#i just think this would be a nice symbolic representation of him starting to see other contestants as people rather than just puppets

[perpetualexistence]

Because the Alenoaheather Fake Dating AU never truly leaves my brain, I've got a small addition.

After Alejandro and Sierra have done their puppet therapy bonding session, Alejandro has to throw away the remains of the Cody puppet that he used to show Sierra how toxic her relationship with him is.

He's at the trash can. The puppet has served its purpose. It's time to put the pathetic, miserable thing in the trash. Really, it's a mercy.

...He fakes throwing the Cody puppet away. In secret, he fixes the puppet and hides it away somewhere Sierra hopefully won't find it.

He knows he can't really hide it from the cameras. So in the confessional he just says that he would hate to throw away his hard work, even if it was important for the lesson.

(Just have a short ramble about writing under the read more if you're interested)

[On a meta/writing standpoint, I just really like Alejandro using puppets as a way of processing his emotions. It allows him the safety to explore the more vulnerable parts of himself while still maintaining a distance by pretending it's just the puppet/for the performance.

Mind you, I love puppets being used as symbolic of Alejandro's manipulative tendencies. It's tried and true for a reason. I just think it'd be neat to use puppets/dolls as a positive mechanism of change for once.]

[apollosgiftofprophecy]

Greek mythology has evolved over the course of hundreds of years, and with all those… retellings now, it’s gotten me thinking about just how many people have been spreading false details of myths through word of mouth to the point of becoming the most common interpretation, when if you were to look back in history, a great number of them were only recently made up, barely a a few centuries prior. Example of this is King Midas and his turning his daughter into a gold statue. I remember this part having been included all throughout my childhood, only to find out it was never part of the original myth but a recent addition in a book from 1852. (suddenly, the daughter being aptly named “Marigold” makes a lot more sense.) My ask is: which commonly told misconception of this type regarding any Greek myth is most infuriating to you and why?

oh my god misinformation can be INFURIATING smh

Let's start off with the Apollo misinformation.

"He raped Persephone/is a serial rapist!"

First of all, no he did not. LO, toss yourself into an eternal blaze and incinerate.

and secondly- he's not a serial rapist. There's only two accounts of rape, specifically Dryope and Creusa, but that depends on interpretation and the source so if you want to discard it, you can. No one can tell you you can't.

"UwU Apollo's love life is terrible!"

do i even need to say anything?

"Athena hates women!"

hell to the fuck no. the evidence people use for this is the Medusa Myth: Ovid's Version, and CONVIENTLY IGNORE THE ONES WHERE SHE HELPS WOMEN ESCAPE BEING RAPED!! AND THAT OVID IS THE ONLY ONE WHO DOES THIS!!

Even with the ones where she punishes the victim, the older versions do not have that! She made Nicymene her eternal owl companion, for heaven's sake!

"Hermes/Dionysus/Hephaestus is the only unproblematic god! UwU"

uh... *waves Leuconoe/Choine/Philonis around* no matter which version you go with, Hermes/Mercury does rape her...

...and in the Dionysica Dionysus rapes like two women...

...and Hephaestus tried to rape Athena... (oh wow, would you look at that...it's like Athena would have *gasp* sympathy for assault survivors...)

...See the double standards? :/ Ignores Roman/late Greek literature when it's convenient, and then exaggerates it to suit their own needs.

"Demeter is a terrible mom!"

GET OUT OF MY HOUSE NO ONE DISRESPECTS THE QUEEN

"Hades only kidnapped Persephone because Zeus told him too!"

Hades is his own man and wasn't being held at gunpoint to abduct her. He did so on his own merits. From a literal perspective, what was stopping him from just. you know. talking to her. kidnapping was not necessary.

(yes, yes, i know about the symbolic perspective, hence my use of 'literal'.)

"But Hades and Persephone are the only ones who don't cheat!!"

uh, nope. Hi Adonis, Minthe, how're you doing?

"But Adonis was more of a son to Persephone!!"

uh, NO. Even the ancients saw them as a couple!!

"Artemis is a girlboss who hates her brother!"

*kicks open door* OUT!

"Orion's the only man Artemis ever loved!"

how dare you disrespect my boy in this way Apollo was the first man she ever loved and no one will be able to replace him how dare you-

-and how dare you disrespect Hippolytus in this way he did not die in the name of all aroace people to be disrespected like this smh

"Zeus's only quality is how he fucks around!"

look, I've joked about this before but I know that's not all there is too him and that it has a symbolic representation.

Sure would be nice if people focused on that more :)

also anything that villainizes Aphrodite or Hera. god forbid women do anything.

"Clytemnestra is a girlboss who did no wrong!"

OH MY GOD THE DOUBLE STANDARDS.

funny how people fawn over Cassandra one moment and then COMPLETELY FORGET HER EXISTENCE to becry the woman who murdered her!

AND ALSO GO OUT OF THEIR WAY TO HATE APOLLO FOR CURSING HER WHEN THEIR STORY IS LITERAL ABOUT A WOMAN'S AUTONOMY BEING RESPECTED!!

AND GUESS WHAT!! APOLLO AVENGES HER DEATH!!

anything that is "UwU Achilles!" omg i am sick of it.

that bitch had everything coming. he deserved everything he got. Tenes, Troilus, and Hemithea did NOT deserve what he did to them! APOLLO AND PARIS HAD EVERY RIGHT TO TAKE HIM DOWN!

i'm probably forgetting some but here's the one that popped into my head :)

[thatgirl4815]

Ray's Car

I have a theory that if Sand wields a bat at any point in the series (🤞), he will use it to bust up Ray's car. Idk if this is a theory or just something I would find quite pivotal (and sad, and painful, and gut-wrenching, but still satisfying). But it got me thinking about the role of Ray's car in their relationship.

Not to read into this particular line too deeply, but could it perhaps be a reference to control of Ray in particular? Control of Ray's decisions? Control of his fate?

Ray's car is involved in the very beginning when Ray tries to drive home drunk and Sand gets behind the wheel. The concept of driving is symbolic in that it represents control. We know Ray is lacking in that, and he seems to need a loss of control, otherwise he'll have to contend with the very real turmoil roiling inside. So who takes control for Ray? Sand. We know though that prior to this point, it has been Mew (and others in the friend group, like Boston) who has taken Ray home. But unlike those other times, this is Ray's car we're talking about. Sand has control of Ray's fate and one of his most prized possessions.

From this point on, we see the car used to transport both Ray and Sand, with Sand in the driver's seat at the start of their relationship. When we see it again in Ep3, Ray is the one who drives Sand home--Ray assumes control as a way of repaying Sand for all that Sand has done for him.

When we see Ray and Sand in the convertible outside of Sand's apartment, the cover starts off but is put down during the scene, for multiple reasons: it makes for a nice transition, it's necessary given their...situation...and it's also just a nice excuse for Ray to look hot while pushing the levers down.

The act of the convertible cover coming down is barring them from the outside world. I see it as a physical representation of the safe space between Ray and Sand that thrives in solitude. It is indisputable that when they're alone together, Ray and Sand's relationship is at its strongest.

There's a deeper discussion to be had about the dynamic between Sand's bike and Ray's car, and their role in demonstrating each characters' independence. One scene I want to narrow in on is where Ray agrees to ride on the back of Sand's bike in Ep5. I don't think it is any coincidence that this scene is included in the same episode that Boston rips up SandRay's relationship. Sand's bike is open compared to Ray's car (about as open as one can be to the elements) and if one relates that openness to the publicity of Sand and Ray's relationship, then it could foreshadow the fact that Sand and Ray's relationship will soon move beyond their private safe space.

Lastly, we have Ray's attempt to drive away in his car while Sand chases after him. It's crucial because it's Ray in dangerous control of his own fate, alone. They are not together in Ray's car, but instead Sand is chasing after it, trying to put himself back in a seat of control that once suited Ray and Sand's relationship so well.

Why does this dynamic need restoring? Because Sand is comfortable in a position of control--as someone who has constantly made his own way, he thrives in it. Ray is more than willing to surrender his control to Sand (most of the time) because he knows on some level that he is spiraling. He needs someone else to take the reins--to be his emergency contact. He needs someone to depend on when he is incapable of fully trusting or loving himself.

