#i have issue problems and think about this show too much

[princessbubblecup]

TV monster snatches stan.

Stanley is sittin' around in a (sketchy as hell) motel because he finally got the cash for one night on a bed, and he decides to turn on the really shitty, banged up (and frankly creepy) television in front of him because hey, its not like he has the opportunity to watch tv on the regular anymore. Might as well.

The Tv, just to his luck, is totally on the fritz, and he smacks it a few times to try and get the picture going. On the third smack, all the lights go out, and all he can see is the gray static hissing from the still-on screen. He lifts his hand, and that cuts out too, leaving the room in complete darkness.

There's the sound of breaking glass, crunching wood, and nails scraping against carpet. A shrill scream that is cut off.

The motel is quiet. The lights turn back on.

The Tv is still off, and in one piece. The room is still and undisturbed, save for a slight dent in the bedcover from being sat upon. It's also empty. Stan is gone.

So! Stan is in tv land. I think this monster puts its victims into their own little tv shows. It keeps them suspended, stuck in the form their "character" takes and molded to the rules of the show. They live and breathe only as they are shown, with no real power over their environment. They can try to move and act and speak out, but ultimately the Tv will cut the scene short, switch cameras, introduce plot twists, and have intervening side characters to keep the victim in check.

They arent even totally aware most of the time. They will have moments of clarity, of lucidity, of fourth wall breaking, but overall there is just a dim confusion and uncertainty in the world around them that plays into their silly little character profile.

Stanley would, if he was still a teen and early into his homelessness, be in a cartoon. An adventure type, with a zany cast and episodic trials that eventually lead to an overarching, more serious plot point that loses any real progress at the start of each new season. There isnt a moments rest, or any real explanation for any insane thing that happens. Everything is forgotten as quickly as its brought up, including all the extreme, life-threatening danger. The expectations are inhuman, and yet every accomplishment is rewarded by about a two minute celebration before its swept under the rug and it all starts over again. The stakes get higher and higher, and yet there are lengthy periods where they are simply not acknowledged for the sake of some petty side-story.

If he were older, it would be a horrible sitcom, where the same five problems keep occurring no matter how much development happens, and with every big change happening in an incredibly convoluted matter. Nothing is simple and yet everything is basic. Nobody takes anything seriously and yet acts as though every issue is the end of the world. Almost every joke involves a fairly fucked up circumstance that is played for just for laughs. Nothing is sacred, nothing is safe. Every little thing exists to be tampered with for entertainment, and yet the only real indicator most anything is funny is the intense laugh-track going off every five seconds.

Either way, its maddening.

For the sake of monstrousness, every time he breaches the surface level discontent for true panic and realization, it creates a horror point, where seriously dark and dangerous things show up and he is alone in recognizing and facing them. He barely gets away, and is thrust back mid episode, as though nothing ever happened, fog descended once more.

And, in true Tv format, it is able to suspend him like this for years, never really growing, reliving the same re-spliced scenarios over and over again with people that are caricatures, and really just puppets of the monster. Feeding on him, tormenting him, smothering his consciousness, but keeping him alive to be an indefinite food source.

AND! The Stan Show airs, though on low-publicity channels, as though it is a regular show. At least, it does on televisions in a place that might be susceptible to cryptic and anomalous happenings. A place like gravity falls, perhaps.

...

Does Stanford watch much Tv?

[narcjsistx]

— 𝐒𝐅𝐖/𝐍𝐒𝐅𝐖 𝐀𝐋𝐏𝐇𝐀𝐁𝐄𝐓 𝐅𝐓. 𝐁𝐔𝐍𝐍𝐘 𝐈𝐆𝐋𝐄𝐒𝐈𝐀𝐒

✶ bunny came out less than 2 weeks ago and the fandom has completely GONE CRAZY, and im one of those who did. obviously, same usual disclaimer, nothing is known about his personality yet so don’t come to me in a few years all upset because he's described differently </3

✶ the first part is completely sfw, the second one has only some, like 3, of the nsfw alphabet. sorry if a little awkward !!

✶ 𝐌𝐘 𝐌𝐀𝐒𝐓𝐄𝐑𝐋𝐈𝐒𝐓 ; take a look, trust me!

A = Affection (How affectionate are they? How do they show affection?)

his kind of affection could be described as constant but meaningful, as if every hug or kiss carried all the weight in the world. bunny is someone who constantly seeks physical contact — even if it's just a simple caress or holding your hand at the most random moment of the day. he loves the privacy of his home because it allows him to kiss you freely, without being hounded by paparazzi, so he can take his time with you

B = Best friend (What would they be like as a best friend? How would the friendship start?)

i'd describe a friendship with him as pure chaos, where annoying you is the sweetest way he shows he cares. forget those friendships where kind words are the main focus, with him the most meaningful thing you can get is a sock thrown at your face, followed by a comment like "it suits you" or "smells like you" said with the most devilish grin you've ever seen

C = Cuddles (Do they like to cuddle? How would they cuddle?)

he’s the kind of guy who’ll say, right in front of you, that hugging a girl is weird — only to whine when you refuse to hug him. he’ll always do everything he can to avoid admitting it, but ending the day in your arms is what relaxes him the most. he loves physical affection, but it’s a little hard for him to admit it

D = Domestic (Do they want to settle down? How are they at cooking and cleaning?)

he only starts thinking about things like that once the relationship has been going on for quite a while, so i'd say after at least a year, or something like that. in my mind, he's someone who can clean exceptionally well but doesn’t even know how to crack an egg, which is exactly why he prefers eating out or take a takeaway

E = Ending (If they had to break up with their partner, how would they do it?)

he knows very well that even things that seem perfect often come to an end. he’d probably prefer to talk about it in person, but because of his work, he often struggles to stay in barcelona for long periods of time. so i get the feeling it might happen over a message or during a call

F = Fiance(e) (How do they feel about commitment? How quick would they want to get married?)

bunny is someone who, for a long time, felt like marriage was a bit too much — maybe because of his teammates, who always seemed to have multiple flings going on at the same time. still, even with that bit of hesitation, i get the sense that he wouldn’t be afraid to get married in the not-so-distant future if he knew he’d found the right person. marriage is absolutely off the table for the first two or three years, but after that? trust me, he’s already googling the best way to propose. he just needs his certainties, that's all

G = Gentle (How gentle are they, both physically and emotionally?)

he wouldn’t really describe himself as the rude type, but truth is, he has no problem suddenly wrapping his arms around your waist — so smoothly that you barely even notice at first. let’s just say he’s much more gentle on an emotional level: i see him as someone who has absolutely no issue listening for hours — and, strangely enough, he actually gives pretty good advice, even if he’s a bit unconventional

H = Hugs (Do they like hugs? How often do they do it? What are their hugs like?)

his hugs are slow, he wants to take his time and feel how your warmth blends with his. he especially loves hugs from behind, trust me

I = I love you (How fast do they say the L-word?)

i get the feeling he only says it when he knows he has to, otherwise you might explode. not because he doesn’t care, but simply because he prefers to show it in other ways: hugs, dinners at his or your favorite restaurant, little bows in your direction when he scores a goal. but he’s obsessed with how YOU say it with that slow and sassy voice. there, he completely loses himself

J = Jealousy (How jealous do they get? What do they do when they’re jealous?)

he’s actually pretty jealous, the kind of jealousy he doesn’t hesitate to show even in front of the person involved. he’s the type who might kiss you, walk away, and leave the other guy standing there totally confused, while he just yells from afar "don’t even try. she has way higher standards"

K = Kisses (What are their kisses like? Where do they like to kiss you? Where do they like to be kissed?)

like i said about hugs, he likes to take his time. i think his favorite places to be kissed are probably where he has the scar and, quite typically, his lips. he also loves kisses on the neck — but he prefers to be the one giving them

L = Little ones (How are they around children?)

he adores kids, but kids don’t always adore bunny. — at least, not at first. he enjoys chatting with his little fans, but some get a bit scared when they see his scar. he’s not offended, he knows it can be a little frightening to children, so every time he tells them he got it while saving a princess (you) from an evil dragon. that’s when the kids start to trust him more, and your cheeks get even redder

M = Morning (How are mornings spent with them?)

when he has the chance to fall asleep and wake up with you by his side, expect the slowest, sweetest wake-up ever. his mornings are always busy when he has training or is away from barcelona because of matches and workouts, so when he gets the chance to pamper you, even if it’s just with breakfast, you can be sure he’ll do it

N = Night (How are nights spent with them?)

setting aside those kinds of nights, he actually loves taking a bath after dinner with you by his side, not necessarily in a sexual way: it’s his way to relax his nerves, talk, and spend time with you after a horribly busy day

O = Open (When would they start revealing things about themselves? Do they say everything all at once or wait a while to reveal things slowly?)

