#hope this answers your question lol

[barbie-nightmare-house]

I only got into true detective about a month ago and I'm happy to find people in the same boat; if you don't mind could you share some of the deeper thoughts you've had about the show? Your interpretations/headcanons?

Fuck yes I can, goddamn I'm so excited

First, I think the first and fourth seasons are perfect reflections of one another. If you haven't watched S4, many apologies for spoilers. I highly suggest sucking it through a straw.

I’ve been reading the book Dancing in the Flames: The Dark Goddess in the Transformation of Consciousness by Marion Woodman and Elinor Dickson

In which, the philosophical concepts of self and universal consciousness are analyzed through the framework of the divine masculine and divine feminine. I believe this plays into the themes of both Season 1 and Season 4 of True Detective.

Nic Pizzolatto has expressed that Marty and Rust were written as men he could easily see himself becoming (How I Wrote True Detective - Behind the Curtain, particularly his statement at 3:20), which in essence, is an exploration of how masculinity manifests in different contexts. These are men whose flaws render them incapable of living 'normal' lives, yet enable them to demonstrate bravery in situations where most would not.

There is a lot of gendered discourse around Season 4 that I won't get into. Ultimately, I think it does a wonderful job of presenting the flip-side of the unbalanced masculinity in Season 1 by showing us unbalanced femininity. The women centered in Night Country are imperfect; they struggle with close relationships, with demonstrating faithfulness in relationships, with maternalistic nurturing, with regard for victims, etc.

So, both seasons together really solidified my understanding of the overall story. I'll be using balance, gender, time, and death as the themes here.

There are a few lines in Dancing in the Flames that stuck out to me:

“The psyche, as a self-regulating system, yin and yang in perfect balance, is a vision that historically has yet to be realized. […] In history, as in marriage, or in the individual, when a balance becomes stagnant, one or other of the energies moves out to new adventures. The spurt forces the complimentary energy to move also, until a new balance is found. So the spiral moves.”

It's kind of funny that I picked up this book right after my second rewatch of season 4. I'm big on synchronicities, just seeing shit that plainly ain't there. But here we go,

The imagery presented in Season 1 of True Detective appears to be inspired by some iteration of Cernunnos, a Celtic God of fertility, power, & blessings/weath; "god of beasts and wild places." Further, Cernunnos is the God of the Winter Solstice; the Dark Months (re: the significance of Season 4 Executive producer Mari-Jo Winkler saying, “Let’s look at season one of ‘True Detective.’ Hot, sweaty, male. We wanted to do [the] complete opposite. Dark, Ice, Cold.” in the True Detective: Night Country Podcast). "Cernunnos is the antlered god, part man and part stag. He is born on the darkest day of the year, winter solstice, and marries the goddess of spring, Beltane. About six months later, on summer solstice, he dies.

Among pagans, he is considered the god of fertility, animals, and wealth, and the underworld—sometimes he carries a purse filled with coin, for wealth. This connection to wealth and gold coins is found in the myth about Pluto (Hades), the god of the underworld, from which all wealth comes. Indeed abundance comes from what is deep in the earth and deep in our own psyche.

He is born on winter solstice and dies on summer solstice. This suggests his association with the rise of energy, augmentation, the increasing of light, lengthening of the day and peak experiences. He is a god associated with the potency and power of male sexuality, but not its completeness. Falling on the ground, broken, limp, is just as important an experience of the male psyche as standing erect. Also, the fact that he dies at the peak of light, the second half of the seasonal cycle brings, means that he does not hold the introspective qualities that the harvest brings and the completion of the diminishing of light.

Perhaps Cernunnos is balanced somewhat by his marriage to the goddess of Beltane. She is celebrated in a time when blessing comes from rubbing yourself with the dew of early May morning to soak in the blessing of Spring. Helen Chantler, the designer of our company, remembers watching the horned man in the forest on her BBC television growing up. It was an image that conveyed guardianship and the protector of the forest. Yet this image of the antlered man, so powerfully associated with Celtic myth and lore, has been widely depicted and enacted across indigenous cultures for thousands, or perhaps tens of thousands of years. Iconography of an antlered man, standing, have been found in French Paleolithic cave paintings" (reference).

Full disclosure, I am not learned in Celtic myth or any such topic. I don't know if this was the intended reference material for Season 1's Big Bad Spookiness, but I think thematically, this explains the unexplained in both S1 and S2.

I randomly picked up this book I hadn't yet read, which I bought at random in a used bookstore probably 5 years ago, flipped through, and landed on this picture.

Synchronicities dawg.

Woodman and Dickson have this to say:

"This is Cernunnos, Lord of the Animals. It is Shiva, or Dionysus archetypal energies long repressed by Christianity. Repression turned the Horned God into the Horned Devil, the root of all evil. [...] The Horned Devil is energy that is so repressed and cut off from the earth that it is best symbolized by Mephistopheles, the light and airy creature that floats above the earth. The Horned Devil is the disembodied spirit that manipulates, usurping situations for the gratification of its instinctual desires for domination-- sexual or otherwise. The Horned God, as Gary Lingen points out '...is a positive model for male power--free from the patriarchy and all other authoritative models--as he grows and passes through his changes during the wheel of the year, he remains in relationship to and not separate from the prime life and nurturing force--the Goddess.'

The Horned God, moreover, is an archetypal figure quite unlike most masculine images as they appear in culture. He is difficult to understand because he does not fit into any of the expected stereotypes, neither those of the "macho" male nor the reverse-images of those who deliberately seek effeminacy. He is gentle, tender and comforting, but he is also the Hunter. He is the Dying God--but his death is always in service of the life force. He is untamed sexuality--but sexuality as a deep, holy, connecting power. He is the power of feeling, and the image of what men could be if they were liberated from the constraints of patriarchal culture."

It's possible that Pizzolatto merely modeled the Big Bad Spooky Scary in Season 1 with paganistic imagery for fearmongering purposes, but I choose to believe that Childress, the Tuttles, and unnamed counterparts were worshippers of some bastardized version of Cernunnos.

It is indicated many times in both S1 and S2 that symbology associated with the murders is 'old', 'archaic', and looks like cave drawings. I believe the nature of the belief system associated with the Big Bad is transactional, given that it precedes Semitic religions.

What do you pray for when your primary goal is to live another day? You pray for abundant harvest, you pray for fertility, you pray for the sun to return.

What do you pray for when society becomes more collective? You pray for a bigger hut than the next guy, you pray for blessings.