What this all boils down to is Sand's role as the caretaker and Ray's need to be taken care of. It's very likely that I am reading way too far into the motor vehicle dynamics here, but it gave me a good excuse to take a look back at some of Ray and Sand's happier moments.

[quigonswife8]

Memories: Namor x reader

While you sit with K’uk’ulkan, he looks at the mural, reminiscing of years gone by, of the memories he’s reminded of.

Thank ya'll for all the love on my namor works, it means a lot:)

Also I used the gif above cause even though he’s not painting in this, it still does talk about the mural. Btw I love the mural, he’s so talented

gif creds: @itaintenough

----

"You're cold.". Namor points out as he notes how much you're shivering.

"I-i’m sorry K’uk’ulkan but i'm still not used to this environment."

You rub your arms to try and regain warmth but this attempt turns out feeble.

As a 'surface dweller' you never do get used to visiting K’uk’ulkan’s kingdom. He'd offered you to live there but when he'd seen how much your world meant to you he had agreed to date 'long distance.'

Though with every visit [which is practically everyday] you never get used to the difference of temperature. The water isn't even cold, it's the temperate of the room.

"You don't need to apologise my love."

He stands up and turns, "...I will get you something warm."

Slipping away for a moment to grab the softest blanket. He always keeps it aside for you. He drapes it around your shoulders, sitting back down next to you.

"Better...?"

You glance at him,

"Much better."

He nods, before looking away from you to admire the mural he’d just added onto.

After coming to an agreement with Wakanda everything returned to normal. K’uk’ulkan had gotten started on adding to the mural: a panther fighting someone-Him. and the panther being the queen.

He is a very talented artist. You still wear the bracelet he had hand-made for you years ago, as a symbol of his love. It's like he's with you whenever you're apart.

"It's beautiful my love."

Pulling the blanket more over your shoulders, while scootching closer to K’uk’ulkan.

"Thank you."

He brings a hand up to rest on his knee, his eyes still on the mural. It brings him to think-reminisce of years gone.

The times when things seemed to be just. When he had offered his heart to you and you'd done the same. When all he thought about was ruling his kingdom with you beside him.

When they didn't have to deal with the people trying to mine the vibranium, threatening his people. Looking at this mural reminds him of peace because that's what it is. A peace decided on between his people and the Wakandan's. Something that he has wanted for so long.

That is all he has wanted, and this mural is a representation of that. To some it may not be obvious but to those who know who understand it is obvious.

You look at K’uk’ulkan, wondering what's going on in his mind. The look on his face means he's deep in thought which he often falls into when he has these moments of peace. Not wanting to ruin his peace you simply copy what he's doing by staring at the mural.

It has always fascinated you. When he had brought you to Talokan for the first time it was the mural that caught your eye first. Though back then it didn't include the black panther. Namor had noticed your interest in the mural and began to explain what it had meant.

It became that more fascinating when you'd found out he'd painted this mural himself. The love he held shows in the mural, as well as his skills with a paintbrush.

K’uk’ulkan stands in front of the mural, his hands together behind his back.

"You're very skilled..."

You run your hand along the different lines, different shapes on the wall. "...this is amazing."

It's your first time in K’uk’ulkan’s kingdom. You'd heard stories of a 'feathered serpeant god' but never thought you would ever meet let alone date him. Now as you stand in one of the many rooms in his kingdom it doesn't seem real because you have only dreamt of visiting a place like this.

"Thank you."

He can't help but smile slightly seeing you enjoying his culture, appreicating this mural.

It's nice to know all surface dwellers are not bad which is more often than not. He knew there was something about you the moment you met, he could just tell. That you didn't cower in fear or try and hurt him, you had looked at him with such kindness that he hasn't experienced in so long.

"I'm happy you like it."

"(y/n)?"

"Hmm?" flicking your eyes back to K’uk’ulkanyou catch how he looks at you. A softness in his eyes, a slight smile on his lips. This alone makes you smile.

"Yeah?"

The light reflects in your eyes, making them look that more beautiful. It's captivating- you captivate him.

"I..."

The door suddenly opens, and Namora walks in. She looks your way, and then back to her king.

in her language she says: "can I talk to you, it's important."

K’uk’ulkan nods in reply, and so she leaves to wait outside for him. When his cousin is gone he turns back to you.

"I have to go my love.."

"It's okay..." you lean forward and press a kiss to his cheek. "...i'll see you when you get back."

He adjusts the blanket on you more noticing it had fallen off your shoulders. Lingering with his touch he presses a kiss to your head and then stands.

When he does leave you watch him, pulling your eyes after lingering with your look, and they soon fall back on the mural.

[acheronist]

I am reading The Goldfinch. I'm where he just started hanging out at the furniture/antiques place regularly. It's written well, it's holding my inerest, but I don't yet see what all the fuss is about. So not as a criticism but in an effort to appreciate something I might be missing, why is it a book you love?

well.

donna tartt is one of my favorite authors anyways. I think she's a spectacular freak and her storytelling skills are exceptionally good and i've read as much of her work as i can possibly get my little hands on!

but for tgf specifically, the narrative being soooo so so centered on personal emphasis & meaning being bestowed upon specific artworks despite them being very unpersonal objects (after they get out of the artist's hands, that is,) in stark comparison to the way that art that can belong to/be seen/be consumed any random fucking person alive in the modern age has been the only existential buoy in my life for a very very very long time. in my lowest times, instead of killing myself i go stand in art museums and think about how much love and creativity is innate in humanity despite times of crisis and war and disease and all of the fucking agonies and everything going wrong and having no control over it. ha ha. it's always been a balm to me, to remember that there is goodness and love preserved in artwork, and that artwork is tougher and longer-lasting than you'd initially think, and that it's always there waiting for me to come back to it and see it in a different emotional state to find new meanings in it. this is the same as how theo thinks about the painting thru different times in his life!! going from needing it desperately as a connection to his mom, obsessively as a comfort, and then reviling it for being a representation of his life's biggest trauma and yet still tending to it and caring for it, to the heartache of losing it and the relief of retrieving it with the one person who genuinely loves him as an act of devotion and apology for a previous betrayal....all while navigating how systems in power are neglectful and uncaring and capitalistic. it's all just So Much To Me.....

and I know the middle chapters where theo just goes on and on about the intricacies of antique forgery aren't as fun and sexy as the vegas chapters with boris (underage drug abuse and gay sex WHEEEEEE) OR the actual criminal chapters at the end (mysterious borderline-noir criminal heist slash subtextual romcom), but they're soooo so poignant to me. because in my own little life, curating the art and music around me and finding beauty and importance and symbolism in these subtle things is a vital central axis that i need to have, much like i need a nice bed or a good meal or a glass of clean water. much of how i cope and navigate the world is very deeply focused around art & art analysis, and I think the only other book i've read that articulated that sort of feeling quite as eloquently would be john berger's way of seeing, which is an academic and analytical text. but i just love fiction so much, so to have tgf as the extremely emotional fiction option to go along w my nonfiction art thesis books that are tonally very prim and objective and well organized..... DELICIOUS. i love it. and i love a fictive narrative built upon tragedy. i love works that call back to each other in conversation, and stories that cannot exist without the foundation of Something Else Existing A Millennia Prior. i love comparing works and establishing what makes them similar or different but how they approach the same themes. and i love to see characters (THEO. boris. pippa. hobie. andy.) that i can identify with who struggle with similiar problems i have, because it makes it easier for me to get thru my own life. this isn't groundbreaking reasoning though, that's just how every human alive consumes art and content. of course we look for ourselves in fiction. of course we as individuals want to find things that we relate to.

and also in a purely self-indulgence way, I also looooooove it when media is unbearably long and i can get completely entranced and study it closely and always be able to find new details that throw the whole story into a completely new light, which I think tgf does very well because it's almost 900 pages LMAO. every time i reread it there's a new nuanced angle for me to think about actions and thoughts leading into consequences and i just eat that up every single time.......

but despite all of this i do recognize that tgf is not everyone's cup of tea. like it's genuinely one of the most meaningful texts in my heart but i completely understand how it can be long, and boring, and melodramatic, and a bit insane, and convoluted, and pompous, and not worth the time to get from cover to cover.

but it is worth the time. to me.

