#gettin' meta

[everything-written-down]

Well, and when she says his name, she says, “It’s good to see you again, Billy,” there are tears in Kathryn’s eyes. Which, thank you for choosing that take, because I assume, as Kathryn always does, she gave you levels there. But it seems sincere from her that it is good to see Billy again. And I just want to know where this comes from.

It’s so funny that you’re calling out that take. So, I just want to take a moment to shout out editor Libby Cuenin, who did an extraordinary job on this episode. And we did deliberate on that, and we talked it through, do we want the take with the tears in the eyes or not?

And I remember that conversation because, with an actor as gifted as Kathryn, yeah, you get kind of everything, and you are afforded the opportunity to shape the narrative based on the beauty that she gives. And I wanted the tears, because to me, I feel that moment is about her beholding his potential. I mean, I think it’s about her seeing this powerful witch in front of her.

And you know, all she did with Wanda, once Wanda knew who she was, all they did was fight. And so, at this point in the narrative, there’s conflict between Agatha and Billy, but they’re standing there and they’re talking, and I think she is just enraptured by who he is.

I do think part of that is, I think that there are fond feelings and fond memories of of their time together when he was little Billy, and I think she was, in a way, nosy neighbor. She was, in a way, the babysitter. Like, I think every role that Agatha plays, she believes a little bit. It’s a little bit of herself, and a little bit of her essence, and her soul. But I do think that the tears in the eyes, I think it’s pride.

- Jac Schaeffer (x)

[everything-written-down]

#it’s hard to trust showrunner with wlw relationships these days#but idk man I trust her more and more each time I read these ep breakdowns#like idk I think it’s a bit delusional to think they will get a totally happy ending#just given the nature of the show#but I do think it will honor their relationship#and they are def gonna kiss

(x)

[feelingthedisaster]

The King's Men's plot structure is genius.

TKM has been critized a lot for not following the conventional plot structure, because it doesnt end inmediatly at the resolution of the climax, like they taught us in class. But it actually has a reason behind it and it think that is what makes AFTG unique and Nora Sakavic an amazing writer. I'll explain.

So, we all know AFTG has a lot of chess metaphors, however i think it doesnt contain the metaphors, it is the metaphor. Each character represents a piece of the board (Riko king, Kevin queen, Neil pawn, Andrew knight, etc) and exy is the chess, but but but, a chess game not only involves the pieces, the game cannot exist without someone playing, the chess masters (which would be Kengo, Ichiriu, Nathan and all the mafia stuff).

So, AFTG is divided into two plots happening at the same time: what happens on the chess board (exy season) and what happens outside it (the mafia mess).

Of couse, the climax has to be about the outside out, because who cares which one of pieces move in which way if the players are pointing guns at eachother under the board? The guns are more more important. So who cares? The pieces on the board care, the ones that are being played with. And who is the narrator? The character that represents the pawn, the less important figure of the entire room.

Yeah, the 'outside of the board' plot is over half way into the book, but it doesnt matter because that happens outside the board, the chess game has not ended yet. The pawn cannot go back to rest in the box until the game is over, until the king dies. The book cannot be over until the chess game our protagonist is a piece of ends. The books have to end with the king's (Riko) death and that is exactly what happens.

If this isnt excellent writing and one of the best examples of know the rules so you can break them, i dont what is.

[deancasforcutie]

romantic comedy fluster <3

OR, they made the character with a love-em-and-leave-em womanizer manwhore persona actually get adorably overwhelmed/in awe at others' romantic expressions. and they made him BISEXUAL 💗💜💙

[postsforposting]

in dp1, "you can't buy love but only rent it for three minutes". dancers lend a hand.

you still gotta ask dancers if they want your hand.

calling for resumes but not paying medical/dental is asking to rent a hand without benefits

(everyone but domino got a little death in the end though: that's doing your friends a solid)

you can take advantage of your friends, and that can be forever, but that's only friends with benefits

especially if they're not always there for you

so if you want more than a little death,

you can't rent that, you can't pay for it,

so if you want more than just a little death

you need someone who isn't already married

or currently being nailed by someone else

you need to give it away for free

and dance

if you want a life together

[ironandglass]

I just had a thought triggered by this amazing artwork by @honeymilkbubbletea that features Jinx's pink eyes.