What do you pray for when buildings scrape the sky? You pray for wealth, you pray for power.

I think the Tuttles and their counterparts belonged to a small group of worshippers who retained archaic beliefs and practices, which they attributed to the wealth or power their group amassed. Thus, they continued worshipping.

However, we only see the masculine aspects of this worship in Season 1. We see the vulnerable (women and children) victimized by physically and/or socially powerful men. We see this vulnerability overpowered through ritualistic abuses and murders, which demonstrates that the Big Bad have devolved to, or perhaps have always been, negligent of the inherent role of the divine feminine (Beltane, in this case, as the counterpart to Cernunnos). Thus, the Tuttles represent unbalanced masculinity, where they seek to overpower others in the name of worship. In reality, they are simply indulging in animalistic, individual desires. Truly, they may be neglecting and/or attempting to dominate the divine feminine out of innate fear.

"What is the way to appease the Great Mother, to keep her as Protectress and prevent her wrathful Vengeance? Give her what she demands-- blood! And likewise, invent a precise way to do it-- ritual! Thus, the first great ritual was a ritual of blood sacrifice, offered to the Great Mother-- to Mother Nature-- in a bartered attempt to quench her desire for blood. [...] Blood is indeed bodily life, and if you want to purchase life, you purchase it with blood. So goes paleologic; like magic, it works in partial truths; and like magic, since it is unable to grasp higher perspectives or wider contexts, it arrives at barbaric conclusions." - Marie-Louise Von Franz, Golden Ass of Apuleius: The Liberation of the Feminine in Man

Whatever, I won't get distracted by analyzing the psyche of side character antagonists. I won't! What I'm trying to say is:

They're worshipping an old religion, which requires blood sacrifice. This blood may be literal (murder), or symbolic (sexually abusing the innocent, i.e. symbolic blood of menstruation or deflowering).

As with all things, there is no inherent evil in worship, but this manner of worship represents a stark lack of balance. These are not praying men-- these are men attempting to manipulate nature, life/death, and femininity to their egoistic desires. Thus, they create imbalance.

This imbalance, in True Detective, is a microcosm representing greater imbalances of energy. Imbalance in society, in the universe, and in individuals. We are shown this lack of balance through complex characters.

Two characters, specifically, show us the energy required to correct universal balance; Rustin Cohle and Evangeline Siqiññaatchiaq Navarro.

I also won't get into the Messiah archetypes of these characters. I won't (I probably will).

This fucking long form analysis is going to be a bitch to read and is also a bitch to write, I'm struggling to collect my thoughts well enough to not communicate like we're playing Word Associations.

Okay. So. Rust = Divine Masculine. Evangeline = Divine Feminine. Hold onto that for later.

In the Southern states of America, such as Louisiana where the Tuttles have historical roots, power and wealth are generally understood as God’s Blessings. The Christian God. Which explains why the Tuttles used Christianity as a mask for their true beliefs and practices. Additionally, the immutable power of organized religion allowed the Tuttles and their associates access to vulnerable individuals to prey upon.

While the Tuttles practiced their underlying beliefs in secret, I believe Errol Childress’s murder of Dora Lange indicated his sentiments of rejection from his bloodline. Where the proper Tuttles secured social and financial power, Errol was essentially a grunt, despite enabling and participating in the ritualistic abuse and murder. He might have developed a coping mechanism of believing himself a profit. Frustrated that in the ‘real world’ the power and virility he exercised in private was not respected, he made a ‘show’ of Dora Lange’s murder. This could have been motivated by the following: - A rejection of the Tuttles secretiveness. We should be proud of our practices. Look, we’re untouchable. I won’t live in the shadows

A warning or punishment of the Tuttles. By displaying his practices proudly through Dora Lange’s presentation, Errol Childress places the Tuttles at risk for exposure. 

A personal demonstration of elevated dedication to his ‘god’, i.e., an attempt to prove he is more faithful than those who practice in secret. Errol was showing the world his power. 

I believe the Tuttle’s practice of murdering and abusing innocents in the name of a, conceivably, pagan god, is due to a bastardized interpretation of the god’s power and purpose. If we consider that Cernunnos alone is the divine masculine, incomplete/imbalanced without the feminine counterpart, we see the space where men may lean into this lack of balance as an opportunity to enforce patriarchal dominance over the divine feminine. By abusing the divine feminine (women and children), the interpretation of Cernunnos becomes a rat-race of man’s most basic pursuits; power, wealth, and death. They lord over the divine feminine by sacrificing its counterparts (women and children) to Cernunnos. In a patriarchal interpretation (cisgender, heterosexual) of nature, men cannot create as women can, so the most they can achieve in the way of god power is taking life. 

Then comes the spiral. In the first season, it appeared to be representative of the Nietzschean circular time theme. Given the events of Season 4 as a continuation of the spiral imagery, I have deduced that the S1 spiral is another perversion of old beliefs that the Tuttles have bastardized.

Rather than being a symbol of Cernunnos (real quick: peep Cernunnos vs. Carcosa?? 'He who eats time?' and absolutely chooooke on this interpretation) I believe the spiral represents his ‘wife’ or divine feminine counterpart– Spring. Or rather, Life. And thus, She is Time itself. The Tuttles pray to something that, again, EATS TIME. I'm sorry I keep saying this, but they only worship half of nature. It's a perversion. It's wrong. It's empty. S4 gives us the other half of the story.

In Season 4, the supernatural force, or ‘god’ is referred to with feminine pronouns: ‘She is awake, she is coming, she is here’. More on this later, but I think the spiral represents a larger concept than Cernunnos/Carcosa; Balance. Eternity. The Universe. I believed initially that the spiral was jagged, as opposed to the ‘perfect’ golden ratio, because it would have been carved or drawn with rudimentary objects by prehistoric humans. Looking at the galaxy in which earth exists (and others like it)-- I mean :/ I'm no science guy, but... come on now.

(cr. NASA / STScI)

(cr. Gabriel Pérez Díaz, SMM (IAC).)

(cr. Fibbonacci.com)

COME ON NOW.

Back to Cernunnos, he is the god of Darkness, and dies when Spring comes. However, he and his divine feminine counterpart never cease existing. They are married; opposite sides of a coin, constantly flipping; inextricably bonded. They are the same thing—and separate—and the same; flat time. (Side note: also found out the universe itself is 'flat' to our perception. I'm absolutely wrecked by this)

As Rust says, “Time created Death to grow the things it would kill.” So, from hereon, I will refer to Cernunnos’s counterpart, represented by the spiral symbol, as Time.

