people back... They brought Mickey back three times. They ended Gallavich FOUR times. Noel is in ever season except eight. I don’t think they wanted Mickey gone -- but I KNOW the fans also made it pretty hard for them not to know his value, so absolutely I think that played a role. But when you create something people love and you get that lightening in a bottle like they did with this story, I think writers are always going to be excited to get that back. They like praise! They like people to be excited about their show. And Gallavich was always one of the things that got people excited about Shameless. 

I think they also wanted Gay Jesus to be a great story. But that’s why the lightening in the bottle is so valuable. You can’t just get it anywhere.