Is pink the symbolic colour of strength in Arcane's sister dynamic here? Or just Vi?

We see Young Vi with her bright pink hair as the stronger, responsible, dutiful older sister, then we see clips of her in the s2 trailers with black hair, looking physically strong but emotionally and personally ruined. The pink is hidden while she lays low/changes her identity/becomes someone else or whatever she is doing. Also in s1 she wore a hood when unhappy or stealthing, both when young and old. The removal of the bright pink making us focus more on her expression and darkened mood. A glimpse of her deeper inner experience, who she is underneath the bravado, perceived responsibility and identifiable signature pink hair.

In contrast, we see s2 Jinx with pink eyes as the empowered sibling now. Even before the end of s1 or s2 a lot of her artwork incorporates pink, she paints pink on her nails, infusing herself with power.

So looking at this s2 trailer image below of Jinx in the shark hoodie, with purple, I feel it implies she is finally trying to find a balance between these two extremes. Rather than trying to emulate her sisters strength she is finding a balance and stepping more into her own power, creating something new and evolved, a more powerful fusion of both of them.

And finally I gotta bring up this contrast in the s1 and s2 poster design below which I loooooove. The brightness of Jinxes eyes draws our eyes up past vi's hair, Jinx is holding Vi, the duality and symmetry of pink and blue, as well as their emotions, actions and values in this series is so well constructed it is phenomenal. I can not wait to see how it will evolve through season 2.

[nuwildcat]

Well I thought I was going to do a one and done meta for Man Suang but it turns out that I was wrong. Let's talk about ships and metaphors team.

Water first comes into play right in the thick of our trouble. Khem has just threatened to go to Bodisorn with the documents incriminating Chat's father. He gives Chat two days to do something and then we get this delicious angsty moment:

Chat in full existential crisis thinking back on a conversation with his father where he tells Chat that it's good that he doesn't want to be a civil servant.

And then he says this: But you must remember my words. It is ill striving against the stream. You will be ruined.

Luckily for Chat he gets a proper application of cat before having to deal with more drama when the fireworks explode.

Shout out to Ruang for his stellar acting when that goes down.

But that's not the last time that we hear about a stream and when we get it again, we add boats.

I really like the way they chose to reveal information at the end of the movie, cutting between different scenes to give us the whole picture of what happens to our characters after Hong's dramatic reveal and our conflict resolution.

There are two distinct conversations that bring up the stream, one with Chat and Bodisorn and the other with Chat and Khem.

Chat and Bodisorn's conversation is threaded through from start to finish at the ending scenes of the movie. Starting with Chat trying to turn over the incriminating documents.

There's a lot to unpack in that conversation but for now let's focus on the streams/boats.

Before this conversation is resolved we get Khem saying this:

A steamboat is made for the sea. A sailboat follows the wind. And a row boat can plough through every canal and river.

Here Khem is calling himself a rowboat. The Phrai status he has chosen to keep, turning down the offer of a title and land, is no longer a symbol of his powerlessness, but instead how he plans to leverage and change his circumstances. As a dancer at Man Suang, he is going to build his own form of power instead of having it given to him.

Adorably Chat shoots him some serious heart eyes at this statement but our boy is more than just smitten, he's charmed how they both think so similarly.

BECAUSE HERE IS THE THING. The conversation with Bodisorn that we start the end of the movie with? It happened before Chat and Khem have this talk.

Which means that Chat has already said this:

My father always told me that it's ill striving against the stream. But I don't think so. Now Siam has steamboats that can strike against the stream, wave, and wind, right?

And then we cut directly to credits.

To the best of our knowledge, Chat and Khem don't discuss the warning that Chat's father gives him, which means Khem's use of the boat metaphor comes naturally.

If you're wondering where the relationship that Khem and Chat have post Man Suang stems from, I would argue that this moment, this conversation is one of the key sparks that could lead to the presumably romantic feelings we are being promised in Shine.

Two men, from completely different worlds, meeting due to circumstances and despite their differences, sharing a mindset. A core understanding, that with the right position and power, you can change the world.

Whether you are a steamboat or a row boat.