She is the spring, where life grows. In Season 4, we may assume that she eats in the winter. Despite the spooky Big Bad, overcoming evil, vibe of Season 4, it’s important to note that there is no inherent good or evil in the universe. There's just balance. While Navarro refers to the supernatural force as a “curse” that takes her people one by one, we must acknowledge that Death is the certainty of Life. Both states are suspended within time. Circular. Cyclical. Spinning. A spiral.

Ennis is a land of extremes, where Time and Existence appear to be a more ancient/raw form (prehistoric ice and such, significance of magnetic poles, idk I'm not a science guy).

As Time’s presence in Ennis is generally acknowledged by the indigenous people, it could stand that the descendants of those who existed on this land in prehistoric times would have a more innate connection to Time. On that land, where Time has more power, occurrences such as “the dead don’t stay dead” implicates that the laws of humanity are bent in favor of the unknowable reality of time. 

Whereas the Tuttle’s represent unbalanced patriarchal masculinity, i.e., acknowledging ‘old gods’ and worshiping them for self-serving gain, demonstrated by their social powers and abuses– the Iñupiaq people exhibit instinctual balance and reverence for the old ways.

The Tuttles and counterparts mark victims with the spiral, almost as if to attract the acknowledgement of their god, whereas the Iñupiaq people mark the spiral as a warning of her presence. It is stated that ‘she’ exists where the ice is thin over the sea. To me, this indicates that ‘she’ is somewhat synonymous with the sea, or the ground beneath it, as, in the prehistoric time (where her power would be more observable) the water level would've been lower (idk, I'm not a science guy). Basically, I think ‘she is awake’ indicates that she has gone dormant/is hibernating under the ice.

Thus, Time calls the Iñupiaq to areas of thin ice in order to ‘eat’ them. This practice is representative of a balance. She is existence in perfect balance. She is life and death. In her presence, time becomes nonlinear (i.e., the visions experienced by the characters in S4). Time becomes a flat circle.

The Tuttles presence in Ennis via the mine has disrupted the circle. The softening of permafrost due to the mine's pollution has both awoken her, and disrupted the balance of her domain. Life and Death. Rather than taking her justified ‘fill’ of the dead, pollution has caused an unnatural rise in deaths, exampled by the stillbirths. The Iñupiaq stillbirths represent the inherent interruption of natural course. Thus, she is not just awoken, but angered. She's PISSED.

This explains why the events in Season 4 unfold as they do. In the last episode, an Iñupiaq auntie explains that ‘she (Time)’ was responsible for taking the Tsalal men or releasing them. She chose to take them, and ‘eat their fucking dreams’.

This statement reminded me of the theme of dreaming in Season 1. A theoretical physicist, Fred Alan Wolf, claims that “dreaming is vital to our survival as a species and a necessary ‘learning laboratory’ wherein the self and the universe evolve. In brief, matter evolves through dreams.” In the book Dancing in the Flames: The Dark Goddess in the Transformation of Divine Consciousness, “the unknowable mystery we sometimes call God” can only be understood through finding individual and communal balance, which is historically and presently impossible due to patriarchal systems.

The significance of this, I think, is the overarching theme in both seasons: Time as an insurmountable force that weighs on the characters. Past, present, future are flattened and defined by suffering. We see the mostly faceless antagonists attempt to gain unnatural power over time– in Season 1, the Tuttles (and their counterparts) actions implicate a desire of procuring power and wealth through sacrificing innocent youth (balanced time), and in Season 4, they are searching for a microorganism that could provide insight into immortality, or at least further their material wealth and power– ultimately creating the imbalance of essential, unknowable truths: Time, Life, Death, and Dreaming. We also see the protagonists struggle under the weight of Time in a more intimate, consumable capacity.

The imbalance of energies is a human fault. This human fault, likely, has no true power in the universe. It is simply a disruptor, which will ultimately be self-corrected, as “the spiral moves.”

We see this correction in the form of an unlikely savior. In Season 1, this is Rust. In season 4, this is Navarro. They are both plagued with an undefined but obviously overwhelming burden of Time, and an innate connection to the unknowable.

While neither understands how or why, they have been called to a life which seems to deny human nature. Isolation, reluctant power (being a fuckin cop), and the responsibility of bearing witness to the soul-crushing examples of human failure. However, their actions and insight are ultimately the antithesis of the antagonists perversions of Life and Death. Both Rust and Navarro, though somewhat unwillingly, are called on to correct Time.

Their circular patterns become enlightened. They prevail. They balance the divine masculine and divine feminine.

I think this is most apparent in Navarro’s character arc. Particularly her statements, and the many examples of her being ‘called’ by Time. Her displacement from the community of people who share her blood, and thus her connection to the land, is significant because it has potentially inspired her to become a protector. With the social power of law enforcement, and the dual-perspective of those who perpetuate disbalance of time (cops, who ultimately are tools for high-level antagonists like the Tuttles), and those who keep it (the indigenous people), she is the perfect blend of energies to correct the balance. I think she was beckoned back to the land by Time specifically, (evidenced by her visions, like “listen”), with divine purpose. Her Inupiaq name meaning the sun’s return from darkness in itself is evidence of that. Her compassion for Annie K. has greater implications on the story than our understanding of justice. 

If she was called to the land by Time, presented with the murder of Annie K. as motivation to expose Tsalal, thus exposing the mine, and ultimately the Tuttles, Navarro restores the balance of Life and Death, and ultimately Time, to the land. Her personal journey reflects the initial disbalance, the unknowable forces at play, and ultimately the correction of both. She encompasses universal truths.

God calls from places where the ice is thin.

God is talking to Evangeline directly.

In the spiritual statements that tell Evangeline to “listen”, as well as the many visions in which an individual (conceivably possessed by spiritual forces) points at her, God orders her to bear witness, which is also the purpose that Rust Cohle assigned to his existence in Season 1.

Like Moses and the burning FUCKING bush, Evangeline is plagued with visions; and is called to carry the burden of guiding others into the light. 

As Rust said in the first season, “it’s the oldest story there is. Light vs. Dark” and “if you ask me, light is winning.”

Okay, that's all I have for right now. Sorry for using this as my excuse to go apeshit in the way I've been meaning to for weeks. If you'd like specific character headcanons or anything, let me know! Rust Cohle rents an apartment in my head and it fucking stinks in there.

[nateconnolly]

What kind of stories do you like?

