#i think that is the true meaning of success

[bitchy-craft]

PICK A CARD: What you need to work on (it can hurt a little)

Hello and welcome to this new reading! I will tell you what you need to work on. I hope you all enjoy it!

Masterpost > Paid Readings > Patreon Masterlist

The extended version of this reading can be found on my patreon, the link of which is here

                     pick a card

Pile 1:

You need to find balance in your emotions, you need to know and figure out what is good for you, and what you want. And the moment you do know, make sure you do it, even if it hurts, even if you are scared of the outcome. You need to get a hold of your true wishes, your true beliefs and thoughts, and take the control you wish to have. Leave those insecurities, and those fears behind, get through them, and think about your true wish, even if it hurts.

It’s hard to look back at what you’ve been through, the happy moments, the sad and conflicting moments. It’s hard to realise that these good things must come to an end, and hurt is okay to have, you are allowed to feel and acknowledge that hurt, you need to accept it be able to work on it and grow through it.

Extended reading

Pile 2:

Be happy with the little things. You can’t be happy with little progress, because the greater goal hasn’t been accomplished. I wouldn’t be surprised if you sometimes have progress but it still makes you frustrated because it wasn’t the full thing that you wished for.

Learn to realise that little progress can and must be celebrated too, you’re allowed to be proud of yourself for the little things, even if you get disappointed by it. You need to learn to leave those disappointed thoughts behind, accept them and move on. You can be happy and relieved while being disappointed that you didn’t fully succeed. But those little things, those little things are worth celebrating, they can help you gain more confidence and believe as long as you let them, they can make you stronger.

Extended reading

Pile 3:

Don’t just sit around and do nothing while waiting for the luck of the draw. If you want to accomplish something, then go do it. The universe won’t bend for you, you must bend the universe yourself. Don’t think your success will come from nowhere, don’t think the journey to this success will be easy without any obstacles. Every journey has obstacles, and every journey has moments where you want to quit and not continue.

If you want something, go do it. Just because something small happened that you didn’t want to happen, which made you disappointed, it doesn’t mean you should give up. Do not give up and believe the whole universe is against you. Of course, not a single journey is the same, but that doesn’t mean your journey should come easy to you, nor does it mean it should come hard to you. Every journey also teaches you something, and maybe for you, this journey wants to teach you that you must work hard and continue even though certain moments suck.

Extended reading

Pile 4:

You are not better than anyone else, so please stop trying to act like you are. Even if you are not aware of the fact that you act like that, you do. Please watch your words because a lot of things happening around you are just a roll of the dice. If something good happens you’re lucky, and if something bad happens it was just something that would happen one way or another.

Being confident in your knowledge is good, but don’t make yourself believe you know so much, because you don’t. Don’t put your insecurities so far away that your way of coping becomes a burden for others. You can be insecure yet have knowledge, you don’t need to be over-confident with it. And even if you are not confident, don’t try to mask it off. You need to learn how to balance these things. You do not know how much you don’t know, and as you grow older and experience more and more you will realise that you will never know a lot; because there is too much out there to know for your knowledge to be ever considered a lot.

Extended reading

Pile 5:

Go for it, don’t wait around and be scared, do it. It is good that you think about possible dangers and the wish to do it correctly, but over-thinking is also something that exists, and it’s not good. Don’t sit and imagine everything, being able to control everything, if you want it to happen you must do it. Get a grasp of that wish, stand in confidence and become the person you’ve always wanted to become, do the thing you’ve always wanted.

You are insecure, and being insecure is okay, but just because you are insecure it doesn’t mean everything and everyone should handle you with care. Everyone should be treated the same, which includes you. Do you want to do this? Well, it’s a tough world, get ready for it. Don’t be scared and wait around doing nothing, do it or don’t, in the end, you’ll know what you want.