[hufflepuffinstorybrooke]

Please Don’t Hate Me

I need to start by stating that I really liked the Red, White, and Royal Blue movie. The cast and crew were amazing and this was a sorely necessary movie in the queer community as far as representation goes. I am also really bad at separating a movie from its source material. So this is just an opinion on some representation, both feminine and queer, that I wish had been in the movie.

First, with the female representation. Most obviously, the fact that June was written out, Princess Catherine was absent, and Queen Mary was switched to King James III.

Even while Alex is the main character, June is the heart of the Claremont-Diaz family. Alex and Ellen are too wrapped up in caring for the nation that they can sometimes forget that they need looking after themselves.

Combine this with keeping Ellen married to Oscar (she and Oscar are too similar, but Leo took care of her) and taking away some of her more nurturing characteristics (good thing bad thing), Alex’s family seems less supportive in the movie than the book.

This is similar to the problem I have with removing Princess Catherine. Henry has Bea’s support, but with the watered down Bea, that’s almost an empty corner. Princess Catherine is what forces the Queen to support Henry and Alex, and that is the first time Henry has felt a parent’s love since his father died. It’s just so important to his story, but I can understand why it was cut.

But why did they have to water Bea down so much? I don’t need the Powder Princess scandal, but if Bea is Henry’s only support, show that she is strong enough to back him for real. Throw her in a leather jacket, send her out to a party with the group, and show an electric guitar in the corner of the music room. It didn’t have to be anything big, but give her back her fire!

Then there’s Queen Mary, which I don’t really mind the switch since it gave us Stephen Fry as King James and the prime minister was a woman. I just felt like it lost some of the symbolism of the female heads of the nations and their opposite viewpoints on FirstPrince and tradition.

Lastly, there’s Nora. I liked her, I really did, but I wish they had mentioned that she went to MIT, even just Alex calling her MIT like he does in the book. There are places of higher learning, particularly in STEM, that kept women out for far too long. It would have been a great boost to show a woman being a graduate of the most well known technical institute in the country.

The only woman I was completely satisfied with was Zahra, they kept her as tough as nails!

Before I start on queer representation, remember that I do realize how important this movie is as a mainstream representation of queer love. However:

By taking out June, they took away the June/Nora/Pez relationship. I personally think that June and Nora were in a relationship and Pez just joined in while he’s in town. But still, a polyamorous secondary relationship in a rom com would have been nice.

That also takes away Nora’s bisexuality, which is just bi erasure! (And I know Alex says he’s bi, but that scene when Zahra calls him and Henry homosexuals bothers me! It erases Alex’s bisexuality!)

Rafael Luna was a huge impact on Alex, and showing an openly gay senator would have been amazing.

I am glad that, since they only kept one secret service agent, that they kept Amy. However, I do miss Cash and his pansexual jean jacket!

Moving on to Amy, I don’t mind that they didn’t mention that she is trans, especially since she is played by a trans actress and that was only brought up in Alex’s thoughts in the book. I do wish she had brought up her wife. There was such a good window of opportunity when she and Alex are talking about her dog. “You know my wife and I named our dog Jonathan.”

The addition of Miguel Ramos brings in the “gays are evil and vindictive” stereotype. Especially considering he was the only other openly queer person in the movie

On a lighter, headcanon note, I see Bea as at least ace, if not aroace, which sucks that it wasn’t included, but it makes sense since it’s not canon. Also, Princess Catherine cuffs her jeans, so she’s obviously bi lol

Again, the book is perfection, and I love the movie in its own right too. These are just some things that were missed or added that I wish changed in the movie!

[quetzalpapalotl]

Now that I finished the full re-read, I just want to ramble how I think Mtmte/LL and ExRID/OP compare.

Mtmte has the better start, not because exRID is bad, but because Mtmte is so good. JRo is really good at presenting things like worldbuilding, personalities and dynamics with just a few words while still carrying a lot of nuance.

Character interactions will keep on being JRo's strong suit until the end, which fits the kind of story he's doing. In very broad terms Mtmte/LL is a road trip story, while ExRID/OP is a political story. While Barber will get better at fun interactions, his priorities are other, so it can be jarring to read exRID if you were expecting something more like Mtmte (but really, I doubt anything else in Transformers will be like Mtme).

Barber can do pretty good character work, but characters will come in and out of focus and their stories are relevant to the themes of the narrative, and he's not as good as JRo as setting up characters in a way that once they come back into focus you can clearly see all that was brewing up in the background.

Both series deal with the past, or rather, Mtmte deals with the past, while exRID deals with history. Mtmt's setting in the past and processed in the present, but the road trip setting allows a detachment from it. Whereas in exRID the past is very much alive and transforming in the present politics, it's not over yet, it's a story about cycles.

What Barber excels at it's thematic consistency. Pre and post Dark Cybertron exRID are very different stories which may be jarring for some, but they maintain a link by being about the struggles to maintain peace in a post war world where everyone is resentful of everyone.

It's also because of this that I feel OP has the better ending compared to LL (not because I dislike the LL ending where everyone kinda drifts away, just to be clear, I like that). While reading LL is never boring as just seeing these people talk it's always entertaining, the whole thing kinda feels like it starts to fall apart on the seams. It may be the earlier cancellation, to change in editor or that it never quite recovered from the diversion that was Megatron, but while it stills hits some nice moments at the end, it doesn't feel as structured as it was at the beginning.

Barber knew how this story was going to end since after Dark Cybertron (to be fair so did JRo) and everything he wrote worked towards it, so that when you're done and see the whole picture, it feels like a complete story. He strongly tied the themes to its focus characters, it's a story about symbols, so it's a story about Optimus Prime, so even when Optimus is not present it's still somewhat about him. He effectively uses character's internal monologues to tie everyone to one another and to the whole picture. And then Arcee stands in as a representation of Cybertron's history itself and her growth signifies the hope for the future and. As long as Barber fulfilled Optimus and Arcee's arcs the narrative would also be fulfilled. Comapred this to Mtmte/LL where Rodimus arc is kinda... left hanging

Anyway, they're both pretty good and very dear to me, but they're different stories despite a lot of overlaping themes, so they should be approached differently.

[lej222]

Your answer to the last anon who asked about Cheol and Miae made me wonder something. Do you think the webtoon will end with their middle school graduation and some sort of epilogue? Or maybe it will go on to flesh out their high school years as well?

I think that it will end with their middle school graduation. The last year of the century is referenced in the title which is a significant date. It symbolically serves as a transition period between childhood and adulthood in the story. We still have summer break and the second semester to cover until then. As soon as the new century (or even millenium if you argue for year 2000 being the start of it) starts, Miae will have to go to high school and make new friends, have new experiences. This significant turn is closely connected to the date of the story - just like how the world is entering a new phase, Miae will also have to emotionally mature and grow up. The story, in my opinion, is a good representation of one's final years as a child before they have to step outside of their little bubble of innocence.

'Unripe apple' is also an important symbol in the title. Miae and her friends are 'unripe apples' - kids who still have a lot to learn and mature. No surprise it appears in one of the most meaningful illustrations in chapter 2 after the narrator says Cheol will be someone Miae will never forget. We can see Cheol falling with his bike while Miae is giving him a green apple - probably signifying that in the first half of the story it's Miae who helps Cheol to mature emotionally with her 'knowledge' (nice Bible allusion there btw). In the next important illustration which I believe comes at the end of the chapter where Miae and Jisu start their detention week, the kids are all standing on the globe in different positions. It could mean that as teenagers they all feel like they are center of their own universe and they are all connected by an unknown fate that guides them through their journey. Miae is looking at Cheol, but she stands at the same spot as Jisu - it really shows how their lives are interconnected through time and space (not necessarily in a romantic sense). The recent chapters are the culmination of this strong fate motif that appears in Miae's relationships.

So I personally don't believe that the theme of the story fits the high school setting, but rather it will end with their middle school graduation. What I can imagine is an epilogue chapter where fate somehow makes them meet again but as more mature individuals. 🙂 I can always be wrong though, these are just my thoughts.

Edit: one another great interpretation would be how Nostredamus predicted that the world will end in 1999 and the story is actually about the ending of Miae's years as an ignorant child. And as we know the world we know didn't end that year, just how Miae's life would go on entering a new phase of her life, closer to adulthood. 1999 is a symbolic ending of the world, it's actually the transition period between different states of being!🙂

[once1upon1a1wonderland]

I Wonder What Ramshackle Is Based Off Of..... Part 2

Okay, so back to the pictures....