I read all kinds of stuff, but I'm going to interpret "like" to mean "have the most fun reading," in which case, I definitely still have a sweet tooth for funny fast-paced YA.

I try to always have at least one easy-silly-just-for-fun book in order to maintain my love of reading. Right now it's the Hardy Boys novel "Shadows at Predator Reef" and I'm absolutely fucking loving it. Reuben Sacks is such a talented detective writer. I, a fully grown adult, have literally never been able to figure out the mystery before the end of the book. And he always leaves enough hints that I could have figured out the twist if I thought about it from a different angle. Frank and Joe are funny, and relatable, and their brotherly bond is really cute in Sacks novels.

I love and respect Sophocles, for instance, but that's distinct from fun, you know?

[luna-loveboop]

'I've never been in a dungeon before' and 'Who's Ganon?' have literally made some of the BEST reaction panels in Lu I just-

They are very similar conversations- where a Link is pointing out/asking about something that the others have experienced and they haven't. Which is really cool to compare and contrast but they all just freak out about it

Genuinely some of the best conversations in Lu

The lesson here is that apparently the Links will always be freaked out when one of them has missed out on one of the Zelda Fundamentals™

.

Art by Jojo @linkeduniverse au :)

[fkapple]

Emily and Shane on bears?

[puckpocketed]

So do you actually believe PLD is a good player or is that part of the bit?

The PLD Post

i spent a good 2 days giggling about this to friends. i cant tell if ur a curious caps fan, a person who knows me from my other teams, a disgruntled kings fan (i’ve mostly ruled this out because im pretty sure i know all of the active ones on here) or WHAT. but i’m laughing. the tone of this ask is hilarious and vaguely accusatory but i will take it in good faith and answer <3 tl;dr yes and no. he’s better than people think he is rn, but he’s likely never going to live up to the potential of his tools unless something . idk. recalibrates his entire being. who knows!

i was working on something longer and more complex but i thought about it for more than 5 seconds and i REFUSE to go hockey-bro mode and pull out the microstats and i don’t wanna make this into a full on PLD manifesto. so. caps girlies (gn) HERE are your adoption papers under the cut!

if you are looking at pierre luc dubois who is 6’4 + 220lb and thinking “Oh he’s a power forward” i have to inform you he is in fact THEEE smallest mouse to ever play hockey in the whole world and in all of history. he sips nectar out of a thimble and sleeps curled up in a match box and goes fishing in a boat made from nutshells and twigs . he’s big, but he sort of plays small.

this is not necessarily a bad thing — he relies on foot speed and skill over hitting.

he can throw hits but prefers to stick check. he leverages his big frame to guard the puck and to defend, and it makes him simultaneously VERY effective and very much what i like to call a Nexus Of Crime. he is either drawing ten thousand penalties because people have to do something to stop him from driving the net with speed OR he is taking ten thousand penalties because he gets eager in the corners.

PLUS he’s huge and refs do just assume he’s committing a crime when they can’t see what’s going on <3 hence, Nexus Of Crime! if there’s a penalty he’s probably involved LMAO

not a “dirty” player by any means. not physical unless he decides he wants to. and there is no violence inside of him unless he’s deeply horsebonded to his team <- IMPORTANT re; playoffs aspirations. you won’t see him put himself on the line simply for the love of the game, he HAS to be committed to the team.

to be committed to his team… i’m honestly not sure what that takes. i’d guess a combination of knowing his role on the ice and in the locker room (this was very unclear on lak) consistency of messaging from coaches (also seemed to be an issue on lak)

i know nothing about caps coaching or management or the team vibes but i’m sure you can fix him <3 i’m ready to fall in love and ride this team to the sunset

this failhorse will NOT shoot the puck and if he does it will be the saddest soggiest most pathetic shot you’ve ever seen. you will tear your hair out in chunks if you watch him expecting an elite goalscorer.

he’s a pass-first guy. likes to drop pass! likes to drive play from the middle but is also capable of getting pucks off the boards. he needs a finisher on his wing. i could pull up stats here, there are stats to be pulled up, but i know this in my HEART from watching dozens of kings games: he would have had 10-15 more points easily if he wasn’t stapled to the 3rd line and had better finishers. many times i watched him tee up a very good opportunity only for his guy to miss the net or fan or just get knocked off the puck

individually, he thrives in front of the net. his ass is fat and he’s about to use it to screen the goalie. hes good at catching loose pucks in the crease to send them home <3 see his performance at worlds. he scored basically all of his goals right up there!!

most media coverage/narratives will tell you his point production dropped off bc of effort (which is true) but even the MOST resentful kings watchers will say pld wasn’t given his best shot playing with inexperienced+fringe nhlers, being line shuffled the moment he got a bit comfortable, and also not getting ANY net front time on the lak pp. i factor this into all my judgements of his performance.

He’s def earned his diva rep LMAO!! this is personal opinion here but he seems like a sensitive and easily rattled little clam… like he will have a couple of bad shifts and if there’s nobody there to shake him out of it he’ll lose his grasp on the game and play like shit <3 a rolling joke on kingstwt was figuring out which PLD we were getting that game, and you could tell by his 5th if he was switched on or off!!

they hate him for this but EYE think this is nothing new for athletes and if he can consistently stay in the zone he’ll probably be pretty good. mental fortitude of a wet tissue my beloved….

moving onto the Vibes section!! he was always good humoured in media availability and didn’t shy away from scrums even when public opinion soured against him and critiques of both his hockey and his character had reached a fever pitch. i like this about him. he always gave authentic answers and tried his best to accomodate them, and never hid behind his captains.

he gets along quite well with teammates despite the narratives. no seriously!! some of the the kings had a hang out during off-season right before they went to worlds!! there’s bisexual lighting!!!!

there’s interviews from old jets teammates that are just like. “he used to turn up at my house with his dog and text IM HERE with no warning and that’s how we became friends” or “his obsession with euro soccer teams bewitched me”. he had control of the aux cord. he was a den mother and planned group gatherings. a genuine sweetheart to every teammate he’s ever had!!

I don’t think he’s some. idk. secret 100 point producing star 1C. but i truly believe with the right environment he’ll probably hit 60 points again.

thank you for your time if you made it this far and i hope to see you all in the trenches (caps lb) next season 👍

[starnervefan]

what does our best guy detective fear like to do for fun? owo

aw! Thank you for the question 🥺💜 Nobody ever asks me things about my AU gdfsfh 🥹😭 /pos

But anyways-

He probably plays a lot of chess and card games given the chance and a worthy opponent. He'd join tournaments, he's not exactly competitive but still likes the feeling of outsmarting his opponents. He reads a lot (horror and thrillers despite his overactive imagination, and… sometimes, trashy romance). He'll happily critique or pick apart trashy movies and admittedly, he's fond of cartoons and silent films.