[randomfoggytiger]

Mulder's Alien Baby Baby Trauma In-Depth (Part VIII) UPDATED!: Missing Conversations and Mulder Gettin' His Groove On

In the aftermath of Three Words, we are left with a few resolved questions-- Mulder knew the baby was his, Mulder didn't resent Scully, Mulder and Scully eye-bantered about the baby issue in her kitchen with the Gunmen, etc.-- that help to more fully make sense of that episode and the tail end of Season 8.

However. We are then given a giant, gaping hole of nothing that bridges the gap between the heavier mood of Three Words and the buoyantly tender one of Empedocles.

So, that leaves us with speculations, probabilities, and body language.

**Note**: This post has been updated to include @baronessblixen's thought on Mulder and Scully's conversation (did they or didn't they?) The nuance of "a little of both" is also a solid possibility.

FILLING IN THE BLANKS

During the events of Three Words, Mulder and Scully maintained a pattern: she pulled, he pushed, she was frustrated and anxious to the point of tears, he was frustrated and fearful to the point of honorable death. Neither wanted to push or pull away too far from each other, always drawing back in close proximity. Most importantly, Mulder gave her short tender or joking glances but never touched her.

The touching is important.

Usually, it's Scully who withdrew in times of crisis: not because she wanted to ice Mulder out, but because she wanted to maintain her wall of strength. Knowing that a touch from her partner will unspool it, she tried (tries) to escape emotionally tenuous situations before losing control. Mulder, however, learned to draw to her in emotional crises (Anasazi, Herrenvolk, Paper Hearts, Redux II, Emily, etc.)

That pattern contributed to Scully's bafflement and concern in Three Words: Mulder attempted to keep his trauma under wraps but gave himself away by withdrawing physically. She already sensed something off with him in the hospital (script here, thanks @x-files-scripts); but each successive conversation reinforced that by the unnatural space he enforced between them.

I've previously discussed at length why he stayed at a distance (post here, here, and here.) In short, Mulder was trying to keep up a facade-- his cool exterior, if you will-- so that his partner wouldn't prod or pry or urge (or send) him to professional help. Mulder's a "lash out to fix a problem instead of searching within to find the solution" kind of guy; and besides, he likely saw his situation as hopeless. Most therapists and psychologists didn't (don't) believe in aliens, let alone alien abductions; so, the only place he could find professional help would be in his circles-- where he's already a very well-known community figurehead. (While I don't think the latter was a consideration during his Three Words kneejerk, it at least points us to a possible solution post episode.)

Another problem: falling in-step with this season's useless (and often infuriating) scripts-to-screen translation-- post here for the paternity question but also script here for Mulder and Doggett's needlessly baited escape from the DOD facility-- we're not shown the gap between Three Words and Empedocles. We're left to assume Mulder and Scully had an off-screen conversation that resolved the distance between them... but I have doubts that was the case.

DID THEY OR DIDN'T THEY TALK?

It's often referenced that Mulder and Scully don't talk outside of work (ex. stated straightly in Detour and hinted slyly in Rain King.) The show leaned so far into this narrative that the only proof we have of an on-going relationship between the two in Season 7 is Scully's tie twirling, flirting, and unabashed possessiveness post Millennium and pre-all things... and even then, it might not be proof enough for some (or most) viewers.

The reality is, Mulder and Scully spent hours and hours and hours investigating, researching, and surveilling. We've seen plot relevant conversations during work hours that aren't just about work (i.e. Mulder asking Scully about her brothers in Roland), leading one to conclude that they've had very interesting and tantalizing talks when not currently occupied with a case.

Did one of those tantalizing talks happen off-screen between Three Words and Empedocles?