(Still may contain Spoilers for book 6....)

Contin. with pictures of ramshackle after a good scrub down:

And now finally, after the redesign:

(I know the bedroom is not really redesigned but rather just an image created by the magical projector, but I'm including it anyway.)

Alright, so yeah ramshackle and the main school building have a lot of similar colors going on. Same with the library. Which I guess makes sense..... Anyways, my point with these posts are simply that; what if the only reason for ramshackle originally existing was simply to just have a place to house students while the other dorms were being built?

I agree that there are still some mysteries surrounding Ramshackle. Like, I don't entirely buy Crowleys reason that he gave for the dorm becoming abandoned in the first place..... And honestly dude.... why on earth did you let it fall to such disrepair......

But at any rate, perhaps ramshackle was just the temporary dorm at one point. After the dorms dedicated to the great 7 were finished, would ramshackle have still been in use? Maybe. It's possible..... and would ramshackle have had students assigned to it? Again, perhaps..... It's interesting to think about. Like, what if someone came to the school and didn't really match up enough with any of the great 7? What if they had a soul that could hold a little bit of each of the great 7? Like ramshackle could have been a place that was continued to be put to use for a time even after the other dorms were completed. And could have been used as a place where certain individuals represented all of the great 7 as a whole. (Considering that no one has been assigned to this dorm again for years, my guess would be maybe the dark mirror knows to not assign anyone there anymore.... I don't know.) Or maybe it was just the temporary dorm building. Still, it's fun to speculate.

Now our little building is just this abandoned place that no one goes near.... well except for Malleus. Hey, if you want a guaranteed spot to hang out and be alone where no one will find you, Ramshackle is perfect!

Anyways, there is the obvious elephant in the room that could point to what Ramshackle represents symbolically.

What about Mickey?

Well, I don't know the significance of that yet.... I don't know if he's there largely to just pay homage to the character that helped build the Disney company, or if there really will be a bigger reason as to why he's there in the mirror.... I mean I would hope so.... otherwise it would be too random.... (I swear if there is any information on him for book 7, DO NOT COMMENT IT, please. I want to go in blind when book 7 releases. I started the game blind and that's how I'll continue through it. When I first found out about this game I had only seen like two advertisements for it..... and it was teaser stuff. Well, one was a teaser. The other I believe was the main music video. At any rate, I didn't really know what I was getting myself into. Didn't know who the characters were or anything.... Yet somehow, I was intrigued. So please, I would appreciate no spoilers... I know, it's exciting to share stuff... I honestly dont know how I've actually managed to avoid seeing things on social media so far....)

Okay, tangent aside, the room that we sleep in with the mirror, is largely based off of an animated short called: Thru the Mirror.

I think a lot of people know that by now right? Either way, here are the comparison pics:

Very reminiscent of the animated short. It's a nice homage to that animated short. Even if in the end story wise, Ramshackle doesn't represent Mickey Mouse directly, it's cool that they loosely base it off of him...

Actually, you know what? Maybe Ramshackle, or whatever the dorm used to be referred to as, is loosely based off of the mouse.... This is where the symbolic representation comes in. The story starts when the main character is brought into this world right? And then the dreams starting when we're getting close to someone overblotting and after spending that first night in the room..... So Actually, it's fitting that Ramshackle be based off of Mickey. After all, it was all started by a mouse.

And as a side note: Fitting that Pomefiore was the first dorm constructed. For Snow White and the Seven Dwarfs, was the one that started them all. (Referring of course to it being the first of many feature length animated films to come.)

That's all I have to say about ramshackle for now. Let me know what you think about the significance of Ramshackle (unless it gives way to chapter 7 spoilers....)

But yeah, until next time!

[gayofthefae]

Most seasons of Stranger Things could have ended there if they cut out the final little cliffhangers and been a great, fine show, but the more I think about it, the more it’s clear thematically they were always going to continue.

I’m thinking about specifically the seasons with the most closure: 1 and 2. These endings were both some level of sweet and felt like they had closure. But they have one distinct commonality. They both completely disregard the hero’s journey, which would be incredibly ironic to end there when you think about how important concepts like that are to the characters themselves. They’re happy endings, yes, but in a way that implies things can return to normal after major trauma like that.

The hero’s journey is that you will go on your adventure and return home, but things will never truly be the same as you are not the same person you were before. So, though it’s sweet on the surface, the season 1 and 2 endings never really made sense with the goal of accurate trauma representation through monster allegories we saw in the show. If you dug a little deeper, you would have seen it as inconsistent.

This is also why I’m so excited for season 5 and that they have taken it this far.

Of course El would need to start making girl friends and figure out who she is independently! Of course Will would feel like life is moving on with out him and the original plan is changing because of what they’ve all gone through and the people who have joined them! Of course Mike would be struggling to balance the relationships in his life that are no longer just the original party always hanging out in one group setting!

Of course there are real world repercussions of their trauma symptoms that interfere with their fairytale happy endings. Because Stranger Things was never supposed to be a fairytale. It’s supposed to be a hero’s journey. At the end of a hero’s journey, you don’t run away into the sunset. You never do. You find peace.

But at the end of seasons 1 and 2, they ran off into the sunset. Which is nice. But looking back since they’ve continued, it makes complete sense why they couldn’t and clearly never meant to do that. Because it just doesn’t fit. It’s like a mix of genres. Yes, it is a happy ending, and yes, it is wrong. Both can be true. Because they are representing real people and real trauma through an exaggerated, supernatural lens. Real trauma symptoms.

They talk about puberty in season 3 and the symbolism of that but I think really what it is - what this weird, hard line between season 2 and 3 seems to be - is that all that trauma caught up to them. They tried to go back to normal. And they couldn’t. They get swept up by the supernatural again but what we see in those first few episodes of seasons 3 and 4 is that their “nerdiness” isn’t the reason they can’t be “normal” anymore. Their experiences prevent them from going back to even the way they were before. Because that’s how it works. 

And that’s the entire message of the show. To not try so hard to be “normal”. But now it’s extending not just to social norms but also to our own definitions of “normal” or staying inside the boxes we’ve made for ourselves that hinder our growth. Every time we define our lives as anything and expect permanence from that definition, it’s a hinderance.

So I am very excited at all the directions the writers are showing they’ve known to go down this whole time. El isn’t running off into the sunset with a savior, she’s becoming independent from the men in her life. Will won’t just be granted safety but happiness, because that was never too much to ask. 

And so many more (there are a lot of characters. I will typically just go for my faves/the ones I’ve already analyzed the most for examples)

[nellie-elizabeth]

The Mandalorian: The Return (3x08)

In all, this season of The Mandalorian was pretty baffling. I've chose to just sort of... go with it, accept what we've been given instead of trying to question the shape of things too much.

Cons:

I don't really care about powerful, special, one-of-a-kind weapons, but I did think it was very odd that the Dark Saber met such a strange, unceremonious end. Mostly because symbolically, it was this whole big deal that Bo-Katan had earned it, and her place as the head of Mandalore or whatever. I actually think a more powerful symbol would be her giving the weapon away at some point just like Din did with her, thus confirming that the Mandalorians don't need a specific gadget or tool in order to be honorable and fierce leaders. Instead, the bad guy just destroys it, and all that buildup around who gets the sword just felt like wasted time in retrospect? I don't know. Sort of odd.

So, I obviously love any scene where Grogu and Din Djarin are fighting side by side, desperately protecting one another at all costs... but in watching this finale, this long, drawn-out action sequence with Moff Gideon's Beskar-wearing storm troopers going toe-to-toe with the Mandalorians, I kept thinking about last season's finale. How the action was all tied up in Grogu specifically. How he had been taken, and Din was doing anything he possibly could to get him back. And how in the end, he had to let him go. This time, it's just... there are bad guys in the room, and they're trying to kill everybody in front of them because they want control of this planet. Grogu doesn't seem to have any special significance to them at all. It would have been easy enough to adjust this: play up the fact that Grogu is a Jedi, or at least a Jedi in training. Play up the fact that he represents the enemy of Moff Gideon on two different accounts, both as a Mandalorian and as a Jedi. There could have been something there, and instead the peril felt by our main characters felt rather incidental to the actual goal of the villains.

