#i love him more in the book and at the end of s1 but since his story arc hasn't happened yet on the show and this is a tv character list

[mind-empty-just-fictional-people]

Too Many Beds

main masterlist | supernatural masterlist 

summary: you want nothing more than an excuse to sleep next to dean again

pairing: (pre-s1/s1) dean winchester x female reader

rating: R for language

word count: 2.1k 

warnings: none really, language, bed sharing, kissing, mutual pining, idiots in love, brief mention of the death of reader’s dad

timeline: starts slightly before season one, ends near the beginning of season one

author’s note: a spin on the classic 'just one bed, what ever shall we do?' trope lol

You’d known Dean all your life, practically. You met him when you were six and he was eight; two lonely little kids stuck with absent (job-driven) fathers and baby brothers you felt responsible for. Over the course of the last eighteen-or-so years you ran into the Winchesters during hunts enough that you considered them family. 

When Sam left for college you were there for Dean and when you lost your dad in a hunting accident Dean was there for you. He actually stayed with you, not wanting you to hunt alone since your brother was off at college too.

So, for the last six months you’d been hunting with Dean (who hadn’t spoken to Sam for over a year).

“One room, two queens,” Dean said to the woman behind the counter, placing “his” credit card on the space between them before sliding it toward her.

“We’re all booked up I’m afraid,” she said.

“Seriously?”

“Yeah, I was actually about to turn on the no vacancy sign.”

“This is the third motel we’ve been to,” you said, “every one of them has been full—you’ve gotta have something!”

“I mean, there’s technically one room left but the heater’s out and my boss said not to let anyone sleep there because of that.”

There was a silent pause; you and Dean shared a knowing look.

“We’ll pay in cash, your boss ‘ll never know,” you told the woman. She smiled and nodded as you paid her with cash. 

“Room 209, my boss gets here at ten tomorrow morning so please leave before then.” She handed you the key and you nodded in thanks.

You had underestimated just how cold the room could be, but when you unlocked and opened the door you understood why the owner didn’t want anyone staying here.

“Son of a bitch,” Dean mumbled, following you into the room and feeling the cold air. “We’re gonna freeze our asses off in here!” he quickly closed the door behind him, hoping the icy air hadn’t swept any snow into the room.

“It’s either this or we sleep in the Impala,” you shrugged, “and, no offense to your car, but it’s fuckin’ uncomfortable to sleep in.”

“And there’s only one bed,” Dean sighed.

“I’m gonna take a quick shower,” you told him, ignoring his complaints. 

**

“Are you shivering or crying?” Dean asked.

You rolled over so you could meet his stare; “Shivering! It’s fuckin’ cold in here!”

“You wanna…cuddle up, maybe?” he asked hesitantly.

“Excuse me?” you laughed a little.

“Look, I’m not thrilled about it either, but it’s cold in here and unless we both wanna catch fucking pneumonia we better be smart and share body heat.”

You sighed, weighing your options; “Fine. But we never, and I mean never speak of this again, you hear me?”

“Understood.” He nodded.

You rolled back over as he scooted closer to you. He wrapped his arms around your waist from behind, pulling you into his chest.

“This okay?” he asked quietly, his lips ghosting the back of your head.

“Yeah,” you mumbled back. “Thank you, Dean.”

**

You woke up to the sound of Dean snoring loudly. You were used to his snores, sure, but he’d never been this close. He was laying on his stomach and resting on your chest; his mouth open and his hair tickling your neck. Your first reaction was annoyance but then it quickly washed away as you realized you didn’t want to move a muscle, so Dean could continue sleeping. 

And the more you laid there, listening to his snores, the more you realized how comfortable you were…even in such a physically uncomfortable situation. 

As the time passed and the sun began to rise, you cursed the light that was slowly but surely peeking through the curtain and onto Dean’s face. 

“Morning,” he mumbled to you as he lifted his head up. He rubbed his eyes with the back of his right hand before wiping his mouth. “Sorry,” he chuckled, noticing the small spot on your gray sweater dampened with his drool.

“It’s okay,” you mumbled back. “I think it’s your sweater anyway.”

“I thought it looked familiar.”

He rolled off of you and out of bed. 

You watched as he padded across the dirty carpet and over to the small kitchen. He turned on the coffee maker and the loud, off putting grinding noise made his face scrunch before he quickly shut off the (definitely broken) machine.

“So much for coffee,” he grumbled. “You gonna sit there all morning or you wanna get outta here? We’ve got a long drive ahead of us.”

“I’m getting up,” you replied. You would usually be annoyed at him for rushing you to wake up, but this time the annoyance was…different. Something about his bedhead, the way his lips were pouting over the lack of caffeine, and how he looked in his brown Henley and baggy sweats just made you wanna hold him again. All you wanted was to pull him back into bed with you and hold him in your arms forever.

**

You were beyond frustrated at this point. How many stupid fucking hotels had to have vacant rooms with two beds and a functional heating system!? 

It had been nearly six months since you and Dean shared a bed and you had been looking for an excuse to sleep next to him ever since. 

But the last couple weeks had been different—Sammy was back. Yes, you loved Sam like a brother, but you missed getting to be alone with Dean. You missed sitting shotgun in the Impala and watching him drive.

Sam definitely noticed the way you looked at Dean, but the younger Winchester didn’t say a word. Without being too obvious about it, he tried to do little things that would let you be close to his brother. He’d sit in a certain chair or part of the couch so that you and Dean had no choice but to sit together. Or he’d make some lame excuse so that he got his own room while you and Dean had to share. “I need to do some more research and I need the light, why don’t you two just sleep in the other room?” for example. 

**

“Two rooms, please,” Dean said, reaching into his coat pocket for his wallet.

“Unfortunately we’ve only got one room left,” the cashier replied. 

You almost couldn’t believe your ears, fucking finally!

“Oh, that’s too bad,” you faked your best frustrated look, of course Sam saw right through that.

“Well, I am not sharing with either or you,” he said with a teasing smile. 

“There’s actually a pullout couch in that room, as luck would have it,” the cashier informed the three of you. 

God fucking damn it, you thought to yourself.

**

It was barely after two when you felt the bed behind you dip, and you shook yourself awake. 

“The hell?” you asked, still half asleep.

“The pullout couch isn’t working,” Dean mumbled quietly. “You mind sharing with me?”

You smiled a little and scooted closer into his arms, indicating you were okay with him sleeping next to you.

“Of course I don’t mind sharing with you,” you whispered and his grip tightened.

**

“I’m gonna go get breakfast,” Sam announced. “I’m assuming you want your usual?”

Dean put his right pointer finger to his lips and furrowed his brows angrily. He gestured to you as you slept and Sam got the message. 

“Usual is good,” Dean whispered before Sam left.

Dean stayed laying perfectly still as you slept on his chest, soft snores escaping your lips and to Dean they were the sweetest sound. 

As you stirred awake slowly, he rubbed your back a little.

“Morning,” you mumbled, a small smile on your lips. “Where’s Sam?”

“He went to grab breakfast,” Dean told you. 

You furrowed your brows as you sat up, looked across the room, and realized something; “The pullout bed looks fine? I thought you said it wasn’t working?” You turned back to Dean, who had a sheepish grin growing on his lips.

“So…maybe I’ve just been looking for an excuse to sleep next to you again. Like we did back in that motel when the heat was out.”

“Really?” You attempted to hide the smile trying to find its way onto your face. 

“When we were checking in last night I noticed how your face lit up when they said there was only one room left,” Dean admitted. “And I saw that disappointed look you made when they said there was a pullout couch. So, am I wrong, or have you been wanting an excuse too?”

“I really liked sleeping next to you that night,” you said, avoiding eye contact. “And you’re right, I have been hoping for another ‘oh no just one bed, guess we’ll have to share’ situation but…”

“But what?” Dean asked when you trailed off. You looked down at him. 

“Dean, you and Sam have been like my brothers for as long as I can remember. I mean, Bobby practically raised all three of us and my actual brother as siblings! Your dad and my dad knew each other basically forever and I guess…I guess I figured our lives are too entangled for anything to ever actually happen between us. We’re family.”

“Chosen family, Y/n.” Dean smiled softly. “Doesn’t mean you have to be my chosen sister, you could be my chosen…you know…” 

You leaned down and placed a soft kiss on his full lips. 

“That,” Dean finished his previous statement. 

“Let’s just keep this between us for now, okay?” you suggested. “If Sam finds out, then your dad will find out, and he’ll immediately tell my brother, then before we know it Bobby—”

“I get the picture, sweetheart,” Dean chuckled before kissing you again. He put his hands on your cheeks as he sat up. He pulled you onto his lap, your legs now straddling his hips. His hands moved to your shoulders then trailed down to your lower back as yours went into his hair. You pulled away from him after a moment, huge smiles on both your faces.

You looked into his eyes, his truly beautiful eyes, and you bit your bottom lip ever so slightly. Your right hand rested on his left cheek, your thumb stroking his skin lovingly. 

“You’re awesome, Dean Winchester,” you whispered. 

“You’re fuckin’ incredible,” he replied before he kissed you again. “And gorgeous, too,” he added. “You know how fuckin’ annoying it’s been, sleeping without you every night since that one time?”

“I do know, Dean, I’ve been just as annoyed about it.”