We have two options before us:

Mulder and Scully did talk. This would require a shift in their dynamic post Three Words; and the instigator would likely be Scully. She was already emotionally raw, growing more compromised, and stretched to her limits by the previous episode. It's not a far-fetched theory for her to have requested space or time to recover; and that shift in their wonky new routine would have off-set Mulder, and possibly pushed him out of himself and back to her. There are two hitches to this theory: it would require time to pass (not as big of a deal), and a conversation that would all too easily click them back into their touchy-feely dynamic previous to the events in Empedocles. The latter part is key: him feeling the baby in her hospital room is framed as his first time reaching out to connect with it-- and that would leave us with another question: did Mulder reach out only to Scully in the gap between Three Words and Empedocles; and if so, was she okay with that? There was no barrier or awkwardness on her side in Empedocles, so that points to a negative on the "reaching out to her but not the baby" theory (proved by her distress when he avoided the baby entirely in Three Words.) This means: to have a conversation, they would have had to reconcile without touching at all... which might (would) also further upset Scully; and, thus, disrupt her placid temperament in Empedocles. Ultimately, this theory leads to more questions than answers; but it can work, though not perfectly (depending on the viewer's interpretation.)

Mulder and Scully did not talk. This works with the lore of the show: Mulder and Scully don't generally talk, but their body language does. Moreover, it would also fit with the insanely fast-paced timeline of Season 8 (and The X-Files in general)-- Three Words happening within days, Empedocles chockfull with unacknowledged air fare and car rides, etc. On top of all that, it would also fit in with Scully's light-hearted moments in Three Words-- continually trying to draw her partner into a better outlook or mood-- and her eager openness in Deadalive, Three Words, and Empedocles. This means: it wasn't a conversation that settled Mulder and Scully-- it was Mulder who came to a resolution of sorts and showed up in repentance and reconciliation. Ultimately, I think this theory fits more with the show writers' vision of the characters; and would work seamlessly if the two episodes were fitted tightly back-to-back.

Mulder and Scully do a little of both: This idea was taken from @baronessblixen's tags; and it absolutely sounded like something those two would do. To quote: "...a combination. Mulder found more of his footing. And I think they had a conversation-- maybe just a light one-- that just touched on things because they weren't there yet." This means: Mulder and Scully got to clear the air between them without progressing too forward too fast-- which gives Mulder talking without touching leeway and hands Scully reassurance without rejection.

I, personally, pick the second theory. Mulder's actions in Empedocles--showing up at her doorstep right before her morning (or afternoon) shower, sweeping her off her feet with a present and pizza man banter, hovering until she motioned for him to feel the baby, ordering her pizza from his place in an attempt to displace the pizza man, etc.-- are completely unexpected by Scully. She answers the door, perplexed; is amazed and amused by his "the pizza man is not above suspicion" tease; "touched" by his personal package and surprise pizza delivery; and confident enough in his stability to rib him about being replaced by the pizza man in his absence. To me, these read as the actions of a woman not at all "conversated" with her partner: surprised, pleased, and overjoyed he'd come around on his own, baffled, disjointed, and silent at his about-face in proceeding episodes. Most pivotally, there seem to be no boundaries laid down between them, which leaves Scully feeling she can't command or demand he stay by her side in future episodes-- another point against conversation.

**Update**: I retract the previous paragraph slightly-- Scully and Mulder could follow in the footsteps of Empedocles for both scenario 2 and 3; and their attitude would fall a little more in line with 3's mild conversation than 2's non-communication. Everyone can pick for themselves, of course~.

Because, again, the context of their touches changes the interpretation of their reunion: is he still withdrawn, yet temporarily stepping up because of the glow of her and the baby's safety? Did he touch her previous to the gift exchange and her hospitalization? Or did he hover closer and closer with presents and banter, trying to smooth over yesterday(ish)'s events before the abruption took place?

This point will have to be picked apart more in-depth in later posts; but in the meantime, the theory is out there to analyze.

MULDER GETTIN' HIS GROOVE ON

An important aside: Mulder and Scully and his package.

The original scene (script here) reads as more exasperated on Scully's part-- "what's my crackpot partner doing here with a gift in his hand", if you will-- and more jocular and unabashed on Mulder's. It's an interesting take, and not out-of-character. The final render of that scene, however, changes what we can infer from the characters. Perhaps that's mostly due to David Duchovny and Gillian Anderson's chemistry, camaraderie, and history-- based on the note "the actors will know how to play it" (script here)-- or perhaps it didn't quite align with where Chris Carter wanted the characters to be. Either way, it's a smart change, I believe, in the unspoken aftermath of Three Words.