Ultimately, I liked this episode quite a bit, which I'll talk about in a second, but since it's the end of the season, it really brings to focus all the strangeness with the pacing, and the lack of focus on our lead characters. Grogu and Din just kind of... happened to be around for a lot of shit that went down. Mando's dedication to his people is touching, but then in the end, even though Mandalore is reformed and habitable, Mando is just going off to keep being a bounty hunter, working for the New Republic on a freelance basis. It feels very... full circle, would be the nice way of saying it, but honestly it feels kind of odd that after a whole season, our characters aren't really up to anything new that we haven't seen from them before.

Pros:

So, I really liked the action! That's a good place to start. Not much to say about it, but there was a good mix of aerial fighting between various flying armored men, there were ships, there were one-on-one intense battles between Gideon and Djarin, and then later Gideon and Bo-Katan... there was Grogu pulling out some seriously cool Jedi flips to keep himself safe from various attackers. All of it was dynamic and interesting and at times legitimately stressful!

As much as I've struggled to understand the way they've positioned Bo-Katan's character as sort of the unofficial lead of this season, I loved the moment when she took over the Gideon fight and told Djarin to go save his kid. That was a good representation of what their dynamic is: she is fighting her political rival for control of her planet and its sacred significance to her people. And Din just wants to make sure Grogu is safe! It's his ultimate purpose. I love that.

For now, it appears that Moff Gideon is dead, but before his death, we did see that he was endeavoring to create clones of himself. While the clones were seemingly destroyed, this does leave open the possibility of other Gideons hanging about somewhere waiting to pop up and be evil later down the line! I absolutely loathed the final Star Wars movie with Palpatine coming back and all that stupid nonsense, but I guess I do appreciate how we get these hints here in this show of the path that will lead to those later movies; I am a sucker for some cinematic universe continuity.

Obviously the best part of the episode is that Din Djarin formally adopts Grogu as his son, making him Din Grogu! It makes me emotional just thinking about it. I love that Djarin wants to take him on as an apprentice, wants to honor Grogu's place among their people, but because he's not old enough to officially take on the creed (he can't speak for himself), he needs parental permission. When Din makes the offer, and the Armorer says "this is the way", I got a little misty-eyed. Now, with the potential to take contracts all set up with Teva, and a nice little cottage on Nevarro, this father and son duo can relax and adventure as they so choose!

I think ultimately what this season has given us is the opportunity for Din and Grogu to hang out and go on little episodic jaunts for as long as people want to keep watching the show. And I kind of like that. I like the idea of having a fun sorta cowboy space show about a helmet-wearing father and his little puppet son that I can just chill out with. The issue is, this show also seems to care about expanding the world and explaining the political structures of things, of setting up this series as a bridge between other Star Wars properties with which we are already familiar. Both are worthy goals. I'm just not sure how well they're being meshed together at this point. We'll see what happens next, when this show returns probably in like two years or something. All in all, this wasn't a "good" season of TV, but I still had an okay time!

8/10

[goshdangronpa]

This is super old and has been in my drafts for who knows how long, but let's break these down one by one

Teruteru: Well, this would definitely be a change of pace for DR's rather sexless protags (we love to hc Hajime as irresistible and Kaede as ladykiller, but based on in-game portrayals alone, these guys ain't fuckin). Imagine that each time he likes someone, that person immediately dies, like THH Ch. 1 repeated across an entire game, until he likes someone who turns out to be the killer? Also imagine his reaction to Giant Junko. Okay, I've talked myself into supporting this just for the funny

Mahiru: Did you know she was originally considered for the protagonist role? I guess a lot of you did, or yall just really like her, and/or yall have read Danganronpa MK2. I'm not personally convinced that she'd be all that interesting a change, seeing that she plays just as much of a "serious person surrounded by kooks" role as Hajime. That said, she's much more of a take-charge type, which could take the story into intriguing new places.

Peko: Underratedly spicy. For one, she actually has someone from her own life to protect, upping the stakes of the killing game. For another, her obsessive protectiveness lends itself naturally to a leading role in investigations and trials ... and a lot of angst over each new death. Plus, shit like the Shining Justice gambit show that she's creative in a pinch and terribly persuasive. She could commit to something crazy like that in every trial. Like Kokichi if he wasn't an asshole. Whoa, did I really just compare those two?

Ibuki: I think it's a great idea!

Hiyoko: Honestly, who is better suited for a coming-of-age narrative than Hiyoko Saionji? She hasn't even had her growth spurt yet. There are good reasons why quite a few fans think she should've survived. Starting off as a far less friendly protag than Makoto, she could gradually grow into the hero they all need. As for trials, she may make up for her lacking investigative brains with her sheer intolerance for bullshit (what horrible things would she say instead of "No, that's wrong!" ...). Plus, imagine her in the last trial, coming back from the brink of despair, memories regained, WITH HER GROWTH SPURT. The symbolism!!

Mikan: It's funny: besides Hajime, the real hero of the first trial is arguably Mikan. Her testimony as the medical expert saves everyone from falsely voting Nagito, and Teruteru's inability to recall her indecent tumble seals the killer's fate. With Hajime dead, she could easily emerge as the go-to girl for solving murder mysteries. That said, it's hard to believe the Ultimate Nurse would go through the Despair Disease crisis without getting infected as well ... but what if she IS, and someone else commits murder before she can, and we spend the rest of SDR2 with a protag in Junko's thrall? Mikan might be the next-best MC for illustrating the story's theme of finding hope even in despair's greatest worshippers.

Nekomaru: The first chad protag AND the first IBS protag? Representation! But really: Nekomaru's a smarter guy than he lets on, he knows people well, he cares deeply about everyone in his group, and he would sacrifice himself to save them all - a killer combo for a DR main character. Plus, the dude's all about supporting other people from the bench. It might be nice for him to get the spotlight for a change.

Gundham: Well, he already thinks he's the main character of the universe ... I complain sometimes that when creators have more fun with a side character than the main character, they should just make that side character the main character. That said, and as much as I love the guy, it may be better to get Gundham's giant personality in trickles than through a fire hose, you know? He's a fun dude, but maybe only in moderation.

Fuyuhiko: The survivors have an advantage over the victims in this thought exercise just from having a complete character arc. Of course, there's a whole lotta game before that, and you barely see Fuyuhiko in Chapter 1. Hey, wouldn't it be fun if you play as him, don't even get the option to do FTEs, miss the party altogether, then become the lead investigator when things go murdery? You'd have to piece everything together without having even been present. There's potential in this Protag Fuyuhiko concept.

Sonia: It must be said: a Westerner going to Japan and becoming the leader and hero of her group may be, perhaps could only be, white savior-y. Humble origins are also important for making DR protags relatable, so her royal status would clash with that, too. Those are my only objections, really - Sonia's smart, tough, caring, a true leader, more fun than some would credit, just a good darn character - but they're big. This isn't an attack on the voters who drove her to 3rd place (!), just something worth considering ...

Akane: Fun fact: early in development, she was supposed to be the rival for Hajime, her reliance on gut feeling rubbing against his deductive reasoning. She's literally designed to be the opposite of a DR protag: quick to act on emotion, reckless and combative, not the brightest candle in the menorah. That may make her the coolest and most interesting choice in the whole bunch! I love the idea of Akane as Junko's nemesis, an analytical genius ultimately losing to a girl who knows it's better to be kind than smart.

Kazuichi: He was happy for once. Scared of girls, scared of his dad, scared of the world ... and now he's on an island resort with a bunch of hotties his age! I'm greatly amused by the idea that he'd fight not for hope or the world or anything grand but for his chance to enjoy a sweet vacation. It'd prove futile soon enough as he learns to be scared of his friends, then himself ... which would make it all the more beautiful if he, the cowardly creep, can find it in himself to become the Ultimate Hope. Just saying, don't dismiss his potential as an interesting protag just because you find him a little cringe!

[respectthepetty]

Get To Know Your BL Mutuals

tagged by @kwonzoshi

Simple, answer the questions. @ some people. Include the tag 'g2ky BL mutuals 2022' on your post so we can find everyone's answers!

What has been the BL that took you by surprise this year?