unfortunately, we still know almost nothing about his past, but im sure there’s some angst in his backstory. as Isagi said, bunny has an extremely sad smile — this makes me think that he’d probably take some time to talk about his past, masking reality behind the usual smile his fans know. would he open up? yes, but in due time

P = Patience (How easily angered are they?)

does he have patience? yes. does he use it? not necessarily. overall, he’s a pretty patient man — he knows that both in life and on the field, goals and achievements take time to come to fruition. but if he fixates on something specific? he needs to have it immediately, like right now

Q = Quizzes (How much would they remember about you? Do they remember every little detail you mention in passing, or do they kind of forget everything?)

bunny isn’t someone who forgets, but someone who only shows he remembers when the time is right. he loves surprising you with sudden things — like giving you a bracelet you might have mentioned a month ago. he could never be with someone he doesn’t remember anything about, it would be senseless to love someone without knowing even the smallest, silliest details

R = Remember (What is their favorite moment in your relationship?)

it was probably the moment he realized that his scar didn’t scare or disgust you. the realization hit him so suddenly that for a few seconds it unsettled him — because he isn’t very proud of that mark, which he thinks mars his face. he doesn’t get offended when others are scared by it, but the fact that you actually said you, in a way, appreciated it? that’s when he understood you were the right one

S = Security (How protective are they? How would they protect you? How would they like to be protected?)

he knows very well how the paparazzi are always on his neck, like hungry vultures. every time you go out and someone starts taking pictures, he prefers to give you his cap to cover your face, or even his jacket if you're feeling extremely uncomfortable. h'd rather hide you by pulling you close to his chest and maybe kissing your head —but hey, only if you're okay with it. he doesn't want to make the situation heavier than it already is for you

T = Try (How much effort would they put into dates, anniversaries, gifts, everyday tasks?)

he doesn’t know how to cook, he only puts effort into making breakfast. he’s strangely good at organizing dates because he knows which places you like and, at the same time, where you won’t be disturbed. he cleans the house, but please, don’t hand him a frying pan

U = Ugly (What would be some bad habits of theirs?)

he hugs you even when he’s still sweaty from training, and he does it on purposeand he does it on purpose. he drools a little on you when he sleeps on your chest buy yeah

V = Vanity (How concerned are they with their looks?)

if we ignore his worries about the scar, he’s actually someone who spends a lot of time in front of the mirror. maybe he’s getting ready and you’re on the bed — expect to see him flex for minutes, then turn to you and say "find someone like me. impossible. lucky you, you get to kiss me"

W = Whole (Would they feel incomplete without you?)

let’s say he’s used to the idea of not being close to you because of his job, but he doesn’t like it. he feels a little lost when he knows he’s really far away, but admitting it is out of the question

X = Xtra (A random headcanon for them.)

he’d want a bunny just so he could name it after you and not feel like the only one with an animal name. imagine being in a pet store: he’d turn his head if someone mentioned a bunny! so he loves calling the bunny and watching both of you turn around, confused

Y = Yuck (What are some things they wouldn’t like, either in general or in a partner?)

he thinks insulting someone’s appearance is the most senseless thing in the world. he can’t even conceive it, and it’s something he would never do to you because he knows what it’s like to have an obvious flaw (which isn’t really a flaw)

Z = Zzz (What is a sleep habits of theirs?)

he sleeps on your chest and drools without shame, only to tease himself and you about it the next morning. he loves to have at least one hand on you when he sleeps

B = Body part (their favorite body part of theirs and also their partner’s)

his favorite part of his body are his hands, which can grab his favorite part of your body, your ass

G = Goofy (are they more serious in the moment? are they humorous? etc.)

he’s wickedly playful, with absolutely no shame in pushing you to your limit and saying "already like this? are you really that weak?" all with the worst smirk ever seen on the face of the earth. he loves to push you to the edge just to leave you without any real payoff, only to hear a mess of frustrated moans from you

M = Motivation (what turns them on, gets them going)

you're pathetically weak when you're the jealous one, so beautiful with your arms crossed and an overly annoyed pout. he knows that girls, especially his fans, often cheer him on and objectify him, but seeing you jealous? that’s priceless. no one can take away a long slow sex session where all he does is tell you he loves only you and that you don’t have to worry about the others, that they ever be in your condition like you are now, all fucked up thanks to him

[golden-redhead]

You know, I don't have a problem with Gi-hun sacrificing himself. I think it's pretty in character for him to do that after everything he went through. I also understand that in its own way, sacrifice is an act of rebellion, a fuck you to a system that continued to exploit and beat him down at every chance. I even firmly believe that him choosing a baby, an innocent life, over himself, especially with him being weighed down by all the guilt and regrets, was the ending that made the most sense.

So, no, I'm not one of those people who would say the act itself was out of character or that Gi-hun should have survived no matter what. I think his ending is pretty in line with what we've seen from him through the seasons. It is a culmination of all of his growth and I do think it was, at least on some level, a truly beautiful scene. Although, to be fair, most of the praise should go to the actor who truly can convey so much emotion with a simple look, no words necessary.

What is my issue then? Well, above anything else, what I find jarring and kinda unbelievable about the ending is how he doesn't actually know if he's ensuring the baby's safety.

It just doesn't feel like the same guy who went out of his way to find Sae-byeok's family or ensure that Sang-woo's mother's is taken care of. He knows what the games do to people, he knows how they exploit and exploit until you have nothing left to give. He has no guarantee that this child won't be groomed to continue the games. He has no way to ensure his promise is actually fulfilled.

I won't go as far as to say that it's a shit ending, mostly because I'm still processing and still need to settle on on what I actually think about it. But even though I can absolutely stan Gi-hun for taking a stand, for going out on his own terms, the way it was portrayed feels more defeatist than anything else. And I honestly don't think it was meant to be interpreted that way considering that they still kept this theme of hope prevailing in small ways with some of the surviving characters. Regardless of what they intended, though, this IS how this ending comes off in a lot of ways and I don't think it's unwarranted.

And it shows in how people are reacting, especially since it's A LOT to ask the audience to care more for a random baby than for characters we spent seasons establishing and getting invested in. I think the baby's inclusion in the story, while on paper interesting and in line with the symbolism of the series and fundamental questions this show asks, was... well, maybe not a mistake per se, but definitely a Choice. Not necessarily a good one. Especially since we know that the baby won't die. So at some point, the question became less about who will win the game and more about whether it'll be the sole survivor or not.

I think what frustrates many people the most, though, is that Gi-hin didn't have to die. I think more people would be open for this ending if they showed it as a situation with no solution, no hope. Him or the baby, no loopholes, no other options. But since there was still clause 3 and babies can't exactly vote, the game could have ended right there. The ending doesn't really give us a good reason as to why Gi-hun didn't opt for the option that would allow him to truly fulfill the promise and take care of Jun-hee's baby, give it a better chance at life. Which feels like a strange cop out considering that him doing that IS actually perfectly in line with the message of the show and, even more importantly, with Gi-hun's stance. This is precisely what he did at the end of season 1, choosing to believe and also prove through his own actions, that as long as you're alive, you can still make better choices. You can believe in humanity, even if it seems hopeless at times. Many people won't choose that option. Many will turn a blind eye to all the suffering and will even contribute to it if it means getting ahead.

I don't know, maybe I'm too much of an idealist, maybe I let myself believe in Gi-hun too much, but I think that that message and that Gi-hun, the one who chose to believe even when things sucked and people disappointed him, felt much more authentic to the story's overall message.

Him choosing death when there were still options feels defeatist.

It feels like him acting against the very thing he wanted to prove.

And it would be one thing if the whole message was supposed to be about the games beating this hope and conviction out of him.

It would be one thing if it was truly the only way to ensure the baby's safety and finish that game.

But it wasn't.

And honestly? That feels very inconsistent with the show I watched.

[fairestwriting]

Jamil Viper and Floyd Leech with a AuDHD!reader that's always wearing headphones in public areas (even if they're off) because the noise of multiple people talking distracts and bothers them and they think it's annoying/stressful? Bonus if they still take off their headphones when he talks to show they're actively listening to him.

i hope this is okay!! you didn't specify on whether you wanted platonic or romantic so i made it ambiguous :]

𐙚 Floyd Leech

It might be one of the first things you two talk about. Someone wearing headphones isn’t anything crazy, sure, but it’s still unusual, so it catches his eye. You’re always wearing them when he catches sight of you in the hallways. He assumes they’re just regular headphones, and you’re just listening to music… And as time passes, he starts getting more and more curious about what music that might be.

One day, whether you’re complete strangers or friendly acquaintances, Floyd just walks up to you and asks, ”Shrimpy, what’re you listening to?” while looking at you with those big curious eyes. He’s wondered about it a decent amount already, probably placed bets on a wide variety of musical genres — Now he just needs to know if any of them were right.

