#i could've written more connections but what's the point

[tvrningout-a]

i should've switched to writing original stuff ages ago bc i could've been overcoming writer's block if i did :' )

[badgalsasuke]

My thoughts on the Naruto ending

So I had said I was gonna post about my feelings and thoughts regarding the Naruto finale that might contain a few hot takes for some people, so here it is.

THIS IS GONNA BE A LONG POST.

The Naruto ending is universally disliked, there's not doubt in that. Veteran SNS shippers don't like it because Naruto and Sasuke end up with women they don't love and aren't attracted to, and believe Naruto and Sasuke could've end up "single" with no ships confirmed; younger SNS shippers that weren't there when Naruto was still coming out believe they should've ended up together even though that could have not been plausible due to the manga industry quite conservative practices. Het!shippers on the other hand, believe the ending is bad for two different reasons: the first being that some believe that Narusaku and Sasukarin would've made more sense than SS and NH (some say just Narusaku and Sasuke should've stayed single); the second being that although they like SS and NH and the potential they believe these ships have "but wasn't explored further", Kishimoto can't write romance so he messed up both ships, making them bland and barely romantic.

Another reason why the ending is disliked for non-shipping reasons and mostly by Sasuke stans, is that even though in the couple chapters before the 700th one Naruto and Sasuke talk about changing the shinobi system, we see in Boruto that the system has not been changed at all and instead Naruto and Sasuke are reinforcing it despite all the oppression and suffering they were put through it in its name. We even see Itachi, the man who committed genocide being lauded as a hero for his actions and zero reflection on Konoha as a genocidal State. Oh and the Hyuga clan still practices slavery.

So here I come to say the following: Naruto's ending makes sense.

Now before y'all tear me to pieces let me explain myself. The first time I read the finale I thought it was stupid, one reason being that the ships make no sense no matter the angle you try to look at them and the other reason being that Sasuke was now working for the same State that murdered his clan with Naruto now as the head of that same State and making no changes to the Shinobi system (not a very good look on him, right?), so I thought for many years that the ending sucked.

Then The Last, Boruto and Sasuke Retsuden came out and all I could think was "woah this is all really shit from the butt".

But then one day when I was thinking about the manga as a whole, mostly because I was starting to realize that Kishimoto was being intentional in his writing of Naruto and Sasuke's romantic bond and it wasn't accidental like most of the fandom thinks, I just started connecting dots and trying to make sense of the whole story and seeing how the ending fitted into that. I'm someone that whenever it comes to literary analysis and criticism always tries to think about what was the author intention before I label something as bad because it wasn't my personal preference how something was written.

And that's how I realized what there was theme to the Naruto ending is. It's all about conformity.

Now, don't get me wrong the Naruto ending still has flaws, two big ones in my opinion, which I'll point out further down the post, but what I want to do is show you the forest because I feel the fandom is mostly focused on a couple of trees when it comes to the finale. I want you to see the thread of events Kishimoto created and how he was trying to keep it as in character as possible.

So first things first. If you've read Kishimoto interviews over the years then you would know what was the ending he had envisioned: chapter 698. He talks about how he wanted Naruto and Sasuke to have their final fight, make ammends and change the shinobi system together. He achieved two out those three things he intended.

In a quite controversial interview that most of the fandom likes to ignore, Kishimoto stated that he had no emotional attachement to Naruto and Hinata as a couple and it was Studio Pierrot who had pitched the whole thing about The Last movie. He also states that he decided to make NH endgame after Shippuden had started and he had also considered Narusaku as well, but then in another interview that came later he started saying he had intended to make NH canon since the very beginning. He was constantly contradicting himself in these interviews over the years. Kishimoto has also expressed his distate for SS and Sakura's character in general in different interviews.

So what I personally believe is that Kishimoto's editorial, Shueisha, made him change his statements because saying he had no plans for NH and it was Studio Pierrot idea was quite damaging to the franchise (no wonder the interview got kinda buried too, lol).

I think the biggest challenge for Kishimoto was giving the editorial, the studio and most of the fandom the het!ships they wanted without compromising as much the characters the story of his manga revolves around, Naruto and Sasuke.

So we get to ch. 699 where I believe Kishimoto is laying the ground for the finale we ended up getting.

In ch. 698 it seemed like Naruto and Sasuke had been able to resolve their issues and been able to talk about their feelings for each other. Something Sasuke repeats in ch. 699, a chapter entirely narrated by him. However right at the end of ch. 699 we get what seems to be a regression of what we had seen in the previous chapter.

It is implied that Naruto and Sasuke had an argument off-screen hence why Sasuke thought Naruto would not come to see him and bid him farewell before his atonement journey. What was the argument about is never really explained, some fans speculate Naruto was upset about Sasuke going on an atonement journey considering Naruto had pleaded for Sasuke to not be imprisoned and saw no reason for Sasuke to go on a redemption trip. I personally believe it had something to do with Naruto failing to come to terms with his feelings for Sasuke because, as we see right away, Naruto gives Sasuke back his headband and Sasuke says he'll keep it until they have their real fight which is interesting, to say the least, because didn't we just see their real fight the literal prior chapter? basically, we're being told Naruto and Sasuke haven't been able to truly talk about their feelings and put into words what their relationship really is about hence why Sasuke keeps the headband. As long as Sasuke has the headband, it will mean Naruto hasn't been able to truly accept what he feels for Sasuke. In essence, ch. 699 is Kishimoto retconning ch. 698 to give way to what comes later.

After chapter 700 came out we started getting so much content, both filler and canon, that tries to explain how we got there. Let's start with The Last, the movie that tries to explain how the heck Naruto ended up with Hinata.

The Last is sort of a hybrid, it's written for the most part by Studio Pierrot employees who had the idea in the first place and Kishimoto corrected a few things here and there and is also what for me, makes the ending flawed for one big reason: Naruto's character assassination.

Naruto is a shonen manga that's more focused and concerned on it's emotional battles and communicates it to the audience through it's physical battles rather than the powerscaling stuff Naruto dudebros would have you thinking the manga is actually about. So this means that Naruto, its main character, spends the entire manga learning about his feelings and putting them into words. That's what his story is mainly about; learning to love and to be loved.

The Last undoes this in the stupidest way possible. To give Naruto an excuse on why he always ignored Hinata they intend to make the audience believe it's because "Naruto doesn't know what love is" by writing Naruto not being able to differentiate between loving someone and liking ramen. This is absolute nuts. We know that Naruto understands what is love, what is not love and that love doesn't come out of nowhere, we see that when Sakura fake confesses to Naruto, he's able to spot right away she's not being genuine because he understands those three things. So this is the first flaw of the Naruto ending for me.

The second flaw is the dismissal of Kurama and Naruto's status as a Jinchuuriki. I find the most embarrasing thing about The Last to be that they had to put Naruto through a genjutsu so he could hallucinate "memories of Hinata being there for him but he was too dumb to notice" but it's even worse once you remember that Naruto canonically should not be able to be put through a genjutsu in the first place. Studio Pierrot had to break rules of Kishimoto's universe in order to give NH some mediocre development and to me this will always be the worst part of the finale. If you can't make a ship work within the universe rules, then why make it a thing at all?

Some people didn't like that Hinata is totally useless in the movie, but for me this is not a flaw, as it is entirely in character with who she is in the manga. Making her a mary sue out of nowhere on the other hand, would be a flaw of the story.

Now that I've talked about what I think are the flaws of the Naruto ending, let's talk about the things that work in The Last (and I believe is where Kishimoto put his input) to make the finale make sense. The first one being that Sakura is the one that pushes Naruto to be with Hinata. In the manga we see several times Sakura is insecure about Naruto and Sasuke's bond and being jealous of Naruto's spot in Sasuke's heart. Even Hinata is baffled by Sakura wanting to help her and asks her why she's doing all that because she knows they're not friends. We then see Sakura think about Sasuke (who's also conviniently excluded from the movie) and simply say "we, girls, should support each other", she wants Naruto out of the picture so she can have Sasuke for herself and she succeeded. It's also important to note that once Sakura got what she wanted she no longer pretended to be a friend of Hinata, she didn't even kept close contact with Naruto either as we see in Naruto Gaiden, Sarada and Naruto don't know each other like that at all, if Sakura was being a genuine friend to Hinata and Naruto, she would've kept her family close to Naruto's but she didn't.

One more thing that I find works about The Last is that Naruto doesn't passionately fall in love with Hinata, but instead is constantly guilt-tripped into liking her, which is more true to his character. You have a man already struggling to accept his sexuality, who also has his deceased mother's expectation of marrying a girl and on top of that is a pathological people pleaser, of course he's gonna marry the first girl that tells him she loves him. It makes sense this all happened while Sasuke was not in the village. Naruto panicked about his sexual identity and rushed to marry an "acceptable woman" in the eyes of the people whose approval he craves, as we see in the special chapter Kishimoto wrote that came out after The Last: the villagers fawning over Konoha's hero dating the Hyuga heiress.

Likewise, Sasuke not attending Naruto's wedding helps the ending not be as contrived or out of character of them. Kishimoto never wrote anything on why Sasuke skipped the wedding as far as I can recall, but in the episodes that Studio Pierrot made dedicated to Naruto's wedding we see a Sasuke completely absent and detached from the event, something Naruto dudebros use to dunk on him because that made him a terrible friend from their perspective, but as usual they're not paying attention to the full narrative Kishimoto is creating here.

Making Sasuke be happy for Naruto and attend his wedding and give him a gift and all that crap, would've made het!shippers and Naruto dudebros happy but it would be at the expense of his character and the story Kishimoto was writing. Remember, Sasuke had kept the headband all these time until he could have his real fight with Naruto, meaning he was waiting for Naruto to be honest about his feelings for him, so him not attending Naruto's wedding is a way to communicate to the audience (at least the part that's paying attention) that Sasuke is heartbroken by the news.

I believe this is why Kishimoto designed adult Sasuke the way he did and makes him dress the way he does as an adult. All black and depressing. I also believe that Sasuke will stop dressing that way the minute he and Naruto have their real fight, if they ever have it, that is.

Additionally, Kishimoto nailed making NH canon before SS would be canon. Naruto, as I stated before, is the one that struggles with his identity and feelings for Sasuke and the one that has the expectations to marry a woman so it makes sense that he would be the one to marry a woman first. SS becoming canon first wouldn't make sense because not only is Sasuke more outspoken about his contempt for Sakura, whereas Naruto remains polite and neutral to Hinata's feelings, but Sasuke also has no reason to be with Sakura if Naruto is still available, in fact, Kishimoto making Sakura be the one to chase Sasuke after Naruto's wedding because Sasuke never came back, as we see it stated in Naruto Gaiden ch. 10, is also in character for both Sasuke and Sakura, instead of writing it the other way around like SS shippers wished, y'know their whole thing about Sasuke coming back to the village for Sakura and apologizing to her because he didn't realize how much he actually loved her because he was trapped in the darkness blah blah blah (I think this is what happens in filler novel Sasuke shinden lol).

If Naruto is not available, then Sasuke is in a very emotionally vulnerable position and Sakura took advantage of that. You see the narrative Kishimoto is creating here? There's a thread to follow on why stuff happened they way it did.

Now, I mentioned before that the theme of the Naruto finale was conformity. Here's where I explain how:

The first thing is Naruto's physical appearance. Kishimoto liked to draw a young Naruto all punk and grunge. He even had already made a design of adult Naruto where Naruto looks, well, cool and HOT.

Yet, for the actual finale he gave us an ugly Naruto, but also a Naruto that looks tired and exhausted. How does this tie with the conformity theme? when Naruto was young he used to go against the rules, defy expectations people had of him, tell authorities to fuck off. Like, when he was told to give up on Sasuke when he was 12, Naruto responded "If giving up on Sasuke makes me wise, I'd rather be fool my entire life", this man was a rebel. But as an adult we see him become the head of State that continues to reproduce the status quo that had once oppressed him. Naruto turned apathetic, his appearance reflects his attitude.

And this is consistent with the narrative Kishimoto's been crafting. Just in the same way Naruto conformed to society's expectation when he married a woman he doesn't love and barely knows, he also conformed and succumbed to the shinobi world status quo. It would *make zero sense* for Naruto to revolutionize the shinobi world while married to princess slaver Hinata Hyuga, that'd be an oxymoron, completely contradictory narrative wise. Certainly, Naruto always struggled to find an ideology, to put it in some way, when it came to Konoha and its ninjas practices and had a messed up perception of its villagers (see: the whole Dark Naruto mini plot) but he still wanted to change the shinobi world WITH SASUKE by his side, once the story established they don't end up together and Sasuke isn't by his side, Naruto doesn't care anymore.

This is why I don't find strange that Kishimoto wrote Naruto oversleeping in the eve of his name day as Hokage, a day Naruto had once dreamt about when he was a child. The spark is gone.