Old Fashion Cupcake. It came out of nowhere! One random day Viki uploaded the first episode, and was like “You wanna watch an oddly named show from Japan?” and my my my (sing it like Troye Sivan) it hit every sweet spot. The scene that was done all in one sequence?! I’m still there. I’m living in that scene. I only come out because I have to pay bills. I’m going to rewatch it for the 80th time now.

What has been the BL that you felt a bit disappointed with this year?

It would have been Oh! My Sunshine Night, but it seemed to embrace its messiness (adding more episodes on the day of the finale!) in a way that I love (amnesia?! a murder plot?! a bubble bath?!!!!) so…

Between Us. It’s the same issue I had with Until We Meet Again. I don’t know how Win and Team’s plot is going to carry over for twelve episodes. We keep getting snippets of In and Korn (TW, please), and shots of Dean and Pharm, but we already know their story, so it’s like recycled plot with a new scent. It’s nice to see Dean not so robotic (“fuck off”) and Pharm not being infantilized, but on top of Alphabet Soup’s issues with Prince Charming, a drowning, Manow doing her (keep it up, we love it!), Tul and Wan’s Gameboys moment, baby Santa looking adorable as Wiew, the product placement of what is clearly NOT water, and the daddy issues (actual issues with their father and not Love in the Air daddy issues), I don’t know how this souffle is going to rise. However, it’s not even close to being finished, so I’m excited to watch how it bakes.

What has been your favorite BL this year?

Love Mechanics. I’m trash for VeeMark’s throat grabs. Trash! Vee being a topsy-turvy bisexual who couldn’t get his shit together is the bisexual representation I want. How many bisexuals do we know who have their shit together? Not a damn one. This show is basically a documentary. Then, Mark being the ultimate Sour Patch Kid who is willing to fist fight his father only made the dynamic between a gay and his huge red flag that much better.

Favorite BL couples (not just of 2022)?

MaxTul are my anything and everything. Korn and Knock. Tan and Bun. Sequels. Prequels. Unconfirmed projects – WHERE IS TRANSPLANT?! It always blows my mind that they are the same age, if not younger than another long-established pair, and came out the gate slutting up our screens. Not even making it a competition, it’s just wild to me that they did the devil’s tango day one, which we see more often now, and held a gun to each other’s head two years ago so DanYok, ToddBlack, KinnPorsche, and VegasPete could fly (I see you HIStory 3: Trapped. Taiwan, you're still my #1). They remind me of a Taiwanese couple with the domestic bliss, the high heat, and the batshit craziness, and I hope they live long and happy lives.

If you had to suggest a BL for someone what would it be?

To My Star 1 AND 2. Yeah, I wrote that. Not just To My Star, but To My Star 2 as well. The reasons speak for themselves, but just in case, never forget his lip was bleeding.

What's your non-BL favorite for this year?

Our Flag Means Death. I only support the girls, the gays, and the goths, so I was happily surprised that I was, in fact, supporting an entire ship of gays and their support goth with this show about pirates. If you think I’m crazy about colors and symbolism in BLs, imagine me watching this show when Ed started wearing color compared to his usual black and wore Stede’s RED robe after Stede gave him a RED cloth, that Ed placed in his pocket where his heart is because Stede gave him love only to throw it in the wind when…

Let me calm down. This show was glorious, and I’m delighted it got a second season. De. Light. Ed.

So who wants to go next? Tag as many or as few people as you want.

Have to tag the color and location mutuals: @gillianthecat @dribs-and-drabbles @waitmyturtles @sliceduplife @callipigio

[stagefoureddiediaz]

5x11 Costume meta

Now I’ve had a little time to process here is the 5x11 meta. 

Lets start at the beginning and work our way through!!

May is in yellow and stripes!! - so we are getting communication - and a change of direction - in this instance she is communicating about Eddies change of direction from firefighter to public service officer!

Then we get to the Eddie montage which I wrote about in my sneak peak meta so I’m just gonna post it below to save repeating myself!

I couldn’t resist topless stretching Eddie 

Eddies colour palette appears to have been reduced down to black, white and  grey - those are the only colour tees we’re seeing him in that clip - there is literally no colour left in his world - other than the blue of his uniform - and when you’ve reduced your world down like that and your job isn’t fulfilling - well we all know how its going to go - on the floor sobbing! They are also slightly over sized - the life he’s now living doesn’t fit him and its sucking the life out of him, the fact that they’re a bit looser on him is designed to show a bit of weight loss - a symbol of depression, but also if al he’s got is a treadmill then he’s going to be getting leaner - loosing the conditioning that he gets from weightlifting as part of his firefighter life - getting that conditioning back will be a bit like the mental journey he’s about to go through!

all of those tees are new tees - symbolic of new era (they haven’t been broken down to make them look lived in as wardrobe would normally do) - they are fresh out the packet crisp (think about the one in 2x07 when he gets dressed after sex with Shannon - stretched out and worn looking!) but them being so new and crisp is also a sign of Eddie trying to re-invent himself as this new ‘safer’ not at risk person.

Sweat - he is working hard at going nowhere - a nice little touch!

but in addition - now we have the full scene we can see the transition from no shirt -singlets - tees all in black white or grey  -the transition from being ‘okay’ with his choice to becoming increasingly worn down and unsatisfied by it - literally covering himself more and more and building up a protective barrier. The other interesting thing is his boots - which are scuffed and not looking particularly smart - again a sign that not all is ok - its the little things that start to slip first - so these boots looking less than perfectly polished is a manifestation of that - Eddie was in the military those boots would in normal circumstances be immaculate and highly polished.

Then we get to the dinner/kitchen scene!

Eddie’s semi transparent shirt is showing us that he’s more transparent than he thinks - that he’s not doing as good a job as he thinks of hiding the truth - that he wants to be a firefighter again the shirt is a representation of his defences (especially around Buck and Chris)are wearing thin! Chris being in the grey jumper - he is the most wrapped up of those at the table and is therefore the most protected -  the grey is showing that he is neutral and we don’t really get anything from him to contradict this (except when he teams up with Buck to deliver some amazing sass). 

We also have Taylor in a green semi transparent printed shirt - we see her in a fair amount of green and the print is again hinting at confusion - she is clearly trying to figure out what is going on between Buck and Eddie (small aside Taylor saying ‘is that possible’ after Buck stating that Eddie will be back at he firehouse has me ) because they are not subtle!!

Buck is in navy blue for this scene (we do get  tiny peek at a white vest under the shirt) v Eddie being in white in white - this is very much intentional - it is a reverse parallel of the shooting only the shots being fired are verbal ones and the one left bleeding this time is Buck, while Eddie is left covered in metaphorical blood - which he hasn’t yet realised and the blood is Bucks trauma at not understanding Eddies decision to leave the 118. The gun/bullet in this scenario is Christopher and Eddies own trauma.

The mom and Dad in the car - wearing red and blue - like i’ve spoken about in this post - but we also have the army green of Eddie worn by the father as well!

 Buck in white at bar - there is obviously the tie in to buck wearing white anti meaning bad things are going to happen and it continues to play out here, but there is also something in the choice of a hoodie for me as well especially because we see him (from Eddies perspective) bathed in light - it is a contrast to everyone else in the scene - they are all in semi darkness and wearing darker tones - they are very much playing into renaissance religious iconography - portraying Buck as an angel - the hood of the hoodie forming a sort of halo (in Eddie’s eyes as we view it from his perspective / but also a bit of Lucifer moment - Eddie feeling betrayed by his most loyal friend but also Buck later on betraying how far he has come as a person and showing how far he is going to fall.

I am very  👀👀👀 the fact that  Lucy is in army green - in the same way that they’ve used this colour to parallel Taylor with Eddie before (and indeed in this very episode!), it feels to me like they are doing it again here with Lucy - we’ll have to see if that continues.

its also interesting to note the difference in the layers they’re wearing - Lucy is much less covered up - more open, whereas Buck is protecting himself by wearing a thick hoodie and a jacket, but those layers to protect himself are also him wearing a mask - hence the return of Buck 1.0 - its easy to slip into something you’re familia with that you’ve used as a form of protection in the past!