When you take them off, letting the headphones rest on your neck as you tell him that actually, you’re not listening to anything, it seems like his eyes get even bigger. It’s just noise canceling, because the hallways get really loud, you explain. Floyd hums, tilting his head a little. It’s not what he was expecting at all, but he finds it completely reasonable. Yeah, the hallways do get really loud. He didn’t realize it was possible to, in a way, opt out of it like that. Most of his previous ideas just involved an exhausting amount of magic.

Floyd is a little bummed you’re not listening to any music though. The bets he was coming up with were getting pretty fun, so he’ll still demand you tell him about what you listen to. Then after that’s out of the way, he just doesn’t mind the presence of the headphones at all. Whether you have them on or not, he’ll still bug you if he feels like it, them being there never registered as you ignoring him anyway.

𐙚 Jamil Viper

Jamil kind of side eyes it at first, not because it’s his personal opinion on it or anything, but just because of the impression it gives off. Most people would find it kind of rude, wouldn’t they? It might seem like you’re not paying attention to them while they talk.

When you two actually talk to each other, though, he never runs into that problem, so it becomes a non-issue. You can hear and reply to him just fine, it turns out, and you’re always polite too, that’s more than good enough for Jamil. Sometimes you even take off the headphones, though he doesn’t mind it if you’re “listening to music” while you two talk, since it clearly doesn’t stop you from paying attention.

He does remain aware of how others might perceive it, though. Mostly because as you get closer, he doesn’t want people to misunderstand you— He never points it out because he doesn’t want to be rude. Until a certain day where you have to deliver something to a teacher comes, and your headphones are on, so he says ”It might be a good idea to take them off before you go. You know how the professors are.” You smile and tell him not to worry, you just wear them when it’s too crowded and loud around you, and that’s when he realizes what they actually are.

At that point, Jamil's already gotten used to seeing you with the headphones. He never thought you might have a specific reason for why you wear them so often, and knowing it now doesn't really change much of anything. Maybe he'll indulge his curiosity about it if he feels you two are close enough, but it'll really just be about curiosity. He may not fully understand why you find the noise so overwhelming, but it's not like that's going to make him think of you as a totally different person.

if you like my work you can support me by commissioning me or tipping me on ko-fi ── ᵎᵎ ✦

[habaritess]

Season 4 Relationship Issues

Now I want to talk about the lack of progression in Carmy and Sydney's relationship in season 4 and why it creates a big problem with the story and maybe leading The Bear down a bad rabbit hole. The thing about their relationship is that they are the solution to each other’s most pressing problems. This has been established many times throughout The Bear. It’s why the show started off with Sydney's first day at The Bear and not Carmy’s first day. Carmy has what Sydney lacks and Sydney has what Carmy lacks. Carmy has the restaurant and the wealthy investor family member,  while Sydney has the business knowledge and is a natural born leader. Together, they are at peace. This was shown most prominently in season 2, episode 2. This scene, with the blue light hitting on the side, showed the two of them where they were most at peace. What Sydney desires is an equally skilled partner to brainstorm menus together. Due to her past business failures, she does not want to go into any business by herself.  While Carmy’s love of cooking is directly tied to who he does it with. It was originally going to be his brother, but now it became Sydney.

Due to certain factors, Claire being the main one, they both got away from what they truly desired, which was what they found in each other. Carmy, in reaction to his own failures after he locked himself in the freezer during the restaurant opening, became this unfeeling, closed minded, aggressive individual who put his own desires for the restaurant above everyone else’s. This put him in direct conflict with Sydney who wanted a partner she can bounce off ideas with, not someone who she had to follow. But their natural state is this moment, right here. They naturally work well with one another. They just have to get back to it.

Watching season 4, at first it seems like that is exactly where they were heading- Carmy getting away from that negative headspace and going back to how he used to be. Sydney learning to trust him again so that she can start making the decisions. It’s all going well, except that instead of giving the relationship a natural progression to that conclusion, the show chooses to stale the relationship, in preference of keeping the same factors that got in the way in season 2.

Claire. Oh Claire. Carmy chooses to confront how terribly he ended it with her and goes to apologize. This was good and necessary. Claire was the conflict that got in the way of their partnership in season 2, and his guilt over her helped lead him to spiraling in season 3. The apology scene should have been it. Them leaving each other in mutual understanding that they weren’t the best for one another, should have been it. Claire was too triggering for Carmy, and I wrote down my reasons for why I think that was the case, but whatever reason it was the show never gave it. Carmy described the feeling like being on fire. They broke up, they weren’t good, that should be the end of it… but it wasn’t! Instead of allowing Claire to fade into obscurity, the show brings Claire back! Three times. She danced with Carmy in the wedding. Claire comforted Sydney at the hospital. Carmy called Claire before he met his mother. Claire, who was the obstacle between the two main character's path, now seems more prominent than ever and is now a potential future partner for Carmy.

And that doesn’t make sense. It doesn’t make any sense to the narrative established in 4 fricken seasons. Carmy can not have The Bear and Claire. Carmy is much too scatter brained for that. He actually can’t have any romantic relationships outside of someone already working in The Bear because of the amount of time the business takes. Sydney put her foot down with that. In season 2, she told Carmy how she needed his full focus, and did not want to share it. Sydney pretty much told Carmy no romantic relationships...one, it wouldn’t work with how busy they are, and two, she wanted to be his full focus. Carmy recognized that too. They didn’t bother to say to give the restaurant your full focus. No, it’s give each other that focus. This means that, other than finding partners from people they hired, which is inappropriate, the ONLY possible romance is with one another.

And both Carmy and Sydney are down with that. It’s been well established that they both share a romantic interest in one another. This is going to anger some folks, but I’m speaking purely about what the story has given. Now mind you, I love me some good, close platonic heterofriendships, and would have been happy to accept that for them, but the way it was portrayed showed that it isn’t.  In the beginning of season 2, Carmy tried asking Sydney out at the end of episode one, but couldn’t do it, but then planned to take Sydney out on a work “date” , this was after giving Claire the fake number. Sydney showed obvious jealousy whenever Claire came into the picture, or was mentioned by Carmy. Sydney doesn’t want to share Carmy. The feelings are there for both of them, so why did season 4 go in the direction that it did?

First, keeping Claire around when she should have gone on her merry way. Second, by Carmy choosing to leave The Bear altogether. Now, one of my predictions for the show was Carmy stepping down as “head” in some form or fashion and letting Sydney take the lead. Carmy is just way too internally chaotic to ever be a good leader, and that has been established well in 3 seasons. He freaks out over stressful situations. I suspected that allowing Sydney to run The Bear was going to be his way of keeping her. Him stepping down and being just one of the cooks, would have been better for his mental state while being able to still do what he loves, which is cooking with the people he loves. What I didn’t expect was there EVER going to be a choice of him leaving The Bear entirely.

For one, leaving The Bear means that Carmy completely went back on everything he had told and promised Sydney. “I wont let you fail” “ We will work on it” “I don’t want to do this without you” All these promises and declarations, and he wants to leave The Bear, and leave Sydney. The ONLY reason Sydney came to The Beef and dealt with all the bullshit there, including the low pay, the aggressive coworkers, the constant instability, was because she wanted to be with Carmy. That’s it. Yes, she absolutely considered leaving The Bear for the opportunity of a lifetime, only after Carmy went a full 180 on her and became a tyrant rather than a partner, but she ultimately chose to stay despite the stakes, and she stayed for the hope for him to be better and become that partner she desired. Sydney doesn’t want to go it alone, same thing goes for Carmy, and that’s what makes their partnership so special..

..but now that is over with. Carmy destroyed any amount of trust that he gained with Sydney. He wants to leave her behind despite telling her that she wasn’t alone. And for what exactly? An ending where he goes to find himself with Claire now by his side, now that he doesn’t have a restaurant to run? And the way this season was set up, it SEEMS like it is headed in that direction. There are far less friendly moments in between them, despite this season being the one where Carmy is trying to repair their relationship. The thing is, they gave many different scenarios where they could have gotten closer to one another, but the show instead stubbornly had them have those moments with others. Richie takes Sydney to the wedding and dances with her. Sydney refuses to allow Carmy to come with her to be with her at the hospital, and Carmy chooses to talk with Claire versus Sydney when going to meet his mom. The few moments they had between them are nothing like the friendly banter they used to have, which is understandable given the circumstances. But it also feels like the show has given up on them as a partnership.

If the show backs away from this partnership, the story is absolutely going to suffer from it. It already did by choosing to go down the route where Carmy breaks every promise he made to Sydney and chooses to leave The Bear. It already did when they decided to keep Claire around after Carmy apologizes, and had the usually tight lipped Syd, who doesn’t even show her vulnerability to The Bear crew, cry her heart out to Claire. When characters start acting against their own characterization just to make an ending work, then that’s when you know that someone has lost the plot.