But the spark isn't just gone for Naruto, it's also gone for Kishimoto. Naruto didn't even attend his name day because he was knocked out by Himawari. This is Kishimoto being petty. He spent 15 years writing a story where the goal was to see Naruto become Hokage and he knew how anticipated this moment was and he still went and ruined it for the fans anyway. Naruto dudebros were furious about this, but not once did they stop to wonder about the implications of this, what it said about Kishimoto's relationship with his work if it had gotten to the point he went and "fucked it up".

Naruto cared about the state of the world before he became indifferent to it. This is why when Sasuke stans complain about Naruto not actually caring about Sasuke's trauma but can never really explain why Naruto is like that as an adult. They try to pretend Naruto never cared but this is a lie, kid and teenage Naruto was compassionate to Sasuke's trauma and pain even if he didn't always managed it in the best way possible. So, I always feel like they're missing this particular piece of the puzzle: if Naruto can't be his true self then he cannot change the world and neither can Sasuke.

Because the same thing occurs to Sasuke. One blog once posted that Sasuke not caring about his child is out of character, but Sasuke not caring about Sakura's child is very much in character and I feel that sums up Kishimoto's writing of both adult Sasuke and Naruto. This passiveness you wouldn't imagine from their younger selves, takes a hold of them once they become adults and gradually "get in line" to be a part of the real world. Sasuke doesn't care about his child because he had her with a woman he doesn't even like or respect. Sasuke is stuck in time still holding onto that headband, hoping he and Naruto will one day have their real battle.

Sasuke uses the forehead poke, a gesture he always hated, on his wife and child because he, just like his brother to him, wants to distance himself from them. Sasuke now serves the same village that plotted the mass murder of his clan and family because why not? his brother is lauded as a hero for killing his entire clan after all. Sasuke too, has conformed.

I actually wonder if this is in some way linked to modern Japanese culture. Japanese culture and society are deeply conformist with everybody is always trying to fulfill roles imposed in them, always trying to achieve what is expected of them. It could also be about how adulthood sucks the passion and hopes out of the youth (Kishimoto started writing Naruto when he was 24 and finished when he was in his forties). And of course, the closeting of queer people leading miserable lives as pretenders.

If Sasuke is meant to end up with Sakura and Naruto is meant to end up with Hinata then Kishimoto cannot make them happy marriages and give them happy families, he also cannot keep Naruto and Sasuke as revolutionary outcasts that stand up against the status quo, that fanservice would be out of character and out of theme.

This is what I mean when I say the ending makes sense, once you see the finale is all about conformity the thread of events becomes understandable and more heartbreaking too. You don't have to like it, but I do think we have to understand where is Kishimoto coming from when he wrote it the way he did.

The Naruto fandom wanted black and grey from Kishimoto and that's exactly what Kishimoto gave them, black and grey.

EDIT: I've written more on how the conformity theme starts to become present in the series as far back as in Neji's death, check it out HERE

[wardensantoineandevka]

There's been a lot of talk about feeling like Campaign 3 fails to carry through consequences, and that is often met with criticisms framing this talk as just wanting Bells Hells or other characters to die or be punished. In return, the response to that is that "consequences" is not necessarily negative — it simply means a narrative follow through and events positive, neutral, or yes even negative happening as a consequence of what came prior.

I posted prior about what I and many meant by consequences, but generally, "a lack of consequence" means that it feels like events happen without clear connective tissue to previous events or it feels like things happen and don't feel like they're feeding properly into what comes next, that following events aren't properly carrying that weight of consequence.

But, just to further illustrate the discussion, the following is a non-exhaustive list of things I personally wish had consequences (that I could be probably better articulating):

Prism, Deanna, and FRIDA going off to do research at the Cobalt Soul, explicitly intending to try to help Bells Hells. This yielded nothing. Even a written letter to the Hells giving any information would have been great to have as a nod to that decision being made and the effort put into cultivating those friendships. (Given the reveal in the Fireside Chat that a Luxon beacon could've destroyed Predathos should research have been done, this feels even more of a missed follow through.)

The Unseelie Court not reinforcing the Malleus Key having clearer consequences. Obviously, there was a benefit to this, but it's hard to FEEL the consequences of disrupting that message because it is not clear what exactly the Unseelie Court would have provided.

Liliana chose not to broadcast the Downfall memory and what that meant to the sociopolitical scale. There is a clear consequence for her on a personal level, but this information being potentially broadcast was set up as a big looming threat, but it was difficult to really feel what would have happened, like, meaningfully, in terms of the material narrative as it affects Bells Hells, if it was broadcast, so as a result it's difficult to feel that stopping the broadcast was meaningful on a broader level.

Talking about Liliana, it feels strange that she exists within Vasselheim as a top leader of the Ruby Vanguard for, like, days without any comment. There is more (and properly delivered) tension over Opal's presence in the city. I don't think Liliana necessarily should've been arrested, I felt something like a small beat that may have required Imogen vouching for her was missing. The consequences of Liliana's position among the antagonists felt absent.

Ashton getting Shady Sally to agree to get the Nobodies back together to help save Exandria, then they'd all be free of Ashton for good. Nothing comes of this! An appearance at the forward camp in the Hellcatch when they came back from Ruidus or in Vasselheim, after the camp is evacuated there, with another opportunity to settle it with the others in the group would have been a nice consequence.

The Grim Verity, especially outside of Ryn, continued to meaningfully exist and the theft of the texts from Vasselheim mattered past the Predathos, Vordo, and Ethedok reveal exposition. It was a team of three people who stole the texts, and one of them, Arnold, was captured and presumed still held at the Platinum Sanctuary and another, Janina, was keeping tabs on the excavation site in the Hellcatch to keep everyone updated on what the Vanguard was doing. It would have been nice to see the Grim Verity more involved in this campaign, because they're the initial hook into the campaign itself! Learning about them and making contact with them stopped yielding any sort of narrative results. (The thing about research in the first point applies here too.)

Judicators. They are introduced, and then nothing is done with them at all. They factor in so minutely, and we understand so little about them, that it's hard to even talk about them as thematic pieces without engaging in a lot of speculative thinking.

I am known to be frustrated with Ashton philosophically, but I am baffled that the conversation they had in their vision in the earth titan in 110 did not come up again at all in any of their subsequent argumentations about the world changing. I am certain that it would've driven me nuts, but I have liked to see that carried forward. It would've contributed a lot to feeling like perspectives were being built upon as a consequence of interactions.

Generally, the Titans are barely mentioned after that episode, btw. There was a lot of time spent on pursuing the idea of the Titans, even sometimes outright brushing past NPCs who repeatedly said that the Titans were dead, only for it to get dropped so suddenly. It feels especially strange when one of the major points of contention Ashton and Laudna brought up was the war against the Titans. Not even a final note about what this means in the tapestry of history or an acknowledgement that they indeed cannot be restored as they were or what? We spent a lot of time on this discussion, but fail to carry it through into the final thematic and philosophical decisions.

On that note, it's established that there is a destiny in which Ashton is to bestow the spark onto another, and there is a sense of fate then for Fearne in it. Since they both struggle with being locked into a path, I did feel missing an exploration of what it then MEANT for them to pursue this. As soon as these abilities are unlocked, there isn't a meaningfully thorough exploration of what they mean as narrative devices and their implications for Fearne and Ashton, at a personally transformative level.

The anti-resurrection toxin and its antidote. I know that it is used against Keyleth and there is a payoff in that the Hells successfully help her, but I don't understand why this toxin didn't continue to be used, especially given the campaign was supposed to be deadlier. Why wouldn't the Ruby Vanguard, but especially someone as vicious and ruthless as Otohan, continue to use it? It had such a prominent presence in the campaign and then vanished from it. We don't even have a sense of how it locked away divine magic and what connection it has to Ruidians or Predathos, which have similar divine dampening ability. Having it continue to be used in the campaign would've also made it continually rewarding that Bells Hells did that work to help Keyleth because the Air Ashari would have available antidote.

Stopping there not because I ran out of examples, but because this list is getting incredibly long — thought I reserve the right to add more later should I think of really good ones. But this is just some of the plot points and threads and conversations that I wish I felt led somewhere or had consequences, and you can see that not all of them are about punishing characters at all, just a desire for things to feel like they were going somewhere and were properly tied off.

[acid-ixx]

— masterlist !

sudden lore drop for again &. again, i don't care because everything's falling into pieces, but i think it's funny how most crime lords, or even the rogues in gotham — especially those associated with bruce wayne or batman — might actually be the reader's godparents due to how infamous their mother is amongst the underground.

i'm saying she's not exactly revered by the masses, especially those whose plans she's foiled in the past, but she was damn good at her old business, at what she's done, for survival was primal instinct from way before she had you, way before she had retired when she discovered her pregnancy— and her feats in the cruel play of gotham's crime alone were what earned her the right to be respected by most.

so point being? if alfred was at least five minutes late on picking you up from that damn police station, then your life would've taken a vastly different turn and you could've been your mother 2.0. or even cause some criminal war just because you're being fought for to be trained to be a sidekick or a mentor for batman's villains; and i think about that all the time.

i think about what it would be like if you were chosen (kidnapped before the police could even gain sight of her) by selina to be the successor for her mantle, or how you're more connected to the falcones than you could ever imagine, or how the court of owls have always been closely watching in the first place, or how even someone like ra's al ghul has been keeping a keen eye on you the moment he's learned of your mother's pregnancy.

even the joker knows a thing or two about your past, and he's contemplated sending harley to take you away from school from when you were just a kid far more times than he could even imagine.

and they're not exactly good people, far from it, way beyond the scale of bad, but they've all made a sworn truce when it came to you right before you came to be; whether that'd be for your sake, or your downfall.

now that, we don't know.

so if anybody wants to send in their own theories, go ahead <3 i already have a timeline and multiple flashbacks lined up in the series 🫶

a/n: this is for the many asks pitching in ideas about the villains being yanderes, or in a way, obsessed with the reader in the series for reasons redacted: i could say it's not very much possible and it's something i've long since considered and written about since i'm not just gonna throw in a baddy mother and then not utilize her old job for plot progression (i have a lot to touch upon the vague flashbacks of the reader and the batfam, sigh)

[leaf-line]

𝐓𝐢𝐦𝐞 𝐈𝐬 𝐒𝐡𝐨𝐫𝐭 𝐀𝐧𝐝 𝐂𝐫𝐮𝐞𝐥

Yandere! Jiaoqiu X Gn! Reader

❏ Jiaoqiu finds himself enjoying your company that he wants to extend it more.

cw: might be lore inaccurate, might be ooc, a hint of angst, you being called annoying, force feeding, mentions of pinning, no beta we die like Tingyun, written in Jiaoqiu's pov + he doesn't talk, pls don't be confused, reader is loud.

w/c: 962

Immortality is a crime... No, rather, it's a sin.

"Alchemy Commission... Agh—!! Where was that place again?! Wait a minute... Hey there! You! The pretty foxian boy with pink hair!"

Jiaoqiu finds it hard to believe that a human like you were accepted into a prestigious place such as the Alchemy Commission. You weren't even a Xianzhou Native, just a regular human. Why did he even try to put an effort into knowing who you were? Maybe it was because apart of him was curious about you and why the hell were you so loud? Honestly, he shouldn't have.

"Ohhhh, so this was the place, wow, I could've sworn I've ran into here multiple times before, why didn't I see it? Speaking of which, can you even actually see that? Why are your eyes closed?"

He wasn't exactly sure why he welcomed you so easily into his life. To put it into words... You were eccentric, goofy, and a slacker with no sense of direction, you speak out loud what's on your mind, no matter the place and time.

"Alas, we meet again, blind foxian... So you're my senior? But you're so short—"

You were blunt, sometimes it was funny, sometimes it was annoying. But Jiaoqiu never heard you tell a lie ever since the first time he met you. Although if he ever hears you call him any more honest insults, he's gonna spike your lunch with one of his handmade concoctions.

"Noooo!! Please! I don't want to memorize another set of ingredients for a different medicine!! Have mercy!!!"

And did he mention that you were loud? He'd be lying if he said he didn't find it entertaining, since the people there were so serious and gloomy. You were like the clown of the class, and Jiaoqiu was simply there to be entertained.

"You mean to say that in your own eyes, you think that food is medicine? That's... Super interesting!!"

...That wasn't a lie right? Well, Jiaoqiu hoped so. You were cheerful, upbeat, and optimistic at some times, he's yet to be accustomed by that kind of personality.

"Oh, yeah, sure I'll have a taste of your cookings, leave it to me! I'm a good food critique!"

Have a taste, he says. He doesn't know what you will reply. Will you tell him it tastes garbage? Will you tell him it's the most godsend food you've ever tasted in your life? He doesn't know, not unless he tries to have you eat it. At some point you were brutally honest it hurts him through the gut, but surely at some point when he impresses you, it would feel rewarding, right?

"This straight up tastes awful, this one is painfully bland, and this is, hmm... Let me taste again, ...mmmm!! It's super delicious!"