Eddie in black and Khaki jacket - the same style he wears when in mourning - the loss of Shannon, his firefam, his job that he loves etc at the bar - he is mourning his friendships and what he has lost/ given up for Christopher - its highlighting his disconnect from everything that is important to him - tying in with the past things that meant the same.

Keeping Bobby in an LAFD tee and then having Athena in a white jumper - more costume paralleling between Athena and Buddie - especially interesting when you look at the two conversations in those scenes - moving on?!!!

Chris space theme pajamas make a return - and accompanied by striped sleeves - stripe theory for the win - Eddie is changing direction again and the  universe is still screaming at him!

The grey jacket looks to be the same (or very similar) as the one Eddie wears to therapy later in the season. its paired with a light shirt here - when Eddie is feeling hopeful of his return to firefighting whereas paired with the grey later shows how far Eddie is going to descend in to the murky depths of his trauma - he views this moment as his opportunity to save himself - to be able to shut that storage locker back up and not deal with the things that we’ve seen increasingly running through his mind as the episode has progressed

Bobby in dark red parallel with buck lawsuit. there are a couple of parallels - Bobby in the same role is in the same colour way for both scenes, where as Eddie and Buck, while both in jackets, Eddie is in another semi transparent tee - Bobby has seen that Eddie is not doing well mentally and try to push him in the direction of therapy (fully knowing that he has already filled Eddies job) whereas Buck in his button down shirt in the the one firing the initial shot in 3x06 - it is about the formality of a lawsuit versus the comfort of Eddie thinking he would be able to return to his family.

we also get a look at Eddies Watch in this scene - it pops into view while Bobby is talking about taking the time to carry for your wellbeing 

I’m very interested that we’ve seen Buck start to wear a watch out of work in 5x11 - its not something he’s done a lot before, but in this episode - every scene out of work - he’s been wearing his watch!

he’s also in black and yes - that shirt has a tiny pattern on it - there is definite mirroring of the I love you scene here - Buck doing something he’s not really on board with - confessing love and having Taylor move in - sticking plasters on a fractured relationship.

Taylor wearing a triangle necklace when Buck fails to tell her about kissing Lucy 👀👀

One last thing to notice about the costuming of Buck and Eddie throughout 5x11 is that both their colour palettes have been matched up - we only see them wear black, white, navy, green or grey - especially in key moments - and always in opposite of each other - when Eddie is in black, Buck is in white such as at the bar or when Eddie is in white then Buck is in dark navy in the kitchen scene. the same is true for those last two scenes we see them in - Eddie trying to return to the 118 is wearing a white shirt, while Buck trying to confess to his girlfriend is in black - these are interesting because we enter those scenes with a hopeful Eddie and a Buck full of dread - the colours reflect this and by the end of those scenes you could say the opposite is true - they’ve reversed - I know that is an overly simplistic way to describe where they are mentally but that its a bigger thing that the two small moments which will add to the mental health pile, but thats not wha these costumes are about.

Hopefully this has been interesting and helpful! any questions - my inbox is open (work has got busy, so it might take me a little while to reply, but I will answer you!) 💜💜💜

tagging for interest @prettyboyandthekid @adamsparirsh @theladyyavilee @oneawkwardcookie @lovecolibri @loveyourownsmiilee @leothil @xxfiction-is-my-realityxx @moniquekatie @reallysmartladymariecurie @kitkatpancakestack @yramesoruniverse @outrunningthedark @ktinastrikesback @arrenemris @talespinner230 @mytherapybuddie @fiona-fififi​

[h7jfangirl]

TGS chapter 12's cover!

And how I said before, Hyde appears!

First of all: I really love the colors of this cover, the black and gold convination is fantastic and you can feel how Hyde is suffering while nobody is doing nothing to help him.

Now, let's start from the description of this page

When I read this for the first time I didn't catch it, I though they were literally saying that although Hyde was shown in agony on the cover, the chapter was going to be calmer than it seemed

So at first I was like:

But then I read the comments and I understood that Sabrina was being sarcastic (JAJAJSJ).

So, analyzing Sabrina's words we can realize that it reveals a little about what the chapter was mainly about:

The chapter will be about Hyde suffering the concequences of his actions while Jekyll decides to confront Laynon with his feelings, something that could affect Hyde in a worse or better way (Knowing that Hyde usually use Henry's negative emotions to escape from a emotional problem. But Edward could be inside of a deep part of Jekyll's mind where the negative emotions that Henry can feel are even more stronger and dangerous than before, so Hyde would be in a lot of trouble with the same things he once use for his own benefit.

Now let's analyze the cover image:

"The image is of Hyde being taken over by dark forces on top of a stage while many upper-class viewers watch it as a fantastic spectacle"

This is clearly symbolic, I don't think real magic dark tentacles grab Hyde on a stage and the viewers think it's part of the show LMAO. BUT what are exactily thoses dark forces?

Maybe they are the actual representation of Hyde's OWN INSECURITIES, due to everything he went through in chapter 10 Hyde's ego was very damaged and from that new insecurities were formed about himself, being such doubts as "Will I be free" or even existential questions like "Who I am?" That tun into these powerful dark forces that have manifested for drag him into the darkest part of the mind, where he belongs

For one night, he will face and feel all the fear and stress Jekyll felt cause of him, while outside of his mind the exhibition begins and Henry faces one of his own fears...

I think about the possibility that the chapter takes place on the night of the big exhibition, because in the small spoilers of Sabrina on Twitter Henry and Laynon are seen with elegant clothes. However, there is also the great possibility that it could be a Jekyll or Laynon flashback where we are shown that we still did not see EVERYTHING in the last chapter, i think so because we only see them in those suits. But at least we know that the exhibition is very close.

But then if the spoilers about Henry and Laynon are just a flashback, then the chapter would be about Jekyll remembering the little confrontation he had with Robert while Hyde suffers in the depths of his mind and he doesn't realize? Or maybe...

EVIL JEKYLL???

Nah, I don't think so but it would be super hyper mega cool. Henry being able to somehow control the shadows so they will take Hyde inside his mind and lock him in the deepest, even if it was for just one night (Surely because the poor guy just wants to sleep). It would make sense if we take into account that he will be able to empower himself with Frankenstein (According to Sabri's wip on Twitter)

So why not with Hyde too? He actually did it in the last panel of chapter 10!.

Well, whatever what will happend in this chapter, we don't have to wait to long, because nexts uptade comes next week!

So~ I'm ending the post here, thanks for take the time to read this. I'm so sorry about my bad english, i had to use Google translator for this but I hope you liked it!

I Will love to see your theorys and thoughs about this chapter in the comments!

So yeah, goodbye and have a nice day! 💕✨

[tumblingxelian]

Thank you for the wise words, I got a great deal of sleep and got on top of my usual stuff, so I can finally give this the focus it deserves!

Big fan on thinking about how Akuma work >:3c

Hmm tricky, a parable is a short story, usually witty meant to dconvey a point, a fable has a similar goal but apparently relies in animals and living objects rather than characters. Fae does sound good but might not be obvious on a first glance, same for Faerable.

If Kagami needs a second title I think maybe Chronicler and Critic could fit well given she was the one who nominally started this by critiquing Chloe & Adrien's behavior? It also means she'd have more to contribute vocally over needing to be silent.

Glad the desk idea works!

Sounds solidly structured as far as Marinette initially being swept up in the effect and then being lured out goes. As to Luka, Snake & Cat though I think it depends on both when the story is set given he arrived in S3 and this could be anywhere from S1 to S2.

Also raising a question is whether Fu was afflicted as that could be pretty interesting I feel, but I can also see good cause to not have it extend that far. Then again Sandboy alone was spready no shortage of chaos through Paris so I am unsure, I feel they could extent quite far all things considered.

Also the thought occurs Luka could be brought in as a substitute Black Cat simply cos he was trying to break in to find his sister & Marinette deciding beggars can't be choosers and he seems decent enough XD

(Waves hand vaguely, there's a lot to consider I think.)

I love the mixture of architecture, plus even Chloe & Adrien would probably have very different aesthetics, Adrien's home deeply pale and austere, while the La Grand Paris Hotel is all bombastic reds and golds. Plus yeah probably getting like, Kagami's idea of castles for instance for instance which would be incredibly cool.

Ladybug would probably try to just run straight for the Akuma, but that isn’t how stories work. You don’t START fighting the big bad.