[tinyshyteacup]

Taglist: @kellynickelsgirl00 @i-doutt-it @beth-isnt-home @darylandbethfanforever9 @brianna-merlim @pumpkinkpieandtomato @smashleywow @imadisneyprincessiswear @clementineslawyer @pandaofsilentdeath @dixonsbridexx @imadisneyprincessiswear @staley83 @death-in-a-tar0t-card @straw--b3rry

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TW: cussing, Merle is well ... Merle, angst, walkers (Zombies), gaslighting, manipulation, boxing match, bleeding, vomit, alcohol consumption, violence, Woodbury, the Governor.

Part 10

Between Brothers - Part 11

The winter had settled over Woodbury like a heavy blanket, thick and unforgiving. The frost crunched under Merle's boots as he made his way to the pits, his breath forming white clouds in the frigid air. The cold bit through his jacket, but it was nothing compared to the bite of survival you'd known before Woodbury.

Damn glad the she's warm inside, he thought, adjusting his grip on the metal pole he used for walker wrangling. Curled up under them blankets in those thick winter pajamas, probably still sleepin' like an angel. Wonder if she's dreamin' about me... bet she is, deep down. Bet she's got her legs all tangled up in them sheets, that thick flannel riding up just enough to show off them pretty thighs.

The thought made him grin despite the cold, his body responding to the mental images. Living in the same apartment, sharing the same space - it was torture and paradise all rolled into one. You trusted him completely, padding around in those winter pajamas like he wasn't a man with needs.

But he was patient. Had to be. You were the kind of girlie who deserved better than a one-handed redneck with more scars than sense. Still didn't stop him from wanting to spread you out on that kitchen table and eat you like his last meal, make you come so hard you'd forget every other man who ever existed.

"Ah, Merle! Right on time," Milton called out from beside the walker pits, his breath visible in the cold air. He was bundled up in layers, looking like a scarecrow wrapped in blankets. "We've got quite the selection today. Three fresh specimens, minimal decay."

"Morning to you too, Milty," Merle drawled, eyeing the walkers shuffling around in the pit below. "You sure are cheerful for a man about to poke at dead folks."

Milton adjusted his glasses, seemingly immune to Merle's sarcasm. "Science waits for no one, not even winter. These cold temperatures are actually quite beneficial - slows decomposition, gives us better data on motor function in sub-zero conditions."

Merle lowered the noose-pole into the pit, expertly snaring the first walker around the neck. The thing snarled and clawed at the air, its movements sluggish from the cold. "You know what your problem is, Milty? You think too damn much. Sometimes a dead bastard is just a dead bastard."

"Perhaps, but understanding their behavioral patterns could be crucial for long-term survival strategies." Milton made notes on his clipboard as Merle hauled the walker up. "Speaking of behavioral patterns, how is your ... roommate?"

Merle's grip tightened on the pole, his jaw clenching. Last time Milton had gotten too friendly was at that community dinner, filling your head with theories about biters retaining consciousness. Merle had found you later, crying your eyes out over the possibility that every walker they'd killed might have been aware, might have been screaming inside their own heads. Took him the better part of two hours to calm you down, and even then you'd been shaky for days.

"Say what now?" Merle's voice carried a warning edge.

"Your friend Merle. I was simply wondering how is cohabitation with someone who isn't actually your romantic partner going for you ?." Milton said it so matter-of-factly, like he was discussing the weather. "It must create certain... moral issues."

The walker Merle was restraining suddenly seemed less important than the skinny scientist standing too close to subjects that weren't his business. "What the hell you getting at, Milty?"

"Nothing untoward, I assure you. It's just that from an anthropological standpoint, the dynamic is fascinating. Two unrelated adults sharing intimate living space, one clearly harboring romantic inclinations while the other remains unaw—"

"You finish that sentence and I'm gonna feed you to these biters piece by piece," Merle snarled, his voice dropping to something dangerous. The walker in his grip thrashed harder, as if sensing the tension. "And let me make something real clear to you, you piece of shit - I take care of that girl. Make sure she's safe, make sure nothing bad happens to her. She trusts me, and I damn well earned that trust."

His eyes blazed with fury at the implication. "You think I'd hurt her? You think I'd take something she didn't want to give? Boy, you don't know shit about me or what kind of man I am when it comes to her."

Milton shrank back further, realizing he'd stepped over a line he didn't even know existed.

"I protect my own," Merle continued, his voice low and deadly. "Don't you dare stand there and act like I'm some kind of animal who can't control himself around the girlie's."

Milton took a step back, his face pale. "I didn't mean to overstep—"

"Remember what happened last time you got a little too friendly with my girl?" Merle's eyes were cold as the winter air. "When you filled her head with all that bullshit about biters being conscious, made her cry thinking about all the people we might've killed? You remember how that ended for you?"

"Yes," Milton whispered, unconsciously touching his jaw where Merle had connected with his fist after finding you sobbing in the apartment.

"Good. 'Cause next time I catch you upsetting her with your sick theories or sniffing around, there won't be enough left of you for your precious experiments." Merle secured the walker to the restraining table with practiced efficiency. "She's got enough nightmares without you adding to 'em."

Milton nodded frantically, scurrying to the truck. The rest of their interaction was purely professional, the scientist having learned his lesson about boundaries.

Little doe don't need some four-eyed freak putting ideas in her head, Merle thought as he worked, his mind drifting back to filthier thoughts. She's confused enough as it is, bless her heart. Always asking me if I'm alright, if I need anything, bending over in those damn pajamas like she don't know what she does to me just by breathing.

The cold air did nothing to cool the heat building in his gut. Months of living with you, months of wanting what he couldn't have.

After delivering three walkers to Milton's makeshift laboratory, Merle was heading back through town when the Governor intercepted him.

"Merle! Just the man I wanted to see." The Governor's smile was warm despite the cold, like he had some secret that pleased him. "Walk with me. I have a proposition that might interest you."

They strolled through the quiet streets, past windows glowing with warm light and the promise of domestic tranquility. Merle found himself thinking about you again, probably awake by now, maybe making that coffee that always smelled better when you made it. Girl's got magic hands, he thought, remembering how you'd fixed his stump so gently, never once looking at him like he was broken.

"You know, Merle," the Governor said, his voice thoughtful, "I've been watching you these past few weeks. Impressive work on the supply runs, excellent instincts on patrol. But I can't help feeling like we're not utilizing your full potential."

Here we go, Merle thought, his radar pinging. Man wants something. Question is what.

"I need you to do something for me," the Governor said, breaking into his thoughts. "Something that requires your particular skill set."

"What kind of something?" Merle kept his voice neutral, but his eyes were already scanning for exits. Old habits.

The Governor led him to a secured building Merle had never been inside. When they entered, the smell hit him first - death and decay, but controlled, contained. There were several walkers chained to the walls, their movements restricted but not entirely eliminated. The setup was too organized, too deliberate to be just storage.

"I need you to remove their teeth and fingernails," the Governor said casually, like he was asking Merle to fix a leaky faucet.

Merle stared at the walkers, then at the Governor. "You want me to what now?"

"Teeth and fingernails. All of them. Make them safe but keep them... functional."

Safe but functional. What the hell does that mean? Merle's survival instincts were pinging like crazy. Nothing about this felt right. "Safe for what?"

The Governor smiled that politician's smile of his, the one that made promises without saying anything concrete. "Entertainment."

"Come again?"

"Picture this, Merle." The Governor gestured grandly, like he was painting a vision in the air. "An arena. Crowds cheering. Skilled fighters facing off against each other surrounded by defanged opponents in controlled combat. Give people something to cheer for, something to take their minds off the harshness of our reality."

An arena. With walkers. Merle's first instinct was to call the man crazy, but something in the Governor's tone made him pause. The man wasn't crazy - he was calculating. This wasn't some random idea, this was a plan.

"You want people fighting walkers for fun?" Merle asked slowly.

"Not just any people. Heroes. Men like you, Merle." The Governor's eyes gleamed with enthusiasm, or maybe something darker. "You've got the skills, the presence, the natural charisma that commands attention. People would see what I see - a warrior, a protector, someone willing to risk everything for their community."

Damn, when he puts it like that... Despite his better judgment, Merle found himself considering it. He'd done worse things for worse people, back when he was breaking legs for money. At least this had a purpose, gave him a chance to show off what he could do. Lord knows I got skills worth showin' off.

"Think about it," the Governor continued, his voice taking on that persuasive quality that had convinced Merle to stay in Woodbury in the first place. "Controlled environment. Declawed opponents. You'd be in complete control, showing off decades of survival experience to an appreciative audience."