Was it a wrong choice when he interacted with you more? No, otherwise he would have felt so much joy in a long while. Bit by bit, you warmed up your way into his heart, securing a comfortable place in it. There was a saying that the way into person's was through their stomach, so why was it when the more he poured into your stomach and the more he was successful at making you happy, the more was being poured into HIS own heart?

"Jiaoqiu... Thanks a lot."

The second you were calm and silent. Aeons, you were adorable, beautiful, handsome and majestic in your own way that Idrilla would be jealous. He wanted nothing more but to cup your cheeks with his hands and connect your lips to his own. He wanted to hug you dearly, bask in your touch, bask in your scent. But he holds himself to the ground, after all, looking at the picturesque scene in front of him will suffice more than enough.

"What do you mean my hair is turning white? I'm still young you know?"

...Oh. Did time fly that fast when he's having fun? Was it this early for someone he would willingly hold dearly to part ways with him soon enough? Or was time just cruelly toying him? How could he even forget that you were a short-life specie, just how?

"Ugh... Sorry and thank you, Jiaoqiu. I mean, for taking care of me, I'm still really sick, my body is just getting weaker and weaker by the day... I don't know why..."

Time is running out. Why was his time with you getting cut short? Why? Why? No. He's gonna fix this, he can. All he wants is a little more time with you, can't he have that? He doesn't want to feel lonely again. Please... Stay...

"Jiaoqiu... Are you okay? You've been stuffing your nose into books all day. I just... Have a feeling your doing something suspicious, don't get me wrong, I'm not accusing you, I'm just worried."

Immortality is a sin, he knows that, he knows it all too well. The only way to achieve it is through the flesh of an Emanator of Abundance. The last time that went... Didn't go well. Fuck around with immortality and there will be a cost... That he's willing to pay, unfortunately for you. All he needed is to make a medicine that will ensure you to live longer, even if you become mara-struck, it doesn't matter.

"Are you sure this medicine is safe? I don't think that it is..."

Aeons! Just consume it will you!? Do you know how hand it took him to get his hands in these things!? Do you want him to strip naked and beg you to consume it!? You want him to pin you and shove it down your throat!?

Jiaoqiu wouldn't really consider himself sinful... So he wonders why he's dragging you into the pits of hell.

a/n: uh... this is inaccurate as hell, i barely read the lore leave me alone— 😭

[licorice-and-rum]

My response to some "critics" about Babel

Okay, I'm gonna start by saying this: English is not my first language so I may commit some spelling and grammar mistakes here but I felt like I just had to write this down, especially because of the negative reviews this book has that just… didn't get it.

Don't get me wrong, of course you're allowed to not like this book, I recognize that it's most certainly not gonna be everyone's cup of tea but some of the people here just didn't get what this book was all about. Babel isn't a fantasy like ACOTAR, or HP, or whatever (in the sense that, for those, the story guides the message while Babel is the contrary): like many classical books, Babel was written to make a point, it's a romance, sure, but it was written to argue for something - the necessity of violence.

So, first of all: Babel is a historical fantasy, it talks about colonialism, racism, sexism, and other matters with no qualms, no embellishing to make it digestible, no allegories or metaphors because this isn't the point. Kuang's "lack of nuance" as someone here pointed out is very deliberate and extremely important for the story because the points she wants to make are always lost in nuance (just think how many people go on misinterpreting Star Wars, Hunger Games, or even anti-system songs like The Wall ffs), and the message is too important to get lost in allegories.

Second, as to the story, many people seem to think what she's pointing out is obvious "ur dur colonialism is bad, we get it". No, you clearly don't. There's a profound difference between getting it and actually comprehending it to an elemental level. Robin's travel to Canton illustrates that perfectly: he knew that colonialism was bad, he knew it was violent but he didn't comprehend it until he was forced to face it happening in front of him - to people who could've been easily him. More than that, because that was when he finally connected the theory with the reality, it became palpable to him.

It's not enough to get it, you have to actually stay attuned to it, to feel the flow of its violence throughout the world because then, and only then, I'll realize you can't be complacent, you can't turn your head from it. And Babel is an attempt, however tiny, of showing this to you. Of telling you "Look, you're ignoring it, the discomfort you felt reading this is your conscience telling you you relate to that". So no, I refuse to accept that Kuang should have been more nuanced: she was as clear as she could because she knows people say they get it but they don't, not really.

Third, the magical system is just chef's kiss. I've seen many people complaining about it but the thing is: the silver working is not about having magic in the world, it's about creating a palpable, material place where Kuang could center her attention as she talked about the economic aspect of colonialism. That's because colonial power is not centered in one place or thing, it is scattered all around but you can't hardly make a point like Babel's if you have your characters fighting off colonialism in all corners of the world. Like the Capital in the Hunger Games, Babel is a material place that symbolizes something.

Moreover, the silver working symbolizes the Industrial Revolution and its need for the advance of colonialism. More than that, silver-working is about capital, it's about technology to generate more profit, quicker, for a specific class that doesn't care who they have to kill to continue, doesn't care whether it is good or bad for the common folk.

Fourth, many people pointed out how academic Kuang's writing style felt during Babel and they're right, it is indeed very identifiable. I'm sure I even commented something along the lines of "it feels like I'm having the best History lesson of all time". But I'm going to challenge people who say things against the notion that the historical description of Kuang was unnecessary: every time Kuang chose to give the readers historical context has served somehow to the narrative.

I remember early on in the book when Robin was still a teen walking through London and reading anything he could put his hands on, and then we get two paragraphs of historical and political context for the time, then Robin comments that he didn't understand why this mattered so much. That paragraph served so much, both because it made us know a little more about Robin and because it served to make us understand the profound environmental change England was going through at the time.

And every time she did this, it served for something. Again, Babel is a historical fantasy, it is supposed to make you think about the point Kuang is trying to make but you won't understand it if you don't know the context of which Robin and the other characters in the book are coming from. It was a time of decision: either England would consolidate itself as an almost all-powerful oppressor, or it could go down… if the oppressed people - who share a common enemy - understood their responsibility to do something.

The strikes of the English working class, the violent acts of rioters, the advancement in technology, the possibility of the Opium War, the colonialism… it's all important. It's important because it allows us to understand the deep connection between it all. It allows us to understand who profits off of it, and who doesn't; who is able to understand and who isn't. It's why Letty is upper-class. It's why Abel isn't.

It's not as simple as some people think to understand colonialism, the flows through which one thing is tied to another. Why do people ask "How does this affect me?" when we point out deeply unfair things like unpaid maternity leave (I actually saw an American once saying she "wouldn't want her tax money to go to someone who didn't plan through"), like the fact people starve when we have the ability to feed a world and a half, of that Palestine is going through ethnic cleansing? Because they are unable to understand how closely their lives are tied to other peoples they have never met and probably never will.

Kuang's message is not "colonialism is bad", she's saying "These are all the forms through which colonialism is bad to everyone but a few, do something about it", she's saying "Every single one of your struggles is tied together in more ways than you even understand. A person in Haiti, in China, in India, in the other side of the world, has more to do with you than these white rich people, fight with them, stand with them."

Fifth, I can't believe I gotta say this but I'm not going to even bother with you if you think this book is somehow "anti-white": just get over your main character syndrome. We're talking about a historical fantasy set in England in the epitome of colonialism through the eyes of a person of color. Of course, most white people are gonna be bad, get over yourself ffs!

The actual entitlement to the protagonism white people have is maddening. As a white woman (in Brazil, at least), I'm ashamed of some comments here. It's not because white people in this book are majorly racist (which, according to the setting is 100% accurate) that Kuang is talking about you (although, if you're so bothered by it, it's probably about you anyway). This is a book about the experience of people of color under the oppression of colonialism: white people are the problem!

You can't just expect someone to write about colonialism and not talk majorly about race. White people reap all the privileges of this system and not just that, they are responsible for it, and all the crying about being the bad guys is just insufferable (they're actually so right about having to console Letty once she learns about the racism they suffer).

Be f*ing accountable for your privileges, take responsibility for your internalized racism, and be accountable for the system that privileges you. It doesn't matter that it wasn't your fault, that you didn't set up the system, you still benefit from it anyway so get a grip. This story isn't about you at all, it isn't about how some white people fought against slavery or oppression, it isn't about you.

Let's be very clear about this: most white people who fought against slavery did so to serve their own interests, exactly as Kuang points out. This doesn't mean none of them were good people who actually believed slavery was bad but we're talking of a time when racism and racial discrimination weren't even discussed seriously. Most white people, even the ones against slavery would have a deeply ingrained racism in them, so get real.

More than that, though: if those people who actually have no shame in saying Babel is "anti-white" had actually read the book through, they would know that some white people actually help and are good people in the story.

Anyway, Babel is so good, it's so painfully real and so passionately well-written. You can feel Kuang's love for her people, the struggles of what it means to love something but still not be a part of it, the deep understanding of how the world works, and how intricately every single thing in our lives is.

I just felt so heard (as a person from a third-world country) reading Babel, like someone was telling me all this rage and indignation I feel is justified, it's valid. I just treasured it so much, how I identified with Robin's need for security contrasting with his indignation for the price of it; with the rage Griffin carried around him, sharpened and well-directed even in its volition; with the love Victoire had to learn to have for her country and its story; with all the pain I was able to share with someone who understood it.

It's an honor to allow words to change me so fundamentally. It's humbling to realize I'm not alone, that my actions and my feelings are shared by other people. It is really precious, you know, to be able to become a better person than I was before because of a book.

[thefuzzyaya]

I still keep thinking about how freaking much I hated Deadpool 3 and how with minor changes it could've been better as a movie:

1) Whole conflict with Vanessa was vague and hard to understand and stupid.

Instead then could've: shown Wade being so obsessed with other realities and MCU superheroes that he started spending more time there than in his own reality, gradually loosing his connection and undervaluing real connections he had with Vanessa and his found family. At the peak of the conflict he walks away and end up in tva and that limbo space. There he finds Deadpool corp, and looking at their universes where he had no family and no home, he understands what is important.

Whole point of the story would be him understanding that real connection is important more than fame and superhero life.

2) They SHOULD'VE SHOWN us what happened to that wolverine. Not tell, show. Freaking basic rule of cinema.

Just imagine them showing us scene where he got drunk (still don't know how he can get drunk but let's go with their story) and either

- was so drunk that he got easily pushed down physically but still had to face his people dying right in front of him

- was so drunk that when he came back he was giggling stupidly and not understanding that people around him are not sleeping but dead

By showing this they would strengthen the initial disdain for the character, that even us as viewer would have, and this wolverine would gradually earn our, viewers, trust too.

No freaking need to all those stupid cameos, the only one who was needed was Laura. And proper introduction to Deadpool Corp, that's it.

This movie is so lazily written, they use vague words to describe something "they came, they killed" who they, they don't show it, humor is mid at best and at the end of the day it's also pointless in general.

[sheisjoeschateau]

"Oh, so we DO love Steve..." | PART I

Steve Harrington x Bauman!fem!reader enemies to lovers, heavy angst, hurt/comfort, upside down mayhem, S2-S4, post S4 universe hot-take, end-of-the-world / dystopian setting, ugly fights turned smut (...but with hella plot). 18+

WHEN THE UNEXPECTED NIECE OF MURRAY BAUMAN GETS THROWN IN THE MIX, THE GANG HAS NO IDEA JUST WHAT THEY'RE IN FOR. SCRATCH THAT - STEVE DOESN'T KNOW. YOU GET ALONG WITH EVERYONE WELL. YOU BANTER WITH THE ADULTS, WHO APPRECIATE YOUR HELP. THE KIDS LOVE AND WORSHIP YOU. YOU'RE HELPFUL ALL AROUND. BUT AS FAR AS STEVE IS CONCERNED, YOU'RE JUST NUISANCE. AFTER ALL, YOU'RE THE REASON HE LOST THE LOVE OF HIS LIFE AND MISSED OUT ON A LIFE THAT "COULD'VE BEEN." IF YOU HAD JUST KEPT YOUR SORRY ASS OUT OF THE PICTURE... IF YOU HAD NEVER GONE WITH NANCY AND JONATHAN AFTER THEY LEFT YOUR WHACK-JOB UNCLE, MURRAY BAUMAN'S, BUNKER? HE WOULD BE HAPPY. SO F*CKING HAPPY. BUT HERE YOU WERE. YOU WERE BASICALLY THE COOLER (...AND SURE, MUCH MORE ATTRACTIVE) FEMALE VERSION OF MURRAY BAUMAN. YOU WERE SARCASTIC, QUICK-WITTED, TOO SMART FOR YOUR OWN GOOD, AND APPARENTLY BUILT FOR THE WAR. SURE, YOU WEREN'T AS BRASH AS YOUR UNCLE. BUT IN STEVE'S EYES, YOU WERE SOMEHOW FAR MORE OBNOXIOUS. HE DOWNRIGHT HATED YOU. HE WILL FOREVER HATE YOU... BUT WILL HE?