What is interesting is the "nice package" comment from Scully, and Mulder's shy initial misinterpretation with regards to his package. Beyond the comedy of the moment, it gives us a peek into Mulder's head: namely, that he is not dead, that he is still very aware of Scully, and that he didn't drop in and isn't hanging around strictly for pure or impersonal purposes.

Mulder usually sloughed off or was flustered by direct compliments, romantic and platonic, from other parties (i.e. Agent Henderson in Young at Heart and Cassandra Spender in Two Fathers.) His response here-- which I shall dive deeper into in a future part-- shows he truly thought Scully was complimenting with intent (propositioning, if you will); and that he was more than willing to reciprocate.

Not only that, but his misinterpretation bleeds right into his overtures for the baby. Mulder took a trip to his mother's-- meaning he still has her house, months later (another interesting thought to dig into)-- to root around in and find a suitable gift. An honorary Mulder family relic, too: another sign he saw this child as his own, despite his oft conflicting, paranoid doubts. This assumption aligns with David's astute observations of his character while filming the Revival: "William is the child that Scully had while we were together. It could be mine, it could be an alien, but I don't know. It's my child, I think. Mulder would live his life as if that was his child." Despite the doubts he voices in Essence's opening monologue, Mulder acts as if he claims the baby as his. And it's not surprising: the signs are there (covered in all of my previous meta parts) but smudged or written out by writers intent on baiting the answers as much as possible (again, post here.)

So, what does this mean?

CONCLUSION

Sometime between Three Words and Empedocles, Mulder gets enough of his act together to reflect on and tweak his behavior, schelpping up to and back from Tena Mulder's house to bear gifts for the offspring, caveman papa style. In addition to that, he lays down a few more walls; softens up; shows open, genuine interest in his child; and begins to rekindle his and his partner's relationship. Most tellingly, he touches Scully for the first time during her health scare; then for the first time with purpose after she and the baby pull through.

The question of what was said between them-- or even if there was anything said between them-- will never be answered. Knowing Mulder and Scully, the possibilities could go any way depending on one's own interpretation. Hopefully those possibilities have been fleshed out more thoroughly and reasonably in this write-up.

Thanks for reading~

Enjoy!

[thasdedede4u]

MetaDedede Week Day 3: ❤️Caring❤️

”I guess… make yourself comfortable~”

[everything-written-down]

This isn't a new or unique thought, but something that drives me absolutely bananas about the Ted Lasso writer response to Ted/Rebecca shippers being this condescending stance that it's so common and basic to do a romance between m/f leads and we've all just been ~socialized~ to want this, is that it actually ISN'T COMMON AND BASIC to see a romance between, first of all, two solidly middle aged people full stop, and two solidly middle aged people who are laden with grown-up, real-life baggage and whose relationship would have begun as a hard won and deeply authentic, joyful, and healing friendship, and probably a million more components that I'll think of after I post this. They of course were not legally obligated to do a romance but I absolutely beg of them to stop acting like Ted/Rebecca would've been dime a dozen because it would not.

[collinnmckinley]

I dont even play the game anymore, but for a very well known reason this makes me mad...

I was actually thinking about coming back to this game, but now i dont think i will if they do my main that dirty.

[junuve]

...like you never even existed

(art for my nier fics, essentially)

[pcktknife]

putting squid beakons back on sploosh is craaazy

[maestro-of-clockwork]

𝔇𝔞𝔶 𝔒𝔫𝔢

he's finally letting me type here

ask away

[bassdaily]

2023 Upcoming Theme Weeks

This blog is ship neutral and in addition to random shippy art reblogs, I do theme weeks for the major ships. This year we’re switching the order up a little. Schedule for 2023:

May 7 - 14 : Rollass

July 9 - 16 : BassBlues

September 3 - 10 : BassRock

November 12 - 19 : Miscellaneous

I tag religiously, so if anyone wants to blacklist any tags, anything overtly romantic gets tagged with “shippy” and with the specific ship tag (“bassrock” “bassblues” “rollass” “misc ships” “forteserenade”).

[everything-written-down]

thinking about Rio's line in the latest trailer saying "in the end all roads lead to me" and thinking about the lyric "wherever [the road] may bend / I'll see you at the end"