The Governor began pacing, his hands animated as he painted the picture. "People are getting soft, Merle. Comfortable. They're forgetting what it takes to survive out there, forgetting to appreciate the men who keep them safe. This would remind them. This would make them remember that they need warriors like you."

Warriors like me. Usually, people called him a lot of things - redneck, asshole, liability - but never warrior. Never hero.

"You'd be the star of Woodbury," the Governor pressed, reading Merle's expression perfectly. "The man everyone looks up to. The champion they cheer for. And your girl..." He paused meaningfully. "She'd see you as the hero you really are. Women love a champion, Merle. Love a man who can provide not just safety, but excitement."

Hell, maybe he's right, Merle thought, his imagination running wild. He could picture it clearly - you in the crowd, watching him take down opponents with skill and showmanship. Your eyes wide with admiration instead of that careful wariness you sometimes got when you thought he wasn't looking. Lil doe's been cooped up all winter, probably bored out of her pretty little mind. Could use some excitement in her life.

"People need this," the Governor continued, his voice dropping to something almost conspiratorial. "They need to remember what it feels like to cheer for something, to feel alive. Winter's been hard on everyone. Morale is low. But give them a spectacle, give them a reason to feel proud of their community, their protectors..."

The Governor moved closer, his voice taking on that intimate quality that made you feel like you were sharing secrets. "You're exactly the kind of man who can give that to them, Merle. You've got that natural swagger, that confidence that makes people pay attention. And after everything you've survived, everything you've overcome..."

"You really think I could do this?" Merle asked, trying to sound casual even as his chest swelled with pride. Christ, when did I start needin' validation like some kind of puppy?

"I don't think, Merle. I know." The Governor's voice was full of conviction. "You're brutal when you need to be, smart when it counts, and you've got that natural charisma that makes people remember you. Plus, you've survived this long with that disability of yours. That's not just impressive - that's inspiring. That's the kind of story people need to hear."

Most people tiptoed around his missing hand like it was something shameful, something to be whispered about behind his back. The Governor made it sound like a badge of honor, proof of his toughness rather than evidence of his failures.

"Think about the message it sends," the Governor continued, warming to his theme. "Here's a man who lost his hand and kept fighting. Who adapted, who overcame, who didn't let anything stop him from protecting what matters. That's heroic, Merle. That's legendary."

The word hit Merle right in his ego. He'd spent his whole life being the redneck, the loose canon, the one who couldn't be trusted with anything important. Daryl was the tracker, the sensitive one, the only one capable of kindness ... Hell, thats why Daddy had spent years beating the breath out of them. Merle was just the muscle, the wild card who caused more problems than he solved.

But here was the Governor, looking at him like he saw something worth respecting. Like he saw potential that went beyond just being good at hurting people.

"Ain't like I got much else goin' for me. Might as well put on a show if people want to see one."

"Don't sell yourself short," the Governor said smoothly. "You've got more going for you than you realize. Your girl certainly seems to think so."

My girl. The possessive warmth that spread through Merle's chest at those words was stronger than whiskey. You weren't his girl, not really, but the way the Governor said it made it sound like a fact rather than wishful thinking.

"She's been through a lot," Merle found himself saying. "Deserves to feel safe, to have something good to look forward to. Maybe even feel proud of the man who's been lookin' out for her."

"Exactly." The Governor's smile was triumphant, like Merle had just proved his point. "She'll get to see you for what you really are - not just a survivor, but a champion. The kind of man who doesn't just endure, but conquers."

The praise settled into Merle's chest like warm whiskey, filling up spaces he hadn't even realized were empty. When was the last time someone had called him a champion? When had anyone ever seen potential in a Dixon beyond there capacity for violence?

"'Course," Merle said, his voice carefully casual, "if I'm gonna do this, I want guarantees about safety protocols. And I want to make sure my girl's taken care of if something goes wrong."

"Of course," the Governor said immediately, like he'd been expecting this concern. "Your girl will have the best seat in the house, right beside me in the where she'll be completely safe."

The image was seductive - you dressed up nice, sitting in a place of honor, watching him perform like the warrior he'd always known he could be.

"She'll get to watch her man become a legend," the Governor continued, his voice full of certainty. "Watch him become the hero this town needs. And trust me, Merle - there's nothing more attractive to a woman than watching her man succeed."

Her man. There it was again, that possessive warmth. The Governor kept saying it like it was true, like you belonged to him in some way.

"Alright," Merle said finally, his decision crystallizing. "I'll do it."

"Wonderful" The Governor extended his hand, and Merle shook it with his good one.

As they walked back through town, Merle found himself standing a little straighter, his chest a little more puffed out. For the first time in longer than he could remember, someone was counting on him for something other than just raw violence. Someone saw him as more than just a useful psychopath.

The first night of the arena fights, the cold seemed less biting somehow, warmed by the excitement of sixty-eight people gathered around a makeshift ring. They'd constructed it out the back of the old warehouse, with bleacher seating and flood lights that made everything seem theatrical, larger than life.

You sat beside the Governor, bundled up in every warm piece of clothing you owned, your breath visible in small puffs despite the heaters they'd brought in. He pressed a warm mug into your hands - mulled wine that smelled of cinnamon and cloves, a luxury you hadn't tasted since before the world ended.

"Drink up," he said with a paternal smile. "It'll help with the cold."

The wine was sweet and warming, spreading heat through your chest as you sipped it. The crowd was buzzing with anticipation, voices raised in excited chatter and bets being placed, but you felt sick to your stomach despite the alcohol's mellowing effect.

"Magnificent turnout," the Governor said, his voice warm with satisfaction. "Look at their faces - they're alive again. This is what community looks like."

You nodded absently, your eyes searching the crowd for familiar faces, trying to gauge how many people were actually excited versus how many were just going along with it. The energy was infectious, you had to admit, but something about it felt wrong.

"I'm not sure about this," you said quietly, your accent making the words sound smaller somehow. The wine was making you feel floaty, less sharp around the edges. "What if someone gets hurt? What if—"

"That's exactly the point," the Governor interrupted gently, refilling your mug before his hand found yours and squeezed reassuringly. "The possibility of danger, the thrill of survival - it reminds us what we're living for. What we're fighting to protect."

You took another sip of the mulled wine, the warmth spreading through your limbs and making the harsh lights seem softer, more forgiving.

The crowd suddenly roared, and you looked up to see Merle strutting into the ring like he owned it, his knife-hand gone leaving only the metal prosthetic glinting under the lights, his grin wide and confident. He was shirtless despite the cold, his chest puffed out with masculine bravado, scars and tattoos telling the story of a life lived hard.

"WOODBURY!" he bellowed, raising his arms to the crowd. "Y'all ready to see some real entertainment?"

The response was deafening. People were on their feet, screaming his name, and you could see him feeding off their energy, puffing up with pride and showmanship like he was born for this moment.

He looks so... happy, you thought, confused by the mixture of pride and terror warring in your chest. You'd never seen him like this - completely in his element, beloved by a crowd, the center of attention in the best possible way.

A younger man entered the ring, lean and wiry with the compact build of someone who'd learned to fight out of necessity rather than choice. He looked nervous but determined, his eyes finding someone in the crowd - a woman with worry etched across her face.

"Oh God," you whispered, realizing this wasn't just entertainment. These were real people with real relationships, real stakes. "His girlfriend's watching."

"Wife, actually," the Governor said conversationally. "Just married last month. Sweet ceremony. She's worried, of course, but Crowley insisted. Pride, you know how it is."

Your stomach dropped. This wasn't just a show - it was two men risking everything for the approval of people they barely knew. You took a larger gulp of wine, trying to steady your nerves, but it only made the lights seem brighter, the crowd's energy more intoxicating.

Then they released the walkers - three of them, stumbling and reaching but somehow less threatening than usual. It took you a moment to realize why, no teeth, no fingernails, just grasping hands and empty mouths that couldn't tear flesh.

"Brilliant, isn't it?" the Governor said, leaning closer so you could hear him over the crowd. "All the excitement, none of the real danger. Though don't tell the audience that - they need to believe there's genuine risk. The fear has to feel real, even if it isn't."

You watched in horrified fascination as both men began to move, circling each other while keeping one eye on the declawed walkers. Merle was in his element, trash-talking and showboating, but Crowley was all business - focused, methodical, treating this like the life-or-death struggle it appeared to be.

"Come on, boy!" Merle called out, his voice carrying that familiar mix of condescension and amusement. "You gonna dance with me or you gonna let them dead bastards do all the work?"

Crowley didn't respond, just kept moving, and you realized he was smart - letting Merle wear himself out with the theatrics while conserving his own energy. But the crowd was eating up Merle's performance, cheering every taunt, every swagger.

The first real exchange came when one of the walkers got too close to Crowley. Merle used the distraction to rush in, throwing a wild haymaker that Crowley barely ducked. The younger man came up with an uppercut that caught Merle in the jaw, drawing a grunt and an approving roar from the crowd.