DISCLAIMER: I DO NOT GIVE PERMISSION FOR MY WORK TO BE COPIED AND/OR REPOSTED ON HERE OR ANY OTHER PLATFORM, OR PUT INTO ANY AI PROGRAMS. THIS IS AN 18+ BLOG, MDNI.

An original fanfiction series, written by Misha St. James.

⁺₊⋆ ☾⋆⁺₊⋆ SERIES MASTERLIST ⋆⁺₊⋆ ☾⋆⁺₊⋆

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I did not proof-read this after Tumblr gave me hell trying to share. So pls excuse possible typos. hehe

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Let's just get to the point, shall we?

Once upon a time, a young boy named Will Byers went missing. Later, he was found in an alternate dimension by the world's #1 mom and a cynical cop turned hero. A girl with a shaved head had telekinetic superpowers, befriend's Will's four loyal friends along the way and helping them track down their missing party member. Then, whatever the hell was on the other side - whatever was in this...upside down...took back Eleven. She'd been missing ever since that dreadful winter.

Fast forward to now: you're sitting in your uncle's bunker, looking at his wild display of efforts.  Papers, files, whiteboards covered in multiple words, arrows, sketches - all in different colored markers. Murray Bauman was on a mission, and he would be damned if that grumpy, cynical smart-ass known as Jim Hopper honestly thought that he could dismantle his efforts.  Nice try, chum. Game on. Thankfully, you'd gone to school with Barbara Holland. That's whose parents had assigned the task of searching for her to your uncle. Murray was asking you tons of questions, and you were glad to help. It meant spending time with the only family member you cared for, despite his wackiness. You guys got each other. Bantered well. Got shit done. Honestly, it was also a great way of drinking safely and not with a bunch of rowdy teenagers at some stupid party. You got along just fine with everyone at school. But damn, they could all be annoying.  ...especially Steve fucking Harrington, who was now the topic of conversation. You know, given that his house is where Barbara was last seen. "It just isn't making sense," your uncle huffed, raking his hands through his oily dark hair.  You sipped on the glass of vodka that your uncle had poured you, hissing at the strong taste. Leaning across the coffee table, seated on his couch, you tried to connect the dots with him. "I'm telling you, someone in that group of teens knows what's up. Or at least has an idea." Your uncle swigged at his vodka, defeated but ruthlessly trying to piece together his clusterfuck of scattered evidence across his wall. "Well then, guess we better grill 'em."

And that's how you come into the picture. When Nancy and Jonathan came to seek out Murray. And when they arrive, they're surprised to see you. They recognize you from school. Jonathan took several classes with you. In fact, the two of you got along well at Hawkins High. No, you weren't close. But you both were cool. Nancy, on the other hand, didn't know anything about you. Just that you took political science with Barbara, and got straight A's across the board. You could've been class valedictorian. But you were not looking for any sort of title that demanded pressure or attention. At least not in high school. Career wise? Sure. Not here, though. Not Hawkins. "Your timeline is wrong," Nancy is saying, making you and Bauman freeze.  Nancy is telling you that the girl with the buzzed hair is not Russian. She is, in fact, from Hawkins lab. And her name is...Eleven? So they do know something. And something turns out to be everything.

Jonathan sits you both down to relay everything to you both. And woof, does it give you guys a headache. Strangely, though... it makes a whole lot more sense than some mundane explanation of sorts. Obviously though, that puts you all in a tough spot where you'll all need to put your heads together. So the two classmates of yours stay, sharing in chilled Smirnoff and having to endure the hilarity that ensues between you and your uncle. You and Murray both banter well with the two of them. Jonathan finds you to be hilarious. Nancy finds you intimidating. Very intimidating. You’re quick witted, darkly humored and independent. But there is a reserved, mysterious sort of feminine energy to you, despite your more masculine strengths and bluntness. Over glasses of stiff vodka, you all come to the conclusion on how to go about exposing the truth about Barbara Holland's disappearance: water it down.

At the end of the night, you're all winding down -- you and your uncle having convinced the two lovebirds to stay. But when you're telling them they can take your uncle's guest room while you take the couch, Jonathan's asking if he can take the couch. You blink. Huh? ...surely Nancy is not still with --

"Okay, I'm confused," your uncle's saying. "What's going on here? Lovers quarrel?"

You cock an eyebrow, leaning back into the loveseat.

But Jonathan and Nancy are then talking over each other with weird, flustered excuses...saying they're just friends.

You and your uncle bust out laughing. And then you're shrinking back in your seat, knowing what's coming: one of your Uncle Murray's lovebird witchdoctor speeches that he barrels into anytime that two delusional people have convinced themselves that they aren't in love. Or at the very least, not into each other. 

Uncle Murray is breaking them down, one at a time. He's reading Jonathan like an angsty teen novel, seeing right through him and his brooding, mysterious energy.  Trust issues, thanks to daddy issues. Yikes, that makes you sip some more drink.

And then he's onto Nancy, saying that she's harder to read. But he manages anyway.  It's the Bauman way.

He's telling her that she's likely like everyone else, "afraid of what would happen if you accepted yourself for you who you really are." He looks at you. "Am I in the right ballpark?"

You nod, swallowing the last drop of vodka in your cup. "That...and afraid of that might happen if she didn't retreat back to the safety of someone familiar."

Nancy looks bewildered. But more than that, she looks caught. 

"Name?" your uncle is prodding, snapping his fingers.  "Name."

You and Jonathan both say it. "Steve."

Uncle Murray's face is priceless. He feigns adoration, putting on a baby voice as he repeats the name. "Dawh. Steve. We like Steve."

"Yes," Nancy laughs nervously.  Eek, you think.

"But we don't love Steve..." Your uncle's words floor Nancy.

And when Nancy's saying something about still being with Steve, insisting that she loves him, you roll your eyes. Even scoffing, getting her attention. Maybe if the vodka weren't in your system, you wouldn't be so bold. But Jonathan's mopey look just gives you more confidence.

"Boom, ladies and gents," you say with a grin. "Second lie of the evening." "The hell was the first one?" Jonathan asks, blinking. "You guys being just friends." You and your uncle say something along the same lines, simultaneously. You both laugh together, clinking glasses. The two not lovebirds just squirm awkwardly in their seats. Finally, you sigh. "Look. You guys don't wanna give up the ghost? Be my guest. I'll happily keep my bed." You stand up, ready to turn in. But not until casting them one last work, pointing a finger. "But if I were you two? I'd cut the bullshit and just share the damn bed." Murray snorts, rising to stand as well. He stretches. "Welllllp. I'm turning in for the night." You begin mounting the stairs, hollering: "Better act fast, kiddos. At least before this poison in my system knocks me out cold. Don't worry, Nancy, I don't snore. So if you do choose me, you're safe." "But that's so lame," Murray adds to that wryly, heading off to his room. You both tell each other goodnight, leaving the two angsty teens to decide their fate. All you know is that Nancy ends up walking out and not coming back, at one point in the night.  Yeah, thought so. Breakfast the next morning is even more hilarious. You and your uncle ask every single question that drips with innuendo that you ever possibly could. And it's worth every fucking minute.

Murray's gonna need to keep that couch cleaned. To your surprise, Murray sends you off with Nancy and Jonathan, but given that you want to go and see it all for yourself you don't mind. You’re basically his little spy.  Most uncles send off their nieces and nephews with some good advice, maybe a packed lunchbox or snacks, and a warm hug. 

Yours, however, sends you off with a full bottle of vodka, a thick wad of cash and some fun sarcastic banter. But he headlocks you in for a hug, and you cackle. He really is a nutcase, and man you can't help but love him. He is so not the parental type. Yet somehow, he's practically raised you. And in your opinion, you're pretty well-prepared for the world. More than most, in Murray's opinion. So off you go with Nancy Wheeler and Jonathan Buyers, and they both honestly enjoy your company. It helps them get past their umm...well...awkward new reality. That new reality that comes post-sex, after a long ass time of playing the tip-toe game. The sexual tension between them is hysterical to you. But you keep your thoughts to yourself for now. The vodka did most of the talking for you last night.

When you both arrive at wherever the hell your destination is, it's dark outside. And if you're being honest, it's pretty creepy. You're somewhere near the woods, and as you all walk closer you're beginning to see lights approaching you...along with a handful of shadowed figures. 

Fuck, you literally just got here.

But then, after a tense several moments... Nancy and Jonathan call out to them. You jump, startled at the fact that they do it so confidently. But the name that they call out suddenly makes it all make sense. "STEVE?" "NANCY...?" And that's how you became a crucial part of the most royal pain in the ass, King Steve's, life.

[sevensoulmates]

Buddie 7x06 Meta

HURRAH! It's not a four-parter this time!! Just a one-parter! It's a Madney/Chim-centric episode (which by the way I loved) but the buddie we got was AMAZING! I'm so excited for the rest of the season. We're just gonna dive right in!

First, I want to say that with the hindsight of this episode, we now know that the bachelor party was not ACTUALLY something that needed to happen, narrative-wise. It didn't actually contribute anything to the Chim plot, as that would've happened with or without buddie going crazy in the hotel room. So, all of the Bachelor Party was written purely for the purpose of watching Buck and Eddie have a good time. Maybe for comedic relief, maybe for the purposes of furthering their story at a later point in the series. Time will tell.

First, I've seen other people point out that Buck expected Eddie to be early (even though he's the first person there) because he wanted Eddie to help him set up for Chim's party. To Buck, Eddie is the person who helps him with everything. This is Buck's idea, yes, but Eddie is the proverbial co-host in this married dynamic. So Eddie being "late" feels more like Buck being disappointed his partner wasn't there to help him behind the scenes to make everything perfect. It really does make the whole scene feel like Buck-and-Eddie (the bro-in-laws) throwing the party. So of course Eddie's breaking the unspoken rules by being late.

I love how Eddie walks in completely ready to be fawned over by Buck with their couple's outfit. It's hilarious to me because 1.) Tommy was planning on coming, Buck could've told Eddie he wanted to do a couple outfits with Tommy instead?, and 2.) Eddie was fishing for compliments and it just makes me giggle. If Buck wasn't so stressed out over this bachelor party, he likely would've reacted how Eddie wanted and given him a bunch of compliments on his look. It was jaw-dropping. If most of us (the audience) were blown away seeing Eddie in a pink suit for the first time in the bts (to the point where most of us were like "no way he's in character, this has to be Ryan's wardrobe choice"), I know that the other characters were too. It's not Eddie's typical wardrobe choice. In fact, it's such an out-of-character fashion choice for him, that it's unlikely that Eddie just had this lying around in his closet to throw on. He probably had to go and buy a suit like this just for the occasion. Eddie had to put in a lot of effort to do this couple's costume with Buck, and he did it all happily and enthusiastically. We'll come back to this in just a second because...

CLIPBOARD BUCK IS BACK! sans clipboard but you get my drift. I love how this visually connects Buck to his sister and harkens back to a lovely Buddie moment "This is Eddie's house, I'm not really a guest" back in season 3. This time around, we have Eddie assuming he would get special husband privileges and is pouty when Buck doesn't allow it.

BUT at the same time, he's not getting on Buck's case too much about it beyond the initial pouting. He may not know why Buck's so insistent on throwing a party, but he knows it's what Buck wants, so he moves on, and even watches with somewhat amusement when clipboard Buck gets turned on Ravi for doing the same thing later.

I also want to point out that Eddie has never once, ever, been upset with, annoyed by, or irritated with Buck when he's in Clipboard Buck mode. Most of the time, Eddie either finds it amusing cute, or is just generally accepting of it. This is no exception, however, this later devolves into Buck and Eddie going absolutely wild. This further exemplifies how Buck and Eddie accept and support each other, even when the other is being lowkey stupid (everything they do at the bachelor party) or unreasonable (clipboard Buck). It's all very much partner in crime coded.

Framing. Jesus Christ the FRAMING. Tommy walks in and not even two seconds into the interaction, the camera frames Eddie FRONT AND CENTER between them, watching Buck and then watching Tommy. Buck and Tommy hug and when they pull back, there's Eddie watching them with an odd look on his face. I'm not going to go so far as to call this jealousy/pettiness, but it is odd. There's an intimate physical moment between Buck and Tommy, and then Eddie, who constantly haunts their narrative, is just there. And he's actually objecting to Tommy's presence there. Not in a mean or hostile way, but just a second ago he was high-fiving Tommy, welcoming him in, but once the physical special relationship between Buck and Tommy is established, Eddie starts to bristle a little bit.

This entire exchange is just odd. Eddie knows that Tommy is friends with Chim. He has every right to be there for Chim alone. He's also aware that Buck now has a closer relationship with Tommy, and Buck's the only one who wants this bachelor party, so it should be obvious that Tommy would come. And yet...Eddie is questioning Tommy's presence there. He's reducing Tommy to Buck's "date", not Eddie's friend or Chim's friend, or someone who's slowly integrating into the group. No, it only becomes a problem when Tommy is there as "Buck's date".