Dean kissed you one more time before he wrapped his arms around you in a tight embrace, tucking his head into your neck. You wrapped your arms around him too, pressing your lips to his temple.

You pulled out of the hug so you could once again look at his face. Resting your forehead on his, you smiled before you kissed him again. 

“Breakfast,” Sam called out as he opened the door, “is served!”

You and Dean froze for a split second before you hurried off of him.

“Shit, I’m sorry,” Sam said, “did I interrupt you two?”

“What?” you scoffed. “Of course not!”

“Interrupt? There’s nothing to interrupt?” Dean added.

“Oh…wow you two are fast,” Sam mumbled, shaking his head as he made his way to the kitchen before putting the food down. “Well, pancakes, eggs, and bacon from the continental breakfast.” He gestured to the food now on the table. “Hope you’re hungry.”

As Sam sat down to eat, you looked at Dean anxiously. Say something you begged him with your eyes.

“Sammy,” Dean started as he got out of bed, “would you mind uh…not telling dad? About me and Y/n…kissing just now? When we find him, I mean.”

“Dad’s never really been invested in your love life, but he’s not an idiot,” Sam laughed. 

“So…you are gonna tell him?” Dean furrowed his brows in frustration.

“Dean, he knows you two are together, it’s not some big secret?” Sam replied, shoveling more food into his mouth. “Damn that’s good.”

“Okay, just hold on—what?” Dean asked. “What do you mean dad knows? There’s been nothing to know since like four minutes ago?”

“Wait,” Sam stopped eating and fully turned to face you and his brother, “are you trying to tell me this is the first time you two have kissed?” Sam furrowed his brows deeply as you and Dean both nodded. “So…never in high school?” You shook your heads again. “That prom we crashed?”

“Sam you were there the whole time? When would we have kissed?” you asked.

“Huh,” Sam let out a laugh. “I genuinely thought you two had been a thing since like… ‘98.”

“What!?” you and Dean exclaimed in unison.

[lactoseintolerentswag]

Rise Characterizations

Last month I did an in-depth re-watch of rottmnt s1 to take some notes on writing the characters of rise from their perspective and such. Figured I'd share what I found, but I'm also posting this bc my docs have a nasty habit of blipping out of existence.

We'll start with Raph bc he's the oldest of course, but I'll post the others sep. bc this is gonna get long!!

Raph Character Notes

Language Habits:

Catchphrases: "like a boss", "smash"

Verbalizes his attacks such as "smash", "knuckle sandwich", "power smash jitsu", "tonfa power jitsu", "mystic punch jitsu"

Uses older song titles for surprised exclamations or in place of cursing, most notably "jumping jack flash!"

Uses aave/bae, For example: 'em instead of them, 'ey instead of they, 'cause instead of because, forgoes the g in ing words (going becomes goin')

Uses less and less grammar the more he's stressed, and his voice will come to a higher pitch

Will speak in a softer tone to his little brothers if he's concerned about hurting their feelings. Aka babying them

Mixes up both metaphors and idioms. Would be one to say how the turn tables unironically

Does say "hero" a lot, lost count, especially in phrases like "hero town"

Refers to his brothers as "boys" or "fellas"

Refers to Splinter as "pop(s)" most often

Refers to strangers he's directly talking to as "bubs" or "hoss"

Personality:

Protective of his family

Plays up the hero act/has a strong sense of duty and justice

Impatient, rushes in without a plan (pre-movie), doesn't finish books until the end, falls asleep during "boring movies"

Oblivious, doesn't read into things beyond surface level. Struggles with empathy when something is beyond his understanding, but is still very emotional

Center of responsibility for his brothers, but also has a reckless sense of fun. As long as it's him doing the stupid unsafe thing it's fine

Carries the weight, in a literal sense he piggy backs his brothers, but will also use his body as a shield from danger. Unfortunately this also means he takes his brothers a little less seriously (Mikey the most common victim), and will try and either protect them from everything or as an oldest sibling everything has go "his way"

Doesn't do well in solitude. Needs to be looking after people to feel functional, and needs to be around people to feel safe

Clumsy, "takes horrible pictures", isn't very good at hiding, he's a big guy so it probably took a lot of time to find balance

A sweet guy who still won't shy from making fun of his family. Leo tends to be the brunt of his teasing since he is the most annoying, but he will also poke Donnie on his dramatics

Likes cute things!!! Has a teddy bear collection and loves animals. It's so cool how this isn't played off as a joke and he's still just as masculine for liking pink and cutesy stuff

Likes fighting!!! Gets a lot of energy out defeating bad guys (where he directs his anger towards), the one who is shown to train the most, and also weight lifts in his spare time

Doesn't do well under pressure, here the anger comes out the most. He gets stressed when it's all on him, especially since he tends to mess up the most in these moments

Miscellaneous:

Second to unlock mystic powers

Nicknames/codenames: "raph-a-doodle" by leo, "red rover" by april, "red king" by donnie

Teddy bear names: Doctor Huggenstein, Captain Snuggles, Cheech

Stinks: fear stink, amazement stink, sneaking up on people stink, victory stink

Seems to be less afraid of rabbits and more afraid of puppets

Went on his first solo mission at 13

Cannot lift a bus, at age 15

Thought about discussing fighting style, but I'm not as familiar with that concept and I've seen a couple posts dissecting such topic. So we'll end here for now. Hope this was helpful!!! I'll post the rest of the boys later and link here

Leo is up!!

Donnie is up!!

Mikey is up!!

Splinter is up!!

April is up!!

Cassandra is up!!

Baron Draxum is up!!

[twilightcitysky]

Everything Is Meant (long S2 analysis, part 3)

Part one

Part two

There's SO MUCH excellent meta out there right now, and I'm going to try not to reinvent the wheel too much, but I want to keep going with tying the episodes/ elements up together because on first watch it wasn't entirely clear how everything fit. I also strongly recommend a rewatch, no matter what you felt about the ending... if you need to stop it 10 minutes early, do that, but you pick up so much more the second time around.

So: Maggie and Nina. I spent most of my first watch wondering why we were bothering with them, honestly. Later in the season Nina, and then Maggie and Nina, gave Crowley some insightful advice, but their actual relationship didn't progress despite all the meddling, and the amount of emotional investment BOTH Aziraphale and Crowley had in making them get together was frankly strange.

I started thinking in terms of mirror couples, since that was such a big deal in S1 and that's clearly what they were set up to be, but I made the mistake that all of us made on first watch: that Nina was Crowley and Maggie was Aziraphale. It still wasn't really coming together.

Then I put the psych hat back on and started to think about displacement. Displacement is a defense mechanism, and it consists of satisfying an impulse (usually an unconscious one) with a substitute object. At the beginning of the season, Aziraphale and Crowley aren't really in a good place, and I think on some level they know that. Aziraphale is trying to SHOW Crowley that he wants to take the next step through all the casual touches and phone calls and inviting him in, and feeling frustrated because Crowley doesn't seem to be taking the bait. (I absolutely think that Aziraphale tried to get Crowley to stay with him at the bookshop instead of living in his CAR, and Crowley said no. That's a whole other meta.) Meanwhile, Crowley, I think, is waiting for a Grand Gesture. Where did he go, as soon as Aziraphale brought up trying to get two humans to fall in love? Romantic tropes. Getting caught in the rain under an awning. A dramatic kiss that opens someone's eyes. That's the sort of thing he's always done, right? Big rescues, impassioned pleas on the street, fancy dinners, "give you a lift anywhere you want to go". He's defensive and guarded and unlikely to let someone in unless he's CERTAIN he won't be rejected, and Aziraphale's approaches are just too... quiet. No one's fault, they just don't speak the same language.

Then, they're handed the opportunity to make two humans fall in love, and they're both All In immediately. Look at Crowley's face when he summons the rainstorm. This is HUGE for him. Why? Because of displacement. Look at Aziraphale arranging the ball and being borderline deranged about it. They're both desperate to demonstrate what they think it takes for two people to move past their misunderstandings and fall in love. They can't do it for each other because the stakes are too high, and if either of them shows their cards unequivocally the vulnerability feels life-shattering. They're codependent and terrified of rejection and also, importantly, have no idea what they're doing when it comes to love. "Saw it in a film", Crowley says. Aziraphale's read about it in books. But they have zero practical experience.

Instead of learning to communicate, they try to say what they want to say through the medium of Maggie and Nina, up to and including the questionable moral decision to exert control over people's actions and thoughts during the ball. If I can just make this come out right, they both think, then things between us will be alright too. It HAS to come out right. They're attempting to gain some control over their own lives, over something that feels so overwhelming and shattering they can't look directly at it.

It doesn't come out right. Nina's relationship falls apart, but that doesn't mean she's in love with Maggie. While Crowley's stress-cleaning the bookshop to the music that played when Aziraphale got his books back in 1941 (just fuck me up David Arnold), they come in and tell him so. "I don't understand", says Crowley. Because it should have worked. Why didn't it work?

They tell him, of course. "You need to talk to each other. Say what you're really thinking." But here's the thing about communication: you have to learn it. You need to get the hang of expressing your feelings without blaming your partner, and separating intent from impact, and staying away from getting defensive and lashing out. No one has ever taught Aziraphale and Crowley how to do this. It's like Maggie and Nina put Crowley in front of a loom and asked him to recreate the Bayeux Tapestry. He doesn't have the skills; he's always going to get it wrong, even if he tries his hardest.