Extended reading

[utilitycaster]

to me i feel like the hells were meant for a campaign more like cr2, which i feel like that's been discussed before even on your blog? like idk orym and braius were the only characters who actually fit this campaign, maybe imogen for obvious reasons. but laudna, fearne, ashton, chetney all felt like they belonged in a lower stakes, more personal campaign

Yes, I have talked about this extensively: honestly, either a Campaign 1 or Campaign 2 structure would have served them better. For what it's worth I feel like everyone other than Laudna managed to make something of it - Fearne and Chetney frankly did a lot of work to explore their concepts, it was just never rewarded or frankly in many cases revisited in any way (again, consequences do not mean punishment; they quite literally just mean that one's actions lead to results that follow from said actions), and while I ended up not caring much for Ashton as a character, I actually think Taliesin played them with a strong logical throughline. But it is true that the plot really, in the end, served none of them, not even Orym or Imogen (Braius it kind of did, but he was developed so late in the game that he was designed around its flaws). There was just never space to really explore the dark fairytale Ashley talked about early on; Tuyen and that other toymaker back in Marquet were never revisited nor was Ruidus's impact on Chetney nor was there an appearance of Doreo, and even Drixlich and the offers to the pirates vanished (side note but Travis is perhaps actual play's best plot thread generator and I think it's telling that he kind of gave up on that eventually because it never fucking went anywhere, after two campaigns where it consistently did). When it comes to Imogen I am reminded of the possibly apocryphal theater review for King Lear that went "the lead actor played the king as though he momentarily expected someone to play the ace;" she was a great concept but at no point inhabited her decisions meaningfully on the rare occasions she made them. Orym was never really given the opportunities Caleb had to explore grief and while I personally am okay with his deal with Morri being canceled, it plus the whole Vax thing really feel like a thumbing of the nose at Liam's RP choices across the decade. Ashton's temporary growth and then regression honestly feel very real, just deeply unsympathetic, though the ending of the story where nothing about the All Minds Burn or his talk with Shady Sally or the titans or the Hishari came up and the genuinely great moment of sacrifice turned into another "and then Essek fixes it for you" was narratively empty. But the more I think about it, the more this was largely a failure of Matt to tell a different kind of story with any measure of success. I think this campaign in many ways played hard to Matt, Marisha, and Laura's weaknesses in particular (and a little bit of Liam's if I'm being honest in the end) whereas the others embraced their strengths, and this is what happened; the rest of the cast kind of made the most of it.

[shorthaltsjester]

sorry it so truly laughable to me to look at campaign 3 and determine the success of the stories therein based on screentime like. disregarding the fact that i personally take c3 to be the least valuable in terms of stories told, particularly ones about romantic love, for the moment: on principle it’s goofy as hell to think that a large amount of hours = a story that has something to say let alone something meaningful to say. like, yasha and beau, for example, have a fairly small amount of hours due to the fact that a) ashley missed half the campaign b) they were also generally slowburn, and while that influences the depth of certain aspects of the story, the time spent with yasha and beau has little to do with how meaningful their story is. it wouldn’t matter if they had 10 hours of screen time or 100 if what is in question is the story told; yasha’s story as someone chained by grief choosing to move on & beau’s story as someone angry after a life of being treated like shit finally getting justice for the wrongs done to her which both conclude in their campaign’s finales aren’t successful because I can launch some meaningless number of how many hours it took them to take build those stories together into the ether and say “they did this for women’s rights” just because two women existed beside one another. both yasha and beau resonate as stories that have a significant feminist read because they both deal with fantasy versions of things extremely relevant to women in a way that maintains their agency without shirking their responsibility, and they are particularly strong stories about queerness not simply because they’re two women who fuck but because they deal with emotional themes relevant to queer experiences — anger and grief — and how, while the reasons for those emotions are grounded ones, they both choose to grow beyond the boundaries they allowed those emotions to enforce in their lives.

further, the notion of screentime for a show that takes care to show all of the players on screen at a time in a medium where the player/character distinction isn’t always clear is such a subjective calculation and on top of being a stupid justification for ‘success’ or ‘value’ of a story, is also easy to manipulate to your favour.