Very fun point there, very meta, it reminds me of RWBY's use of the Ever After, a realm that runs on its own logic heavily tied to emotions and self perception. Where if one wants to get "To the tree" at the heart of it, one can rarely just physically go there, and will instead just pop out right where they started.

As a hero it is indeed her duty to save and help others and also to learn and impart lessons, so that makes a lot of sense. I could see her maybe trying to pull some meta tricks and such but with three minds 'watching', that gets harder, let alone the localized narrative logic field.

Also I love the idea of her getting together a little party, I wonder what Alya and Nino's stories would be? Also excellent titles for the three Akuma, they are after all characters in the story as well as its architects!

Others being able to perceive their pain and communicate it to Ladybug is also a nice detail! I wonder if different locales also maybe have like... fragments or stylized memory representations?

Like she passes through a city street and sees a golden statue clearly symbolizing Audrey being reached towards by a tiny Chloe who is made of fools gold or silver/brass. Or she finds a trophy cabinet that clearly signifies Kagami but they're all covered in dust, she met the expectation to win now they don't matter, on the next contest. Maybe something with Adrien and his childhood or him with a stylized Plagg?

Ooooh the school and parents as guards and jailers is great!!

I love the Audrey & Andre designs, some thoughts on each!

Audrey: After two years of labor the princess has become one of the top rated Gymnasts in her club, is this exceptional? Ladybug: Yes! Audrey: Wrong! She took too long! She's too tall! She will never win the Olympics! She is ridiculous, utterly ridiculous!

You get like three attempts at this before she tries to murder you.

Meanwhile yes, so much this on Andre, his love is entirely selfish in nature, all the attention, affection and praise needs to be on him. He cant let anyone near his 'bride' or his 'princess'; they are his! Only the servants may approach because he can remove them if they get too close.

Ladybug: Suddenly Sabrina makes more sense.

Sabrina, I could see being a sort of possibly ally/foe, both? Like she is able to show them around the castle perhaps, or has information maybe, or is Andre's 'assistant' but shares that he's weak?

Very interesting spin with Tomoe there, I can follow the Yuki-Onna inspiration, but how does the cursed sword factor into things? Let alone Tomoe being willing to give it to someone else?

Gabriel as a vampire works well, I could see Gorilla being there too perhaps or maybe like Sabrina he's actually of some aid? Nathalie being his thrall is very solid. I recall a film that was thematically about how stardom leaches the life of a person that literalized that conflict by making the film about vampires with a director hiring a real vampire to chow down on the cast. Which feels in line with how stardom and Gabriel's control is leaching everything out of Adrien slowly but surely draining him.

Then, she makes for the inner chamber . . .

Oooooh!

Low key I kind of love this so much. Cos like, they aren't really the villains even if some of them feel like it, they're hurt and messed up kids. Them not needing to really be fought works well and also means combat itself doesn't become stale to the audience. Their parents also being the physical threat works very well.

Low key I can imagine the Narrator, or at least one of her faces practically embracing Ladybug's presence, with a derange:

"At last our hero has arrived, she is here to slay the monster!"

Before placing herself between the Akumatized Item and Ladybug, making it clear she expects/demands Ladybug destroy her first.

Whether her other faces agree or not is another matter.

I do feel it'd be good for Kagami to have some kind of dialogue, be it directed at her fellows story tellers or Ladybug, or even just sort of on the situation itself.

Adrien's role as Minstrel leading to him trying to lighten the tone, distract and often coming off as strained or lacking the needed punch to resolve things works perfectly.

The only Question for the Trio . . . which are they?

I love this.

Not Aware AU exactly but kinda tangential. I always toyed with this idea of "Kagami was transferred into Adrien's class when she joined the school."

This could be in S2, or be because Tomoe saw Adrien was attending school and she's got those later season machinations & sends Kagami to make sure he's not snagged by a gold digger.

(In the former case its just in S2, while in the latter it starts after Princess Fragrance.)

This was fine and fun at first, but Kagami is more willing to start shit with Chloe & much less patient with Adrien's continued softness.

Plus, Adrien can't really explain why he's fond of Chloe cos its a mixture between he can't imagine his life without her (Sibling coded) & stuff like, "She was there for me when mom disappeared & got me into school".

This leads to her at some point losing her patience and dragging both off to a classroom and basically saying "Either she needs to improve or you need to drop her, because this cannot go on."

You'd expect it to be a two on one but Adrien's efforts to play peacemaker lead to Kagami arguing with him as well.

Then when one of Chloe's major blows lands hard against Adrien, "Our parents harm more people every day than I do in a year and you still love them, hypocrites!"

It does nothing to Kagami, because she doesn't love her mother, she respects her, obeys her and fears her wrath but she doesn't love her even a little and she assumed Adrien was the same.

He is not the same & is in fact kind of defensive of his father at such a blatant rejection of one's own family and how uncomfortable it makes him.

It basically descends from there, cos I love slow burns but sometimes its just like, "Hmm what if they all started screaming their issues that they do not realize are issues at the top of their lungs?"

None of these kids know therapy talk so their languages on it is already going to be shit even before we remember literally not a one of them has much in the way of healthy communication or good social skills outside of formal events so:

So you have Chloe defending stuff like destroying Roses' letter because "That's how Mama handles it when I give her bad gifts, she's telling me to do better and one day I'll get it right!" As well as "Why would Papa want to see me when he doesn't need me for something? He's not a lunatic control freak like your parents."

Then you have Adrien defending stuff like, "I know my dads cold and has impossible standards and barely lets me do anything I want but he is protective and just wants what's best for me!" & "My mom was always kind to me, she was perfect even if she never let me go out or have a birthday either!"

& Kagami defending Tomoe with, "It doesn't matter how I feel about Adrien, or my instructions, I act as I do because it is for the good of my family. My emotions, my life don't matter at all before that duty!"

So its just three incredibly fucked up abused kids steadily airing each others and their own families laundry list of abusive traits and experiences under the pretext of saying "No my family is normal & OK yours is the bad one" and "How dare you call 'that' bad, when your parent does this!"

(Also Chloe may think Gabriel killed Emilie or otherwise would rather have Adrien sealed in amber forever than as an actual living boy,)

With this continuing until it either gets physical or they basically collapse.

Meanwhile the class is just watching in mounting horror and disgust and discomfort. (Nino is likely especially pissed) Like even with Chloe it may not justify her behavior but it puts so much of it in a new deeply messed up context where it kind of makes sense she doesn't even know how to be nice.

To quote a friend of mine:

The rich kids have taken knives to each other. They've cut open their festering wounds. The rot is exposed, scrubbed raw. While they lie angry, bleeding, crying, and dying [inside], they have the opportunity to look upon themselves once more and apply new dressings.

I can see it, but unless Gabriel is ACTUALLY out of the country, all three get Akumatized. My thoughts are a weird mix Grimm Brothers Fairytales - Cinderella, Snow White, Hansel & Gretel, etc. Not in specific, but like. More fairytale tropes?

Adrien is the "Cinderella"-style. Rapunzel, Snow White-style, "One Day My Prince Will Come"-style. The type of character that has to sacrifice and sacrifice, and will eventually be rewarded. If he does one more photo shoot, one more public appearance, *scrubs one more floor*, his father will finally love him. He'll finally have the happy ending he wants. He just has to stick it out - cause his dad DOES love him, right? (As a possession, if at all.)

Chloé is more of the "Trials"-style. Complete this mission-style. Knit twelve sweaters from nettles, and your brothers will become human again. Find the right goose, and get set free. Defeat the evil witch, and the spell is broken. If Chloé tries hard enough, does and says the right things, her parents will love her, show her affection. She'll finally be worth something. (All of it performative and shallow, until they raise the bar to another impossible height. Always keeping her dependant on them.)

Kagami, weirdly, I see as more endurance, or contract style - like a flipped version of Adrien. She isn’t really trying to "change" her situation the way Chloé or Adrien are, (for value of "trying to change it", ie, playing along with their parents games because that’s all they know to do) she's accepted this is the way it is, and is simply trying to endure it. Go through the motions. Hold up your end of the bargain. Work within the bonds of your deal, to do as little harm as you can, while still fulfilling your end. One day, you'll be out. You'll be free. (As if her mother will ever set her free.)