And he does try. But that's where Maggie and Nina the mirror couple, rather than Maggie and Nina the displacement relationship or Maggie and Nina the Greek chorus, come in. Aziraphale, as Nina, has just ended an incredibly toxic, invasive relationship with Heaven. A relationship that invaded every facet of his life, isolated him, and prevented him from being close to anyone else. "Rebound mess," Nina says. Aziraphale is a rebound mess. He's transferred the responsibility for his emotional wellness to Crowley. Crowley is the person he calls when he's in trouble, or (and this is key) when he wants to report a clever/ good thing he's done, or when he's bored. (At no point did Crowley reference Aziraphale calling him for a solicitous reason-- another problem.) Crowley is meant to take care of him. He forgets, I think, that Crowley is a person with his own wants and needs, just like Maggie and Nina are people with their own wants and needs who don't appreciate being messed with. (I think things would have been much different had Aziraphale BEEN THERE for Maggie and Nina's talk with Crowley, but he wasn't.)

And Maggie-as-Crowley? Lonely. Behind on rent, at risk of being evicted (it's important to note that Aziraphale saves Maggie from losing her record shop, as he couldn't save Crowley from losing his flat). Pining. Awkward. Revolving around Nina like a planet, to the extent that we don't get much of an impression of her otherwise. They realize, there at the end, that they both need to round themselves out before jumping into a relationship. Aziraphale and Crowley need that too. They need to take time apart and learn to be healthy on their own. Unfortunately they don't have the skills to get to that conclusion in a healthy way, so it all explodes in their faces and everything falls apart.

Aziraphale tries to teach Nina and Maggie to dance as a substitute for communication. Nina and Maggie try to teach Crowley communication as a substitute for the dance they've been doing around each other. That's the reason they're a part of the plot: they exist to demonstrate the way Aziraphale and Crowley might have succeeded in forging a better dynamic. Sadly, the boys' dance is too practiced and they got sucked right back into it.

It's okay, I think, that Nina and Maggie's storyline never really went anywhere. It wasn't supposed to. It's an allegory, not something that needs to stand alone.

[danandfuckingjonlmao]

ok some things i LIKED about tua 4 since we all have talked exclusively about what we hated (SPOILERS AHEAD):

idc what anyone says the baby shark bit was iconic every time it came on i jammed

klaus had a comic book storyline from hotel oblivion!! let’s go source material!!

diego and luther being himbos

allison and klaus friendship

the entire birthday party scene was hilarious and fun and so THEM ok

the road trip scene that was in the trailer such iconic sibling goofy clownery they’re fucking idiots

klaus. he was in it. any time i get to see my little freak is time well spent.

incredibly unpopular opinion but i liked the ending i think they need an end from the cycle of apocalypses and suffering like they deserve a rest they’ve earned it and it was sweet that they all went together and the “i love you guys………but you’re all such fucking assholes” and then “fuck you” and everyone laughing and crying and THEN AND THEN ALL THE CHARACTERS FROM THE VARIOUS SEASONS BEING AT THE END i was SOBBING

klaus having a podcast of himself giving himself affirmations like that’s so funny

they actually gave somewhat of a shit about each other like diego was so DAD my babies have grown up but not too much they’re still fucking toddlers

lila is so pretty and funny and hot and unhinged she means so much to me

lila and klaus friendship!! lila and allison!! bonding!!

gene and jean were SUCH classic umbrella academy characters. loved them.

viktor gets all the pussy

i cannot stress how much all of the group scenes were so fucking sibling i love them ok

NO LUTHER AND ALLISON INCEST THANK FUCK

THUNDERBOLT THE GHOST DOG <3<3<3

klaus and claire oh my god i love uncle klaus so much and he loves her so much

seeing sober klaus and how hard he tried and then the heartbreak when that went away because he’s KLAUS he’s gerard way’s trauma self insert. as much as i want klaus to be safe and content and free from all this bullshit it was just so consistent and i can appreciate that. and i cried like a little bitch it was truly devastating but it was just sooooo klaus. also getting to see him make it incredibly clear that he didn’t want his powers back��him being the ONLY ONE who didn’t want his powers back—was important to me idk. and he was LOVED like he has a family!! he is cared for!! ahhHHHHHH!! love it

claire was great and getting to see her and allison and their tumultuous relationship and their love for each other after all of these seasons of allison looking for her and just wanting to be with her daughter

klaus got dave’s dog tags <3

more flashbacks to brellie kids!!

getting answers to some series-long mysteries

the underground subway system between timelines was so fucking cool and mindfucky 100/10

klaus’s look being reminiscent of s1 sorry that was my favourite klaus look ok

their sort of evolved powers when they got them back

so many good one liners and comedic scenes

ben being a crypto bro is SO FUNNY

will add stuff as i think of it. this is incredibly out of character for me i am an eternal pessimist but i did enjoy s4 (mostly because, as an eternal pessimist, my expectations are always low) so here we are.

[clairegregoryau]

Through the Looking Glass

From fairytale in Season 1 to stark reality in Season 2 of Our Flag Means Death- meta ported across from this Twitter thread by popular demand!

This thread contains spoilers for the entirety of OFMD Season 2

First OFMD S1 rewatch since S2, and holy shit, if you haven't done that yet... do that. A thing that it made instantly clear: they told us *all along* where this was going, but there was a reason we didn't see it. Because we were living in Stede's world then. Now it's Ed's.

I know that a lot of us have felt that the tone shift at the end of S2 was... jarring, compared to what's come before. This felt like a show that wouldn't go there. One where being run through was a temporary hiccup. We've travelled all the way from this to this.

But we haven't jumped there without a journey in between. And from the minute we started hearing about Blackbeard, the show never tried to hide what Ed's world and his specific life was like. Not once. In fact they told us over and over and over.

But Season 1 told us a lot of those things through song and story and fuckery. It blended reality with fiction.

Stede met the Blackbeard he knew through books and tall tales, and the real man was even more wonderful than he'd imagined.

We, along with Stede, were comfortable thinking that all those other tales were exaggerations and misrepresentations, and a lot of them very likely were.

The Ed Stede got to know was a person who was capable of whimsy and silliness and loved soft things and doing something weird. Yep, he was also capable of violence and rage, but when he was with Stede, he didn't feel it so much.

This was a vacation from that life.

To Stede he was absolutely lovely... oh, and also a bloodthirsty killer. And Stede loved (and loves) everything about him, and both of those things can be true. This is a perfect example of a spot where (in watching Season 1 without the benefit of hindsight) I assumed that everyone else in that pub was wrong, and Stede was simply trying to protect Ed's fearsome reputation by agreeing on the bloodthirsty bits. And I think from Stede's perspective that was largely true. I think that's how they wanted us to see Ed, through his eyes. Now, after watching both seasons, I think it wasn't the whole picture.

They told us, we heard it, we saw glimpses of it. But we (and Ed) were in Stede's run-away-to-sea fairytale the whole time. It wasn't until Stede left that we saw the reality- the Ed we knew had been, to a degree, a fictional character all along. I always saw this scene as Ed putting a bit of distance between himself and reality; it always felt like the Blackbeard of Stede's storybooks was the fictional one. But now it feels like the softer Ed that Stede knew was much the same- neither of them the whole story of who Ed was and is.

The one person who refused to live in Stede's fairytale was Izzy. I've seen people say it before, but he always gave off that vibe of the only human in the Muppets movie, or the guy who was in Black Sails while everyone else was in Pirates of the Caribbean. He saw the real risks clearly.

And in that light, the end of S1 has shifted an inch to the left for me, and I'm seeing it at a slightly different angle.

Izzy ripped away the healing Ed was doing, but in some respects he did it by tearing away the fairytale we'd all been living in, shoving Ed back into the Blackbeard story.

And that's where we pick up again in Season 2.

The fairytale reference came back in S2 in two notable places, those being Jim carrying that legacy forward in the darkest times, and in Izzy invoking the wooden boy against Ricky's efforts. Stede's made himself into a real boy. Ricky, nope.

Now that I've watched both seasons together, the tone shift doesn't feel so jarring at all, actually.

It feels like sliding through the looking glass, out of Stede's world, and into Ed's- a world that existed all along; we were just seeing it, la vie en rose, through Stede's eyes.

At the beginning of S2, Stede's gone, and we're seeing it unfiltered through Ed's reality.

But Stede wasn't lying when he said he loved everything about Ed. He made a promise to come back and find him- he went down into Ed's darkest place and reminded him that no matter how bad things got, there WAS someone waiting for him, ready to love him.

The contrast between S1's fantasy and S2's reality (excluding mermaids and actual bird guys and cursed coats) is stark, but it really is that.

We have the same settings, the same people, and very different ideas and outcomes at different times.

But it was always there.

Things do come back to a state of (precarious) balance once they're all together. Apologies are made, whether they're spoken out loud or through actions. Things go right, things go wrong. Healing happens. Izzy continues to have the steadiest, most real through-line in the story as he tracks toward redemption, finds acceptance, and to an extent finds himself.

Once again, I hate that they went here with the ending and I wish they hadn't. But it got a fraction easier for me looking at it not as a continuation of Stede's fairytale, but of the grounded-in-pirate-reality arc Izzy was always on, even while we lived in Stede's world.

Where does that leave us? We're not going back to the fairytale, but we're not going to be living in Black Sails for S3, either. We've hit a fusion point where S1 ended with each of them going to separate, miserable homes, but S2 ended with them in the same place, ready and willing to make a go of it.

Season 3 is going to give us their world, together.

I LOVED the moments in this season where the deep emotions were in balance with the silliness I've always adored about this show. Eps4-6 were wonderful like that. Clearly we're not done with drama, either, but like Ed and Stede, I think we'll find a middle ground.

Anyway in conclusion, a rewatch of S1 after S2 somehow made me love the first season even more, which felt impossible? It's now gained /even more/ layers of depth than it had before. No matter how you feel about S2 I think it's worth that rewatch.

Adding one more bit of clarity for myself: I think we got a bit (intentionally) seduced in S1 by the idea that the Ed of the storybooks, the Vampire Viking Clown with the nine guns, was a version of him that others saw, when Stede saw the REAL person who 'worked' for Blackbeard.

In hindsight I think it's clear the Ed Stede go to know was also not the complete version of himself- the reality is, there's a whole spectrum between the two, and they've landed in the middle of it now. Ed intentionally leaned into the unlovable Kraken image to protect himself.

It very much didn't work, just like being just... Edward hadn't worked to protect himself, either. This season has been very much about pulling those two extremes together and finding all the parts that make up Ed overall (another thread on that here on Twitter, which I'll also shift across to Tumblr soon!)

And I think one of my favourite things in S2 has been seeing the way Stede SEES that- he knows what Ed's done, everyone's told him, but he still loves Ed. sees his trauma and how it affects him, and believes he's a good man regardless. He IS lovable; he's not forever broken.

And together, they can heal.

[tastywormfood]

Ive tried to get my feelings about Moominvalley s4 into words, but im having a really hard time even accepting them. But ill try!

So here's my thoughts in Moominvalley s4.

Im 23 now and i remember being 12 - 15 figuring out my identity, and the only "representation" in mrdia being basically either "Bury your gays" trope or just queerbaiting. I grew up on a base level thinking i wasnt allowed to exist, and if i still dared to, tragedy would be my only birth right.

I believed i wasnt allowed to live a happy, soft AND queer life, cause no media i had seen had ever showed me that, that was a possibility.

Both the 90's Moomin series and Moominvalley 2019 are my comfort shows. I fall asleep to them at night, i listen to them like a podcast while im working or outside, they even calm my panic attacks. I collect cups, plushies, i collect the Comics and even some of the books.

I have 3 Moomin tattoos. This universe means a damn lot to me, and to thousands of ppl world wide.

As a queer person i find incredible comfort in Tove Janssons work, and you have to be a fool to be unable to see the way Snufkin and Moomintroll are written together.

I have been following this show since early 2020 and have watched interview to interview, ive listened to the podcast more times than i can count, and they knew what they were doing.

From the beginning of the show they deliberately wrote Snufkin and Moomin to be something more, they even confess In a BTS that their Moomin might like Snufkin more than Snorkmaiden. Even the podcast talked about it!! We are not crazy!!!

I feel incredibly gaslit by the entire situation, and suddenly im 14 again being told im reading too much into it.

Idk what happened inbetween S3 and 4, but it felt like all the love and care that came from the show, just disappeared?

Ignoring Snufmin for a second, every episode this season felt like a filler. It has no plot, followed up on nothing from the last seasons, and had an extreme amount of loose ends.

The former seasons, especially s1 and 2 has such amazing writting, character development and just a feeling of patience and of softness, i would watch it and think everything would be okay... But this season felt stripped of every inch of the care Tove Jansson put into her universe.

I want to talk a little about Moomintroll.

One of Moomins character Arcs is his want to grow up, its his need to be taken seriously and his need for independence and adventure. His need to step out of his dads shadow, and to be his own moomin! The character development he had built up through out the seasons, completely and utterly disappeared. There is no trace of anything in s4.

He is right back to where he started in s1, not being able to stand up for himself and say no, not having the confidence to go on adventures and right back to idealizing his dad. If anything this entire season felt like a prequal! Cause at least s1 Moomintroll wanted to learn, and was activily trying to change.

Moomintroll truly felt like a side character this season, i dont even think he has any important moments. Unless you count Comet in Moominvalley (which i dont), where all his independence has disappeared. Moominpapa literally has to push him out. He made one decision that eps, which was to float down the river instead of walking, which ended up being the wrong and slower way.

The regression Moomintroll went threw this season is heartbreaking, and thats not my Moomin.

Focusing for a bit on Snufkin, this season felt like a slap to the face.

They know that Snufkin is one of their most popular characters right? If not the most popular. If anything he is at least in the top 3, not only in Moominvalley but in the rest of the moominverse.

So why did this season feel like Snufkin erasure?

He was barely in it, and when he was all of that glow that normally radiats from him was all gone. He felt like the husk of a character.

This version of Snufkin was on of my favs, cause you could actually see his flaws and disagree with his actions. He had room to grow, and he did, he truly did.

He learned from Moomin just like Moomin learned from him. Their characters Arcs co align witch each other, their relationship and interactions are the pillars of the entire show. Snufkin and Moomintroll are what make the show proceed.

Finding the 2019 show for the first time as an 18 year old gave me confirmation and trust, that i was allowed to live a soft and slow life as a queer person. If Moomintroll and Snufkin could have that kind of beautiful queer slow burn romance, then i had a chance to as well.

They knew that a big part of their viewers are queer, and they knew how popular Snufmin was. They knew what kind of ppl they attracted, or they wouldnt have made it like that.

All the soft moments, the longing, the zoom in on eye contact, the zoom in on hand holding. They said trust us, they said be patient, and then they threw everything they had been building up out and set fire to it.

We got Queerbaited, and i truly havnt felt this feeling for a while. We got actual queer shows now, ofc they all end up being cancelled! But they exist!

This show felt like it was crafted with so much love and care, that i completely let my guard down. The entire queer Moomin community did a 5 year long trustfall, just to hit the floor the last second.

Season 4 of Moominvalley felt empty. It felt lost of all care and love. The first 3 seasons felt handcrafted by warm hands, season 4 felt machine made. Easy to digest, with no real soul.

Season 4 of Moominvalley feels souless.

I have chosen to live in a world where Comet in Moominvalley is a prequal to s4 and that s4 is a prequal to s1. The true last season was S3 and Moominvalley ended with Snufkin and Moomin walking arm in arm. Thats the only way i can Rationalize everything.

I have so much more to say, but ill stop here for now. Hope all of you are doing okay<3

[thesupernaturalhouse]

So I cant.....I can't anymore, Stolas fucking sucks

Season 2 as a whole sucks and gets rid of a lot of character depth that characters had in s1. But this post isn't about that-

I was recording clips for an edit, and you know in ep9 s2 when Stolas tells Blitz about "you couldn't be bothered to come save me"

Yeah.....Blitz TOLD him why he was unable to go and save him. He was even genuinely concerned and sent milly and moxxie in his place

You wanna know what Blitz said??

"Ah shit Stolas I can't today- I'm sorry I am literally on my way to take loona in for her very important hellvis S-H-O-T" and "it takes years to book it, it took 5 for me to get this one"

Aka, a rabies shot, which, racist will immediately kill you. You DON'T survive that once you get it and symptoms start showing up, it's a death sentence, and considering Loona is basically a sentient/anthropomorphic dog, if she catches it her survival rate is probably 0 percent

And you know what? Stolas gets it, and then in ep9, "the one who tried to kill em and you couldn't be BOTHERED to come help me"

Bitch he told you?? He sent people in his place?? He was getting his kid a really important shot?? Yiu selfish motherfu-

I hate this bird

I hate this fucking bird so much more now

This is just the finale straw for me that breaks the camels back tbh like......

Apology tour is just, Stolas and the narritive/writing basically gaslighting Blitz and its gross

I liked Stolitz and Stolas in s1, it wasnt a healthy relationship. The circumstances for both characters weren't super good, but it understood that and actually showed those flaws, It set up these characters future arcs

Season 2 is, frankly, a shit show. It has its moments, but ep1 ruined Stolas and Stolitz for me, and it just keeps on getting worse and it isn't even in a way of "Oh its rough, but they can bounce back

This is gaslighting. This is hypocrisy. This is guilt tripping. This is abuse.

Instead of building off of season 1 it is retconning it, it is destroying the continuity and timeline, it's making these characters so much worse then what they were

Instead of having Stolas face actual consequences for his actions the narritive is backtracking and going "Oh actually its not his fault" over and over again

Oh he cheated in the marriage? No worries Stella is a bitch so it's okay

Oh, he's neglecting his daughter despite them already having this arc? Oh, it's fine she just needs to cut him some slack

Oh he constantly belittled Blitz and made him uncomfortable in season 1? Actually it was all of Blitzs fault for misreading the signs of love!

He is constantly shown looking down and abusing other imps like his butler? Oh its fine, they aren't the main characters so what he does to them isn't important!!

Another thing is that Blitz tells Stolas how he feels. He points out his shitty actions. And what does Stolas do? He fucking cries like Blitz is being a big ol means for no reason

This trial is just going to further victimize him and make him seem in the right. The fact the sins might even be brought into it is also so fucking stupid.

The writing went from a 8 to a 1 with the characters. And it's only a 1 here because there are some good ideas in s2.

Their basically trying to cover up, retcon, Stolas's actions instead of having him deal with consequences and go through real development

Honestly the best ending for Stolitz would be Blitz realizing Stolas is toxic as fuck to him and just, not contacting him again. Stolas could get some real consequences in that trial and move on and become better in his own right

Butttt of course since Viv likes them so much it's gonna be dragged on for fucking seasons and then their gonna get together.

If I were to rewrite the season, I wouldn't even try to rewrite Stolitz.

[will80sbyers]

I would like to believe in romantic Byler because in general I find them cute together and then you guys are all so nice and always do some gorgeous analysis unlike Milevens who are always bad...I am a Mileven too but I have nothing to do with them, indeed I’m also friends of some Bylers.

Anyway I was saying that I would like to believe in Byler, but every time the two have a conversation there is always El involved.

In the crazy together scene? They talk about El

In the rain scene? They talk about El

In the fight in Cali? They talk about El

In the van? They talk about El

In the final scene on the sofa? They talk about El

They’ve never had a conversation just themselves, there’s always her in the middle...

That’s my only doubt, and that’s why I think Mileven is endgame.

Bestie it's a love triangle, of course El is involved in the conversation because Mike did have a crush on her when he was little and wanted to talk about her, but not only do they have multiple moments just about them like in S2 when Will opens up about the possession and Mike supports him and we have the touch of the hand zoomed in... or the monologue mike does at the end of the season when he's talking about the start of the relationship and multiple other small moments

but also the point of the conversations they have is never only about El, it's also showing their strong emotional connection to the viewers, it's always about Will and Mike supporting each other in their journey, Will opens up to Mike and Mike gives him courage and understanding and Will does the same thing with Mike when he feels insecure and Will always makes him feel better about himself or brings him back to himself and makes him a better person like for the rain fight for example

I think you should rewatch all of these scenes, pay attention to when the conversation is about them and see just how much strength they give to each other and how they make the other feel safe!

When El and Mike talk that never happens for them, it's pretty much always superficial stuff or ugly conversations and they aren't really shown to have a strong connection emotionally since season 1 in my opinion, the really emotionally open moments they had are all from s1 and after that the writers just don't give them true bonding moments, that's why the love confession sounds insincere to most people even if I believe Mike meant what he said platonically and that they do have love for the other person, it doesn't sound sincere because the writers didn't gave them moments of emotional connection that make us believe the romantic side of it... And this is because the writers are building up byler endgame so they can't do that to the other couple involved in the love triangle

Mike doesn't know the true intensity of his love for Will yet so they can't show more than their bond growing and make them have a base to make it so that it's believable in the finale that Mike realizes "oh shit... I love him"

It's super normal and diffused in love triangle situations in media and books that the person A that's dating B talks about his problems with B with person C that is in love with A and A doesn't know it and then A realizes that C is their true love... It happens literally all the time 🫶

[thebookofcarol]

Peter Pan and Tinkerbell - The Book of Carol (2.03)

Daryl is Peter Pan, he is in Neverland (France) and the nun is his Tinkerbell. This is not something I am making up out of nowhere, this is something that is basically mentioned by the characters on the show. It's part of their lore and story, so I think it's fair to make the analogy.

I have lots of thoughts and spec about this, so there will be some big spoilers for episode 4 mentioned at the end, this is your spoiler warning:

Isa seems to be curious about the fireflies, I guess they don't have them in France for some reason... so Daryl explains they're like Tinkerbells, to which she replies yeah Tinkerbell saves Peter Pan. And that right there is the moment she put herself in that Tinkerbell role. When Daryl arrives at Neverland, Isa saves Daryl, and in a way she's also responsible for keeping him in Neverland.

The show is also very obsessed with Robin Williams (remember Mort and Mindy in s1), so we will go with his version of Peter Pan (go watch Hook!!). So, in this version, Tinkerbell is in love with Peter, wishes to be human size so she can kiss him, and when she does that's when Peter realizes he doesn't love her, he loves his wife Moira.

That's exactly what seems to be happening here. The longer Daryl stays in France, the harder it is to remember what his real world used to be like. He bonds with people in France (Laurent, Isa), he cares about them, but that's not his real world. Isa saved him, Laurent gave him a reason to keep going forward, but he still desperately wants to go home.

So that moment in the cell, when Daryl is telling Isa how life was in the Commonwealth, he is daydreaming about his real world, what he used to have. They could sleep late, take long walks and watch the sun go down by the river. And who did he use to do those things with? CAROL (I got the receipts RIGHT HERE).

[my gif, set HERE]

Then Daryl and Isa share a profound moment of comfort since they both think they're gonna die in that cell. Daryl thanks Isa for what she did for him, for saving him, for teaching him faith and hope is what keeps you alive. He found that something extra, life should not be just about fighting and survival. However, when Isa professes her love for Daryl, in that moment, Daryl doesn't say anything at all. I think he just realized this is not how he feels, it was never meant to be more than something to hold onto until he could find his way back to the real world. His world.

But in the real world, Tinkerbell just won't survive. It's the reason why the moment Carol arrives to remind Daryl of what he used to have and what he used to be, Isa dies. She's no longer part of Daryl's world, nor is she needed anymore. Carol reminds him of what he used to have, the people he loves back home (mentions of the people back home, gift from Judith), and reignites his desire to go home. Not that Daryl ever stopped trying to go home, but he was distracted by everything happening in his Neverland.

Caryl on. I can’t wait for the next episode.

[the-other-art-blog]

I cannot deal with one more Benophie fan complaining about the lack of Benedict's artistic side in s3.

Aren't you guys supposed to like this character and understand him?

Everyone complains about the show's lack of accountability, continuity, and consequences. But here it is Benedict's artistic plot going through ups and downs for 3 seasons and fans complain!

That was one of my main wishes for s3: NO ART FOR BENEDICT. It had to be this way.

Benedict thought he had entered the Academy by himself, for his talent. He was so happy to have received external validation and Anthony's interference destroyed that. He destroyed his confidence. Of course, he abandoned art. He felt like a fraud.

If Benedict had resumed painting in s3, this scene would have lost meaning and weight:

What would have been the point of this dramatic moment if he would have been fine next season?

In the book, part of Benedict's arc is growing confident in his art. He has been hiding his talent forever (even more than in the show) because he's afraid and Sophie helps him realize he's an artist. The show found a way to show his art since s1, and still follow the book.

This was not the final season, we still have to see HIS season where all of this needs to be resolved. His season is when he needs to regain confidence and share his art with everyone again, thanks to Sophie.

Yes, it was sad to see Benedict holding a newspaper instead of a sketchbook, BUT IT WAS NECESSARY FOR HIS CHARACTER DEVELOPMENT!!!!!

That brief exchange with Paul said everything the audience needed to know about his art in s3:

Paul asks him if he paints (Paul was being a bit of a jerk here, too judgemental just because Ben is part of the ton, but I get it)

How heartbreaking this was!

He couldn't have said 'yes' even if he talked in past tense because Paul would have asked more. 'Why did you give it up?' And what was he supposed to say: 'My brother paid my way into the Academy'? Of course, he said no. The writers did not forget about s1 and s2, they simply were writing a coherent storyline. Benedict's still not over the betrayal and hurt he felt at the end of s2.

In the meantime, Ben has been filling the hole art left in his heart with work during Anthony's honeymoon. Once that is gone, Ben becomes a jerk (I've talked about this in this post after seeing part 1: x) He's extra grumpy and out-of-character but it makes sense narratively because he's frustrated.

It only gets better when he meets Tilley. She is a temporary solution to his frustration. Once he began his affair with her, he went back to his normal, charming self at balls. This is what he does, what he did for 3 seasons. Sex is like a palliative treatment for whatever turmoil he has inside (see how amazingly appropriate this is for Benophie?)

Moreover, Benedict's sexuality needed to be addressed BEFORE his season. Or would you have preferred to do it while Sophie was there?

Thanks to CVD, who refused to address this matter in s2, Jess had to do it in s3. Honestly, Jess did a lot of fixing this season.

This way Benedict is at peace with that part of himself that had been causing so much anxiety since he met Granville. Not only did Tilley offer a momentary escape valve for his frustration, but she helped him accept a part of his identity AND encouraged him to find love. Honestly, the hate she gets from the Benophie fandom is shameful. She did nothing wrong and only helped and supported Benedict. (Plus Luke Thompson loved those scenes, so 🤷‍♀️)

I shouldn't get so upset about other people's opinions, but honestly. These comments come from people who declare to be stans and queens of the fandom. They also have been in a 2-year tantrum and hate campaign against s3, so not really surprised.

It's so funny because if there's one character that has been written exquisitely, it's Benedict. He's the writers' favorite, 100%. Everything he has done makes total sense and prepares him for Sophie.

[nocreativityfornames]

Barbatos and Solomon's first meeting and a theory of mine, aka: what if Solomon summoned Barbatos to save his friend?

WARNING: SPOILERS FOR SWD S3 AND NB S1 AHEAD

Okay, so we've had pieces of info about their first meeting for a while now, but after collecting everything I could on these two to make my recent posts I was able to put them together and here it is.

First, there are the two times the story was briefly told in Obey Me! SWD, this one being from lesson 53-16 when Asmo discusses his first meeting with Solomon and then asks Barbatos about his:

And this next one being from lesson 49-A when Asmo asks about it for the first time and Solomon doesn't want to tell him:

And we learn what happened in the aftermath from Thirteen when she tells us about it in Obey Me! NB lesson 11-10:

So Solomon risked his life to summon Barbatos using an incantation and was left on the brink of death because of it, all because he "desperately needed his powers to control time", and after their interaction and whatever happened there, Barbatos took him to the Fountain of Knowledge and declared him the new protector of it.

By the way, they didn't make a pact during their first meeting but later on instead, or at least that's what I got from Barbatos saying:

I'm saying this because "eventually" is vague enough to be open to interpretation and could mean that they did make a pact during their first meeting and that it only took some bargaining for Barbatos to agree. But the way I saw it was that the pact was made later on.

So, the questions left unanswered from this are:

1 ) What made Solomon want to control time badly enough for him to seriously risk his life for it?

2 ) Did Barbatos help Solomon by using his powers to control time like he wanted him to?

Because it never says that Barbatos agreed to Solomon's "desperate need", and it doesn't say why Solomon was so desperate for it in the first place, only telling us that there was something he wanted enough to risk death for it.

But it does answer WHY later.

At first I thought we didn't have more info on their first meeting, but then I remembered this little moment from Obey Me! NB ( that I added to my post afterward and here's the screenshot from the post because I was too lazy to open the game and go to the lesson again ):

So Solomon almost died summoning Barbatos because he desperately needed his powers to control time after causing serious destruction to the Human World with his...?

Well, maybe, the passage does say that Barbatos appeared before him and not that he was purposely summoned by him, but it could be that the book is just depicting what people at the time thought happened, since it makes it sound like that was their first meeting when Barbatos himself said that Solomon summoning him was how they first met.

Anyway, let's assume I'm right and that's what happened and the reason why Solomon needed Barbatos was to fix the damage he did to the Human World unintentionally.

THE MAIN THEORY: Solomon summoned Barbatos to save his childhood friend's life, who was affected by Solomon's powers going out of control.

This is something that Solomon tells us in Obey Me! NB lesson 14-16, that he had a friend while he was locked up in the basement as a kid. He tells us the story of how they met and says that from then on the friend started visiting him regularly and that they would chat through the bars of the window basement and that's how their interactions went for however long. But then while telling us about them he suddenly stops:

And thus this became my current theory.

Solomon's powers, which have always vastly surpassed your usual human's, start getting out of control and becomes a threat to the world, endangering one of his loved ones ( much like MC's in S2 with Lucifer ). And desperate to save their life and out of what to do, he summons a demon he knows can control time to help him.

Judging by how Solomon struggles to tell the story to MC though, we can assume that it didn't end well.

Maybe Barbatos refused to save his friend/had no way to do it ( he can only travel through timelines and not actually go back and change the one where he is ) and Solomon had to accept the fact that they were dying and say goodbye and this was the moment when he made this promise to them to become a good sorcerer, learn how to control his powers and protect humanity.

Or maybe Barbatos did try to save them/told Solomon how to do it but it ended badly somehow and that's what brings Solomon pain when he tries to talk about it.

[kimberleyjean]

The Price of a Life: Death and Dying in Good Omens

In this meta I want to take a closer look at one of the prominent themes I’ve spotted running through Season 2 of Good Omens. While S2 has been billed as the gentle and romantic bridge towards S3, in a few ways it actually had darker tones than S1. If that’s your cup of tea - read on!

What is the value of a human life? 

This is a question which has been pondered by philosophers far back into the reaches of history. More recently, economists have attempted to put a price on human life, which is then used when justifying the various societal costs associated with governing a population (i.e. healthcare, education). These two different schools of thought are sometimes at odds. Immanuel Kant proposed that humans have invaluable dignity, but not a price - being “not merely something to be used for the ends of others, or traded on the market”[1]. In opposition, value of life calculations, by definition, put a price on the value of an individual.

What side does Good Omens S1 take?

In Good Omens Season 1, one of the significant moral dilemmas, at least for Aziraphale and Crowley, was about whether or not to kill the antichrist.

I've never actually... killed anything. I don't think I could. Not even to save everything? One life... against the universe.

Following their failed attempts to influence Adam’s childhood development, once at the airfield, Aziraphale believes it to be a foregone conclusion that Adam should be killed - eliminate one to save the many. Of course, their attempts fail and Adam faces off against Death, the Four Horsepersons and Satan himself, eventually getting his own way. However, the moral question posed about killing Adam never reaches a definite conclusion.

With the flashback scenes that S1 added to the book, we are shown this same theme when Aziraphale and Crowley attend the crucifixion. The crucifixion is shown in agonising detail here, and gives us an empathetic look at the sacrifice of one life for, presumably, the overall good of humanity. (Although, what metaphysical impact Jesus’ death had in the Good Omens universe isn’t exactly clear). We see Aziraphale and Crowley stand idly by while the Great Plan is enacted.

Does S2 do things differently?

While Good Omens S1 dabbles lightly in the philosophical question about the value of life, Season 2 picks up this thread time and time again - sometimes attaching some numbers!

One of the key mysteries of present-day S2 is the mammoth miracle performed by Aziraphale and Crowley. Registering on the scales at 25 Lazari, this is 25 times the cost of human life in Heaven's accounting system. Presumably, one Lazari is the amount used when Jesus resurrected Lazarus of Bethany four days after his death. As we'll see, this attaching of numbers to human lives is then repeated throughout each of the minisodes.

Firstly we have the flashback sequence with Job and his children. Aziraphale makes the argument that just doubling the number of new children wouldn’t adequately compensate Job and Sitis for the loss of their existing children - since they “quite like the old ones”. The value of human life is not a simple accounting exercise and one life cannot be substituted for another, in the case of the people you love - they’re priceless.

We see this same idea demonstrated again throughout the Resurrectionist minisode. We first meet Elspeth MacKinnon when she is exhuming a body to sell, in order to buy her and her partner a slightly better life worth living. However, the surgeon Dalrymple is not above haggling over human remains. To him this is a business transaction, in which dead bodies are worth no more than five pounds a pop. To Dalrymple, the cost of saving future lives is that others should risk the grave gun gathering bodies which he may then dissect.

Aziraphale is first opposed to anyone being dug up, but then is won over by Dalrymple’s argument, at least until Wee Morag is killed and suddenly for sale. As Crowley says, echoing the Job minisode, “it’s a bit different when it’s someone you know”. In opposition to Dalrymple’s accounting exercises, and, indeed, the 90 guineas with which Aziraphale buys Elspeth's life, Crowley is offering an alternative view. A life is of higher value when it is someone we, personally, know and care for.

We also witness this theme during the 1941 flashback / Nazi-zombie minisode. The magic shop owner warns Aziraphale that he is about to take on a death-defying trick - one which people have died trying, no less! “Your life is worth a lot more than seven pounds five shillings,” argues the shopkeeper. Instead, it turns out that a customer’s life is worth about 27 pounds and five shillings, since he more than willingly accepts that offer - “on your head be it!”.

As human beings, the price we are willing to place on an individual life, how much we are willing to sacrifice for that person, is all dependent on how well we know them.

“He’s just an angel I know”

But it’s the knowing that makes all the difference.

“It’s a bit different when it’s someone you know”

So, for his life, what price are you willing to pay?

What if it was “one life... against the universe”?

Lastly, death is the price that all humans must pay, no matter what. As the Metatron asks at the end of S2 - “Does anyone ever ask for Death?”. But those are thoughts worthy of a future post.

Thank you to everyone at the @ineffable-detective-agency as always, but especially @lookingatacupoftea and @embracing-the-ineffable for their feedback on this post.

[1] Nussbaum, M., & Pellegrino, E. D. (2008). Human dignity and bioethics: essays commissioned by the President's Council on Bioethics. JAMA, 300, 2922.

[nightcolorz]

thoughts on the presence of marius’ painting in dubai in the show? ive been thinking about this since episode 7 aired because louis threw a bowl of blood at a painting in one scene which wasn’t marius’, yet made me think it should have been. but its interesting that its there at all? of course they’re art collectors and dealers in 2022 but god. i feel like the painting might end up being a chekov’s gun. it cant be there for nothing, right?

(also the scene of “rashid” armand in s1 telling daniel about it keeps coming back. how did he FEEL about that especially if daniel is indeed someone he loves and has loved for years)

AHHH OMG!!! LOVE THIS QUESTION!! I’ve been thinking about this constantly since s1, which believe it or not spurned some theories about Armand’s relationship with Louis that ended up being surprisingly accurate 😭. I can’t tell u how many times I rewatched the Rashid-mand tells Daniel about marius’s painting scene before s2 aired (definitely more than any other scene in the first season 💀💀). Ughhh!! omg!! U r so right 😭😭 the painting Louis threw the blood at should have been Marius’s. The thematic implications!!! The impact!! The way Armand would feel!! It’s making me crazy thinking about it

I speculate that Armand is trying to seek out and reclaim as many of Marius’s painting as possible. I imagine that Armand acquired the painting in the dining room by searching intently for any paintings of Marius’s that survived the fire. Part of him likely feels entitled to them. Legally he’s just Marius’s slave, but the way he sees it it’s so much deeper than that. Marius is his father, his husband. He should be given his possessions, his works of art, after he’s died. And I think the fact that Armand, by both historical records, and by anyone he knows, will always be viewed as Marius’s slave, his victim, before he is Marius’s closest loved one, feels disempowering and invalidating. Technically, if they weren’t vampires and legal consideration was given to who Marius’s possessions should be given to after his death, as a slave Armand likely wouldn’t be considered. But, Armand believes that because of the role Marius had in his life, he is rightfully owed that inheritance. And the symbolic value of that fact is important to him.

I think sometimes the show fandom doesn’t realize how attached to Marius Armand actually is 😭. If they’re going by the books, Armand is longing for Marius and for Venice. Marius is the love of his life the same way Lestat is the love of Louis’s life (maybe even more so considering he’s not just his lover but his father 😭 Marius played every major role in Armand’s life, he was his father, his lover, his maker and his god). Armand is stuck on him, he is always longing for him, never able to move on. So I think for Armand owning paintings of Marius’s is partly an assertion and a reclamation of the way he perceives his relationship with him. By owning them and displaying them on his wall, not only is he allowing himself to live with a comforting reminder of Venice (which I’ll get to), but hes also asserting that Marius loved him, and he was important to Marius, and he deserves to and is entitled to owning his paintings after Marius has died because he is the person who these things should go to, he is displaying that he is the most important person to Marius, that he is the person who would be in his will.

on the Venice note, Armand is also indulging in a small little fantasy by putting Marius’s paintings on his wall. He lived with those paintings, his father likely painted them while he was in the room. He saw them in the halls in the palazzo, maybe even in his lavish old dining room. In the books Venice was and continues to be Armand’s perceived “best part of his life”. Venice was his childhood, the only time in his life he remembers being taken care of, well fed, spoiled, loved. And from our perspective it was horrible, he was being sexually abused and beaten regularly, literally pimped out and enslaved. But think about how Armand told his story to Louis, he was smiling wistfully, longing despite it all. And I think even in Dubai Armand misses Venice, feels comforted by the memory of it. So it makes sense that he would hang Marius’s painting on the wall, as a small comfort, so that maybe sometimes he can stare at it and picture he is back there, in his master’s studio, basking in the sunlight, loved.

The scene where Armand as Rashid shows the painting to Daniel is so so loaded. Daniel initiates the conversation, but Armand definitely indulges in it more than he needs to. That scene is the first time we rlly see Armand using his Rashid persona to tap into his past. He says, “I serve a God, it’s my honor to serve” which is fucking weird 😭 and no one but Armand would say that (real rashid wouldn’t💀 he definitely sees the vampires in a way that is more grounded and empathy based then god like). He’s clearly tapping into how he felt as Amadeo, a servant to Marius, rather than playing his part. It seems like Daniels interest in the painting and him talking about + bringing attention to it brought Armand back to that Venice mindset in a way. Even with this, he’s definitely pushing Daniel away, trying to change the topic as quickly as possible while remaining in character. Which makes me think that Armand wasn’t happy at the prospect of being so vulnerable with Daniel so soon. The impression I get (especially from season one) is that despite his past and current love for him, Armand sees a different person in old Daniel, and is very hesitant to open himself up to him. Considering how different (and mean) he is, and how painful and loaded their past was, it’s a very hard thing for Armand to approach, and it doesn’t seem currently on his agenda.

What I rlly am curious about is how Louis feels about Armand keeping Marius’s paintings in their home, displaying them on their wall. I imagine it would be uncomfortable for him, if not upsetting, in a similar way to how Armand feels about the presence of ghost Lestat, if not more complicated with the layer of how extremely abusive Marius was. But how can Louis judge? Who is he to give push back on smth like this when he is still actively hallucinating his dead, abusive ex husband 😭🙏there’s a lot going on there.

I rlly hope this painting thing gets explored in depth bcus omg I can not stop thinking about it either. Thank u SO MUCH for the ask I love this topic so much omg!!! Hope my response scratches the painting itch in ur brain<3

[my-mt-heart]

Dissecting Zabel's Inappropriate Comments

I shared my initial reaction to the Games Radar article, but now that the original SFX article is also out, I want to dive a little deeper into what David Zabel said. From one source to another, the meaning doesn't change.

Regarding Daryl's and Carol's relationship, he says...

Whereas with Daryl and Isabelle, he insists...

Zabel thinks he's shedding light on his male hero's two most prominent relationships [with women], when in actuality he exposes a lot more about himself and what kind of showrunner he is.

He has no interest in the flagship show nor its acclaim.

Had he actually watched TWD in its entirety, tracked the progression of Daryl's and Carol's relationship from S1 to S11, and researched their fanbase as well as their media coverage from over the years instead of just pretending to, he'd see that nothing about their relationship is "obvious" or "easy." Trauma and self-esteem issues hardly ever explored in TV couples—let alone TV couples in their 50’s—have always complicated things, creating obstacles for them to take their relationship beyond intense feelings and helping them grow closer together, feel safer, understood, and loved to a degree nobody else can measure. There are 12 years and 11 seasons of sexual tension, smoldering looks, vulnerable moments, meaningful conversations, and romantic subtext at Zabel's disposal. The natural thing for him to do, the only thing that furthers the narrative already being told is to confirm that they're "in love" and make them "a couple."

If he wants to talk about a "TV book of tricks," he should re-evaluate the tricks he uses to justify a romantic connection between a well-established, unconventional, fiercely loyal man with intimacy issues and a blonde nun who’s only been around for a few months (and 6 episodes from an audience POV). Zabel tries to project what draws Daryl to Carol—broken until the world ended—onto Isabelle. He forces Daryl and Isabelle into intimate situations straight out of fanfiction—bathtubs, bed-sharing, cleaning wounds in hard-to-reach places—and uses other supporting characters like Losang to tell Daryl and the audience that it's romantic. That's not "seeing what happens," that's repeatedly trying to fit a square peg into a round hole and expecting everybody to think he's a genius. On the contrary...

He's completely tone deaf.

If he's calling Daryl's and Isabelle's relationship "mature," then he clearly doesn't realize how deeply problematic it is for a character to gaslight and lie to another character with a history of childhood abuse in order to get something from him, whether it's to help her find their new home or father a boy he just met. It's also triggering for fans who have survived abuse in their own lives to watch their hero fall back into the cycle without it being acknowledged or resolved in a way that helps him (and the fans) heal from it.

A dynamic between Daryl and a nun definitely could've been an "intriguing" dynamic to explore since they're both supposed to be emotionally unavailable. We'd get to see that Daryl's heart belongs to Carol and Isabelle is "married" to God. We'd get to see them bond over the idea of loving someone and/or something so infinitely and unconditionally that it's frightening to feel disconnected from them, whether physically or spiritually, and we'd get to see them help each other keep their faith, whatever that means to them. That's interesting. That's fresh. A romance between Daryl and a nun, regardless of whether or not she dresses like one, is not interesting. Not intriguing. Not edgy. Not sexy. It's disrespectful on multiple levels.

He calls Daryl and Carol coming back together only to realize that they've "changed" the more interesting story to tell? I call it sad. Sad and out of character for Daryl to feel anything other than elated to realize that the woman who represented everything good to him for over a decade crossed a damn ocean to find him. Sad that after "everything she's done" to find him, she finds that he's replaced her and their family back home.

He views the female perspective as irrelevant.

Saying he "respects" Caryl shippers only to invalidate them and then pour salt on the wound shows an air of superiority that is very typical of white male showrunners and executives. Granted, plenty of men ship Daryl and Carol, but it is also true that the majority of their fanbase is female and because of that, Zabel thinks he can mansplain the relationship to us. He tells us that what we want is cute, but he’s the one with the skillset to write a "good" story for the characters. He either doesn't care about our viewership because other men like him are his "real" audience or he assumes we'll come to our senses because he's right and we're wrong.

It isn't about shipping or romance at all though. If it was, he wouldn't just kill Isabelle off after insisting on this wild chemistry nobody sees but him (and Greg Nicotero). It isn't that Carol can't be a love interest either. It's about catering to the male gaze. Carol can't be the love interest for the white male hero that Zabel wants the fanboys to identify with and glorify. She doesn't fit their biases. Not young enough, not blonde enough, so on and so forth. Ignorance like that is generations-long and it doesn't just go away the more time he spends with Daryl and Carol. It only gets worse. Caryl may go to Spain alone, but there's plenty of new shipbait over there for him to introduce.

In what Zabel is actually quoted as saying about romance, which is all that counts, he only vaguely brings up a conversation with Norman, one I suspect is a lot more nuanced than he wants us to believe, but that's beside the point. He doesn't say "Melissa and I talked about Caryl's relationship" or "Clemence and I talked about Daryl's and Isabelle's relationship." Why not? Would the former disapprove of being treated like a sexless intruder in her "friend's" nuclear family? Would the latter hate to feel like a plot device for the brooding hero's manpain? What do the women have to say about their side of this oh so "interesting" emotional arc, Zabel? It's a rhetorical question obviously because if I really wanted to ask, I'd ask the women directly. The only thing is, they aren’t allowed to talk about it so openly and honestly, are they, Zabel? And you took advantage of that, right?

He's vindictive.

He may treat us like a bug on his windshield, but he isn't unaware that Caryl/McReedus have an active fanbase. He isn't unaware that AMC's promo strategy has centered on Caryl/McReedus. He's competing with it. He's aggressive in these articles because he wants to tell a particular kind of story that AMC, plus all of us unhinged shippers, won't let him. Taking a firm stance is how he takes control again (or so he thinks). The way he positions Carol as an intruder in "Daryl's" story, despite a sorry attempt to put a band-aid on it later, also presents itself in the SDCC trailer where everything, including Carol, has to revolve around the main hook: Daryl making a new family in France. For Zabel, it's true to life because he had to fit unconventional Melissa into his outdated "interesting" formula when that wasn’t what he was hired to do. To paraphrase what Melissa said, she was the newcomer who had to be careful not to disrupt a system already put in place before she arrived. What, or who, made her feel that way when she had already been playing Carol for over a decade?

To watch or not to watch

That is not the question. You can choose not to give AMC your money for Zabel's bullshit or you can choose to help the ratings go up for Melissa/Carol. Both are the right choice. The real question is, how will AMC know to blame Zabel and not Melissa if the ratings drop? How will they know that Carylers still need canon and...wait for it...good storytelling if they watched just to remind them how valuable Melissa is to the franchise? I know I sound like a broken record here, but this is why it's so important to be vocal. Use whatever platform you have (and are comfortable with) to specify what's bothering you whether it's the shipbaiting or Daryl's suspenders. Say what you love (Melissa is the correct answer) and what you want more of or what you want to change in regards to performances, relationships, and storylines. For me, I wanted to see both Daryl and Carol make every effort to get back to each other. I wanted to get the payoff I've been waiting for after a god-awful S11 that kept them separated and angry at each other the whole time. I wanted the story to center on Daryl's and Carol's relationship while everything else revolved around them. "To find home is to find each other." Where did that story go? I want it back.

No matter what we say, egomaniacs like David Zabel, Greg Nicotero, and Scott Gimple will spit on us, punch us in the gut, and kick us while we're down (though I guess only the first one is stupid enough to be so literal). If Zabel understood the first thing about Carol or Caryl, then maybe he would've realized that their fans know how to push back.

As for AMC, they don't care about the characters or the relationship or our feelings either, but they do care about their bottom line and these articles threaten that. Keep reminding them.

[melrosing]

poor gurm. hotd has it problems but I do believe the showrunners are trying to make a good product. unlike d&d who gurm should rightfully resent...no way there's not a bit of projecting in any hotd criticism from him.

i think it’s probably complicated, like I get the impression that the HOTD showrunners have gotten carried away with the changes they made in S1 and now it’s demonstrable that they just don’t really have the raw talent to spin this story into something new, try as they might. I don’t think they were ever wrong for changing things up in adaptation, F&B practically requires that - but they are to blame for the shoddy execution

but apart from that I’m starting to get the impression that for GRRM it’s more complicated than that. if I had to guess, I’d say that after GOT, he was clear with HBO that he wants more faithful adaptations going forward, and he wants his opinion to count for something, and that’s why he signed. like if he’s this mad about Maelor the Missing, how mad was he when a whole host of characters and subplots were missing from GOT and the rest were butchered?? I’m gonna guess pretty mad. but he had to surrender on that count because he hadn’t finished his books and D&D + everyone involved wanted the show to end.

HOTD was supposed to be different, and it sounds like it hasn’t been. Condal suggested that removing Maelor was only temporary, only now it looks like it wasn’t, and GRRM is annoyed about that - I think he feels lied to or left out of the loop, when that was exactly what he didn’t want this time. I wouldn’t be surprised if there was initially a plan to leave Daeron out similarly, because he was conspicuously unmentioned in S1 and the Daeron references in S2 were really shoehorned in seemingly at the last minute.

and GRRM has been saying he feels like perhaps he ought to stop caring and get on with the books (I would love it if he did) but he’s still so obviously annoyed about how his work has consistently been adapted poorly and that despite all promises he can’t do anything to stop it. especially as he’s apparently mentioned all this in connection with a growing consciousness of his age and his legacy, im gonna speculate that seeing adaptations like this is really grieving him. so i feel a little bad for team hotd because i think they’re really trying, but imo they aren’t doing a good job and even if GRRM’s expectations are too high sometimes, i think it’s been plain since the fall out from GOT that he is well worth listening to.

[mdhwrites]

May I ask your opinion about Camila as a mother? To me, she is a great mom with good writing. My only gripe is in the first ep when she's okay with Luz discarding her Azura book in the trashcan. It's Manny's gift for Luz.

This one is... Complicated. And I think we're gonna disagree hard on it just by what you consider your one gripe to be.

What is a parent's duty? This is a very, very important question to ask with this. Because, you know, as a friend, Camila is amazing. She's endlessly patient, endlessly kind, I call her a saint because she is just perfect. She has no flaws by the end of the show and scolds herself for the literal ONE TIME she ever tries to reign Luz in.

Reminder: In the first episode, Luz brings wild animals and fireworks to school without permission or without any regard to safety. She inadvertently assaulted MULTIPLE PEOPLE with those snakes because we see more than just the principle being attacked by them. We also know this isn't a first time thing because of the SPIDER SWARM. If I had been in the classroom with Luz for the spider swarm, I would have had a straight up panic attack because I, like many others, have arachnophobia.

A parent's core job, only below keeping their child alive, is to prepare them for the world. To make sure they understand right from wrong, that they understand how society works and how to handle it, how to be themselves while not hurting others, etc. like that. I'm not saying that they must make their children conform but, you know, people still have to be a part of society. To know when their freedoms come against others. Because, sure, you can release spiders into a classroom but when half the parents of the students in that class want you expelled, that is entirely in their right because you did not consider, for a second, anyone other than yourself.

At this, Camila is an abject failure by the end of the show. She actually starts really good though. Now, throwing away Manny's gift is... Yeah, that's real questionable but also Azura being from him feels like a complete retcon, especially since Luz doesn't actually hold that series that close to her. She is a pretty flighty fan and in S2, Amity does WAY more for being excited about Azura than Luz does which, you know, is kind of odd if this memento of her father means that much to her. No, in the context of S1, it's the right move. Luz has crossed the line where she is treating reality like fantasy. She thinks she can just do this stuff and it'll be fine because her perception is at best flawed. So yes, Luz needs to wake up. She needs a chance to get a reality check and Camila doesn't even ask for a huge one. She will be happy if Luz makes friends because in order to make friends, you have to meet them halfway, start showing real compassion, empathy, etc. like that, traits Luz is tragically devoid of early on. It's a good goal for not pressuring Luz too hard.

And then Luz goes to a magical world where she gets to live out the life of an isekai protagonist who by the end of the series is willing to condemn an entire world to death just because she's afraid of making another mistake and having to pay for the consequences of it. To say that's missing the point is a bit of an understatement. And I cannot emphasize this enough. She decides on her own, because she feels bad for having made a decision on her own that went poorly, to avoid all consequences for that decision and just stay home with her loving mom while leaving her friends ostensibly to go die because she admits herself that the Collector is terrifyingly powerful. That is not martyrdom, that's self pity with the veneer of sacrifice. It is still not an empathetic worldview that cares about others, reinforced in For the Future where she goes "I'm going to check and make sure King and Eda are okay and then I'm going home." She talks a much bigger game to Boscha but to her mom who knows the truth? It's to check on the people SHE cares about and then leave. All of them. The whole world doesn't matter to her. That's fucked up.

And THAT is the version of Luz that Camila APOLOGIZES to. And for what? Sending her to camp which was her just trying to get Luz to properly connect with reality ONCE. Because again, otherwise Camila has endless patience. She never brings up the promise after all, she doesn't question taking in these kids or the weird lizard girl who's been impersonating her daughter, Camila defends Luz's creativity at every step, etc. etc. She is Luz's biggest defender in the series... And still apologizes for the one time she criticizes her. The one time she arguably does her job as a mom.

That to me makes her a bad mom. Arguably, even worse than Odalia. Odalia is a WAY worse person, but as a mom? I've made blogs about the fact that the fandom projects a lot onto her, incorrectly so, and that by the standards of her own society, she is mostly just trying to protect Amity and help her succeed. Oh, what terrible goals! Yes, she's too controlling and applies too much pressure BUT AT LEAST SHE'S TRYING. And if it feels like I talk a lot more about Luz in this blog than Camila... Well, it's a parent. Their job is to raise children. So we have to look at the child as a part of the evaluation.

And Luz? Luz needed a parent, not the two friends she got out of Eda and Camila. But apparently a parent is not what anyone wants. See you next tale.

======+++++======

I do want to add that I don't know where to put the fact that Camila is a single mom here because it's very complicated. It's good on her that she has the income to let Luz have expensive hobbies, do what she wants, have a house to live in, be there for all of Luz's events, meetings, etc. like that. She replicates what two parents give pretty much all the other kids in the show so well that it feels more like an oversight than anything else. Also, yes, it's good that Camila keeps Luz happy and healthy but that doesn't really change the fact that she is failing to raise Luz despite having all this time and resources to facilitate keeping Luz happy. However, I've seen the problem with that as a kid's parent would just let them watch tv and play video games with them and left it up to the kid's grandma to treat them how to read and write. Guess what activity made the kid happy versus what activity helped the kid grow as a person. And yes, that parent WAS a single mom and I judged them harshly then too.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.