"Now we're talkin'!" Merle laughed, wiping a trickle of blood from his lip. "Got some fight in you after all!"

They circled each other again, both men breathing hard now, sweat gleaming under the harsh lights despite the cold. You found yourself leaning forward, caught up despite yourself in the brutal ballet playing out before you. The wine had loosened something in your chest, made you feel more present and yet somehow detached from the violence.

"Another?" the Governor asked quietly, already refilling your mug. The gesture seemed so normal, so civilized, that it made the brutality in the ring feel almost surreal.

Merle threw a combination - left hook, right cross - but Crowley slipped both punches and countered with a body shot that doubled Merle over. The crowd's roar shifted, some cheering for the underdog now, others yelling for Merle to get up and fight back.

"This is what they need," the Governor said in your ear, his voice almost reverent. "Look at them - they're unified, focused on something other than their fears. This brings them together."

But you were focused on Merle, who was straightening up with that familiar stubborn set to his jaw that meant someone was about to pay dearly for underestimating him. His eyes had gone cold, calculating, and you recognized the shift from showman to predator. The wine made everything seem slightly dreamlike, softening the edges of your worry into something more manageable.

"Alright, college boy," he growled, his prosthetic catching the light as he raised his hands. "Playtime's over."

What followed was a masterclass in brutal efficiency. Merle might be older, might be missing a hand, but he'd been fighting longer than Crowley had been alive. He used every dirty trick in the book - an elbow to the temple, a knee to the solar plexus, even using one of the chained walkers as a shield when Crowley tried to tackle him.

The crowd was going wild, on their feet screaming, but you found yourself gripping the Governor's arm without realizing it, your movements slightly unsteady from the wine. This was too real, too visceral. You could see the fear in Crowley's eyes as he realized he was outmatched, could hear his wife screaming from the stands.

"Stop it," you whispered, but your voice was lost in the roar of the crowd. The alcohol made your tongue feel thick, your protests less sharp than they should have been.

Merle had Crowley backed against the chain-link now, landing punch after punch while the younger man tried desperately to cover up. Blood was streaming from Crowley's nose, his left eye already swelling shut.

"That's enough!" you found yourself on your feet, shouting. "Stop the fight!"

But no one could hear you over the crowd, or if they could, they weren't listening. This was what they'd come to see - raw, primal combat that reminded them they were still alive.

Merle stepped back suddenly, his chest heaving, and for a moment you thought he was going to show mercy. Instead, he turned to the crowd, arms raised, drinking in their adoration.

"Y'all want more?" he bellowed, and the answering roar shook the walls.

That moment of showboating nearly cost him. Crowley, summoning reserves he didn't know he had, launched himself off the fence in a desperate tackle that sent both men crashing to the ground. They rolled, grappling, each trying to gain the dominant position while the walkers strained against their chains just feet away.

Crowley ended up on top, raining down punches, but Merle's experience showed. He bucked his hips, rolled, and suddenly Crowley was on his back with Merle's prosthetic pressed against his throat.

"Give up pretty boy," Merle snarled, not loud enough for the crowd to hear but clear enough for you to read his lips.

Crowley's face was turning red, his hands clawing at the metal cutting off his air supply. His wife was screaming from the stands, and you found yourself half-standing again, torn between horror and fascination.

Finally, desperately, Crowley tapped out.

Merle held the position for just a moment longer - before releasing his hold and standing up. Crowley gasped and rolled onto his side, alive but thoroughly beaten.

Merle basked in it, arms raised, bloody and victorious, looking like some ancient gladiator who'd just conquered Rome. His eyes found yours in the crowd, and the grin he gave you was pure predatory satisfaction.

When it was over, when the crowd had finally dispersed and the fighters had been helped away, you sat in the sudden quiet feeling hollowed out and strangely exhilarated. The wine had left you with more then a pleasant buzz that made everything seem slightly unreal, like you'd watched a particularly vivid dream rather than actual violence.

Through the haze of alcohol, you could see Merle making his way through the dispersing crowd, sweat still gleaming on his chest, blood spattered across his knuckles, the metal cap catching the flickering light like a blade.

"Is Crowley... will he be alright?, " you said, your accent thick with drink and emotion. The brutality you'd witnessed had shaken you more than you cared to admit.

The Governor's smile didn't waver, but something cold flickered in his eyes. "Crowley knew what he was getting into. Sometimes a man has to pay the price for challenging his betters."

Before you could ask what he meant, Merle was there, still breathing hard from the fight, his good hand reaching for you.

"Hey sugar" Merle said, his voice rough with adrenaline. His eyes were still bright with the violence he'd just unleashed, and when he looked at you, there was something predatory in his gaze that you'd never seen before.

"Well, Merle, she's all yours now," the Governor said, his words carrying weight that made your skin crawl even through your intoxicated state. "Been asking for you all evening, haven't you, sweetheart? Couldn't take her eyes off you during the fight."

The dismissal was clear, as you were being guided away from the arena, Merle's hand firm on your back as he steered you through the cooling night air toward your shared apartment.

Everything felt strange, like you were floating slightly outside your own body. "The way you fought... your strong... but Merle, you didn't have to be so rough with Crowley. He's just—"

"Crowley's fine," Merle cut you off, his voice sharp with leftover aggression. "Man wanted to test himself against me, he got what he asked for. That's how it works in the real world, lil-doe. Strong survive, weak learn their place."

His casual dismissal of the other man's pain echoed the Governor's words in a way that made your stomach churn. This wasn't like Merle - or maybe it was exactly like him, and you'd just never seen this side before.

It wasn't until he got you inside your apartment, closing the door behind you both with a finality that seemed to echo in the small space, that Merle really looked at you. His expression shifted from satisfied to concerned as he took in your flushed cheeks, glassy eyes, and the way you swayed slightly even standing still.

"Sugar... how much hooch did you have ?"

"Not much," you protested, though the words came out slightly slurred. "The Governor kept... he said it would help with the cold, and I didn't want to be rude... kept bringing me more..."

Understanding dawned in Merle's eyes, followed quickly by anger. "Aw, hell. That son of a bitch." His jaw clenched as pieces clicked into place. "You ain't used to drinkin', are you, lil' doe?"

Before you could answer, your stomach lurched violently. You clapped a hand over your mouth and rushed toward the bathroom, barely making it before the evening's wine came back up. The retching was violent and embarrassing, your body rejecting the alcohol with prejudice as your system tried to purge itself of the unfamiliar poison.

Merle was there immediately, his good hand holding your hair back, his voice surprisingly gentle despite the rage you could feel radiating from him. "Easy now, darlin'. Get it all out."

When the worst of it passed, you slumped against the bathroom wall. Your head was spinning, and the brutality of the fight kept flashing behind your eyelids - the sound of fists hitting flesh, the crowd's bloodthirsty cheers, the way Merle had looked standing over Crowley's fallen form.

"I'm sorry," you whispered. "I didn't mean to... I'm not used to... and the fight, it was so violent, I—"

"Ain't nothing to apologize for." There was anger in his voice, but not directed at you. "Governor should've known better than to keep pourin' drinks into a little thing like you. Should've been lookin' out for you, not..." He trailed off, his expression darkening as he processed what had really happened.

He helped you to your feet, sitting you on the edge of the bed and knelt to untie your boots, his movements efficient but charged with an energy that made your skin prickle.

"Arms up, darlin'," he said softly, reaching for the hem of your sweater.

The rational part of his mind - the part that wasn't clouded by adrenaline and months of the Governor's carefully planted suggestions - knew this was dangerous territory. You were vulnerable, trusting, barely conscious, and the way you'd looked at him after the fight... made him feel like he was some kind of hero instead of the violent man he really was.

The devil on his shoulder however was working overtime, fueled by months of the Governor's poison about what women really wanted, what men were entitled to after proving their strength.

She's yours for the taking. All soft and doopey, she won't even remember it clearly ... go on, she'd probably thank you after.

These weren't thoughts he'd ever had before Woodbury, before the Governor's subtle comments about conquest.

Merle might've been a bastard, but he'd never been the kind to take advantage of a helpless girl. That was a line he'd never crossed. Not when she can't really choose. Not when she trusts you this much and you'd be betraying every bit of that trust.

You'd seen what he really was in that ring, seen the violence he was capable of, and it had scared you. The realization hit him like a physical blow.

"There we go, sugar," he said, his voice rougher than he intended as he fought his own demons. "Let's get you tucked in."

He guided you under the covers of your own bed - your bed, not his - and pulled the blanket up to your chin. You stirred slightly, and when he moved to gently sweep the hair from your forehead, you flinched. The reaction was small but unmistakable, and it hit him like a slap.