it’s just, the screentime for im*dna’s relevance and success doesn’t ring true to me just because it’s a bad reason. but further it just isn’t persuasive. i don’t care if i see someone for 1000 hours or 1, if a story resonates it will do so with any amount of time. whatever amount of screentime they’re calculated to have does nothing to repair or hide the fact that their story as a couple says very little of value in the text, without whatever fanfic extrapolation has taken place (and to be clear, this isn’t to say fanfic can’t be valuable, it’s to say that the character explorations you do in fic or in meta for that matter doesn’t mean that analysis or elaboration is canon). like. halfway through the campaign, before they got together, imogen told laudna “our weirdness is what makes us right” and laudna agreed verbally but now 1 billion hours of screentime later or whatever, laudna has still failed to integrate that belief into her, which is made obvious in a scene after the divine intervention that ties laudna’s life to imogen’s when imogen tells laudna she’s grateful she got to hear the music of laudna’s thoughts, and laudna’s response is “it was probably a bit of the insanity, honestly”, something which on paper might read like a joke but in the moment is played like a (maintained from hours upon hours previous) dismissal of what imogen is saying she values about laudna, evident in the way laura/imogen deflates when she says “well, it was pretty…”. and simply because it’s been a trillion hours of screentime that’s supposed to be representative of a relationship in which the characters help each other to grow.

(addendum to say that stories that are about stagnancy can be just as valuable as stories about growth, but textually and by the sections of fandom im critiquing here, imogen and Especially laudna are treated as a relationship that grows)

truly, if anything, counting up as many hours as possible to dictate the success of imogen and laudna’s story actually ends up working against the story. because i’d probably be more forgiving of the stagnancy if it was a shorter story, but knowing that they had so many hours and still failed to deliver a story with actions and behaviour that matched the claims the characters would make and the tropes/themes that would get applied to them, that makes it worse.

[confusionism]

“That was a long flight.” Not to mention another crazy project that had her working from coast-to-coast in under two weeks. “—And then I figured customs and immigration might’ve done you in.” Say what you will about Heathrow being a leader in airport facilities; it’s still filled with grumps that could put Aiden to shame. “—So I mean—” he really doesn’t know what else to say, but between the airy laughter she pulls out of him and the playful half-nod, half-shake of his head, “—yeah.” Understatement of the year.

But also, he’s definitely not complaining. Quite the opposite.

If Anna’s sudden appearance has him frozen in utter shock, then her words have the exact opposite effect, melting away every bit of bad that’s built up throughout the evening. The anxieties, the annoyance. Even the mild heartburn from eating the weird slop they’d named ‘dessert,’ despite setting it on fire. He takes to her presence like a plant does sunlight, reveling in warm comfort and blooming under the rays of her inspection. By the end of it all, one would think that he’d just broken the record for a lap around the pitch. The faint pink on his cheeks only adds to the effect.

“You’re always a ten to me.” He isn’t saying it just to say it. Anna possesses beauty in its most obvious forms, with a prize-winning natural smile and a relentless charm about her. It’s part of what makes her successful— how she seamlessly blends into every theme and still strikes the hearts of her audience, sets herself apart in a way that makes everyone, everything, the background. Then there are the other ways that she attracts him — the more important stuff — the details that the spotlight ends up leaving in the shadows. Beginning with her heart and ending with her endless devotion. Smitten. Aiden’s terribly, totally smitten.

He has to refocus before she notices that he’s staring.

“I, uh— I gotta say, I don’t think we’re gonna have much luck with the food. I’ve been scoping out the place—” like a true, tried and tested introvert, “—and I think the best you’ll find are the nuts in my pocket.” A beat passes. “Actual nuts. Cashews. Not— you know.” Not to crack a dirty joke in the middle of a very fancy, very high-budget occasion… But he knows her. Knows them. And speaking of, “—Oh!” he brings his hands up to shoulder-height, showing off the new silver gracing his cuffs. “Check it out. I got a couple compliments on ‘em.”

Leave it to Aiden to be more enthusiastic about small things when there were two chart-topping musicians on-stage a few hours ago. Priorities will be priorities, however, and he won’t be told otherwise. Caught up in his eagerness, he scoots closer and rests a hand on her hip, telling her, “Thank you for coming.” Because really, there’s no combination of words that could capture the depth with which he feels, just seeing her— much less being graced by her generosity and thoughtfulness all day.

What is it about Aiden that makes her hold her breathe, as if she's bracing for the rug to be pulled out from under her? It happens so quickly, verging on a split second, that no one would notice. Hell, Anna wouldn't, if not for the way her heart tightens in that second. Equal parts anticipation and anxiety, bubbling together into one. Excited to see him, paranoid that he wouldn't be happy to see her. She feels it when she arrives, after two weeks away.

Then, he's looking at her. Smiling. Open. With eyes she can get lost in, for days on end. The feeling dissipates, replaced with this overwhelming feeling of happiness. Because he's not a picture on her screen, or something in her imagination. Aiden is present, in the flesh, and dressed beautifully in a suit and tie.

"Surprised to see me?" She guesses, when they find a quieter corner. If there weren't hundreds of reporters and nosy gossips around, Anna would jump into his arms. The over-excited, child-like reaction she has after a long few weeks of separation. But Petra poured too many hours to getting his suit look just right, so she settles for a brief nuzzle against his neck when he pulls away.

"Remember that airplane I was on?" Anna teases, like she doesn't know what he means. "Wait, let me take a look at you first." Because that's half the reason she ran through heaven and Earth. "Wow." Just... "Wow." Anna repeats, inspecting the simply beauty of his suit and the pine scent attached to his aftershave. "You clean up real good, babe." An understatement, Anna has to pull her jaw up from the ground. A gentle squeeze to his arm, she finally nods.

"I got here as fast as I could. I wanted to be here, for you." Sure, the event is nice too, and celebrating people's successes means something. This, however, is a distant second reason. "I almost got away with it, too, if not for the shoes." Maybe she can pass it off as the latest trend? "But I'm here, dressed to the... Sevens?" Can't exactly call her a ten, when she's mismatched with rain still tangled in her hair. "I got your back. Small talk. Avoiding personal questions." Smirking, she adds coyly; "Flagging down the waiters with the actual good food." Anna suspects it's more deconstructure, avante-garde bullshit.

Another breathe. A sip of water from the bar. "It's really good to see you." Simple words, but they come from the heart. Aiden could be wearing his usual clothes, snuggled up on the couch, and Anna would say the same thing.

[freebooter4ever]

i send my friend suggestions of tourist places to see in his new country (his contract was extended, lucky him!) or messages about friend of friends i have living there that he could maybe meet for fellow americans to talk to, and his response is always that he doesnt have time. and not in that exaggerated way that people do to seem busy. but in that bone tired way i recognize from him here in LA, that i recognize in myself.

[luck-of-the-drawings]

[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]

saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.

[quibbs126]

I had another thought with that one megop sparkling idea I keep bringing up but never fully committing to because I can’t decide on any one idea and at this rate I think I’m just annoying people

But yeah, I had another thought, one that I just thought was funny. I want to draw it out, but I’m lazy and also I have a test tomorrow that I have to study for, so I’m not doing it now. But I’m also impatient, so I’m giving you the bullet points/written version. If I’m sensible, I’ll take this post down after I finish the actual thing so I’m not too repetitive

Anyways, so there’s the kid, who is the child of the two leaders of the Autobot and Decepticon factions, and thus, potentially, holds a lot of value as a hostage and bargaining chip. Granted, I don’t know how known they actually are, there might just be a rumor going around that the two leaders have a secret kid somewhere

But anyways, someone (I don’t know who) gets the idea to capitalize on this, and afterwards calls up Optimus and Megatron, who are up to their usual things, claiming they have taken their sparkling captive and want some demands or other if the two ever want to see them again

Now both of them are very confused by this turn of events. Optimus has no goddamn clue what this guy’s talking about, because he’s pretty sure he knows the two of them definitely don’t have a sparkling. Megatron meanwhile does know they definitely had a sparkling, but he’s cycling through his head the possibilities of if this guy’s telling the truth. Because he was pretty sure no one knew about them, how did this person find out? How many people know? Do they really have their sparkling or is it just a trap to kill them? Or is it some idiot claiming this status, while probably not being aware there is a genuine one out there? Or did they just pick up an innocent bot who just happens to kind of look like them? How close is his secret to getting out, especially to Optimus?

But yeah basically meanwhile, while Megatron is somewhat internally panicking and trying to assess the most likely severity of this situation, Optimus is just like, “…I have absolutely no clue what you’re talking about, Megatron and I don’t have a sparkling, isn’t that right Megatron?”, thinking Megatron is on the same page of this being absolutely absurd as him

But because Megatron is thinking and stopped paying much attention, he doesn’t answer at all. And the silence goes on long enough that it’s getting questionable, especially since Megatron isn’t jumping in to defend his own honor that he did not have a baby with his sworn enemy. His silence is starting to become an admission, and the possibility of this actually being legit is starting to freak Optimus out, because again, he doesn’t know about any of this

Okay explaining it out loud does not bring out the comedy the situation is supposed to have. Probably because there’s no visuals and my description of the narrative rather than just dialogue. So like, the comedy doesn’t happen like it’s supposed to, this isn’t the format for the joke. But the image is funny in my head, okay?

I’ll make the picture either tomorrow or Friday or something, since I have things to do tomorrow. I was just trying to explain it so that you could understand my vision before I can make it

[batsplat]

pecco rant please please

*spins wheel on possible topics* absurdly underrated but in a dumb way. you'd think you can stumble your way into two premier class titles. I don't care he's on the best bike - let's be honest, how often this century have the title winners not been on the best bike? 2004 and to a lesser extent 2005 you can say clearly weaker bike, 2007 late 2010s 2021 there's a clear enough disparity with anyone else riding the bike that you can say clearly the rider is making the difference/it's an unrideable wreck one guy is making respectable, then there's a few seasons where it's at least very close whose machinery is best or they're fighting with people on equal equipment, which pecco has done! but generally speaking, good/promising riders end up on good bikes and then they win. that's how the game works!

the thing about 2022 is that it had such a massive mid-season swing that overhauling a ninety something point margin cannot come down to any single factor. is it fair to say fabio lost that title? on balance, it's a bit harsh - yes, there were a few too many errors post-sachsenring, yes, some were driven by desperation, but also you can't really expect anyone to ride a flawless season. but pecco did win that title as much as yamaha lost it. I don't care if you're riding a literal rocketship with two wheels, you can't win four races in a row if you're not extremely good at what you do! if we're saying that title was worth less because the yamaha turned to shit in the second half of the season, then let's keep going. let's put an asterisk next to 2013 because jorge and dani both got injured (let's not even get into the 'if marc hadn't been injured' asterisks because that's where you get into truly silly territory). is 2006 not a legit title because of all the bad luck valentino faced that year? let's say all titles between 2007 to 2015 were worth less because at any one time only 4-6 bikes had a realistic chance of winning races. throw out any title before 2009 because they were constantly fucking about with the tyres and there wasn't a level playing field. if you're motivated enough, you can play this game with basically anything, but it's dumb and pointless because that's not how sports works! you can only win against whoever you're facing. it has always been thus and it will always be thus

it's narratively fun and juicy that pecco has these insecurities himself - but within the context of everyone else doing discourse over it, the whole thing is massively overblown! linked to some of the worst sports discourse about how much people love to disparage late bloomers, because they need every single successful athlete to fit the same mould of the ultra-talented wunderkind, apparently. it's more interesting when it's not always the most 'talented' (whatever tf that means), naturally gifted, *fast the second he touches a bike* bloke who wins. sometimes they have to work hard for it, sometimes they have to improve themselves year on year and be smart about how they do it, sometimes they have to be in the right place and right time, sometimes they have to be very lucky. sports is all about competition, and competition is all about contrast. it's a contrast that can be generated in a whole lot of ways, and in fairness to motogp they have come up with a bunch of interesting narratively tense contests that don't rely on a massive fundamental 'talent' differential - but at the end of the day, that's one of the best ones you can have! the more ways you can have to win in any given sport, the better, both in the literal sense of how you go about the actual process of winning and how you even become a winner. none of this means that pecco isn't very very good, it means he got there in a different way than every other multiple champ this century has. it fundamentally flattens the sport if you want every top-level competitor to be an alien-level talent... one of the best things about this current era is that it has given us something new and exciting in that regard, where you well and truly believe some very different blokes might have what it takes to eventually be champion

anyway, pecco is absurdly adept at digging himself into holes and absurdly adept at digging himself out of them. he's one of the worst frontrunners imaginable in every sense, biologically incapable of dominating without at least a perpetual hint of jeopardy, both in the context of a race and a season. but when his back is against the wall, somehow he keeps finding performances you never imagined he was capable of. his mixed up and slightly odd skillset, his strengths and weaknesses, how he's better and worse than he has any right to be... all of it lends itself to perpetual momentum shifts and thrilling seasons - because you never quite know what you're going to get. love him or hate him, he's a gift to the overall competitive landscape! god knows the racing hasn't been much to write home about these last few years (though, yes, we did have a good little run this season), but somehow he's managed to get himself involved in two out of the six title deciders this century back-to-back. is that not the dream for the viewer, to have a bloke at the top of the sport with a little self-combust chip in his head every time he builds too much of an advantage? build a hundred of those guys! throw a marc marquez at him and see what he does! I can't wait to see what he'll come up with next

[bitchthefuck1]

Rewatching succession it really is wild to see Kendall and Shiv convince themselves over and over again that they can "fix ATN/Waystar from the inside" only to completely abandon their morals the minute it gives them a strategic advantage.

When they're on the outside it's an endless diatribe about how evil and rotten the company is to its core, but the second they get the slightest whiff of power they suddenly decide the problems are actually really manageable and that with the right leadership it could be a force for good, and like...the saddest part is that they genuinely seem to believe that.

[undead-moth]

I've seen a few people mention how the sauce Carmy makes in Apologies is black with white spots, and how in that very scene Sydney is wearing a black bandana with white polka-dots. From what I can tell, most people are interpreting this as an intentional writing choice, which I agree with, but they also seem to be interpreting the sauce as something Carmy did subconsciously.

I saw one person say that Syd is Carmy's "muse" and she's inspiring his cooking without him even realizing it. Another interpretation I saw was that this dish was evidence of Carmy metaphorically not choosing Sydney, since he throws the dish in the trash in the next scene.

While anybody is allowed to interpret the sauce scene however they want, I thought I would point out that it likely wasn't the writer's intentions for us to interpret this as something Carmy did subconsciously, because the point being made in that dish, or at least what we are supposed to understand about that dish, is that the polka-dot sauce is not supposed to be polka-dotted.

That is a broken sauce. The white dots that are popping up and spreading in it aren't supposed to be there. If this sauce had been made properly, it would have been one consistency, and therefore one color. Chefs don't break sauces, and breaking a sauce is something you're specifically meant to avoid. In the universe of this show, Carmy didn't intend for that sauce to break, and that is why he throws it in the trash. Given that it doesn't make sense for him to have broken the sauce on purpose, that means that he also didn't purposefully mimic Syd's bandana.

In fact, the head chef at the NYC restaurant once mocked Carmy for a broken sauce. At the funeral dinner for Ever, Carmy is thinking about the abuse he endured by that chef, and one of the insults he thinks of during a montage of memories from his past is the chef implying that breaking a sauce makes Carmy broken. It's one of the insults haunting him this season.

(Edit: I have been informed that chefs do sometimes intentionally break sauces, and it’s called a split-break. I still personally interpret it as unintentional in the show, but it’s interesting to consider the difference in meaning if it’s not.)

That being said, I don't think this means that Sydney's bandana and the sauce coincidentally match each other. This scene takes place in the penultimate episode, directly before the funeral dinner at Ever where Carmy confronts the NYC head chef, and where Chef Terry gives a speech that, in my opinion, is meant to deliver the message of this season.

Throughout the season, the pressure Carmy has placed on himself has only increased. This has affected his ability to cook well. We see Carmy throw away multiple dishes in different episodes. We can assume he screwed these dishes up, but it's impossible to know since Carmy's standards are so high nothing is good enough for him anyway. But with something like a broken sauce, we know. We know that he's not simply being a perfectionist when he throws the broken sauce away. He's definitely screwed the sauce up.

At this point in the season, Carmy's reached his breaking point. This is represented visually in his broken sauce.

However, they could have used any broken sauce, in any colors, couldn't they? It's not a coincidence that they used a sauce that, when broken, is black and white. I think in part the reason they chose the colors black and white is because of what those colors usually represent - darkness vs lightness, wrong vs right, bad vs good - and Carmy is caught in between. At this point in the season, he's on a path toward something dark - but he can choose the light, and both are waging a war inside of him at this moment, breaking him.

It's also still significant that Syd is wearing the black bandana with white polka-dots. Especially because Chef Tery - the foil to the chef who abused Carmy, the narrative good, right, light, representing the path Carmy should be on and needs to choose in the future - also wears a black bandana with white polka-dots this season.

Together, this all represents what Carmy risks losing if he continues on the same path, and inversely, what he could gain if he chooses the right one. Carmy, the character, is not conscious of any of this, and in the universe of The Bear, none of this means anything - but they do mean something narratively.

Carmy is screwing up, and because of that, he's breaking. He screwed the sauce up, and the sauce broke. The bandanas worn by Chef Tery and Syd represent what he's screwing up, and how that is breaking him. They also represent what he needs to choose in the future to avoid breaking, and to make things right.

[stagefoureddiediaz]

Thinking thoughts about Abuela being back and with this backstory about her being taken in by charlatans and Eddies whole catholic guilt thing and how the two things kind of play into one another as an exploration of faith and being taken in by something.

Abuela giving all her money to the tarot card readers etc because she was searching for something - for connection (with Abuelo) - trying to recapture what she had lost, and How Eddie has spoken about trying to re-find the magic he had with Shannon - how Eddie hasn't actually fully reconciled the Shannon of it all when it comes to relationships and how his Catholic guilt connects into that.

How Marisol as a physical representation of Catholicism is part of that narrative - how Eddie is entering a place where he has to chose his path - in order to move on from Shannon he needs to fully square the hole - catholic or non catholic. And how that needs to happen first - before he can begin his queer journey!

[utilitycaster]

As many others, I am processing my disappoint with C3 and especially choices in the finale. Do you have any recommendations of narratives (tv, books, movies, video games, actual play, etc.) that you have really enjoyed and might recommend as something that really sticks the landing? My recommendation to others who might see this ask would be the Mistborn book trilogy, as I felt it had an incredibly satisfying ending that was surprising but also so clear in the narrative once you looked back. Love reading all your meta!

I do love Mistborn so that is a good one; some others

LOTR; this is obvious but like, I know where I come from (also very good in a sense of You Will Be Changed And Can Never Truly Go Back)

Vorkosigan saga 4ever; this is a bit of a commitment because to get the incredible middle section of it to properly land (Memory/Komarr/A Civil Campaign) you do sort have to read everything that came before, which is good but doesn't make me eat drywall

I have played 2.5 video games in the past decade as discussed extensively but I personally do feel that Veilguard, while weak in some parts, did stick the landing for me, and Disco Elysium did as well and very much hits a lot of the cathartic/comforting elements I just mentioned in my previous ask.

I Saw the TV Glow for a film I saw relatively recently that lands an ambiguous ending very well

The Fifth Season (trilogy) by NK Jemison

for standalone books: Both Piranesi and Jonathan Strange and Mr. Norell by Susanna Clarke; and The City and the City by China Mieville all manage to land bittersweet and/or weird endings and are genuinely unique concepts

Comic series: if you came away from C3 like "wow I actually really loved the scenes in the finale with the gods talking about what this means for them, and wish the concepts of divinity and cycles had been explored in depth" run don't walk to pick up The Wicked and the Divine (completed)

TV shows: Mad Men is good throughout and never misses the mark, though i will admit it's like I'm so glad I watched it all the way through as it aired, and I don't know if I'll ever do a rewatch? but also I'm not a massive rewatcher. Succession also sticks the landing. It's a dark landing, to be sure, and one that never flinches from, well, consequences, but they do stick it. It's been a hot minute since I watched the Wire and iirc it gets uneven in parts (though still excellent throughout) but also people should just watch The Wire.

Other actual play: all three seasons of NADDPod stick the landing, but especially the first nails it. I like TAZ but I do think it can sometimes soften its blows, though the tone of the show is such that I'm more forgiving. I also find myself saying "I really enjoy D20, but endings are not necessarily the strong suit" and that's maybe something I should explore. The other actual plays I watch either I haven't finished, or they haven't finished, which is wild to consider.

Fiction Podcasts: Penumbra podcast, Midst, Silt Verses - I'm a bit of a broken record but all three of this end in a way that is, above all, true to the work and deeply satisfying.

[rexcaliburechoes]

does anyone else find it fucked up that moon's friends protect themselves from her with the skyfire at the end of moon rising?

[pochapal]

"the endgame had never been finished" meaning......kinzo died before he could put this plan of his into motion?

[itspileofgoodthings]

tags continued from prev post.

[maddy-ferguson]

talking to new people again is making me realize that (this is gonna sound dramatic) i haven't lived in five years but what i have done is watch a lot of movies and read a bunch of books and believe it or not that actually makes me an interesting conversationalist in some ways (?)