Even though some "scary" movies amuse him more than scare him, he's interested in criminal psychology in an almost morbid way, keeping himself up late at night reading about horrific crimes.

Socializing heavily isn't really his thing, he's shy, easily overstimulated and keeps to himself. Contrasting with his partner Anger, who's always dragging Fear to noisy gatherings where there's a lot of booze, smoke and jazz music. It's ok though, Fear gets to drag Anger to the theater (where Anger will usually wind up falling asleep from the boredom, if Fear's commentary doesn't keep him awake).

Lately a certain thief lady is on Inspector Fear's mind and he spends an awful lot of time thinking about her and trying to find her, even and especially during his off-hours, though whether it's "fun" is up for debate.

[xxplastic-cubexx]

Weird question, but you're the only Erik expert I know, and I can't be asked to go through my comics, so what kind of shoes does he wear when he's in civilian clothes?

Because I feel like he's too posh for trainers and not posh enough for captoes.

(I'm drawing a chibi of him and regrets are being had about not having put him in his suit T.T)

Erik Expert is a high honor im no where near close to having as of right now BUT i can still answer this question 😌 i think 😌

if you talkin Civilian Clothes as in Everyday Going Out clothes he's pretty 'formal' and neat about his style i'm pretty sure: think polos, dress shirts, turtlenecks, and the like, so it probably would be fitting he wears dress shoes (if not at least sleek leather ankle boots) more times than not actually

[herefortheships]

Canon: Betelgeuse has been trying to get Lydia's attention for 30 years because she couldn't see him. She's not ignoring him anymore now.

Fairly substantiated fanon: That dramatic ballooning was fake af, cause banishment has never worked that way before. Betelgeuse only did that to make Lydia smile.

Prediction: Now that he has her attention back, he'll pull a series of villain-with-a-crush-on-the-hero stuff so she can "defeat" him again. And again. And again. Just cause his office got damaged and she apparently quits her tv show doesn't mean they are going to quit haunting and ghost-hunting, respectively. They are both famous in their respective realms, so people who need their expertise will continue to call.

Plus we were robbed by that 30 year time skip. I wanna see them run into each other at work.

Betelgeuse for sure isn't going to stop his bio exorcisms. It's also a good way to call Lydia's attention 😆. I so wish Keaton could be convinced to have more screen time in the third film, so we could see them interact a lot more.

I wonder what Lydia would do for a job if she truly did quit her show. I have this hope for the third movie that we will see her pick up her camera and pursue photography again, but I can see her doing something related to her ghost seeing abilities for sure, though not for the TV or anything too open like that. Something more like helping lost spirits that need guidance, etc.

Fun headcanon ahead: Imagine this. Betelgeuse will always be sneaking around her and trying to get her attention. It would be hilarious if he pretends to be one of these lost spirits to get Lydia to "help" him, and he'd do it over and over again. She only falls for it the first time and is kinda furious, but then it's funny whenever she can tell it's just him wearing a disguise again. 😂 I'd read a funny fanfic like this.

I have this sort of headcanon/vibe that in the third film Lydia will be saying "Beetlejuice, Beetlejuice, Beetlejuice" a lot, trying to get rid of him, and it won't work to banish him anymore when she specifically says it (I think I wrote about that in a post before but I'm not sure which one). The headcanon that he blew himself up is for me such a given, I forget it's still unconfirmed fanon lol. She just said his name once and he was like "welp, guess I'm a balloon now. See you on the other side. Pop!" 😆 First time I watched I almost cried, but then the next time I was like that Leonardo DiCaprio meme pointing at the screen.

[dingodad]

I understand that Caliborn/English is controlling the narrative by playing figurative pool with all his time chicanery and narrative console thingy. In many ways the alpha timeline exists solely to propagate his existence. However, I need one point spelled out to me before I say something stupid; Is there support for Caliborn LITERALLY being the 'player' of homestuck? like the one who types in the commands and is erroneously referred to as 'you' by the narration? (I understand those are from user commands I'm moreso asking if it could be plausible, considering everyone has already pointed out how the cals are meant to represent the fans of the time and the commands themselves already remind me of him in their 'DO THIS' 'YES GOOD' kind of way) idk just tell me if I'm speaking crazy talk

i don't think we can identify Caliborn as THE 'player', no, precisely because of what you say about all of those commands coming from different people; some of them are from the mayor, some of them are from the queen... even a copy of trollian can be a substitute for a formal command console.

caliborn is just one reader among a sea of them - because of course he is, he's one of us! - who has managed to become the dominant voice in some fashion. you might liken this to how he always becomes the dominant personality in whatever body he inhabits, perhaps by making precisely-placed commands like the proverbial pool cue; or maybe he's positioned himself as the guy at the top of the food chain, giving the commands to the people who give the commands? like his ownership of karkat's command terminal might suggest.

because you're not crazy when you say there's obvious similarities between the way WV and caliborn direct the story, and I think this is a very deliberate conceptual line drawn between the two characters, with karkat sitting in the middle. here's what andrew has to say about this in his commentary on book 3, page 228;

[...] at any given moment Homestuck is full of surrogates for various factions of the readership. Basically any character who is viewing the actions of other characters on a screen can be seen as a consumer of that story through some form of in-canon digital media. Whether they type in character commands like the exiles, or use Trollian to skip around the "archive" in a nonlinear way like the trolls do, for the sake of "adventure analysis" or to heap scorn on those involved, every narrative-viewing character is temporarily filling the role of the Homestuck reader from a certain angle. Later, cherubs become the ultimate distillation of the idea.

act 6 is all about the "ultimate distillations" of ideas like these, in ways that are both figurative and literal. like how dirk derives his personality profile from that of doc scratch, but is in fact the kernel of doc scratch's personality in the first place. so in this way, it would make some sense as well for lord english to have had some kind of literal influence on the exiles - or at least WV in particular - from the very beginning.

probably relevant, but difficult to fit into anything else i've said in this post: lord english's cursor, a variation on the same cursor used in association with the reader's influence, shows up right as he regurgitates the exact commands given by the mayor: YOU THERE. GIRL.