"Jesus," he said quietly, his voice rough with emotion. He caught your chin gently, turning your face so you could see him clearly despite your unfocused gaze. "Look at me, I would never put hands on you. Never. You hear me, lil' doe ?"

Your eyes searched his face, some of the fear fading as you saw the sincerity there. He waited until you nodded, until some of the tension left your shoulders, before he stood.

"Get some rest, sugar. I'll be right next door if you need anything."

Merle made his way to his own bedroom, closing the door behind him with barely controlled restraint. Once alone, he scrubbed his hand down his face, the weight of what had almost happened - what he'd almost let the Governor manipulate him into doing - crashing over him like a wave.

With a frustrated growl, he grabbed the empty whiskey bottle from his nightstand and hurled it against the wall. It shattered with a satisfying crash, but it did nothing to quiet the storm of self-loathing and anger churning in his gut.

[miraculouslbcnreactions]

Honestly, I feel every time the show and its creator attempt to explain away a plothole or issue it only makes things worse. The time Astruc tried to explain why Gabriel completely dropped going after all the exposed temps after Optigami.

According to him, Gabriel doesn't do the same plan twice, and when people brought up Mr. Pigeon, Astruc claimed that Gabriel came up with 72 unique plans involving that akuma... which like if he's able to come up with that many "unique" plans for mr pigeon of all things, then surely Gabriel could have come up with at least five different plans involving the exposed temps or hell attempt to rework the plans that he nearly succeeded with or the ones that only failed due to outside factors

That's one of my favorite quotes from the writers because it's just so absurd. Dude, don't try to justify it in universe! Just say, "It's an episodic kids show and we want to keep the plots interesting while also having them stand alone, so we don't repeat ideas even if the character would probably do that in the real world."

Like it or not, the show's format is a reasonable explanation for why the show works the way it does. There are times when it makes sense to prioritize story format over lore. That's especially true when it comes to episodic content as the overarching story isn't supposed to be the main draw in episodic content. It's supposed to be a bonus feature if it even exists! That's one of Miraculous' big problems as your ask shows.

Because the show keeps including these big dramatic ideas, a lot of people are here for the story first and not to have fun with the akuma of the week even though the show's format means that it's only going to be satisfying at the episodic level. The overarching plots the writers have chosen just don't work in this format which is why the fandom is dying off. People are realizing that they're never going to get a satisfying ending to this mess because the format won't allow it.

The temp hero reveal is a perfect example of this. That's too big a thing to just forget about! It's going to make people question the format in a way other almost-wins don't! Gabriel not repeating Scarlet Moth or Style Queen doesn't feel like an insane move because those akumas weren't anything all that special. They were just more epic versions of his usual akumas. On the other hand, Gabriel giving up on going after the temp heroes after one try seems insane because that's not his standard plan! It's something new with much higher stakes so it makes no sense for him to give up so easily. He keeps trying to get the ladybug and the black cat, why wouldn't he keep trying to use the temp heroes? That makes no sense for his character!

The reason he stops is because the show's format isn't suited to it. It's much harder to write standalone episodes that deal with the temp hero issue. It's too serialized and too complex. That's why it was dropped like it was your standard one-off akuma even though it's not your standard one-off akuma. It's also why Gabriel learning about Marichat was dropped and why the teachers forgot about Lila's lying disease and why the class collectively gained amnesia about Lila being Ladybug's bff when Alya learned Ladybug's identity. All of these things were introduced to make individual episodes epic, not because the writers could actually tell the kind of story that owned these epic moments.

All of this is why I'd actually agree that Gabriel "not repeating plans" is a genuine flaw even though it's an inherent part of how an episodic formula show works. Not repeating plans makes perfect sense for the show's format, but it doesn't make sense for the stakes and plot beats the show included. If the show hadn't chosen the plots it did, then I'd call this a nitpick. Because the show chose more serious plots, it's a flaw. The fix is to either change the show's format or to stop having plot points that require serialization. I don't think the show is going to do either of those things any time soon.

As a quick final note, sometime the best response to a criticism is to just own that the criticism is fair, but that addressing it would completely destroy the show's structure, so the person needs to either accept the flaw or watch a different show. If it weren't for Miraculous' chosen plot beats, then that would be my response to this criticism. I'm only going hard on this one because the show set itself up to fail. This is why you can't just throw cool shit into your story if you want to tell a good story. You have to think this stuff through, but Miraculous' writers don't seem interested in doing that.

[chemicallywrit]

Happy Audio Drama Sunday! It's been a long week and I'm exhausted, but art exists and stories are beautiful and I love getting to see people's work. Let's get into it.

⚡️ This week I listened to the first episode of @heartglasspod and was just blown away. Like not only are the writing stellar and the characters instantly fascinating, but this concept is so beautiful and weird that I am all in. There’s something very tempting about being able to talk to a loved one who’s passed, especially one whose death is suspicious, but the memory issue and the actual cosmological distance between our characters is bound to cause problems. I can’t wait to see where it goes.

🧛🏻‍♂️ The thing about @theholmwoodfoundation is: I love Tom. I love him. I can’t help but compare our characters to their predecessors, which I think Jeremy in particular would hate, but they all fill very different roles. That said, Tom is still decisive and funny and refuses to let Jeremy panic, which is very Van Helsing of him. The writing here is so nuanced, and the way these characters developed works so well. Can’t wait to figure out what the heck is up with Jeremy.

🪐 This episode of @iriscasefiles has it all. Gangsters. Linguistics. Violence in the face of unspeakable injustice. Soup. I am constantly impressed with Brian as a character—something about how “nice” doesn’t mean “helpless” is really delicious in the context of this particular anticapitalist setting. And it’s encouraging. You can always do something to fight injustice. Even if you’re just a waiter.

☀️ I don’t have much analysis about @thetowerarray’s finale of Calling All Adventurers, except to say I just love this show. The narrator’s first real adventure has come to an end and asked more questions than he started with. The slow burn mystery and eventual victory (but at a cost) was so skillfully crafted. I am very much looking forward to season two. And in the meantime, listen to the show! It’s wonderful.

🩸 There is a risk when crafting a dark fantasy like @last-dance-audio-drama to deal death willy-nilly. For shock value, for "realism," for the sake of keeping the tone. You all know the type of story. Last Dance isn't that type of dark fantasy. I'm caught up now, and 3+ devastating character deaths in and two episodes left to go, I feel like every single death has been earned. None is taken lightly or treated with scorn. Not a one has a background haze of a writer being like haha, gotcha! And each one hits like a truck. I am worried about what's about to happen to these characters, but I trust the story. Not for a happy ending--I think that's a little too optimistic--but for a good ending.

♾️ I'm like, years too late to The Big Loop, but I'm here now and WOW. The Big Loop started in 2017, a project of audio drama OG Paul Bae, and although it's an anthology, I would say all the stories fall into slipstream fiction. The setup is realistic, everything seems pretty normal, and then...things get weird. I'm only so far in, but every single episode has been a new and fantastic little gem. My favorite so far has been "All God's Children," which is very hard to explain without ruining the several twists. If you want to understand where audio drama as a medium came from and hear some absolutely killer writing and acting, please check it out.

That's it for me! I hope my fellow Americans have an Independence Day that is full of resistance and doing what you can, and I hope everyone else has a lovely week where you don't have to hear about what we're up to for once. See you next Sunday!

[fridgevespidae]

perpetually pissed about how the internet treats the circus show and i dont mean the fandom rn...

[quatregats]

I'm not sure that there's any good solution, as OP said the changes are on a scale that one person can't tip but also as individuals or actions have consequences so we might as well try, and here's some things that might help to push things in a better direction rather than a worse one:

While AirBnB is the worst offender, there are many sites besides AirBnB which have rooms in apartments to rent. If you see those, don't rent them - look for actual hotels. If you inadvertently end up staying in one, leave a bad review and make it clear in the review that the problem is that apartments being turned into tourist accommodations is making the city unlivable and that you don't support it. This both transmits the issue to an audience who might not be aware of it (potential vacationers - a lot of whom would care but just genuinely don't understand what the problem is, and I say this from experience!) and lets the landlords know that their business practice might not pay off in all cases, including the possibility that eventually it might turn into too risky of an investment to rent out these kinds of apartments.

Support local institutions that benefits local people as well (museums, stores, etc) and engage with them as if you were in your own city, rather than engaging in activities designed for tourists. Yes, you're just one person, but by supporting these institutions you're pushing back against the logic that everything should cater to tourists. Basically, the things you choose to do demonstrate what you, as a tourist, find valuable, and if businesses and government only listen to tourists' interests, the most you can do is use your choices to back things that also benefit locals, rather than excluding them.

If you're staying in a hostel or around other foreign guests, encourage them to be respectful and preferably to think about these points as well. A lot of people don't understand why there are anti-tourism protests, but if you explain to them what's been happening and the local perspective of having your city taken over by tourists, they often have an "aha!" moment. It won't work for everyone, but it'll work for more people than you'd think.