This is then proven by Tommy, who's actually known Chimney longer than either Buck or Eddie have known him. He has all the right to be invited. But what's especially interesting is Buck's face when Eddie starts expressing objections to Tommy's presence. He looks shocked, a little worried, loss for words. Like he's worried Eddie is disapproving of them. It could be worry lingering from last episode, where Buck was afraid of his queerness pushing Eddie away. It also showcases a bit of awkwardness between Tommy and Eddie too. Eddie has been established as enjoying spending time with Tommy, and now he's hesitant to have Tommy in spaces with Buck as a romantic partner. It demonstrates that maybe Eddie isn't as comfortable with Buck and Tommy together as he led Buck/the audience to believe. But where is that uncomfortablity stemming from? That's yet to be determined canonically.

Buck then goes on the deny that Tommy is his date (for the bachelor party) and insists that Tommy is only his date officially tomorrow at the wedding. I personally don't understand why Buck would need to clarify that Tommy isn't his date to the bachelor party. If they're dates for one, it's usually assumed they're dates for the other, especially given how close the events are. I get that Buck wants to make the night about Chimney, but it can be about Chimney and still have Tommy there as a date.

This is also an interesting line that I've pondered over. Because while it's true that taking Tommy as a date anywhere would be hard launching both Buck's queerness and his relationship with Tommy, which could draw attention away from Madney and to Buck, but it also shouldn't be that big of a deal (and is proven at the end of the episode too). If the wedding had gone to plan originally, then Buck and Tommy going together wouldn't have had to have drawn too much attention. He could've told Chim, Hen, his parents + everyone separately before the ceremony even began. It didn't have to be such a huge deal, so I was wondering why Eddie brings out the usual phrase the show tends to use when they want to remind Buck that not everything is about him. But Buck wasn't trying to make it about him. Eddie should know this. As much as Buck has had issues in the past of taking things far too personally, and believing things to be more about him than they actually are, that's not what is happening here.

I actually think Eddie saying this line is more revealing of Eddie's feelings than it is about Buck making it about him again. It's revealing that Buck, his relationship with Tommy, and Buck's queerness are a big deal to Eddie, enough so that he believes it will draw a lot of attention. And maybe Eddie's not as cool with the idea of everyone knowing about Buck and Tommy as he tells himself. I want to reiterate that I don't believe any of this stems from legit homophobia towards Buck and/or Tommy, but more so a discomfort Eddie harbors about Buck's queerness, what it means for Eddie, and what Buck being with Tommy takes away from Eddie. All of this is unconscious, confusing, and frustrating for Eddie, and therefore what comes out of Eddie's mouth is a barb at Buck's expense. And it's why his reaction to BuckTommy at the end of the episode is kind of muted but mostly positive. He's confused.

Buck had told Tommy previously that it was an 80s theme party and asked him to dress up. This brings me back to my previous point that Buck could've asked Tommy to dress up with him. Instead, Buck and Eddie are framed as the literal "couple" here visually, and Tommy is framed as the odd one out. Not only that, but what he is wearing is a Henley, which as most of us know, is a staple of Eddie's wardrobe. (General author's note: I don't usually harp on about wardrobe choices in the show because that's not my specialty but I will here because it is a textual part of the plot).

We've previously established in the last few episodes that Tommy is a narrative mirror to Eddie. Tommy's meant to be like Eddie in almost every way, same interests, similar personality types, etc. He's even paralleling Eddie here by dressing the same way Eddie normally dresses. But it's being juxtaposed by Eddie standing right beside him (once again Eddie is framed in the middle throughout this entire exchange with Buck/Tommy when Eddie very easily could've just stepped off to the side to let them have some privacy). EDDIE is dressed way differently than he usually is in a bright pink suit, going out of his way to make Buck happy even if it brings him out of his comfort zone wardrobe-wise. And in contrast, Tommy did not take the time to dress up, even though he knew Buck wanted him to. I'm not saying that this makes Tommy a bad person, or inconsiderate of Buck, but it's just one of those little things. One of those forethought things that Tommy just isn't aware of because he's only been dating Buck for a few weeks at this point.

Others have pointed out that Tommy would've had to change out of his clothes and into his uniform regardless if he was on standby, so why couldn't he have at least just added a little bit of 80s flair to his current outfit? It wouldn't have been any more time-consuming. Maybe it would've put Tommy out of his own comfort-zone, or maybe he would've been a bit embarrassed, but that's the kind of thing that one might reasonably risk in order to make their partner happy.

Tommy isn't aware that by not dressing up, he's hurting Buck's feelings. That's just one of those things he wouldn't know about Buck because he does not have the lived experience of what Buck needs emotionally from his partners. Eddie, on the other hand, has years of experience with Buck and knows that if he really wanted to he could be just like everyone else who didn't dress up and that Buck would put on a face of being fine with it, but deep down inside, it would make Buck feel ignored and hurt. Eddie doesn't want to ignore Buck, and as we've seen from his last line about "making it about you", Eddie can't ignore Buck. So even if it means pushing himself out of his comfort zone, Eddie's going to show up in full costume, ready and enthusiastic to be with Buck.

All of this is being done for a purpose. It's to show us that while Buck and Tommy are still learning and developing their relationship, something is off, specifically in comparison to Eddie. The show is purposely framing Eddie as a better partner to Buck than Tommy is being in the current moment. Which is kind of unfair, if you think about it. If the show was setting Tommy up to be Buck's newest love and future endgame, they would instead be giving them opportunities to grow together, to get to know each other. Instead, the show is telling us in every subtly way it can that hey, wouldn't Buck fit so much better with Eddie instead? It's contradictory and doesn't further the plot if BuckTommy growth was the purpose. These bachelor party scenes as plot devices only work if the purpose is to show the audience that something isn't fitting with Buck and Tommy, but whatever that missing piece is, it does fit with Buck and Eddie.

Tommy then doesn't understand that they're supposed to be dressed up as the Miami Vice characters. He instead assumes The Wedding Singer (1998). First, I want to say that this is the 2nd Adam Sandler/Drew Barrymore romcom that's been mentioned in canon in relation to Buck (the first being 50 First Dates in the season 5 finale) and as a huge fan of those movies, I'm fangirling. Second, it aligns with Tommy's s2 characterization where he loves romcoms (Love, Actually, and now The Wedding Singer). Third, it's an interesting choice from the writers here to pick The Wedding Singer as the movie that springs to Tommy's mind. There are plenty of 80s movies with bright colors that could've been name-dropped. They instead purposely went for a movie about the 80s but made in the late 90s, for the express purpose of having Eddie point out that Tommy's wrong. This is all very subtle, but it definitely does feel like Eddie is trying to lowkey one-up Tommy. But why would he feel the need to do this?

I've seen others point this out as well, but The Wedding Singer is about two people who are engaged to other people who are very obviously not right for them, though they might try to convince themselves differently. I rewatched the movie yesterday morning and I found it very enlightening. Adam Sandler's character is very much in love with Drew Barrymore's character, and almost tells her to leave her fiance for him, but in the end, he assumes incorrectly that she's happy with the other guy, and leaves them be. Drew Barrymore's character was ready to settle with someone she didn't fully love for security, and the only reason she doesn't tell Adam Sandler's character the truth is because she thinks he's still in love with his ex. It's all very miscommunication-y, but at the same time, it's reflective of Buck and Eddie's characters currently too given that neither of them really knows what they're looking for, they're just seeking a feeling, and may or may not be finding it in their current respective partners. But in the end, even after all the miscommunications, there's a HEA in The Wedding Singer.

Something else of mention was how in the movie, Adam Sandler's character was asked how he knew that things weren't working out with his ex and he said something along the lines of "It was the little things. Like, one time we were going to the Grand Canyon, and I had never been there before and she had, and instead of letting me take the window seat in order to see the beauty of it from above, she took the window seat for herself." This reminded me of this scene with Tommy, where it's just the little things that aren't fitting between him and Buck. I will come back to the topic of BuckTommy and misalignment later.

There have been many posts discussing how Crockett and Tubbs are another one of those "manly" buddy-cop pairings who were very queer-coded best friends who obviously never got together. Many people believed Crockett to be bi-coded as well. What's interesting to me is that this marks the second/third time in the last two episodes where they argued about who is the bi-coded character. I just find it interesting meta-textually when you think about the fact that fans used to argue incessantly (still do honestly) about whether Buck or Eddie could be queer and now that Buck is confirmed to be queer, people argue that Eddie can't be queer now. Additionally (I don't watch Miami Vice but I looked at a lot of the pictures) it seems that visually, Eddie should be aware that he is dressed as Tubbs, since most of pictures of them feature Crockett in blue/green semi-casual and Tubbs in pink/elevated suits. Visually, their roles should be obvious to anyone who is familiar with the show. Just like how Buck's queerness is now obvious. But now, the argument is well, there's an argument to be made that Eddie could be Crockett, and subtextually, also queer.

The narrative continues to hint with every single episode that passes that it's very likely Eddie will discover his own queerness at some point in the show. Just like there's no need for Buck and Eddie to argue over who gets to be Crockett, they can both be Crockett for christ's sake, they're both gonna end up queer. Of that I am certain.

So not only was Eddie totally down to clown with Buck at this karaoke bachelor party, but he was the one who suggested the couple's costume. We see more instances of Eddie not trying to tell Buck "hey, Chim said he didn't want a party, so don't do it", instead he goes along with it and finds a way to be even more enthusiastic about it. And I don't think that that was just because Eddie really wanted to party. I think it was because Eddie realizes that Buck must be wanting to do this for a reason. Possibly Buck might be doing this because he wants to show Chimney just how supportive he is of him and Maddie, maybe it's because Buck never got to be too involved with Maddie's last wedding because Doug hated him. Maybe this is his way of trying to make up again for his actions in season 5 when Maddie left and Buck didn't tell Chim. Or hell, maybe it's just now hitting Buck that he's going to have a brother, for real now, after realizing all he lost with Daniel, and wants to make this day special for Chim to showcase his appreciation of their brotherhood.

Buck is obviously overcompensating for something, and Chim and the rest of the gang don't realize why the bachelor party is so important to Buck. Hell, Eddie might not know entirely either, but he does sense that there is something more than just "I want to party" going on with Buck and this bachelor party. And so, as always, he is ride or die for Buck.

Then, when everyone else gets up to leave karaoke, Eddie doesn't even get up. He doesn't make it look like he's also considering leaving either. He doesn't check his watch or phone or make it seem like it's a burden or an inconvenience to be there or like there's somewhere else he'd rather be.

Once again, this scene with Tommy and Buck is framed with Eddie clearly in the picture, to show how he's just chilling, drinking, and ready to stick it out with Buck regardless of what happens. And then Tommy is the last one to finally leave and disappoint Buck that night.

And now I want to bring it back to BuckTommy, misalignment, and the ever-present Screaming Universe. If this was real life, it would just be a coincidence, but it's not. This is scripted fiction and everything is done with a purpose. What purpose did the writers have to get rid of Tommy but keep Eddie around to party with Buck all night long? If the writers wanted, they could've had Tommy stick around, more so to show a juxtaposition between the three of them hanging out. Or the writers could've had Eddie leave, and Tommy stay. It would've served the same purpose. Tommy still could've left the next morning for work and come back sooty for the kiss. Instead, the story/universe wanted Tommy to leave and this undeniably creates a micro-conflict between Buck and Tommy. It's undeniable that Buck is disappointed that Tommy's leaving and that he didn't really seem all that enthused to be there in the first place. Tommy then leaves, he's gone for the majority of the episode and comes back at the end. This is now a pattern for the third time in a row.

In Tommy's introduction episode 7x04, he and Buck have a moment at the beginning of the episode, a conflict between Buck and Tommy is introduced, Tommy is there a couple times throughout but he and Buck do not have any one-on-one scenes again until the end where their "miscommunication" is resolved by their kiss. In 7x05, they have their date at the beginning where weirdness happens and Tommy ends it, is gone the rest of the episode, until he returns at the end for Buck to make up with and rekindle. And now in 7x06, Tommy is there at the beginning, there's a misconnection, Tommy leaves for the rest of the episode, and they reconnect at the very end.

That's three whole instances of conflict with BuckTommy all written in a very similar way back to back to back. All of these conflicts revolve around the theme of misalignment and not knowing what they want personally nor what the other person wants. All of this harkens back to that first little moment with Buck and Tommy in 7x03 where Buck pats Tommy's arm, Tommy reaches to connect their hands and misses. I predicted that this would be a metaphor for the rest of their relationship, and so far I've been right. Because it seems like no matter how hard both of them try, they aren't quite connecting, not to the fullest. There is always a conflict that pops up that pulls them apart every single episode and they have to find ways to resolve this at the end. Again, if this was irl it'd be a different story, but as part of a narrative where they're not only trying to showcase Buck's first-ever queer relationship but also strongly comparing it to his "platonic" relationship with Eddie, it feels pointed and poignant. Buck and Tommy's constant misalignment feels like the "universe" trying to tell them something but they're not yet at the point of understanding what.

I highly doubt Buck would've wanted to party with a bunch of strangers if he wasn't feeling so disappointed by both Tommy and Chim. Eddie too, I'm wondering why he didn't want to go home or go be with Chris and visit his family. Or maybe go and see if maybe Marisol wanted to hang out. In fact, Marisol not being in this episode at all, or even mentioned, after the last episode is telling as well.

Many people have pointed out that the karaoke scene parallels Maddie and Chim, and this is even more pointed when the song that is playing when Maddie and Chim get married is Island in the Stream which is the song they first sang karaoke to. Buck and Eddie we know sing "What I Like About You" by the New Romantics, which Oliver, Ryan, and Tim all described as the best song for them to sing to/with each other at this point in time. I still think of it as canon even though we didn't hear it (I get why, they had little time and also licensing is expensive). This song is a romantic song, that's undeniable, and it also makes me think of Shrek and Fiona so it's double iconic. It's also an interesting choice in the moment where Buck is at a low emotional point, and Eddie chooses to stick around with him, indulge with him, and have fun together. It really is a great moment to show how not only are they there for each other in serious and emotional moments, but they also just enjoy spending time with each other, and would choose to spend time with each other any time they can.

Now I wanna talk about just how close physically Buck and Eddie get in this episode. For a lot of us, it's kind of whiplash because while Buck and Eddie have hugged and touched before, never so much in this way, or this much, or this intimately. Buck has his arm around Eddie's neck, their faces closer than they've probably ever been before? Buck is literally whispering into Eddie's ear ("keep on whispering in my ear, tell me all the things that I wanna hear because it's true, that's what I like about you") pulling Eddie into his chest. Eddie's leaning his entire upper body onto Buck, resting most of his weight on Buck. They're pressed together thigh to thigh, leaning their knees on each other. All of this demonstrates not just an emotional closeness, but a physical closeness (thank you, ABC, fuck u Fox), and not only that but an intimate physical closeness. All of this coming right after an episode where Buck came out. I love this because it shows a lack of Eddie being weirded out by being physically close to a queer man as a (seemingly) straight man. But it's also just so telling because Buck and Eddie have not been this physically close before....like ever...in this show. And now they are at the turning point of Buck's queerness being made textual and Eddie's queerness being STRONG subtext? Oh my goodness it's such strong storytelling.

This might be reading into it, and I acknowledge that, but this dialogue exchange felt to me less like they were talking about all the nameless people who were around them and more so like they were talking about each other. These are strangers, they don't know Chim, let alone love him. Neither do these people know/love Buck or Eddie. Instead, this conversation reads to me more like Buck talking about how Chim should be here because his friends (Buck, Eddie, Hen, etc) love him, and Eddie agrees. Looking even deeper, given that Chim didn't show up and the rest of their friends left them for the night, this feels more like Buck and Eddie talking about themselves. Because why is Eddie here? There's no reason for Eddie to be here partying it up except for the fact that he loves Buck and he wants to make him happy and enjoys spending time with him. This exchange is Buck recognizing that, and Eddie agreeing that he really, really does love Buck. And that's why their shenanigans continue as they all move on to Chim's hotel room.

They could've given up/left once Chim's door was locked, but Eddie encourages Buck to keep on going. Touching Buck like how Eddie loves to touch Buck, in the way that's most appropriate for them, on the shoulder like this. Then he kicks the door in and when Buck is ready to go wake Chim up to party, Eddie's like "Eh let him sleep", because, for Eddie, he doesn't really need Chimney around to have fun. Despite what they were just saying about bringing the party to Chimney so that Chimeny could feel the love too, Eddie's perfectly content just partying it up with Buck and only Buck.

These three clips in the bachelor party montage....I'm just gonna be frank with you, they're so obviously meant to look sexual. So CONTENT WARNING**** for me about to talk about sexual positions and such.

I don't have to tell you that although Buck and Eddie are technically partying with a bunch of other people, none of them are actually important. They're NPCs there to give Buck and Eddie an excuse to do all of this stuff with each other. So everything they do in this scene is more so a reflection of their relationship with each other, as well as their metaphorical queerness than it is about just general partying.

We know (due to bts) that at some point Eddie was leaning over to pour alcohol into Buck's mouth. It looks like Buck is leaning back on the couch in his most favorite/frequent canonical sex position (girl on top/riding) that we've seen in the past. This time with his mouth wide open with a phallic symbol pouring a liquid directly into his mouth. It looks like a blowjob/cum shot. Then we have Eddie with his clothes being pulled off and torn away. From the bts, we know that Buck is behind him and helps the girls pull off his sleeves. Other than the obvious "ripping each other's clothes off" metaphor, there's also the "orgasmic" look on Eddie's face as well. Others have also discussed how Eddie appears to be recreating the "crucifixion pose" /Jesus on the cross with his arms out like that in a reference to his catholic guilt arc and how before he's very much let that guilt control him and now in this scene with his close being ripped off, it can also be a metaphor for Eddie's eventually freedom from compulsory heterosexuality and guilt.

The last still with both Buck and Eddie vigorously shaking champagne bottles near the crotches (mimicking mutual masturbation) and then both of the champagne bottles "explode" mimicking both of them reaching a mutual climax, which then cuts immediately to both of them waking up the next morning. It's very very obviously a metaphorical gay sex scene.

Separately from that, I want to discuss this specific still, with both Buck and Eddie in between 2 very clear-as-day drag queens. This inclusion elevates the scene subtly yet very clearly to represent both Buck AND Eddie in proximity to queerness/the queer community. It further cements the queerness of this entire montage scene.

Finally, to conclude the bachelor party scenes, I just want to reiterate, that Buck and Eddie could've figured out Chim was missing any which way. They could've gone over the next morning w/o partying there. Buck could've gone by himself, etc. There were many ways the "Chim is missing" plot could've been done without needing to go this route for Buck/Eddie. Which means that this plot was not for any necessary reason other than to bring Buck and Eddie together.

Then while they're going on their chase to find Chimney, Buck and Eddie are paired up together the entire time, working together as a team, once again looking more like an established couple than anything else.

Then, as if fitting with the BuckTommy "beginning and ending only" episode pattern, Tommy comes back only at the very end of the episode, and he and Buck kiss, transferring soot onto Buck's face and providing a very quick and easy way to come out to all the rest of the people who haven't yet known about Buck. Most people look surprised, others smug (Henren, we'll get to them) and Eddie gives an interesting close-lipped smile. This moment in and of itself isn't very loud. His face is purposely vague here (hats off to Ryan, king of microexpressions). Of course, Eddie's going to look happy for them, he's not going to look jealous. But his smile could be brighter, his eyes could be warmer. There's again just something off about his expression there. I think it's confusing for a reason, because Eddie too is confused about everything he's feeling.

Hen is incredibly smart, so I'm not surprised that she clocked Buck's queerness a while ago. Her telling Karen this, and Karen's agreement means that this is something they likely discussed in private as well. In my opinion, if she was able to clock Buck, there's no way she hasn't also clocked Eddie. She just isn't saying anything because she's a respectful and empathetic person.

Hen wasn't really there for most of Buck's Tommy-arc, but she WAS front and center for all of Eddie's "performance anxiety" around dating women. Trust me, when Eddie figures it out and he and Buck finally get together, Henren will say something along these lines again, I'm certain of it.

And that's the end of this episode! It was such an emotional ride! I loved everything they did with Maddie and Chimney, and the Buddie plot was so fun! I had a blast, and I'm so excited for next week! I get the feeling the latter half of the season is gonna dive deeper into Eddie's storylines. Yay!

[akuma-tenshi]

finished closing night!! boy do i have some thoughts. and now that i've gathered them, i'm about to make my autism your problem. spoilers below.

the first part of the event wasn't awful imo, it felt like character building and just helping establish the dynamic. i know some people weren't fond of it but given that i was never really that invested in hullabaloo before this and didn't know every little detail of these characters, it was nice to get some character establishment and figure out how they all are as people. i am also a fan of slowburn character-focused horror, so that may just be a personal taste thing lmao

bryce papenbrook does a good job as mike, even though there are definitely points where he sounds exactly like nagito (namely the scene where he's shouting at margaretha in the foyer). he has a very particular way of speaking / voicing characters that make it immediately clear it's him. however, i do think he fits mike well and he definitely lays off the nagito-ness in the second part.

the rest of the cast was excellent as well. while there was a Choice made with murro's voice (he sounds WAY younger than he's supposed to be, which is off-putting and takes me out every time he speaks), it's very clear everyone knows their characters well and they all do a good job keeping their mannerisms and vocalisations unique and fitting to each role. aside from some awkward lines (which i attribute more to stilted writing than to the va's themselves), the voice acting is absolutely a highlight.

margaretha's trauma with sergi is portrayed very well imo. bear in mind i have not suffered the same abuse as her, so i can't say how accurate or good it is, but it feels like it displays that it was a terrible thing while also being respectful and avoiding being exploitative. the added layer that everyone else (except joker) liked sergi and was unaware of the abuse adds a lot.

in general, i think mike and margaretha are incredibly well-written here. i think ne could've absolutely gone the route of popular fan interpretations and completely demonised margaretha while making mike a perfect angel, and they would've gotten a lot of praise for it. but they stuck to their guns and made them both very flawed yet understandable people, and that just makes everything feel that much more real, at least to me. they're such different people with opposing goals, and their friction really comes through. everyone else is very well done (shoutout to me a couple of hours ago calling joker cute for some godforsaken reason i can't remember) and i love all of their characterisations, but mike and margie really are the standouts here.

i do wish there was a bigger payoff for margaretha using euphoria so frequently. i know it's implied to have been involved in violetta's death, and i appreciate the connection to game 5, but i wish there was a little bit more there. it's not a huge gripe though, so i won't harp on it for long.

the pacing at the start of the second part had me extremely worried; things felt like they were dragging along and being padded out for the sake of being padded out, and i was not having fun with it. fortunately, this issue was remedied about halfway through, and once things got going, i started really enjoying myself. the pacing of the first half of part two is my biggest gripe with this story.

i was noticing a lot of similarities between hullabaloo and fool's gold: hunter forms of popular survivors being announced and used as a major part of marketing for an update to the idv story. with the aforementioned pacing issues, i was really worried that hullabaloo's reveal would shape up to be similar to fg's: a kinda cool cutscene and a lame chase sequence at the very end of a long, boring storyline. however, despite hullabaloo having a much smaller part in this story than fg did in aom, appearing only briefly in the fire at the very end, i still think it's a better incorporation of the character than what they did with norton. better to have it be quick and intimidating than just kinda tedious.

every death in this (aside from joker's) felt very purposeful and well-done. violetta's death was heartbreaking. the change in animation towards the end, followed by the single sound of her machinery giving out after the screen went black, was beautiful, and hey, at least she died happy. margaretha's death pulled at a very specific and very major love i have in storytelling, that being a character choosing to die free rather than live in captivity, and the payoff of all the underwater scenes where she swims towards sergi finally coming through when she chooses to sink away from him had me losing my mind. i genuinely did not expect mike's death to be a straight-up suicide; like i said, i'm not completely caught up on hullabaloo lore, so maybe other people saw this coming, but the fact that he truly could not live with the truth about hullabaloo is such a heartwrenching yet satisfying end to his character. like i said, joker's is the only death that doesn't totally stand out, but i like that they let you put the pieces together yourself.

the chase sequence with joker was unintimidating and a little lame, and honestly it felt somewhat forced, just a way to get his hunter form in there bc they realised "oh shit right this guy's like. a hunter isn't he." i do like that they gave him back his chainsaw though; very nice little callback to the betas.

the animation of the hullabaloo fire was absolutely gorgeous and the ending had me in shambles. for a while afterwards i felt similar to how i felt after finishing end roll: drained and flat but in a good way, like a ton of adrenaline had just released from my body after some intense event.

all in all, i really enjoyed it. i can't say if i like it more than aom, but that may be the frederick bias coming through, so i'm going to choose not to rank them and just say hey. banger event. well worth the hype even with its hiccups and flaws. i always say this, but idv has some genuinely talented people in its writers' room, and i can't wait to see what they come out with next.

[vi-gilante-1010]

The beauty of timebomb as a ship for me before season 2 was that it was doomed to never work out. Jinx and Ekko were so close as kids, they pranked enforcers and built things together and had that childhood crush that's so powerful at the time because it's your first ever crush. But they grew into such opposite people. Jinx devolved into a self-serving maniac that bombed and attacked for her own fun and for the people she cared about, while Ekko became someone who fights for the safety of all Zaun, saddled with a sense of responsibility to build a life that people could feel safe in. Ekko builds to heal, while Jinx builds to destroy. They're opposites, but they once mattered so much to each other. Ekko is the one person from her childhood she didn't kill because she pushed him away. Powder is the one he had to watch due before his eyes in her transformation to Jinx. It's tragic and it's beautiful and it's the epitome of season 1's tragedy: it's what could've been.

Then season 2 arc 3 came and well. It's a little less beautiful now. Introducing some alternate universe that blames the arcane magic for everything that went wrong, but simultaneously shows peace and prosperity as gentrification, with all of Zaun's uniqueness and culture eradicated and absorbed by Piltover culture. And it's in this world where Timebomb is canon. It could happen, if only she'd lost her sister earlier! If only Silco hadn't been a revolutionary! And then Ekko, without much explanation, beelines for Jinx. Not for the tree he was supposedly trying to save, not for his unnamed friends, not even for Jayce's lab. He goes to Jinx. And he saves her- off screen, of course, can't have the actual heartfelt connection between them happen in front of the audience- and they paint all over each other and go to fight Ambessa, because gotta have them in the fight, I guess. And then she "dies" anyway, which does double down on the 'they're doomed' idea but forgets the reason why they were doomed in the first place. She'd MURDERED plenty of Fire lights, his friends, his allies. And we're just forgetting all that because the All Problems Are Solved au Powder danced with him in a pretty dress? Sure, yeah, okay, whatever.

The tree, Ekko's safe haven he'd worked so hard to build, the Fire lights as a whole are forgotten by the narrative. At best, they and the Jinxers are treated like one and the same by the end, which is silly because they should for all intents and purposes be rivals, if not flat out enemies. The tragedy is altered to be more palatable because look, they still live each other after all this time! But it severely waters down Ekko's resolve as a character and makes his growth contingent on her, yet also maintains the part where he's solely responsible for the future of Zaun and the safety of everyone by having him force himself to the brink to kill Viktor, and then he's alone. Alone, with no friends. The Fire lights were never valued enough by the narrative to have names. His and VI's relationship is completely dropped from season 2 as a whole. Jinx and Heimerdinger both fake their deaths and abandon him. We don't see the safe haven he poured his life into, we didn't see whether the tree survived or not. All we get is Ekko, alone on a roof in Zaun. The only Zaunite to not leave or die.

This was originally a timebomb post. But damn if Ekko wasn't done dirty. It's like everything he did was for nothing, and not even in a way that's tragic but satisfying to the narrative. We don't get to see the end results of either of the major points in his arc. We never find out what happened to the tree. We don't see him reconnect with Jinx. News flash, season 2: in order to cry 'show don't tell' for your characters, you have to actually show stuff. "Show don't tell" + "intentional omission" = "really well-animated nothing burger"

(This post was initially written before the timebomb MV. So I wanna go on record and say that that MV didn't help at all. I think it's a nice MV, but it makes Jinx's choice to disappear more confusing by doubling down on Ekko being her safe place, and is unequal in that it's all about Jinx's feelings and how Ekko is her saviour. Not a fan. And if that's supposed to be the reconnection of Jinx and Ekko, then why didn't we actually get that in the show? Bonus content is bonus; you shouldn't have to have it for the story to feel satisfying.)

[appleyass123]

Hot take: Naruto is wildly overrated. The writing goes downhill fast after the Chunin Exams—plot points get dropped, power scaling becomes a joke, and characters with huge potential (like Neji or Sakura) are sidelined for the sake of pushing one overpowered protagonist. And don't even get me started on the canon ships. Naruto ends up with Hinata after barely interacting with her for most of the series, while Sasuke and Sakura’s relationship is borderline toxic and barely developed. It feels like Kishimoto threw darts at a board to pick who ends up with who. Character arcs deserved better. Fans deserved better.

Naruto x Sasuke isn’t a love story, it’s an exhausting cycle of obsession and one-sided forgiveness. Meanwhile, Naruto and Sakura had years of actual development, growth, and emotional connection. Sakura understood Naruto’s pain, supported him, and trusted him through everything. That dynamic had heart and potential—way more than the bizarre, tacked-on Naruto x Hinata romance that relied on a single childhood crush and a movie to make it feel vaguely earned.

Naruto is simply horribly written

I totally agree with most of what you said! Especially with the female writing with Sakura it was good at first and I had high hopes for her at the beginning that she will change from a rude immature young lady to a more mature and powerful kunoichi! Her fight against Sasori was amazing until she reunited with Sasuke again and she reverts back to her 13 year old self! Then all that development was thrown away when she got together with Sasuke! Personally, if Kishimoto wanted these two to get together he should've atleast did better writing for them, or at least have Sakura be more distant and traumatized by Sasuke putting her under a genjutsu!

And don't even get me started on NaruHina, I swear they were cute together at first but again the writing was shit! The movie, Naruto the last just makes me want to kill myself because the fact that they had to put Naruto under a genjutsu just to show him that Hinata is in love with him was SUCH a bad way to get them together! Genjutsu's are FAR from romantic!

I won't lie, I do ship SasuNaru and could totally see them as a badass powerful couple but obviously this is a shonen series, not a BL one.

NaruSaku honestly seems to be the perfect ship out of all of Naruto's ships because just like you said they actually had chemistry and a strong friendship that could've been something more! They both clearly care for each other and will protect each other till their last breath and supported and encourage each other to do their best like they did in the chunin exams!

[hellobitchlet]

Thoughts on paralogism:

- starting off the 'expecting everyone to know event lore' quest strong with having you show up in the middle of the Windblume Festival.

- god, Genshin is SO bad at subtly. You go straight to Katherine and she TELLS you that somethings off and the game FORCES you to watch npc's act Not Normal for a good 5 minutes to set the tone as Something Is Off.

- what is the point of the storytelling mode? Is it really just to add Windblune decorations to Mondstadt and make a court room? It's not like Mondstadt's aq didn't temporarily change the city's appearance already without it. And the Wibdblume festival is largely irrelevant to the plot anyways.

- "A trial? But, this is Mondstadt, not Fontaine..." Paimon what are you talking about?? Other nations have legal systems too, obviously???

- the first trial was just talking. There isn't even the stupid court minigame they had you do in Fontaine or a thinking minigame because Traveler wasn't participating in it! Thankfully, though, it wasn't that long by Genshin standards.

- ...Amber knows that there are two Albedo's. Eula knows that there are two Albedo's. Bennett knows that there are two Albedo's. Two of those people are with the Knights of Favonius. We SAW that Eula was a part of the investigation team working on this case before the trial even started! The didn't-play-the-event bandaid recap even acknowledges this! Even when making a trial 10 minutes long instead of an hour, and the investigation was seemingly finished BEFORE the trial (fuck you for being so bad at your job Neuvillette), the mystery is still appsurdly obtuse if you think about it for more than a second.

- (I know that Eula was taking part in the plan, but you were still supposed to think that an actual investigation was going on. The whole purpose of the investigation stuff was still pointless with how obvious it was that Albedo wouldn't be the killer)

- the writers will forget that they had Rosaria say something as suspicious as "Time is like the wind- it waits for no one" about Venti, with all the connections between time and wind. Rosaria is one of those 4 stars who just... randomly says stuff that makes her sound suspicious/important all the time and nothing comes of it. This isn't important to this quest- the sus line just reminded me of it.

- I'm not sure how I feel about Dahlia. He's an unnecessary addition to the cast, and the concept of his role being to 'communicate Barbados's will to the people' doesn't fit in with Mondstadt's story. What happened to Venti letting his people choose their own path unless something goes horribly wrong? He doesn't tell his people what to do- if he wants something done he does it himself. I want to be happy that new Mondstadt characters feel more important than most other new characters from older nations, but there is so much more you could've done than... basically ripping the concept of Venti's friendship with Rosaria and Barbara away from them.

- also I liked Dahlia's original design more. The only reason I was ever interested in him was because the original metal design on his chest looked similar to an Abyss enemy, and despite everything, I had the tiniest of hopes that it was actually intentional. I don't know why I ever thought that.

- there's finally an upstairs in the kof headquarters!! Rejoice!!

- HOW DID IT TAKE SO LONG FOR TRAVELER TO EVEN REMEMBER THAT THERE WAS A SECOND ALBEDO- "oh, I almost forgot!" HOW DO YOU FORGET THAT?????????????

- it also sucks that the return of Albedo's plotline- and arrival to permanent content- is Traveler casually walking into a situation that has been happening for years off screen. The fact that most of the quest is boring exposition of what Traveler missed is expected but disappointing.

- Albedo KILLED Subject 2 off screen. Are you fucking kidding me. I and many others have been interested in him for YEARS. He was one of the main focuses of Shadows Amidst Snowstorms, one of the best written quests Genshin has ever made, and one of the VERY FEW plotlines that actually had a chance to START going somewhere. And you. Killed. Him. Off. Screen. I am so pissed off. Fuck you.

- the sudden explain-a-thon of "actually, nothing went wrong and everything is under control and here's what's actually happening" did not help my investment in this stupid quest. This quest is 80% explaining what's going on 20% pseudo substance.

- still annoyed at the treatment of hilichurls. Nothing else to be said here that hasn't been said before.

- the Ragbros.... Genshin has been dumbing down and retconning their relationship conflict and personal conflicts since Diluc's skin event in Inazuma AT LEAST, to avoid actually writing their conflict. How do people still think that there's a conflict to be resolved.

- and of course, we had to throw in some hints of "Diluc doesn't mind the knights now, let's not acknowledge how he acted towards them in the beginning" as well. Give me ONE reason why he would've stopped using any excuse to insult them off screen, in the time between his story quest and paralogism.

- I feel like they mostly just put Kaeya in the marketing for 5.6 and made him Albedo's 'lawyer' bc ppl expect him to be a part of important Mondstadt stuff, and Kaebedo is Albedo and Kaeya's most popular ship. He didn't appear nearly as much as Albedo, Venti, and Jean outside of the trial.

- a team of just Amber and Mika was. Not fun. I had to use an attack boost food and I was fighting two normal hilichurls.

- it occurs to me that this is Mika's first appearance in permanent content. Mika himself is a plot point you were supposed to know about from events lol.

- the tripartite conference confuses me severely. When tf did Venti wake up in present times if he was around while Varka was still here? It's really hard to talk about the timeline of events in Genshin, but it feels like Venti wakes up whenever there's a disaster in Mondstadt that his people are struggling with, which made it seem like he woke up bc of Dvalin to me. But surely Varka didn't go on his expedition in the middle of that, right...? Surely the events of the manga (where he had already left) didn't take place at the same time as the situation with Dvalin that was never mentioned...?

- and again, this sudden angle of "Barbados doing stuff for Mondstadt as Babados in modern times" is very specifically NOT how Mondstadt works??? They're the nation that ISN'T led by their god in any capacity. That was a big thing.

- that is how you're choosing to introduce Varka? Over a bomb shaped phone? It was actually kind of funny that he casually mentions "I'm surrounded on both sides with a group on my tail looking to turn me into mince meat" and the writers chose to focus on him having a stash of alcohol. He sounds like a fun character. Please please please let me like him Genshin...

- I groaned out loud when Toy 'Durin' showed up. I'm sorry, but Simulanka sucked and I don't want some random new character who is not Durin but is named after him and was tacked onto Scara solely because he's popular. Just give me real Durin as himself, not a new character. I mean, the writers clearly didn't care about Toy Durin either, since they immedietaly shoved them into the stupid amalgamation of Durin and Subject 2 as well.

- they really made a Dodoco version of Alice to avoid showing us what she looked like. In this case, it's actually more funny than anything else, especially since no one (Paimon) is being all over-the-top surprised about it. I wonder if showing up in odd forms is just a normal Alice thing? If so, I like it.

- aside from the part where they're trying to drag the kof into it for no reason, I do like that they're doing something with Venti's relationship to the Hexenzirkel. It's nice to see Venti and Alice interacting on screen, and casually acting like friends. I was certainly more interested in that between Venti and Alice + Varka than I was in a new character.

- wait, this is the first time we're hearing Alice in a permanent quest too, isn't it? It's almost amazing how incomprehensible this quest is going to be to new players joining after all of this stuff. Like- they made a 'recap' of Shadows Amidst Snowstorms, but didn't realize that you ALSO need to know 2023 Windblume, Weinleslfest, and Simulanka AT LEAST to truly understand the quest. The writer in the Nod Krai video wasn't lying when he said that they couldn't keep track of what ppl do and don't know.

- Alice saying to Albedo "I find you facinating" is also so cute to me. That's how I think about my favorite characters too!

- I also like the concept of killing Durin again and reviving him as a human to prevent Mondstadt's destruction. I just hate Genshin killing off Subject 2 (possibly bc they could actually make proper ch vs ch conflict, now that I think about it), and then fusing Durin with him and the stupid fake Durin. Like, that's just making a new character. You made a new character out of the remains of older characters. If you liked any of the characters used in this process- fuck you! You don't get to have them! How the fuck did the writers even come up that and how did they think that was a good idea????????

- this weird not-Durin is like 50% boring Toy Durin, 40% unrelated matter, 10% the Durin this actually SHOULD be, 0% Subject 2.

- even with my anger at the treatment of Subject 2, I would have pulled for a human Durin SO hard if only it was the Durin I actually cared about. This Toy Durin, I... I never want to see Toy Durin become playable, ESPECIALLY if it comes with us acting like he IS Durin.

- imagine what they could've done with Subject 2 and humanoid Durin as separate characters that were still themselves! Imagine Durin having to get used to his new body and face everything he and his corpse did to Mondstadt unknowingly! Imagine him meeting Venti and Dvalin! Imagine Subject 2 actually getting to fuck shit up!

- Dodoco Barbeloth looks cool too, but a Barbeloth intro without Mona :/?

- I thought Albedo saw all of Rhine's creations as his siblings? I swear I remember him saying that. I didn't hallucinate that, did I? What would be the point of retconning that? I mean, he immedietaly started calling Durin his brother again at the end of the quest!

- wait, why did Albedo make human Durin in the city?????? Why was it so flashy and big??????? Why wasn't he anywhere near Toy Durin or the materials he was using the entire time???????? How did a song and some fireworks prevent people from noticing that something was going on???????? Why did he do it in the city?????????

- of course the answer of the important mystery "what did Rhine mean when she told Albedo to "find the truth of this world"" was that she was just telling him to get a life. Of course. We wouldn't want a playable character to be involved in something actually interesting. Of course.

- that was the most random and boring way to reveal that Rhinedottir ATE THE SHADE OF LIFE they could have possibly made.

[haveihitanerve]

Bruce accidentally gets shot by Jason and is in critical condition

I read this idea somewhere, so it isn't really mine, but I'd really love to see it written please if you feel comfortable

ohohohohoh!!! this is do delicious i can just ~feel~ the angst... lemme see if i have anything inside that can write this well...

Jason was pissed at Bruce. That, actually, wasn't unusual. Jason was used to living in a perpetual state of pissed off-ness for the man who was had once been his father. What was unusual, however, was the fact that he had still agreed to come on this mission with him, with his Replacement no less.

Jason didn't hate Tim. Anymore. The kid was smart and witty and good, with a sort of spark, a need to be Robin that neither Dick nor Jason had really had. It didn't dilute the sting of the betrayal, but Jason could respect the kid. And was marginally more understanding as to Bruce's reasons for taking him in. Marginally.

But his hatred for Bruce and his only accepting behavior towards Tim did not mean he didn't have their backs. Well, it could've, and at this point Jason wouldn't have put it past Bruce to still take him on a mission without fully trusting Jason to guard his back, but it didn't matter anyway, because Jason had both their backs.

Like now, for instance. Jason cursed as the man opposite Tim pulled a gun. "Fucks sake." Jason reached for his own, previously holstered because he was aware of Bruce's dislike for them and didn't actually want to kill anyone, not while he was on the Bats turf and could get repercussions at least, and aimed.

The gunshot slashed through the air, hard and unforgiving, unflinching. It was why Jason could do nothing but stare in horror as Bruce made his move, diving in front of Tim, willing to take the bullet of the attacker for him, unsuspecting of the bullet flying at him from behind. Tim's eyes were wide in fear. Bruce went down. The goons fled.

Tim dropped to his knees immediately, hands moving, tugging out gadgets and tools from Bruce's belt and his own with a familiarity that made Jason's heart throb. "Help me!" The kid screamed and Jason realized he had been stuck, frozen, watching hollowly as Bruce's blood pooled around him.

"Please." Tim gasped, and Jason hesitated as tears streamed down Tim's throat, hands shaking as he tried to apply pressure and staunch the flow of blood. It wouldn't be enough. The bullet had flown through his shoulder, a clean hit, at least, but it had hit too many main blood vessels. If they didn't move fast....

Jason dropped down beside him, tying quick knots and connected his comm line. "Oracle! Come in." "Hood. What do you need?" Babs voice was detached, but not cold. "B's been hit. Please." She didn't answer, but Nightwing appeared only a moment later, eyes cold with a hatred and fear Jason had never seen before.

They whisked him to the manor, and it was more autopilot than invitation that Jason followed, the hollowness inside him turning numb as Alfred paled at the sight of the wound, Leslie already having been called. "Its critical." The doctor revealed, grim, but she finished her work, and promised to return in the morning.

Alfred watched over Bruce, hovering, periodically cleaning and changing his bandages. No one bothered to tell him it was unnecessary. "What happened." Dick growled when Bruce was finally taken care of, the only other sound filling the cave the beeping of his heart monitor.

"He took a bullet for me." Tim answered, and bile built in Jason's mouth at the shakiness of his voice. Because if he hadn't fired, Bruce truly would've taken a bullet for him. But... if he hadn't fired then Bruce wouldn't have taken his bullet, just the other guys but... his mind was too frazzled.

Dick seemed to calm a little at the explanation, and Jason waited, tense, for Tim to reveal it was Jason's bullet he had taken, but he didn't. Just followed Dick silently over to Bruce's side and squeezed his hand. "Get better B." Dick whispered, and Jason's heart squeezed as his brothers voice broke.

"Come on," Dick nudged Tim's back, pushing him to the stairs. "It won't help him if you stay awake all night." Jason fought his snort of "hypocrite." Because Bruce would stay up all night. And Dick was guaranteed to come back downstairs the second Tim was in bed and do the same. But, at least he was watching over Tim. The way he had never done for Jason.

They all left, Alfred going to the kitchen to make tea to calm himself, and if Jason had a clearer mind he might've thought a little on it, how they all trusted him. Alone. In the Batcave. With an injured Bruce. But he didn't, so he slouched onto the chair next to Bruce instead, head heavy.

"I'm sorry." He gasped weakly. He didn't know how long he'd been sitting there silently. How long it'd been since he started speaking. "I'm so fucking sorry B. I-I just... I'm wrong, and I'm broken, and we're broken and I just don't- I don't know how to fix it!" He scrubbed his nose, sniffling hard.

"I'm so sorry Bruce. I thought... I thought I was better, I thought- you were right. Guns suck-" His breath trembled and it took every ounce of self control for Jason not to break, not to collapse and sob. Because if Bruce died... It would be his fault. And if Bruce died, he had no doubts Tim would stop his silence for Jason. And if Dick found out the truth... If Bruce died Jason had no doubts in his mind that his son would avenge him. If Bruce died Jason wasn't sure he'd even try to stop it.

"I miss you." He whispered. "I do and it hurts and I hate it, but I just can't stop and why do you have to be so difficult?" Jason let out a shaky sob, pressing his hands to his eyes. "Why can't you ever just let things be fucking easy?" He begged. "Why can't we just go back to being fucking easy?" His voice sounded pitiful to his own ears.

"language." Bruce rasped. "B!" Jason almost toppled the chair with the force with which he leapt forward, grasping the older man's hand. Bruce offered a small, constrained smile. "Hey Jaylad." Jason sobbed, throwing himself on top of his father. "I miss you too." Bruce murmured, and as his arm wrapped around Jason's back, Jason felt a portion of his anger chip away.

[bmgmw]

What do you think the chances are of Buddie going canon?

Honestly? Still pretty good! 8x18 was more of a letdown because expectations were so high (partially because of the press tour timing I think), but not a shut down. I felt more defeated during S6 finale tbh and we got bi Buck not too long after that. I definitely think Tim has a lot of pacing problems and he really needs to stick to an outline or something because the disorganization is really starting to show. He said in an interview that his decision to do a main character death only occurred to him while writing 8x15 (and initially he wasn't even sure who, toying between Ravi and Bobby). Like?? That kind of stuff should be well planned out as it has a lot of consequences and effect to the other characters and storylines. I think once Tim last minute foolishly decided to kill off Bobby, he had to put other storylines on hold in order to deal with post-Bobby death consequences. So I really feel that initially Buddie was meant to happen at end of s8, especially given how intentional 806/809/811 etc were. But it got pushed back because Tim can't plan for shit. I think 8x18 had some good concepts but the script was poorly written/executed, but ultimately it still leans towards Buddie. The way Eddie came to Buck's rescue and the whole staring at each other like that™ afterwards I think was definitely supposed to be a hint but since Ryan and Oliver have been perfecting the Buddie gaze for so long, it didn't really stick. The writers needed to up the intensity imo. Or another example: Eddie still trying to look up a red eye afterwards was definitely connected to how at this point he still thinks Buck is transferring out of the 118. But the script was lacking so it's not clear and they have Chimney intervene. Lastly, the Buck looking at apartments scene. First, the montage is just thrown in at the end with no reference to how much time has passed since the emergency. Secondly, they absolutely could've shown Buck signing a lease or moving stuff into a new place but the fact that he can't feel comfortable at any of the ones he's looked at is super intentional and keeps the door open for S9 Buddie. Outside of 8x18, I also think the press tour was a good sign for S9 Buddie although the timing of it right before the finale was unfortunate. Upfront and press tours around that are more about the networks showing off for next season and trying to secure those advertisers etc. So the fact that there was soooooo much Buddie during this, in my opinion, means ABC is showing advertisers and other stakeholders that Buddie can do well. Lastly, I still firmly believe there's no reason for them to have Aisha, Tracey, Oliver, Bryan (actors all playing canon queer characters) + Ryan as the contestants for their 911 Family Feud episode if they weren't planning for gay Eddie/Buddie. Like they very well could've included LFJr since his character was canonically queer and dating Buck. I truly believe the plan was Buddie by end of S8 and Tim's dumb ass got it delayed to S9 because he doesn't believe in sticking to season outlines lol

[babsibabbles]

Okay, I've a lot of mixed feelings and messy thoughts about The Baby and what it will do with Rogue One. I just finished the final episode and haven't watched Rogue One yet, because that last shot turned me off so fast from immediately watching Rogue One. While I get the sacrifice for future generation angle they are going for, sunrises we will never see but our children (which is fine I guess), I’m a little worried about the implications this has on Cassian’s relationship with Jyn.

So with all the talk about seeing Rogue One in a different light we go form

“In a better world Jyn and Cassian would have had more time to be together to explore their feelings for each other and act on this connection they felt”

to

“In a better world Cassian would be with his kid, screw Jyn”?

This was my first thought when I saw the baby. And while I know this sounds cynical and unfair I need to understand this impulse and figure out why that was my first thought, so bear with me.

What I always liked about Jyn and Cassian was their potential, they had this undeniable connection, this spark and while their relationship is rocky they do find common ground and start to care about each other. Their bittersweet ending, them giving up their possible future together (see it's already written in his character, no need to add more to it) destroys me every time. There is a reason we yearn for a fix it with these two. Because we are intrigued by their "What could've been?", they never get a chance to bloom together. And that tragic shit is my bread and butter really. This gets me every time.

Now, now I have a feeling Cassian's "What could've been?" will always be tied to his baby. Yes, he doesn't know about them and that makes it an even bigger sacrifice for him. But I know. I will tie it back to his family. And I know he would've left everything behind for his child. They actively indulge in this kind of thinking in the show. Him maybe reconnecting with Bix and all that. And that thought for me kind of takes away from his relationship with Jyn. I guess they want to play up the "You're not the only one who lost everything." and make it a real tear jerker line and play up the heroic masculinity with the father going off to war and not meeting his child.

What I've to add to is: I don't want to pitch Bix and Jyn against each other. I enjoyed how they wrote the relationship between Bix and Cassian. And her sacrifice while lazy worked for me to a certain degree. Her leaving worked for me and I could've lived with it and still enjoyed Rogue One fine. But the writers do pitch them against each other and make a clear statement: Adding the baby ties him more closely to Bix than it does to Jyn. Jyn is now just a chance encounter, but his emotional connections are supposed to lie elsewhere. Bix becoming the mother of his child is a very strong message that reads like "this is the woman he's actually supposed to be with emotionally". (This is a very patriarchal narrative btw, you know motherhood as a kind of sainthood and so on, but I guess this is so deeply ingrained in our thinking not even the Andor writers could shake it) Jyn is now simply the woman he has to work together to fulfill the mission. I think Rogue One works because they make a point about Jyn and Cassian coming together not just for the Rebellion but also because they develop feelings. Feelings and purpose become wrapped in one with them meeting. I admit it's a little cliché but Star Wars is still a soap opera. (Some will say the secret baby also works in a soap opera kind of way, I know, but for me that is a step too far.)

And I wish they would have found a way to make Bix matter in her own way that is not tied to Cassian and not in the most obvious and patriarchal way possible . They had all the ground work. Why not have her land on her own feet? Why actively make this a contest between two women?

Yes, for some the baby will work and will make Cassian an even bigger hero for the Rebellion than he already was (my argument stands: he already sacrificed enough, he already went through enough and did enough for the Rebellion, he didn't need to be added to the list of gone father figures and become a twisted mirror of Galen Erso). But I've been in the trenches of Rebelcaptain for years and years since the first time I watched Rogue One and right now I'm annoyed.

(Sorry for the rant, but I had to get this out of my head. This is messy and imperfect and disorganized. Maybe I will think differently about this once I saw the film. But this was my immediate reaction. Rogue One is dear to my heart and I get a little protective. I'm going to sulk now.)