[sysig]

Go play pretend on your own (Patreon)

[oifaaa]

I was actively going for Damian and got Tim I feel so attacked--

It was probably my inability to call Batman my dad :(

See I'm not a fan of quizzes where you can obviously tell which answer refers to which character to avoid that I used my own logic so if you actively try to get one character your not gonna get them

[hiraganasakura]

Hi so me being me I've decided to hyperanalyze the conversation Qrow and Raven had in Higanbana practically line by line bcus I have Many Thoughts and this is the best way I can think of to get them all out. If you can't tell I'm absolutely obsessed with these two. Btw.

Thanks to the RWBY wiki for providing transcripts for every episode, otherwise I definitely would have missed smth despite having just watched this scene recently lol

I put it under the read more for easier scrolling due to how long this post got!

I immediately noticed smth in the very first lines of the interaction:

Raven: "Hello, brother." Qrow: "...Raven."

You'll notice throughout the whole conversation that Raven never calls Qrow by his name, only condescendingly referring to him as "brother" this one time and never calling him anything else. Meanwhile, Qrow directly refers to Raven a total of three times throughout the conversation, and only one doesn't call Raven by her name (which we'll get to shortly)

On the other hand, Qrow doesn't bother with even so much as a greeting beyond simply stating Raven's name

It's different ways of communicating their distance. While Raven holds her relationship with Qrow over his head — never once, even outside of this scene, does she call him "brother" with affection iirc, only derision and condescension — Qrow doesn't seem to rly know how to greet her. He hesitates before saying her name and approaching her, as if trying to assess the situation before acting

Qrow: "So, what do you want?" Raven: "A girl can't just catch up with her family?" Qrow: "She can, but you're not. Now how 'bout we get on with it? Unless you plan on keeping these [drinks] comin'."

Again, Raven seems to bring up her familial ties with Qrow as a tactic to get him to do what she wants — in this case, stick around to talk to her despite him not seeming to rly want to. Frankly, it feels manipulative. We're gonna put a pin in this for now and come back to it in just a moment

Additionally, Qrow already knows that Raven's not just here for a friendly chat between two siblings, and sees right thru her facade that it is. Raven is here bcus she wants smth from him. But interestingly, it is Raven in V5 that says, in an almost frustrated/disappointed tone, "Family. Only coming around when they need something." There's another pin; keep both in mind

Raven: "Does she have it?" Qrow: "...Did you know Yang lost her arm?" Raven: "That's not—" Qrow: "Rhetorical question, I know you know. It's just obnoxious that you'd bring up family and then carry on like your own daughter doesn't exist." Raven: "I saved her." Qrow: "Once. Because that was your rule, right? Real 'Mom of the Year' material, sis."

Qrow dodges Raven's question about the Relic and instead brings up her hypocrisy in how she treats family. And it's a good point. Here she is lording her siblingship with Qrow over his head while simultaneously defending and upholding her rule that she is only obligated to help her own daughter a single time. Another pinpoint on our little conspiracy board

Also, here's the one time in this conversation Qrow refers to Raven as "sis". Like Raven's use of "brother", Qrow's use of "sis" is very pointed and with intent. But it's not to manipulate Raven, it's a snarky jab meant to rly hammer home Qrow's point

Raven: "I told you Beacon would fall, and it did. I told you Ozpin would fail, and he has. Now you tell me. Does. Salem. Have it?" Qrow: "I thought you weren't interested in all of that." Raven: "I just want to know what we are up against." Qrow: "And which 'we' are you referring to?"

A few things of note here. At some point in the past, Raven expressed an outright disinterest in Ozpin's inner circle, at least to Qrow. Qrow also feels excluded in the "we" Raven mentions being against Salem. To me, there seems to be a distinct possibility here that it wasn't that Raven felt personally disinterested in Ozpin's operations, but that she somehow felt excluded and feigned a lack of interest in order to protect herself. An idea that is further supported in my eyes by the following dialogue:

Qrow: "You should come back, Raven. The only way we'd beat her is by working together. All of us." Raven: "You're the one who left. The tribe raised us, and you turned your back on them." Qrow: "They were killers and thieves." Raven: "They were your family." Qrow: "You have a very skewed perception of that word."

And there it is. Raven's problem is laid out here for us, loud and clear: She feels like she was the one abandoned, not the one running away. She says it outright! "You're the one who left." To her, Qrow is the traitor, the one who left their family behind. If you ask Qrow (or, for that matter, Tai, Yang, and even Summer based on the scene in V9), it's the opposite

Bcus they have different definitions of family

Another thing to pin (I promise this will all become clear soon)

Raven: "I lead our people now. And as leader, I will do everything in my power to ensure our survival." Qrow: "I saw. The people of Shion saw, too." Raven: "The weak die. The strong live. Those are the rules." Qrow: "Well, you've certainly got someone strong on your side. I've seen the damage." Raven: "We couldn't have known the Grimm would set in as quickly as they did." Qrow: "I'm not talking about the Grimm. And I'm not talking about you, either."

Notice Raven's shift from "the tribe" to "our people". More of that guilt tripping!

Additionally, Raven is *obsessed* with rules. One save. The weak die, the strong live. Raven lives and breathes rules, even seemingly arbitrary ones. Guess what this is? Another pin!

Raven: "If you don't know where the Relic is, then we have nothing left to talk about." Qrow: "I don't know where the Spring Maiden is, either, but if you do, I need you to tell me." Raven: "And why would I do that?" Qrow: "Because without her, we're all going to die." Raven: "...And which 'we' are you referring to?"

Qrow's "either" here implies that he also doesn't know where the Crown of Choice is, which is... interesting. He's one of Ozpin's closest lieutenants, and is in the dark on where Beacon's Relic is? Wherever it is, it is such a closely kept secret that even Ozpin's best spy doesn't know where it is (maybe so that in the event Qrow gets captured by Salem he can't be forced into giving her the information?)

Meanwhile, Raven's "And why would I [tell you]?" implies that she does know who the Spring Maiden is (obviously. Raven's the Spring Maiden lol) but refuses to disclose to Qrow

A lantern sputters out after Qrow says "Without [Spring] we're all going to die." Now, I genuinely can't remember if this is headcanon or canon, but iirc Misfortune seems to act up when Qrow's upset. He's clearly tired of this little game of dancing around topics that Raven's been playing with him

And once again, Raven indicates a feeling of exclusion from Qrow's life in the iconic final line. She gets the final word in before leaving

We've finally reached the end of the conversation. Now what does all of this tell us?

And here is where all of those pins I wrote down are relevant. As I mentioned, the twins view family very differently

Qrow's view is pretty obvious: he views family as the ppl in his life who matter most to him. Unlike Raven, he does not view the tribe as family despite the fact that they raised him, disgustedly referring to them as "killers and thieves". It's implied that he was, in fact, neglected and/or likely abused by the Branwen tribe, saying in V6C4, "No one wanted me... I was cursed..." further explaining his distaste for them. Furthermore, despite not being related to Ruby by blood, they clearly consider one another family throughout the series, and he even seems closer to her than he seems to his niece who's actually blood related to him (I personally headcanon that he keeps more of a distance from Yang bcus she reminds him too much of Raven, who he feels abandoned and hurt by, but that's neither here nor there). Bloodlines and debts are secondary compared to loyalty, if they're considered at all. He is obviously furious that Raven only insists on saving Yang once and never directly interacting with her beyond that, despite Raven constantly guilting Qrow over abandoning his so-called "family" of the tribe. And yet. And yet. He still offers Raven a place back in his life, even if only to unite against Salem

Raven's view, to me, has been an enigma for a while. But after hyperanalyzing this conversation, after noting down all of those points of interest, I feel like I've finally cracked the code. Raven views family as an obligation, an exchange that always has an ulterior motive behind it. She seeks out Qrow only bcus she desires smth from him despite showing distaste when someone does the same to her; condescendingly calls Qrow "brother" more than his actual name and calls the tribe their "family" to try guilting him into doing what she wants; and feels fierce loyalty to the tribe but barely interacts with her daughter, only seeming to count one of the two as true family. She views the concept of family with cynicism and seems to feel an obligation to the tribe, as if she "owes" them for raising her

I think the two's perceptions of what defines family are all to do with the way the tribe treated both of them. This crosses a bit into headcanon territory, but as you can see by the above quotes and analysis, I rly don't think I'm just making it up entirely

As I already mentioned, I think it's implied that the Branwen tribe neglected/abused Qrow. In fact, we could probably blame their treatment of him for the deep self-loathing he has due to his "cursed" Semblance. But what about Raven?

Well, it's simple: I think she was abused, too, just in a different way. While Qrow was likely shown and told on a consistent basis that he was unwanted, unloved, undeserving of good things, Raven may have been shown and told she was wanted, loved, and deserving of good things... if she did what the tribe told her. If she repaid them for raising her and her brother, for being her "family". The way she uses her familial ties with Qrow as almost blackmail may be exactly the way the tribe treated her. Her obsession with following rules may stem from the fact that she had to follow the rules the tribe set for her in order to be accepted and deemed worth smth

As for her distance from Yang... honestly, I wonder if Raven is aware that Yang deserves better and keeps her distance as her way of doing that. When Summer confronts Raven in the V9 scene, Raven says, "...You're better at that life. Better than I was." She seems to have a fear and insecurity about being a good family member, a good mother, and maybe that's why she fled. Maybe she was scared of being like her abusers due to how she emulates them as a self-preservation tactic in so many other ways. Not entirely sure about this point tho

And I think too this is why the twins don't rly understand one another. They may have been unaware of the different ways in which the other was treated. Qrow, constantly unwanted and loathed, can't understand why Raven sticks around with the tribe; Raven, who obeyed the tribe and, in doing so, garnered enough of their favor to even eventually become leader, can't understand why Qrow can't just be "good", earn respect, and stay

This dissonance between the two experiences may also be completely intentional on the part of the tribe; abusers will often eliminate their targets' support systems in order to make them completely reliant on the abuser, so it's highly likely that the wedge was intentionally driven between the two siblings so that they could not find support in one another. This would also tie into why the twins seem to feel excluded from one another's lives and abandoned by one another: bcus they were made to feel that way by their common abusers, and did nothing to challenge these assumptions bcus they saw no reason to — and only seemed to keep proving one another right if they did

Which rly has some disturbing implications about how the Branwen tribe works. Like, do they just pick orphaned kids up off the street and abuse them into being perfect little bandits, molded to be of the greatest possible use and discarded if they're deemed worthless? Plus Qrow says his Semblance is how he got his name, which implies that the tribe also renames the kids they scoop up (possibly as a form of control or a way to make sure they can't be tracked down by any remaining family)? Plus there's the whole thing where Qrow and Raven were originally sent to Beacon to learn how to kill Huntsmen, which carries with it the implication that the Branwen tribe grooms literal orphan children into becoming stone-hearted murderers? What. The heck.

And if I'm right, if the Branwen tribe is that severely abusive, then like... wow, no wonder Qrow and Raven are Like That. They're both very deeply hurt people expressing it in different ways

I was considering adding their conversation at the Battle of Haven to this post, but I think that would be better as its own thing. Also I haven't gotten there on my rewatch yet so I may miss some details if I try to analyze it rn; it's better to wait overall methinks

But I have reached the point of my rewatch where we see Weiss and Whitley interact, and I think it would be very efficient to sum up what Qrow and Raven's relationship seems to be by using those siblings as a point of reference. Qrow = Weiss, actively trying to break free from and fight back against their abusers in different ways, while Raven = Whitley, continuing to do as their abusers want and have wanted as a method of self-preservation. Only, unlike Weiss and Whitley, Qrow and Raven have yet to come to a point where they can understand one another. I think that's a good way to briefly summarize the uh. Absolutely massive post this is.

In conclusion, I may have cracked the majority of the Branwen twins' pre-Beacon backstory purely by hyperanalyzing a single conversation. Oopsies

[manderleyfire]

kick in the teeth

@thefudge | rpf | walton goggins/ella purnell; mature (2, 744 words)

And he feels the minty coolness of an ice cube melting on his tongue and he shares it with the girl who is twenty-five years his junior, because he wants her to swallow this ice cube, he wants her to feel that yellow shade of summer inside her very throat.

[gabetheunknown]

@after-the-end-times

Ah, there it is! I saw a post like this the other day and I could not, for the life of me find it back, so I'm glad I get to share my thoughts about this after all (not that anything would've stopped me) Prepare for the essay, I never keep things short!

The Rockrose and the Thistle, is in my opinion a love song of sorts, but a different kind of love song that Extraordinary Things is, focused on the first part of it. Both songs are very similar in more ways than just recurring notes. Both songs are written in Dminor. (wheras Extraordinary Things has Minor Melodic elements that raises the 6th note to create the G major chord he plays when he sings the lyrics ‘extraordinary things’ and sings an A on top which sounds really pretty and immediately caught my ear) 

The notes everyone is referring to are in the intro of Extraordinary Things, D C D E F E F G A B♭ A G A  (I put it on a scale because I can and I’m a nerd. I also love the harmonies)

And it doesn’t just come back in the Rockrose and the Thistle, there’s two other songs written in Dminor in the Horror and the Wild and that is The Horror and the Wild, where the repetition of these tones are beautifully audible in Madeleine’s ‘You are the son of every dressing up box’ and Farewell Wanderlust, where they immediately accentuate that B♭ (which is the 6th note of the Dminor scale) in instrumentals. In Farewell Wanderlust they also play with more chromatic elements as they add a flat second note and a flat seven. The use of chromatic elements (half note distances) isn’t new for Joey and Madeleine and in my opinion it just adds a lot to the musicality of it all, it’s clever, it immediately catches my ear, it’s subtle things like that that make me keep coming back to their music. Rather than a melodic minor scale, Joey could’ve just added that half note distance to add a major G chord to his scale, because the use of major chords in minor scales is just chef’s kiss in my musical opinion, especially in combination with the words he sings. The notes he uses are not uncharacteristic for Joey’s music.

NOW LISTEN, I LOVE this ask because it means I can break down every aspect of what I love about Joey’s singing and what different things I love about Jaskier’s singing. Because oh my god the TALENT, to still make people go ‘wait I just found out that Joey Batey sings both in the Amazing Devil and as Jaskier in the Witcher’ to this day astonishes me and I’m never surprised when someone stumbles upon that realization. The breathiness he uses on his voice in both the Rockrose and the Thistle (and more TAD songs) and Extraordinary Things blows my mind. But there’s a difference to the way he uses it in both songs, let me try to explain. He sings with an aspirated voice (Which means to sing with a breathy voice) in The Rockrose and the Thistle, but in Extraordinary Things, it feels like sometimes he is just breathless and it’s so beautiful and small and soft and intimate, considering the words he’s singing. We, as singers at the conservatory, were taught to make our breaths as inaudible as possible, to remove as much breath from our voices as possible, when singing on record. So needless to say it is a DELIGHT to hear Joey just put his whole heart and soul into every breath he takes, he’s considerate of every syllable, the volume of his voice, the clearness or lack thereof, the shakiness of his breaths fucking kill me dead… ALSO what astonishes me the most about the difference between his TAD songs and his Jaskier songs is the change in vibrato. Jaskier uses more vibrato in his voice than Joey does in the Amazing Devil and I go INSANE about that because my teachers have always said that vibrato is a hard thing to control and requires a lot of training and he’s just out there, mending it to his will as if it is no big deal, like :-) King? I’m jealous, hello? 

I’ve nothing else to say about this for now (lies) it’s already become a full on essay, so I hope this satisfies your needs for now lmao

[habken]

How do you think up poses? Especially full body 💀

The best way to think of poses, is to already have an idea of what you want in mind, not just going in blind. Everything from action to emotion influences what a pose will look like, so think about what you’re trying to convey before you start drawing.

Don’t be afraid to use references and don’t be afraid to look at other artists’ work for inspiration! You don’t have to pull a pose out of thin air, it can be influenced by outside sources.

Practice A Lot, it becomes much easier to think up and churn out poses when you've already done it thousands of times lol. Life drawing sessions are great for building up your understanding of anatomy and offer you the chance to draw poses while directly referencing a real live model, which I personally find is better than referencing from photos. There’s tons of other resources for figure drawing/posing out there on the internet as well!

Also, I often do upwards of five poses before I get to the final drawing, I don’t usually ever go with my first idea because often my first sketches suck lmao, for instance, the bunny bkdk stuff I made:

I did a lot of exploration before settling on poses I liked, and these few are just the ones I didn’t end up deleting :’) You won’t always have a solid idea the first few times around, so don’t be afraid to do copious amounts of sketches until you have something you like

tldr: have an idea of what you’re drawing already in mind, practice over and over again, use the resources available to you, don’t think you have to come up with one single finished idea

[goldentriowins]

i know this is a golden trio blog (RIGHTFULLY SO. WE NEED MORE OF THEM) but do you have a favorite marauder and why?

Hi! Tysm for the ask! I’m happy to talk about things outside of the trio as well, dw!

I would say definitely Sirius. I’ve always had a soft spot for Sirius.

He’s the parent Harry always wanted. He’s strong and funny and caring and always puts Harry first. Ron & Hermione protect Harry when they can and he is definitely one of their top priorities, but there are things he feels too shameful or stupid about to say to them, and he doesn’t feel like he can expect them to care for him. With Sirius he’s allowed to have that expectation and to confide things in him that he’s not ready to with his friends yet. It’s such an important thing for any kid to have and for Harry, who never had that at all, it means SO MUCH to him.

It really makes his death more devastating than it would be if Sirius was just a cool character that was around sometimes, instead of a presence that you can feel through Harry by virtue of him essentially being his parent.

I don’t hold his irritation in OOTP against him. He and Harry both feel trapped, both are dealing with trauma and loss, and both are dealing with a lot of unresolved issues in general. I think there’s supposed to be a parallel here. It’s hard for me to stomach a grown man escaping prison only to be held prisoner in the house he was raised in surrounded by hate and bigotry (and, I think it’s pretty ambiguous in the text iirc, but potentially experienced / witnessed abuse).

In general he’s a comforting presence that is relatable and just extremely fun to be around, to watch and talk to and ask questions because you know he will take Harry seriously but still see him as a child. I’m sure he has moments where he thinks of Harry as James but I really do think he mostly sees him as Harry and is a GOOD father figure when he’s not being driven mad through confinement.

This isn’t to say that Sirius isn’t very flawed. All good characters are!

As for the other marauders— I would say Lupin is close 2nd. He’s got a lot of the strengths that Sirius has but his habitual self isolation and just. Leaving Harry. Kinda bring him down for me. It doesn’t make him a bad person— I really relate to the instinct to just remove yourself out of shame— but he’s a less present and less reliable figure in Harry’s life.

James is interesting. I would’ve loved to learn more about him & Lily in the books, but I suppose our limited knowledge is partially the point… I’m not anti-James, but he’s definitely not flawless himself and I think that makes him a better character. As for Lily (shes an honorary marauder I guess, lol) I wish we got more of her like we did James! We’ve seen her, we’ve learned about her, but she seems too… perfect.

Peter.