Just generally, I think showing solidarity with the people who live in a place and approaching with the mindset of their wellbeing first and foremost is the best thing you can do when visiting an overly-touristified place. Are you choosing to support things (like stores, amenities, institutions, idc) that make the city more unlivable? Could you respectfully be supporting things that make it more livable instead? There's no good answer, but as a tourist you do have some power to tip the scales of the larger interests here, and you should use it to push things in as much of the right direction as you can.

hello, i’m sorry if this is the wrong place to ask but i am planning on visiting barcelona next year, however i know that tourism is making life difficult for the locals. i want to ask, is it possible to be a more “ethical” tourist and if so, what advice would you give to somebody visiting barcelona to be as little trouble for the locals as possible? or would the locals prefer that barcelona is boycotted as a tourist destination altogether? thank you 🫶

The most important things:

NEVER stay at an AirB'n'B (even for your own good, most of them are illegal and if you get caught that's also on you). Don't stay at tourist rental apartments. Those should be for rent for people who want to live in it, not monopolized at high prices for tourists. Stay at a legal hotel instead.

Never take a cruise ship.

I would recommend avoiding going to any restaurant or commercial establishment that is only for tourists and rich "expats". You'll know them because they have their signs, menus, etc only in English, or maybe in English and Spanish. If a place refuses to include among their options the local language (Catalan), it's a tool of gentrification of that neighbourhood.

Don't name, tag, nor geolocate specific places like bars, cafés, beaches, etc. if you post photos on social media, because that's the way that places become "viral" and the local population is expelled from them.

If you can, avoid coming during summer (high tourism season), though this isn't an option for everyone depending on the job.

If you run into Salvador Illa or any of the other people who approved the plan to make Barcelona's airport bigger through the destruction of the Llobregat Delta natural area, spit in their face!

The most important changes must come from politicians and not individuals —though individuals absolutely must take responsibility and never go to AirB'n'Bs nor go to places where locals are asking for a stop of tourism like Hawaii, Eivissa (Ibiza), Mallorca, etc.

Even so, it's a shame but we have to be very careful with even things that would look innocent. I think almost everyone has engaged in harmful behaviour without meaning too, me too with this blog. I've been deleting information on photos I had posted on this blog, making some posts unrebloggable, deleted photos both that I had already posted and others that were on the queue, and I still need to do a lot of deleting. It's difficult to try to find a balance between sharing (a happy memory on a holiday for tourists on social media; or try to share explanations to contribute to building intercultural understanding, positive curiosity towards human diversity, and internationalism, in my case) and not contributing to advertising for already over-exploited places. I'm not sure how to do it well either...

[thedevotionaltour]

i havent even read enough gl to justify the feelings and emotions i have about kyle i just have the lovers heart and also something wrong with me. and my projection. in my mind he's just like me. and he would have loved college vending machine frozen cheeseburger and heating it up in the microwave at 1 in the morning because he was bored and didn't want to work on a drawing assignment on 20" x 30" paper that was due tomorrow in his freshman year. he would have loved going to the club to push off finals work that's creating the worst stress known to man in his brain. and he would love to annoy the fuck out of his roommate when high and avoiding homework on a saturday.

[justworthlessreblogs]

no cause you’re so right for naming Kirakira in that potential canon post, I could name every character in that show and make arguments for each one, villain and cure alike. the characters were too ambitious for the show! like, don’t just reinforce that Akira cares a shitton about people, tell us why! Ichika feels that she has to put a smile on her face no matter what, show us more! Noir and Lumière are probably meant to be an allegory for abusive relationships, please elaborate!

THANK YOUUUUU i'm so glad to hear others feel the same way, it makes me feel better knowing that it's not just me overthinking things. i am actually in the process of writing a mini essay/reflection on the characters (will not be published until i finish the series) and it's funny that you mention ichika feeling like she has to smile no matter what because i actually bring it up in the analysis. i think they definitely had the foundations for a good arc where ichika learns that it's okay to cry sometimes and i'm so mad that they just ignored it and went with "ichika learns she has to put precure duties before her personal wants and needs" when that conflict had literally never come up before. with regard to akira i really think she has potential and i love her caring nature but they never actually Do Anything with it and it's frustrating. while i haven't actually gotten to the noir&lumiere backstory episode yet i do know what happens courtesy of being in this fandom for 6 years and yeah. i definitely think they could have done way more with it

[automatic-midnight]

My biased, really unpopular take is that I think rit/su/maya is an objectively boring ship.

[musical-chick-13]

Oh, having a LOT of feelings about this anime (positive).

[thewriteadviceforwriters]

💀 Making Your Villain Make Sense (Without Making Them Right™)

("because if I see one more war criminal with a sad diary entry get a redemption arc, I’m gonna throw my laptop.")

Here’s the thing: your villain doesn’t need to be redeemable. But they do need to make sense.

And I mean sense beyond "they’re evil and they monologue about it." Or “they have a tragic past, so now they do murder <3.” Or “they were right all along, the hero just couldn’t see it 🥺.”

Let’s fix that.

─────── ✦ ───────

🧠 STEP ONE: BUILD A LOGIC SYSTEM THAT ISN’T OURS Your villain shouldn’t just be wrong, they should have their own internal system that works for them. Morally flawed? Absolutely. But coherent.

Ask yourself:

What do they value more than anything? (Power? Order? Loyalty? Vengeance?)

What do they believe about the world, and how did they get there?

What fear drives them? What future do they think they’re trying to prevent?

The villain doesn’t need to know they’re wrong. But you should.

Make their logic airtight. even if it’s awful. Give them cause and effect.

─────── ✦ ───────

👿 STEP TWO: STOP GIVING THEM THE BETTER IDEOLOGY Listen. I love a “morally gray” moment as much as anyone. But if your villain is making all the good points and the hero’s just like “no because that’s mean,” your arc is upside down.

If your villain is critiquing injustice, oppression, or inequality, make sure their methods are the problem, not their entire worldview.

✖︎ WRONG: Villain: “The ruling class is corrupt.” Hero: “That’s not nice.”

✔︎ RIGHT: Villain: “The ruling class is corrupt, so I’m burning the city and everyone in it.” Hero: “So you’re just… committing genocide now?”

Your villain can touch a real issue. Just don’t let them be the only one talking about it, or solving it with horror movie logic.

─────── ✦ ───────

🔪 STEP THREE: GIVE THEM POWER THAT COSTS THEM The best villains lose things too. They’re not just untouchable horror dolls in sexy coats. They make bad choices and pay for them. That’s where the drama lives.

Examples:

They isolate themselves.

They sacrifice people they love.

They get what they want, and it destroys them.

They know they’re the monster, and choose it anyway.

If your villain can kill a dozen people and feel nothing, that’s not scary. That’s boring. Let them bleed. Let them regret it. Let them double down anyway.

─────── ✦ ───────

🧱 STEP FOUR: MAKE THEM PART OF THE WORLD, NOT OUTSIDE IT Villains shouldn’t feel like they were patched in from another genre. They should be part of the world’s logic, culture, class system, history. They should reflect something about the setting.

Villains that slap:

The advisor who upheld the regime until they decided they deserved to rule.

The noble who’s using war to reclaim stolen legacy.

The ex-hero who thinks the system can’t be saved, only reset.

The priest who truly believes the gods demand blood.

They’re not just evil, they’re a product of the same world the hero is trying to save.

─────── ✦ ───────

👁 STEP FIVE: SHOW US THEIR SELF-JUSTIFICATION You don’t need a tragic backstory™. But you do need to show us why they think they’re right. Not just with exposition, through action.

Let us watch them:

Protect someone.

Choose their goal over safety.

Justify the unjustifiable to a character who loves them.

Refuse to change, even when given a chance.

A villain who looks into the mirror and goes “Yes. I’m correct.” is 1000x scarier than one who sobs into a journal and says “I’m so broken 🥺.”

─────── ✦ ───────

🧨 BONUS ROUND: DON’T MAKE THEM A HATRED MEGAPHONE Especially if you’re writing marginalized characters: don’t let your villain become a mouthpiece for slurs, abuse, or extremism just to make them “evil enough.” That’s lazy. And harmful.

You don’t need real-world hate speech to build a dark character. You need power, consequence, and intent.

─────── ✦ ───────

TL;DR: Good villains don’t need to be right. They need to be real. Not a vibe. Not a sad boy in a trench coat. Not a trauma monologue and then a sword fight. They need logic. They need cost. They need to scare you because you get them, and still want them to lose.

Make them dangerous. Not relatable. Make them whole. Not wholesome. Make them make sense.

—rin t. // thewriteadviceforwriters // villain critic. final boss consultant. licensed chaos goblin

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE: