#i was gonna set this in s1 trust

[bentacled]

klaus hargreeves... “  i’m starting to think i’m just fucked up.  ” 

you're not, ben thinks immediately after a fractured mind has savoured the words, but pauses, for a moment, because he's not sure if @theseancekid will believe him. it hadn't been easy, their shared existence. it hadn't been easy, seeing his brother willing to do anything to quiet the ghosts that pursued him like leering wolves. it hadn't been easy, feeling the familiar prick of envy, when a cruel tongue designed the words you're wasting your life, and some of us don't have one anymore. the guilt had come later, it always came in waves that drowned him in life, but they weren't enough to rip the words out of an air that had stagnated his brother's lungs. he's not sure how things are between him and klaus now, not really. despite having lived together for years upon years, now that… now that everything has changed, he's not sure how klaus sees him. partly because he's never known, exactly, if klaus had known the reason why ben had stayed with him, all those years ago. it hadn't been out of fear of the light, unfinished business, or duty. no, simply… it'd been a decision made out of love, for as silly as it sounded. he hadn't wanted to, hadn't been able to, leave him behind. neither him nor his siblings, his family. it'd also been out of concern, of course, fearing that if he left klaus alone – the worst would happen, because as much as he loved his siblings, no one had taught them to care.

everything was different now, though, and he wondered if he'd ever formalised any of the thoughts that sped like trains through his brain. if klaus thought that, because they weren't bound together anymore, ben would simply... leave him. " you're not " he finally got the words out of his mouth, injecting as much conviction as he could into the simple syllables. he'd been disappointed in klaus so many times, he'd known he could be something so much better, that he could aspire to more than just hitting rock bottom after rock bottom, but he'd seldom considered the hauntings of the other's thoughts. " i'd know better than anyone, i had to put up with your sorry ass for years " he added, to take some of the seriousness out of the matter, though the ribbon of sincerity was still braided into the words. " you're doing the best you can, and i see that. we all see that. that's the most we can ask of you, klaus ".

[areyoudoingthis]

i don't want to be mean because I understand we're all very tender about him, but the idea some of you seem to have that the writers who made stede bonnet out of scratch from the fabric of the universe and filled him with so much longing and love and suffering have forgotten that his trauma still needs to be dealt with is making my head spin a little

they have been telling us loudly that it's very much still there, bubbling under the surface and rearing up to threaten to shake his world apart even when he's become aware of his love for ed and ed's love for him and is fully committed to their relationship. the flashbacks in 2x6 and the way their first time happened and the entirety of 2x7 are all there for a reason

[exhuastedpigeon]

Sometimes I sit back and think about how almost all of the most insane and unhinged stuff about Buddie is stuff that, before getting into 9-1-1, I thought was fanon.

I started watching at the end of s6 and binged watched s1-s6 and I thought I was getting into another show where two guys stand near each other and the fandom ran with it and instead I got Buddie. I was sitting there watching being like.. wait this is all in the actual show? I thought it was all fan created stuff.

-> Eddie's introduction being set to "Whatta Man"? I thought that was a fan edit. -> Buck getting bashful after Eddie says "You can have my back any day" felt like something you'd see in fanon until you watch it ant realize it's canon. -> The entire Christmas elf scene -> Eddie holding Buck's hand while Buck is trapped under the ladder truck -> "There's no one in the world I trust with my son more than you" with Ed Sheeran playing over it??? CANON???? -> "Wanna go for the title" -> Buck digging at the earth like he could get to Eddie through 40 feet of mud is canon???? -> Eddie seeing flashes of Chris and Buck while he was buried under ground was canon and not an edit (this one blew my mind I'm not gonna lie to you). -> Chris ran to BUCK when he was mad Eddie was dating someone. -> The whole "construction on sunset" scene being that domestic blew my mind too. What do you mean that was actually in the show. -> The entire shooting scene? I genuinely can't believe we got that one shot of them just staring at each other in slow motion -> "Just say with me" -> THE WILL??? I truly thought that was fanon until I watched it with my own two eyes. -> Buck and Chris spending time together without Eddie (Eddie's line about Buck taking Chris to the zoo all the time in s5 I was like.. I've read this fic before) -> Buck canonically worrying about Eddie's health and mental health in s5? How is that canon and not fanon? -> Chris calling Buck during Eddie's breakdown truly blew my mind. That was in canon. When Chris was scared and worried about his dad he called Buck! -> THE LOVE HEART BUCK DREW?? THAT WAS CANON?!? -> The small moments we get of them (both together and with Chris) that just have a different vibe than when they're hanging out with other characters. Again I thought that was fanon and it turns out, nope it's just canon. -> Eddie running up the ladder without a safety line to get to Buck (screaming Buck's name) when Buck was struck by lightening. -> EDDIE CALLED BUCK COWBOY! THAT HAPPENED IN CANON TOO?! -> Eddie yelling "DO MORE" when the get Buck to the hospital after the lightening. -> Poker night? The same episode when all the canon couples were on dates Buck and Eddie actually got dressed up and Eddie took Buck to a secret poker game? IN CANON! That isn't fanon either??!? -> Buck's entire "Eddie, Eddie, Eddie, Eddie" moment in 704. He was about to be kissed by another man and he said Eddie's name, what? 7 times? -> Buck being SO nervous about telling Eddie about his date with Tommy. Like just freaking out for an entire episode. -> THE BACHELOR PARTY?!? Those two being in cahoots is another thing that I thought was fanon at first and then you get moments like that and you're reminded it's canon. -> Buck being who Eddie turns to when he needs parenting support because he sees Buck as a co-parent of some sort. I still can't believe that's canon. Like in the text of the show Eddie has turned to Buck for parenting support multiple times. -> Buck being there when Chris left with his hand on Eddie's shoulder. Again, so insane that it's canon.

Anyway, this list is in no way comprehensive since there's a lot of other stuff in canon that I thought was fanon, but my god the list is already so long I don't think I need to add more. I didn't even touch on the casual touches and the way they're almost always looking at or for each other when they're in scenes together.

[dalliancekay]

I'm just gonna write out what I think cos if someone sends me this again for the 113th time, I'm gonna snap. Look. Interviews (months!) before a premiere of something are tricky. You gotta be careful and VAGUE with what you say and what you want people to expect. Mostly creators focus on the themes in the first, maybe second episodes or so too trying not to give away much. Just the bare bones, what is already expected anyway. After all, they want you to watch it and go: "Ahhhh...." It was the same in S2 as well. (David describing in interviews how unmoored Crowley was in S2, how kind of disappointed etc and Michael how Az is also a bit disconcerted by not having a job, something big to belong to). But that's a description of - how we find the Ineffables in ep1, rather than describing the whole of Season 2. And there was a book first before the series and you must admit Aziraphale and Crowley are a bit different in the series than they are in the book. So caution was needed. PLUS their story has evolved again. It doesn't now end in the Ritz (I know it never really did for Neil and Terry who clearly wanted them to deal with the whole system somehow). The husbands have more trouble ahead. More details were added. We got more of their story, their journeys. Crowley doesn't change and is just waiting for Aziraphale to catch up with him is not much of a story, don't you think? Aziraphale is a naïve goody two shoes angel who has to realise Heaven is bad - is just so simple I'd be angry if I was Neil and read that. Well, okay, I AM angry.

And I'm sorry but Aziraphale has not lived a guarded life. He has lived a life of fear and anxiety with bosses who underestimate, belittle and laugh at him and think he's soft and rather pointless. Does anyone know what the question was Neil answers?

Yeah, Aziraphale changes a lot in S1 (esp first 2 eps, he's kind of forced to think about the stuff that was always kinda there but swept under a rug a bit in is mind). Crowley throws out - we should do something. This whole Armageddon thing, I don't like it. He is so much a questioner of everything, isn't he. Why does it have to be tis way. Makes no sense, what if... And generally, he doesn't have much to lose. If Hell wins, well, he knows what it's like. If Heaven wins, well, it'd be marginally better? Just about? If he survives to see it? Still sucks balls tho. So yes, David is right that Crowley NEEDS Aziraphale to see things his way and quickly. Cos EARTH.

Aziraphale knows the Earth came with a manual and an expiry date. He even told this to Angel!Crowley aeons ago.

So Aziraphale's journey (is not stopping believing Heaven is good and truth and light) is believing that he has choices. That the Plan might be Ineffable but it doesn't have to follow what he was told it must follow.

Crowley says, look, let's try, what do we have to lose. You like Earth as much as I do. And he gets Aziraphale to agree, they hatch a plan.

We watch Crowley come to love and trust Aziraphale through the ages after all he has been through. We watch Aziraphale to guard their little existence and carefully push at boundaries of what he thinks he can get away with. He wonders at what things are really like. What do they mean.

Their journey, is towards each other.

I don't know how they will smash the System before they fall into a tight embrace and never let go, but I know they will. Even if they have no idea yet that that is even possible. How could they.

And if I see one more post about how Aziraphale was backsliding and choosing his ‘faith’ over Crowley in the Final 15, I will set the internet on fire.

I can never decide if Heaven and Hell are more like mafia or like a dictatorship. Maybe a mix of both. Just cos they couldn't be killed, they were left alone for a bit. Didn't last long though, did it. They needed to be separated so they don't stop another go at destroying the little Universe project God started. I guess the Archangels are quite fed up with it.

Remember. Aziraphale and Crowley have nowhere to go. They never had. The best they could do was keep their little places on Earth. For themselves. For each other. Until they couldn't.

If you thought Aziraphale won't take the chance to have a tiny glimmer of an opportunity to destroy the fucking system in whatever way he can come up with (instead of what, being downmoted, having his memory erased too?), than you don't get him at all. Did he want to stay? You heard him say it. Was he allowed to? (No, really Metatron, nice chat but do fuck off for real now, I have a date with my demon). If you think Metatron wouldn't be back with a punishment for helping Gabriel than I don't know what to tell you.

Remember this?

And then they threatened the demon he loves.

ALSO Why do people keep bringing this back to justify their vague (or not so vague) dislike of Az (but but Neil said "I think Aziraphale needs to learn") cos they think Az betrayed Crowley by leaving or something. The angel is just so stubborn. And he just won't listen to Crowley... right? /s And they ignore all the other wonderful things Neil says about Aziraphale. Especially pointing out again and again and again how smart Aziraphale is. And you can see this. In canon. On screen. In the words and scenes of what Neil wrote. You can see Aziraphale's struggles - he is a part of something he disagrees with and has no way out (Hell is not a way out btw) and tries to live in his existence in the little bubble with Crowley while being extremely careful not to have it burst. Until it inevitably does. Just as he always knew it would. But okay, if you want to have Good Omens be about a demon who figured everything out and is now waiting for his fluffy little angel to catch up and apologise to him (a million times) for being stupid so they can finally ride into the sunset, have at it. TL;DR - Heaven is good and Heaven should/could be good are two different things - Aziraphale is not an idiot; whether he still believes God is good/neutral/whatever and just the management bad or not is up in the air, we can't know unless we ask him, but it's definitely not so simple as he needs to see it's bad, like Crowley did, end of story - The Ineffables HAVE NOWHERE TO GO. There isn't a secret third option where they can leave for and be happy if only Aziraphale opened his eyes - it's what the story is about - Crowley left Heaven for an even worse place. It would make zero sense for Aziraphale to follow his journey. Crowley is not free and doesn't have all the answers - I bet it has never occurred to either of them the whole System can be ever changed (we don't even know if it can be. The System is bigger than the UNIVERSE) - But I think that's what they'll do in S3

[chronicsyd]

"oh you can't say 'Vi doesn't love Jinx like she does Powder' cause with that logic Jinx doesn't love Vi either"

okay, I'll bite. Jinx and Vi Both don't "love" who the other's grown into. Because after being separated for seven years they Both had misconceptions on how the other would turn out like. Vi thought Jinx would be still Powder who was simply being Forced to work with Silco, not that she was Willingly working for him and took the insecurities both Vi and Mylo bestowed upon her and made it her new name/self. Jinx, on the other hand thought that Vi would continue to love her unconditionally no matter How she turned out.

But they were both Wrong.

Despite Sevika telling Vi that Jinx calls herself "Jinx" now, she calls out "Powder" when the two first meet up again, most likely being overwhelmed by seeing her for the first time in seven years, but she continues to treat Jinx like the 11-12 year old that Vi Used to know, much to Jinx's dismay. But you can see the cracks start to form for Vi when she A) talks about her regret in even calling her "Jinx" in the first place and B) when the two are fighting the Firelights and she sees the glee in Jinx's expression in killing them, and it just gets worse from there on out for her. Because that's not the girl that Vi knew, she's changed. And despite everything Vi can't bring herself to love who this new girl is now. Yes, Vi has sat in denial saying she can "get her back", which is part of the problem, Vi's too stuck on trying to get "Powder" back and having things go back to the way they used to be (so yes, Vi doesn't "love" Jinx in the way that she does Powder, people aren't wrong for saying that). And the way Jinx deems that Vi Can "get Powder back" is too much for her, and Vi can't agree with what her sister Wants. She tries to compromise with her sister by "leaving everything behind" but Jinx's own demons don't trust her, and Vi can't see how much distress she's putting her sister in when she tells her to remember Mylo, Claggor and Vander (cause Vi's still set in her ways of "getting Powder back" during this moment).

But on Jinx's side, she claims that Vi "changed to". And it doesn't solely have to do with Caitlyn. She thought that Vi could bring herself to love who Jinx's turned into, despite all her flaws ("I thought, maybe you could love me like you used to. even though I'm... different."), Vi would always be there for her, because that's how Vi's been in the past. Vi's voice from Jinx's past were the thing that kept Jinx going all these years, she said so herself. Despite everything (Mylo's bullying, Powder's insecurities, etc.), the two always had each others backs growing up. The old Vi probably wouldn't've thought twice about hurting an Enforcer, but This Vi can't bring herself to shoot Caitlyn, she simply couldn't do it. And that's too much for Jinx to comprehend. I don't think Jinx can comprehend how or why Vi has let herself grow so attached to this enforcer that she's met merely a couple of days ago but can't show the same for Jinx herself.

Honestly, it's an issue for the both of them, they're both remembering how the other Used to be. And expecting them to still behave in that same way, and grasping with the changes that the other have made has been hard for the both of them.

So, keeping all that in mind; let's talk about "being opposite of what they were in S1" for the both of them shall we? (I'm also gonna add Christian Linke's (co-creator) thoughts from a few days ago as well. I have a lot more to say on Vi than Jinx)

Vi: The main change for S2 compared to S1 is her relationship with Jinx. She probably loses that last remaining hope/denial that she'll ever get Powder back, and with that grows a newfound determination to put an end to the suffering that Jinx has caused. And probably harbors anger and resentment towards Jinx due to her actions. Now deep down would I say there's still love for her sister? hard to say (she probably does in her heart, but her head is going to be leading her this season more than ever) but what I Can say with certainty is that outright forgiveness is off the table. Vi joins the enforcers because she feels what she's doing is right; whether or not you agree is irrelevant. Vi believes she's responsible in the "creation" of Jinx and that what Jinx has done is her responsibility, harboring Vander's words from her past (Christian goes on to ask "can you forgive a monster?" and I think that's what Vi's head sees Jinx as right now, the monster that she created). There's also a discussion of Vi's amnesia from League lore but I don't have certainty if that's going to be put into play this season or not, so something to keep in the back of your mind (for now at least).

Jinx: In S1, Jinx had an unhealthy codependent relationship with Silco due to being tormented by the demons of her past. But with Silco being dead and Vi being committed to taking her down she'll have no one to turn to in the way that she did with Silco. Sure, Sevika's there but their relationship will look nothing like it did with Jinx and Silco. Jinx will have to live for herself and discover her own identity and her own wants for her future; whatever that future holds for her.

[dixonslvr]

That big mouth of yours

18+

Pairing: s1 Daryl Dixon x Fem!Reader

Setting: The Quarry

Warnings: poorly written smut with some plot ig, face f*cking, cursing, c*m swallowing (sorta)

Summary: Secrets out but he gets an idea of how you could make it up to him.

A/N: I’m rusty so if this is bad I’m sorry💀

You had been talking with Amy and Andrea and managed to let out that you and Daryl had been doing it. They instantly bombarded you with questions. “How long have you guys been doing it?” , “Is he any good?”. You trusted them with that secret not expecting Andrea or Amy to tell the group your business.

Merle took that as his invitation to make perverted comments toward you. But at that moment you didn't care. All you worried about was Daryl and the glare he gave you as Merle toyed with you and him about the news going around. You decided to go to the quarry to clear your head and try to figure out a way to get everyone to mind their business

Daryl followed you of course, With the glare still on his face he grabbed you by your arm and pulled you behind the guarded part of the quarry. “Why does everyone know I'm fuckin ya?” he asked staring at you angrily. You began to stammer on your words “I don't know” You avoided eye contact. you could hear him scoff. “Ya well, there's no way someone saw us last night so clearly you blabbed off somewhere”.

You looked at him “Daryl I didn't mean to it just slipped out while I was talking to Amy and Andrea I didn't expect them to tell everyone.” You could see him glance at your lips before he looked away from you. He sighed thinking about the lack of privacy you guys were about to have. “How can I make it up to you?” you asked him in hopes he wouldn't push you away.

You could see something inside him light up as a smirk appeared on his face. “Get on your knees,” he said going for his belt. “I’m sorry, what?” you said with a shocked expression but doing as he said. “Right here? are you sure? Everyone's gonna kn-..” You were cut off by Daryl shoving himself inside your mouth. “Fuck” He groaned in response to the warmth of your mouth. His salty precum mixed in with your saliva as he gripped your hair and began to thrust inside your mouth. His movements were deep and rough hitting the back of your throat and making you gag each time.

the lewd noises of your gagging and his dick slamming into the back of his throat was sending Daryl over the edge. He was grunting and growling as he began to fuck your face roughly. His fingers gripped onto your hair roughly as he pulled out of your mouth to give you a moment to breathe, the emptiness causing you to gasp for air and moan.

he smirked as he began smearing the spit and precum all over your mouth. “From now on I want ya to keep that big mouth of yours shut about what we do in private, ya hear me?” he said. you nodded. “Use your words, sweetheart” he opened your mouth just enough to rest his tip on your tongue. “I understand” You swirled your tongue around his tip. “Good girl, now open back up for me,” he said in a soft husky tone. He slid back into your throat and went back to thrusting roughly. You gripped his thighs to brace yourself as he thrust roughly, his hips bucking and slowing slightly when you began to suck and use your tongue on him.

“Shit Y/N “ He leaned his head back in pleasure and thrusted into your mouth one last time as he came. He pulled out and began situating himself leaving you covered in spit and cum. He looked at you one last time before smirking again and walking off.

[johannestevans]

i wanted to write a BIG essay on disability in House MD but the thing is that as it goes on the show plays and delves with the themes a bit differently - like in s1 they begin to introduce some addict stuff but not too much, and much less of the big grapples with house's own medical agency etc by his friends and coworkers

so i think i'm gonna do an essay series, set up some main themes around disability and autonomy in house

the first things will obviously be about the nature of house's own disability, firstly talking about his physical disability - yes, the lack of mobility from his leg and his reliance on his cane, and also the chronic pain that that comes with, but also specifically noting that house became disabled later in life and was previously extremely physically active

while the themes of house being an addict are extremely overstated because of the us' manufactured opioid crisis and its dehumanisation of addicts due to its racist and eugenicist "war on drugs", it's also noteworthy that he used to exercise all day every day on top of fucking and playing with substances on the side. no one minded this because his "addiction" to exercise was fun and sexy and healthy, bc he was making his own pain-killing substances rather than taking a pill

and then also talking about house's mental health issues - evidence of his autism and the way that people hate specifically his autistic traits, even when they're not actually causing them problems, and the way in which house masks and performs certain emotional responses, but more so like. his depression and his loss of identity as a disabled man, and his difficulties being OKAY with his disability when everyone around him hates disability

so apart from that evidence, the points of house grappling with this stuff will be:

house bonding with other disabled patients - in cases of chronic pain, lost physical mobility, and also mental illness and/or neurodivergence

and house specifically understanding disabled people's perspectives, or thinking about the PRACTICAL needs of the person they're treating or engaging with rather than what society cares about or what the hospital thinks is "appropriate" or "proper"

house bullying abled people for being Weird

times where house makes commentary about the injustice of the system (when he points out that the hospital is designed not to treat the poor, chronically sick, etc)

house being anxious and defensive of his own bodily autonomy (eg when ppl are trying to control his pain management or force him into systems that don't work, take over his medical autonomy, in general try to physically control his behaviours)

esp bc season 1 culminates in the stacy episode where we find that like... so much of house's trauma is not just being disabled

but the fact that stacy OVERRODE his desires, waiting for him to be put into a medically induced coma so that she could make "the best" decision for him and literally being the cause of his current disability. esp bc like...

she specifically went for the middle ground that he rejected, she was NOT a doctor

and in so doing she. invented his chronic pain. like there's a reason that in that same episode, we see the volleyball player who gets an amputation and is able to go back to sports - yes, house is a lot older than that volleyball player, but like

if he had either treated the infarction successfully or just got an amputation so that he could later work with a prostheses, house thinks he would have done much better

and so much of his TERROR around trusting others - not just stacy but wilson, cuddy, anybody else - is because of that. the one person he loved and trusted overrode his desires and created the hell he lives in where he's just in constant agony and he hates it, and the worst part is like

everyone tells him it's his fault. no one cares about what stacy did to him, that she manipulated him. every day they tell house how terrible it is that he does that to others, but when it's what happened to him and he lives in hell, it's on him because he's Mean and Too Autistic and he should just Stop Being In Pain etc

god it kills me.

BUT YEAH i think. season by season is gonna be a lot better to track the development of these themes and the way they shift and change from season to season - also idefk if i'll be able to stick with like. the last three seasons bc they just suck so ba dhfskjjgh

BUT WE'LL SEE

[dangermousie]

Because I am a glutton for punishment, I skipped from ep 4 all the way to ep 36 and the break up.

I really really REALLY love that scene so much because it is so in character and shows how much work Xiao Yao and Tushan Jing both have to do to get to lasting happiness.

I remember at the time it aired, I saw people understandably lose their marbles going "did she just dump her boyfriend for being sexually assaulted?!" and I get where they were coming from, but this isn't really how it read to me. The situation is designed to hit at her issues.

The novel makes it clearer than the drama does than the aphrodisiac is something one can fight through the effects of with strong enough determination but it's not really that. After all, whether it was unfightable or barely fightable, even by the story as presented by creepy fam, man got sexually assaulted with the assistance of his family (literally, granny, fiancee, and brother all teamed up - that was about the only bodily autonomy that hasn't been taken from him at that point!) by any definition and there is no blame to be placed on him. Of course it wasn't right to dump him for what happened to him but also of course it makes sense with all her issues.

The thing is, Xiao Yao means it when she says she doesn't hate him. It's not that she wrongly views sexual assault as cheating (well, sort of, but it ties to her other issues about which more below.) It's that her standards are so impossible (about which more later) and her desire to fight for him is nonexistent - oh she will fight in terms of healing him or protecting him or w/e, but she will not wade into emotional messes. Ultimately, regardless of how it came to be, he now has a woman pregnant with his child (it looks like) that he can't put aside and a family that is dead set against XY. That is vvvvv messy. And he can't fight against all of that by himself but she won't wade into the muck. It was huge enough she was willing to wait for him to disentangle his family mess but that was passive waiting doing nothing. Actively getting into a Jerry Springer situation? No way.

And that is where her standards come in. She wants someone impossibly perfect. I don't mean in body - Jing is cut up and sewn up more than a sample dress pattern and she finds him physically desirable as hell. She wants someone impossibly perfect in fitting to her needs and standards and tests. If you think, the bulk of their relationship in s1 is her setting a series of tests (some consciously and some not) and he has to keep passing one after the other for the relationship to continue. And this is a test he fails for her - yes it may be expecting an insanely high standard to have him overcome the powerful aphrodisiac given him by a trusted family member to boot so he didn't expect it but she wants perfect, however impossible, or nothing. If the score is not 100, she's gonna return it back to the store.

And that's the thing - Tushan Jing rebuilt himself around her - he tailored himself to her to a crazy degree. But yet it's still not enough ultimately because no actual human being can live up to her standard; sooner or later something was going to break. Nobody can be perfect all the time in everything. Everyone who wants to be in some form of relationship needs to figure out what they will tolerate and what they won't. XY is within her rights to decide she won't tolerate giving her heart to someone who is not 100% perfect to whatever she wants BUT the outcome becomes that then she cannot have a loving romantic relationship with anyone, since people are not robots.

The interesting thing is her standards for him are the highest out of anyone in her circle - Cang Xuan fed her hands to worms and Xiang Liu is a gorgeous disaster. And it's fine for her. I think because CX she slotted as family so the issue isn't what he does but what he is (brother) and with XL they aren't in any relationship where there are any expectations.

But with Jing, she admitted to herself she loves him and there is no backstop of him being blood - so she is terrified, and the more she loves him and the more she trusts him, the more terrified she is about being hurt and so the more she loves him, the higher her standards become and the more skittish she becomes.

It's a mess. It is, as I said, not sustainable in long term - we see he spends so much of the season terrified she'll ditch and she spends so much of it skittish. A relationship with such an emotional power imbalance is doomed.

The thing that I love about post breakup is that she gets a salutary shock. She clearly thought she could cut and run - she could break up with him and move on cleanly. And then she finds out she can't. She still loves him, she still misses him, she still grieves him.

And that is so necessary - her reaction to any kind of trouble is to cut and run and it's so ingrained and so a self-protective instinct that she NEEDS to have the running not work, not protect her, so as to realize not just how important Jing is to her, but that it's worth to forgive humanity, to fight for him in messy situations, to deal with complications - because that is the only way she can be happy, that escape doesn't solve things. She needs to realize that abandoning doesn't work, that he's important enough to her life to stick around and fight for him.

And of course Jing needs to realize that kindness is great and retiring is great and all that but bad people will NOT leave you alone, will not leave those you love alone, so you need to fight.

It's an interesting and telling gender reversal.

[hacash]

I’ve said before that I think it could make sense that Nate might want to return as assistant kitman for a little bit - to concentrate on being happy, to be one with the guys, to join in with all the team rituals he was barred from in S1. I also think that, going by clips from 3x12 and dialogue from 3x11, it’s not ridiculous to assume that he ended up back as coach, and that the kitman stint was intended as temporary (and likely done at Nate’s instigation).

However, do to that well it really needed a couple of additional scenes, which I can only assume had to be cut to save time...

-

“Good to have you back, mate,” Colin says, coming up to Nate while the team come together, chatting and laughing over Isaac’s costume. “But what are you doing as assistant kitman? We thought you were gonna be our coach again.”

“Oh! Oh, I know that. But, you know, it was all very sudden, and there wouldn’t have been time to draw up a new coaching contract before the season ended, and I still wanted to return in whatever capacity I could, and I - ” Nate’s cheerful ramble ends, his gaze slides over to where Will is shaking Isaac’s hand, “I had some unfinished business here, you know? Besides, I always enjoyed spending time in the locker room with you lot.”

“Glad to hear it, boyo. But you’re going to be coaching us next season, right? We didn’t trek it all the way over to Tooting just to set you up doing laundry, you know.”

“Hey, I’ll have you know that my fabric softener blend has been much sought after by members of the team,” Nate snarks. “And their mums.”

Colin just looks flatly at Nate.

Finally Nate grimaces, eyes briefly tensing shut. “I…I don’t know; alright, Colin? I just – I didn’t behave well as a coach at all when I was here, and I don’t know if I trust myself to do the same thing again, you know? I don’t think I deserve to be your coach again.”

“Oh, come on, you weren’t all that – ”

“No, no, no, let me say it – that was something I was wanting all my life, you know, and I,” hands flail, “I fucked it up, alright? I made mistakes, and I hurt people, and I just – I’m not sure if I want to put myself back there yet.” Nate sighs, visibly pulling himself together. “Look, for now I just want to enjoy my time here and focus on the last game, alright?”

Colin sighs and huffs, but he nods. “Whatever you say, Nate.” He glances around and lowers his voice conspiratorially. “Look, rules are rules and all, but me and the Honourable McAdoo are gonna split your fine between the two of us, yeah? No need to worry about it.”

Nate laughs. “Well, that’s very generous of you; but if I’m part of the team I want to be part of the team, and I can afford it now – ”

“Nah. Don’t worry about it, boyo. Just some unfinished business, yeah?”

Colin tips Nate a wink and heads back into the group of laughing footballers, leaving Nate watching them all. His eyes travel over the Greyhounds – the team he once said could do anything, his smile broad – and then, as his smile softens, he glances back to the coach’s office. Ted can be seen in the window, talking to someone.

Jolted out of his reverie by someone’s laughter, Nate looks back to the footballers. He laughs genuinely, loudly. When Bumbercatch gestures him into the crowd he joins them, willingly. He’s part of the team.

-

“No! No, no, no, that’s…that’s lovely.”

“Knew you’d understand.” Ted pauses, smiles. “Mind if I ask you a personal question, Nate?”

Nate’s still blinking back tears, but he manages to muster a deep breath. “Of course, sure.”

“What the heck are you doing back here as a kitman anyhow?”

Nate nearly flinches again, as if Ted has snuck up on him a second time. He looks around sharply, but Ted is just staring up at the wall, smiling.

“Sure wasn’t expecting it, when I came in to see you folding towels again.”

“I just…didn’t feel it was right to return as a coach yet,” Nate says. “It just didn’t seem right.”

Ted looks at him, until Nate blushes and glances down. Finally Ted nods.

“Right, right. Well, I get that. After I came home and found out that my dad died I dropped out of my high school drama club entirely. Kept thinking that if I’d just got home in time that day I coulda gotten him the help he needed, I felt it was only right.” Ted’s words are soft. Nate blinks in surprise, looking at him carefully. “Just landed the role of Kenickie as well. Heckuva thing, could have landed myself a career on Broadway rather than Richmond.” He smiles. “I just wonder…what would have happened if someone had pointed out that I was just wasting time punishing myself, you know? That it wasn’t helping anyone to deprive myself of something I loved, least of all me.”

Nate bites into his lip. He’s trying not to cry.

“Right. I…I think I understand that.”

“I knew you would, Nate. You’re a smart fella.”

Another pause.

“I just need to think about it, Ted.”

“Well, you’d better think long and hard about that sucker,” Ted says. His eyes crease gently. “After all, after this week there’ll be a space going free on the coach’s team for someone with plenty of smarts and a big old heart as well. I can’t think of anyone better for the job.”

Nate visibly softens as he looks at Ted. “You’re really going back, aren’t you?”

Ted pauses. His eyes flicker back up to the space where the poster used to hang, and then a tender smile deepens. “Time to go back, Nate. I didn’t know how much longer I could take, not being with my little boy.”

Briefly Nate hovers, and then touches Ted’s elbow. “Yeah. Yeah, I get that.”

-

“Aren’t you going to stand up with the other coaches, Nate?” Will asks as they sit together, awkwardly watching eleven grown men openly weeping on the pitch.

“I’m the assistant kitman,” Nate murmurs absent-mindedly, already chewing on a thumbnail. God, he’s nervous. “To. Assistant to the kitman.”

There’s a pause. He glances across to see Will glaring pointedly at him.

“You get a better view from back here anyway,” he adds weakly.

“Uh-huh,” Will says, not sounding particularly convinced.

-

Throughout the match Nate is on the edge of his seat, almost straining at the bit. Unable to join Roy, Beard and Ted standing on the sidelines. Not quite part of their group, but not in amongst Will and the physios and the reserves either. Eyes fixed on the Richmond team.

Whenever the Greyhounds miss a pass or take a tackle Nate winces. Halfway through the second half Ted turns and sees a notebook has appeared in Nate’s hand: he’s jotting down notes without even taking his eyes off the play. Ted smiles to himself, and then turns back to the game.

When the additional seconds of time are added Nate’s on his feet: still not joining the coaches, notebook still in his hands. Staring onto the pitch as if his life depends on it. Nate’s eyes are flickering as Roy and Beard debate the merits of trick plays - murmuring beneath his breath, brain going into overdrive, and then – oh. Ohh.

Realisation dawns on Nate’s face. On Ted’s face. Their gazes meet.

“Oh my God,” Nate says softly. Half a whisper, half elation.

“Yep,” Ted is going – grinning, already beckoning Nate to come forward. “Yep, yep, yep, yep, yep – ”

“You sure that – ”

“Yes.”

“You really think it’ll – ”

“Yes! Hey, hey Jamie!” Ted hollers for Jamie’s attention and then mimes handing something over to Nate. “It’s an Oscar!”

“Or a Tony Award!” Nate hollers. He’s grinning.

He knows where he belongs.

[sarucane]

Why did Ed want to "take it slow"?

Gonna do a few posts analyzing Ed's character development in the second half of S2--it all makes sense but the rush is on starting in ep5, so it's fun to unpack!

Ed came back to the Revenge because he wanted to give his relationship with Stede another go, not because he wanted to go into "recovery." But by the end of the episode he's asking Stede to take things slow, and at the start of e6 he's brooding nonstop about his guilt.

So what gives?

In this episode, Ed gets back to a place not dissimilar to where he was on the beach in S1E9--but he goes deeper. He's not exactly sure who "Ed" is, or what "Ed" wants. Like at the end of S1, changes in clothes directly lead to Ed evaluating his identity.

But while in season 1 Ed turned outward with this, grabbing onto Stede with the China plan and grabbing onto the crew with the talent show business, in s2 he turns inward.

Which is good really, because Ed needed to do that work. Running away to another place or putting on another identity won't let him escape himself.

But here's the bit that stings, but makes total sense: last season, Ed saw Stede as the only solid ground in his shifting identity. This time, while it's good that he's focusing on himself instead of externalizing, he's also not willing to trust Stede. To be a partner who'll help him figure out himself and their relationship. And he's not willing to trust himself with Stede, either.

Like in S1 at the "Wayward Seamen" school, Ed ended up having this identity crisis because of Stede. He went to the school because of Stede, and he came back to the Revenge because of Stede.

When he got back on the ship, Ed didn't want to reform, and he didn't want to deal with the consequences of his actions, on himself or other people.

But he did commit to "abide by the guidelines," and he did surrender all his authority on the ship. Because one part of his speech is sincere: he really wants to be on a safe space ship.

First, Ed sets out to stay busy and try to fix things. He pushes Stede to be a better captain, fixes the door, and looks for a shortcut with Lucius. But then Fang comes along and invites him fishing, and Ed does just that. Jumping right into the water (symbolizing: the subconscious).

And when he's fishing, Ed has practically no choice but to reflect. Ed asks Fang if he thinks Ed's a dick because he wants reassurance--he's shocked and resistant when Fang says "of course" he's a dick. And he's not only genuinely stunned when he learns that he was terrorizing Fang: he immediately apologizes.

And then Ed starts to really think about how his actions have affected people. He starts talking, again trying to figure out what he can do to fix it--and Fang doesn't let him rocket off into some hypothetical or justification. He makes Ed sit and think.

And Ed accomplishes something. He catches a perfectly fine fish and tells a story about it--he's made a controlled incursion into the subconscious, represented by water, and come out with a prize.

And then Ed's torn. He does really want to be with Stede, he's the one who initiates romantic-ness. He wants to be someone who can have "fine things," now represented by Stede's red shirt.

Yet, he also breaks the kiss quite quickly. Same for the hand-holding. And he and Stede do walk off together, but they're not touching, and they're discussing a neutral topic.

Ed knows that "to love the sea as she must be loved requires change." And he knows that he's changing, that what he's figured out about himself today is both important and very open-ended.

Ed and Stede need to talk about this stuff in order to succeed as a couple. But they don't. Stede tries to head off deeper discussion of why Ed wants to go slow, saying "oh I know," etc. And when Ed explains why he wants to go slow, he can only discuss it indirectly. He says "sometimes it's nice to be patient," and "you can't catch catch a fish...," and even admits at the end of the metaphor that he's not sure what the fish represents.

The last time Ed got vulnerable with Stede about his uncertainty around his self-identity, two things happened: Ed followed a whim and unknowingly dragged Stede along, and Stede left him. So, Ed doesn't trust either Stede or himself with Stede.

To Stede, this relationship is solid ground. He's been building it up in his head for weeks, dreaming every night, writing letter after letter, ranting to anyone who will listen. He's created this story and he believes it will become real--and he's not wrong. After all, the Revenge and its safe space is a story he created too, and it's real all around him.

But to Ed, their relationship is a place of risk. It's also a place of hope, but he's painfully aware that despair is the other side of that coin. Stede can say "I love everything about you" all he wants, but Ed has good reasons not to trust that.

Ed's right: the fish doesn't want to be caught. The moon behind them in this scene isn't a perfect romantic dream, it's a work in progress.

That said, fish never want to be caught!

A decision has to be made to do the work needed for a relationship. Stede's made that decision, made it when he decided to write letters every day whether Ed wanted them or would read them or not, made it back on the Red Flag when he began to really understand Ed's damage.

Ed loves Stede, but he doesn't feel safe being vulnerable with him. He doesn't have the solid ground he needs, either in himself or in his bond to Stede, to be able to make a decision like Stede's, to do the work in a relationship.

Not yet.

[raayllum]

Now, don't get me wrong, by all accounts, Rayla isn't a particularly 'good' assassin. She fails to follow mission orders when she's actually given them (1x01, 1x02) and outright defies them (1x03). A lot of this is because of her own sense of morality and compassion, which is exactly what Runaan criticizes her for and what Ethari worried about.

R: Your heart isn't hard enough to do whatever it takes.

E: I told Runaan you were too good hearted for the work of an assassin, so I know you did not betray them out of malice.

However...

There is still a reason that Runaan thought she would be a good assassin. Part of that is because he's a lot like Claudia, his love for his family obscuring a more objective reality. The other part is that, other than her 'too soft' heart, Rayla has what she needs to be an assassin in terms of the skill set (her blades were at Marcos' throat) and because she doesn't always listen to said 'soft heart'. In fact, she often tries very very hard not to (see a lot of early S1 in particular).

“Of course. For…” she chewed her lip and counted on her fingers. “Hrm, maybe fifteen years now. Anyway, you can call me Redfeather.” [...] Rayla felt her heart turn soft in her chest in just the way she hated. She wanted to know more, had to know more. “What did you do?”

Now, we see that in S4 Rayla is a lot better at well, not listening to that soft squishy part of herself, and that Soren was less good at appealing to her about it than Ezran. Some of this is probably because he pivoted away from the dragon and went after it from an identity standpoint — which, not only does Rayla have a pretty malleable sense of self in her own head, she does not believe that any part of whatever identity is there is particularly good / does not think she's a 'Good' person quote unquote — but this was absolutely doomed to fail post-return. Spending two years alone, trying to singularly hunt down a man and murder him, and knowing all the while that you hurt the people you love the most and have nothing to show for it... Yeah, no one's gonna be in the best head space for that, or be overly inclined to trust their own judgement or capacity to save people.

Like most characters in the show, Rayla struggles with always knowing what the right thing to do is, and what served her well in the past — trusting her gut, taking on things alone, laying herself down in the line of fire, removing her hesitation, and going to save Phyrrah in 2x07 — may not always serve her well in every scenario. She thought she was right to do all the same things when she went after Viren, didn't she? So she errs on the side of inaction, of not wanting to make another mistake by acting with her heart rather her head (again), and inadvertently waltzes into another mistake (Soren being captured and going missing).

Rayla will do the right thing, and hate herself for it, and will stubbornly ignore the signs screaming at her when she isn't doing the right thing (and she'll hate herself for that, too.)

[ Sidenote: bonus post about how Arc 2 increasingly treats more and more character traits and decisions as circumstantial rather than inherently good or bad ]

As she says to Ezran:

R: I let him go. I don't know why. E: Because you felt for him. R: But he was a human — my enemy! E: Yeah, but then you saw he was scared. And you knew he was a person, just like you. R: That shouldn't have mattered. I had a job to do.

I think we can read this in two ways. The first is that to be an assassin, you have to be able to dehumanize others on a fundamental level because you're 1) murdering strangers 2) on someone else's orders. Although Runaan preaches about balance in Bloodmoon Huntress (when you kill someone, you remove their capacity for love and change) we have all of Arc 1 talking about why that mindset is flawed and isn't good enough, especially because it culminates in Harrow's death when he still had plenty of things to love, like his children, and so much he wanted to change, and it would've led to Ezran's death as well. This is one of the reasons why assassination and dark magic, conceptually, often go hand in hand for the characters and their explorations of personhood and the right thing to do, etc etc.

The second way is that Rayla, by ignoring her own wants and personhood — her own heart — is also dehumanizing herself. It shouldn't matter that she's a person with wants and weaknesses; she had a job to do. We see this reflected in a lot of her behaviour ("Don't worry about my hand. The egg is all that matters now" —> "It's agonizing. But I know our mission comes first: the world is in danger, and you can trust me to stay focused") and in Runaan's / Moonshadow elves infamous "I am already dead" thing.

(There is also the factor that, because her and Callum mutually informed the construction of each other's new senses of identity to an absurd degree, if Callum doesn't want her then she doesn't know / doesn't have a firm footing on who she is anymore without him, but that's a codependent post for another day.)

All of this is a very long winded way of saying there, much like Viren and Claudia, are two consistently contradicting aspects to Rayla's personality that she is catapulting between, and the Assassin Rayla and Protector Rayla are, as of S5, still equal parts of her as she finds her way. Both have good and bad qualities of her, even if the Assassin Rayla side is — let's say more negative — and far more worrisome given what Callum has asked her to do if he is possessed again, and how it seems like S6 will be going full steam ahead in exploring that plotline.

In a lot of ways, Assassin Rayla and Protector Rayla have the exact same set of traits — selfless, protective, strong, willing to sever close bonds or divert from the mission to do the Right Thing — but instead describe the circumstances she's making those choices in. Protector Rayla is the one who stands against Runaan on the battlements; Assassin Rayla is the one who refuses to prioritize her parents even when she absolutely could (or at least, more than she is).

Assassin Rayla causes her to forget her own needs and put the world above everything else. Assassin Rayla causes her to ignore other people's needs, either not helping them (although iirc 4x05 is the only real example of it) or by leaving / keeping secrets.

The part of her we don't want her to listen to, the part she listens to when she's Scared — the one that walks away from the drake in 4x05, that tries to walk away in 1x09, and what led to her leaving, in a lot of ways, in TTM (both out of love, trauma, and a desperate need for control) — and how S4 reaffirms those qualities is precisely what may lead her to hurting Callum (again) in S6.

Because Callum is asking her to become an Assassin, Aaravos marks her as a failed one, and Rayla still — deep down — wants to ultimately be a Protector. We'll just have to see what side she answers to (and why).

More thoughts on Rayla, identity, and murder to follow lmao

[faejilly]

so I wanted to riff off of @alexanderlightweight's response to the Alec/Bow/Quiver/summoning meta post by @ralfstrashcan that I reblogged recently, but also I didn't want it to get lost in an increasingly long reblog chain, so I'm gonna quote and start over here:

100%

my headcanon is that it's alec's shadowhunter ability like clary's rune ability and apparently the herondale ghost talking ability(??)

if we really want to take it a step further. we can even talk about how izzy has specially made weapons that have to be super tricky to use which means weapons ability

but that's just my brain. which made that one scene where alec goes back to the institute make no sense, to retrieve his bow because literally every other time he doesn't need to (they just wanted to give clace the training moment and set up the whole hodge thing)

1: I also think Alec's 'have to go get a bow' is just an excuse, but he's using it to a) get away from Jace behaving incomprehensibly & Clary being So Very Clary, AND b) to cover their tracks now that he's realized just HOW comprehensively his siblings are going to go off the rails in the next day or so. (And on a narrative level I really like the scene with Hodge so I'm glad it exists. 😅)

2: I headcanon that part of the reason Alec (& to a lesser extent but still noticeably so, Izzy) can get away with pushing so many Clave/Nephilim boundaries without actually getting deruned despite their parents being on Thin Fucking Ice™️ with well, everyone, is that they have inherited both Family Traits and that's valuable enough (especially after all the losses during and after the Uprising) that the Clave really really doesn't want to get rid of them.

(Similarly, there's some hope that Jace and/or his expected children might show signs of the Wayland traits coming to life again as they've died out otherwise. Obviously that goes a bit sideways once they finally pick up on How Very Herondale he is, but luckily he's Herondale so that's still a benefit.)

Truebloods: very literally truth-tellers. Variations on their skills include the ability to recognize lies, off the charts charisma when they are invoking what they believe to be the truth, and an ability to make the most awkward truths palatable to audiences that normally wouldn't want to engage with them. They were traditionally the guardians of the Soul Sword whenever it left the City of Bones, but that honor faded away over the years as the Council with the Consul/Inquisitor as heads centralized power in their own hands.

Izzy can be seen doing this during her trial, because even when her personal behavior has included digs & microaggressions against Downworlders, she believes that they as a people can and should do better and her speech clearly works in-universe because of that resonance of truth.

(She even occasionally manages the sincere/heart-felt clunky dialogue that works despite being clunky that Alec's so good at, and poor Jace doesn't, despite his best attempts, because for all he's a Lightwood in every other way that matters, he's not actually part Trueblood.)

Maryse has several hints of Alec's same blunt (inexplicably successful) sincerity once she lets herself stop hiding behind Politics & Expectations. When she's upset with Izzy about spending time with the Seelie in s1, she has a line that always felt very self-recriminating to me; (I'm paraphrasing here since I'm too lazy to pull up the script or episode): 'never trust a people who can't lie, they'll find more imaginative ways to stab you in the back'. She knows this about the Seelie because it's what she's always done.

(Alec's shock at his parents being in the Circle can't be because it's against their politics as they've never really tried to behave better. Perhaps it's because it never occurred to him that they could lie that well. Especially his mother, since he has a much better relationship with her than Robert.)

This means that Maryse buying into Valentine's rhetoric was invaluable to him, because she could back him up and help make sure people would fall for it, because she was a Trueblood. Equally, when she turns, that is part of why the Clave lets them back in. Her vow to now toe the party line is completely believable, because she promised on her children... who are also Truebloods.

This also means that their bloodline is one that would not always be popular since they can call out power when it's behaving badly; thus the apparent decline of Trueblood standing in the way that the show refuses to ever really acknowledge it in the present day timeline, and instead talks about Lightwood honor.

(But countered in the way The Clave doesn't move directly against Alec Lightwood, HotI, despite gay and living with a Downworlder, despite how much clear disdain he has for so many of them and their policies. They aren't willing to risk what a Trueblood could do if pushed into active rebellion.)

Lightwoods have a much more palatable martial gift. Their affinity for the adamas in their weapons means they can bond with them, sometimes strongly enough to summon them, manipulate them in the field, adapt them and rune them and enhance them in ways most Shadowhunters can't. (We never see anyone doing anything resembling Alec runing his arrows in s1 after all. What if most of them can't?)

As shown by Izzy in s3 as Weapon's Master, in Alec's ability to beat his parabatai (the supposed best fighter of a generation) when they're sparring with weapons even if he loses once they get to hand-to-hand, Izzy's unique skill with a whip, Alec fighting with everything he gets his hands on, from seraph blades to his signature bow to actual arrows for stabbing. (As seen in everything in ralf's original meta post and delightful fic.)

There's even something in the fact that Izzy was interested in joining the Iron Sisters (which while prestigious also involves even more sacrifice from a people who have to sacrifice a lot already and are thus vital enough that they let Cleophas join despite her past because they needed her) and yet Izzy stayed active duty -- and presumably eventually marriageable.

(I frequently wonder if part of why she chose to make herself as unpalatable as possible for a traditional/political match was a lingering bit of awareness that that was what The Clave most wanted from her, regardless of who she wanted to be.)

ALSO! There has to be a reason that Robert Lightwood was valuable enough to keep even when they got rid of Maryse, a reason the show reiterates Lightwood honor over and over again, a reason he & Maryse got to be co-Heads of an Institute (even if the general fanon that they were more constrained than most Proper Heads does fit what little we see), and we never actually see Robert fighting or sparring, but we are repeatedly told that his children are the best of the best.

But it's seldom mentioned as a compliment, is it? More like an expectation. They're Lightwoods, they have to be the best with their weapons, or what is the point of them? It's just another weight added to Alec's so-called crown, another expectation Izzy has to both flaunt and fight against every day so she can have at least a little bit of herself left to hold onto.

(The one thing Jace is good at, the one bit of the monster his father built that helps; he's as good with a blade as a Lightwood. It's the only thing that gives him hope for redemption, the only thing that gives him enough conviction to ask Alec to be his parabatai and protect his soul from himself.)

[jesncin]

I think what's funny about MAWS S1 is how the build up to the show's attempt at allegory for xenophobia don't really affect Clark's character that much. His anguish before he fights Parasitezilla is due to the general's exposition holograms, and it ends up feeling that stuff was just there to set up Lois's speech. Also, I just find it funny how the show had Ma Kent take the time to knit the shorts- not a whole suit, just shorts.

Exactly! I've said that this show has a "short term memory loss" problem where it slaps on a theme to a series of disparate events and doesn't go back to check if those scenes reinforced the theme they were leading up to. Parasitezilla/Ivo's motivation as a villain is unrelated to xenophobia and makes no sense (we can't trust Superman, he's some nice stranger! Unlike me who will provide self defense suits you'll have to pay to use, therefore you'll be more,,, trustworthy somehow? Because you paid a product to protect others and yourself? Never mind that his tech made no sense either I could go on about how awful their Parasite is). It makes it so Clark (or his friends) don't actually go through character development. Stuff just happened.

Haha I think it's so funny that people praise Ma Kent for adding the red underwear because on a meta commentary scale it's a return to form to have Supes in the red trunks again- but like in the context of MAWS Ma Kent was a total freak for doing that! Clark was gifted with a suit from an essentially dead culture and Ma Kent's first reaction is hmm I'm gonna add red underwear on this sacred dead foreign culture's outfit. It's clear the writers wanted to have their cake and eat it too- they wanted that magical girl transformation scene where the Kryptonians bestow an outfit onto Clark, but they're attached to Ma Kent sewing the outfit too so this was their compromise. Freak Ma Kent lol

[fireflysummers]

Final Thoughts on GO S2

I'm probably gonna pull back on discussing S2, at least publicly, after this. I did actually like a lot of the season, but it's triggering some of my religious trauma and also the fandom is already stressing me out. So here, let's have some final thoughts.

First and foremost: I am not a Gaiman simp. I've read a decent amount of his work: comics, short stories, essays, and novels. Aside from Good Omens, I've liked Coraline and The Graveyard Book the best by far, whereas American Gods just. Did Not Connect with me, even though it's should have, given the stuff I tend to enjoy.

However. Regardless of whether I like a given work (or even like how he adapted it, a la parts of The Sandman TV series), he is a veteran writer who has proven that he does, actually, know how to write a story with consistent characters.

Beyond that, I do actually believe that he's trying to do right by Pratchett, and loves and respects the story and characters they created together. He's generally shown up as an ally to a variety of social causes, and directly and respectfully responds to fans on Tumblr. While no saint, I feel that there is cause to give the benefit of the doubt that things will resolve satisfyingly in S3, and that there is Intention about some of the things in S2.

This, of course, does not absolve it of being "bad," but even here I think we need to articulate better the different types of "bad" that people are reacting to. There seems to roughly be three camps here: 1) People who thought it was "bad" because of how it ended, with the breakup and a lot of unresolved plot threads; 2) People who thought it was "bad" because it struggled on a technical level with its set, lighting, directorial choices, editing, etc; 3) People who thought it was "bad" because they felt the characterization was significantly off and that the internal logic of the series had been violated.

With regards to Point One, the only solution is to Wait and See. Judgement should be reserved until the story is properly finished--easier said than done, especially considering the current media landscape, and the number of series or franchises that fail to live up to their promises.

Point Two isn't something I understand well enough to contribute meaningfully, except that I suspect the pandemic affected this aspect the most and am willing to give it a bit more mercy. That aside, I for the most part I don't find it bad so much as not as good as S1. Except for the parts with epilepsy warnings, surely there could've been a better way to do that.

Point Three... that's the stumbling block for me, and I find it interesting that most of the folks who struggle with this point in particular are long time fans of the book.

I trust that instinct.

There are two different directions to go from here. The first is the assumption that these problems are a result of ego, carelessness, or lack of skill from the showrunners/writers/director. It's cynical but not unjustified. The second is the belief that the breaks in lore or characterization were intentional, building towards a much grander conspiracy. Of course, even in this case I don't think it forgives the lack of signposting that would indicate that this is a choice rather than an accident. It just makes it feel clumsy and poorly constructed, a major risk on a show that hasn't had its third season confirmed.*

However, regardless, it still feels salvageable. I've enjoyed reading a lot of meta on all this, and I've pulled some things from others (particularly That Theory by @ariaste), but I don't really want to put forth a single, defined theory myself. Instead, here's some questions I've got, why those questions are important (to me, at least). Actual theorizing comes after, and anybody who snidely mentions Sherlock in the comments or tags is going to get auto-blocked. Like seriously, I'm aware that some stuff is a stretch, but it's fun??? To theorize????? And I'm here for me and my peace of mind rather than trying to argue a point.

*I have some suspicions here, particularly with Gaiman stating that the decision from Amazon would come much faster than The Sandman's second season (which was four months). I don't know enough though to say if that's actually significant.

Questions

Who the fuck is telling this story?

This is the most important piece, in my opinion. There's this assumption when reading books (or research papers, newspapers, etc...) that the narrator who is writing the words is a non-presence, Neutral and objective. That's not the case, and an important part of literature critique is figuring out who the narrator is, and what their goals are. Oftentimes, the narrator and the author are the same person, but with Pratchett's work, particularly on Good Omens and Discworld, the Narrator was its own unique character.

This is why people struggle adapting Discworld to live action--that medium requires a Reason for having a Narrator, and especially in the age of method acting that's often considered immersion-breaking. Good Omens worked so well because they not only kept the Narrator, but they made Her God.

This added some really interesting new dimensions, such as the scene where Crowley speaks to God about his fall and the destruction of humanity. He doesn't receive an answer, but we're watching from God's perspective, so we as the audience know that She's listening.

Another advantage of making God the Narrator is that it justifies all the goofy little asides we get into the lives of minor characters (i.e. Leslie the Mailman), without losing focus. It helps the world feel like it’s full of people, rather than characters and plot contrivances, and the theme that individual people and their choices are important. The Narrator is such a central character of Good Omens that without it, the story struggles to stay focused.

It also highlights a key difference in the writing styles of the two authors. Pratchett’s work tends to introduce four or five totally unique plot threads that feel completely disjointed until the last act (if not even later), when it turns into a Chekhov’s Firing Squad. Plot twists around secret identities and backstabbing and schemes are relatively rare, as the omniscient Narrator doesn’t lie about the intentions of people or their actions.

Gaiman’s writing is typically not like that, to my knowledge. He buries characters in misdirection and hints, and you never know the true identity or motives until all the chips are down. It’s a perfectly valid way to approach storytelling, but it makes it jarring to see it in S2. The lack of a Narrator is a huge reason why S2 doesn’t feel like Good Omens to some folks.

My gut feeling is that the decision to shift from the original Narrator was highly intentional. It helps to obscure the thoughts and intentions of people, and it also muddles the insights that we’re supposed to take away. (I would have loved hearing God monologue about what’s going on in Jim’s head. I think it’d do a lot to make him seem less.... obnoxiously stupid.)

More than that, it brings up a reasonable potential plot point of: Where did God go? Why isn’t She present in the story? Even in her early appearance in the Job flashback, she doesn’t sound like the narrator for last season. After the first part of her speech (which Gabriel later quotes), her tone turns casual and condescending, which might line up with her being a bit of an asshole, it doesn’t line up with the whole “dealer of a mysterious card game who is always smiling”).

Also, I don’t think it’s safe to assume that nobody is telling the story either. Just because they’re not making their presence known doesn’t mean they aren’t there, and in a story like Good Omens, that’s concerning.

Wait, where's Satan?

Another person I saw while scrolling the tags pointed out that Satan is nowhere to be seen this season. He's really only mentioned in reference to a bet God made in Job, but then Crowley is the one on the ground causing mischief. There's no Hail Satan among demons (like Hastur and Ligur did at the start of S1).

That's might be because the writers didn't want us to think it was important (a la Hastur), but that feels off. Given that Satan speaks directly through the radio to Crowley in S1, complimenting him on his work, it's safe to say that he was at least aware of and involved in the goings-on in Hell. The fact that he wasn't even an worry for Beelzebub in abandoning their post? Feels weird.

(Also if you know where that post is, I'll happy credit + link)

What is Maggie?

Look, I love cute lesbians in love as much as the next queer, but I don't like Maggie. I don’t think she’s a person. Contextually, she’s a plot device, but I agree with That Essay that she might be an actual Plot Device.

Her characterization is simple and relatively shallow—a bit of an airhead, ray of sunshine that’s supposed to remind you of Aziraphale. When she describes her past to Nina, it’s almost robotic (also, her story implies it was Mr. Fell who first rented to her ancestor, not Mr. Fell’s great-grandfather like Nina implied). Her emotions are over-dramatic and seem to be turned on and off at random (scenes with her crying to Aziraphale about her woes had my “manipulator” senses going off for some reason).

When asked about a song, she not only IDs the song, its singer, and its year, but how and on what it was distributed. (Honestly thought this would’ve been something interesting, because she’s been pretty ditzy so far, it’d be interesting if she had like... an insane memory for music history.) And then she’s the one that sets Aziraphale on his little investigation by giving him the transformed records, while also planting the seed about her love troubles with Nina. Later, her advice to Crowley is... not awful, but feels insincere and a bit too forward, given her own self-proclaimed lack of relationship experience.

I don’t know what she is (a demon, hastur with amnesia in disguise, a literal plot device inserted by the current storyteller, etc...), but there’s something not right with her.

(Also the joke of “who listens to records anymore, it’s so old fashioned” just doesn’t land, lots of people buy records, and I’m saying this as somebody who has worked at a record store before.)

What's going on with Aziraphale?

There’s something Off about Aziraphale, and it’s not his choices at the end of the season. That makes total sense if you read him as somebody with severe religious trauma getting dragged back into the abusive system because other people need him and he’s been promised the ability to change things.

But I do think something is happening to his memory. Nearly all the flashbacks are from Aziraphale’s point of view and retelling, which means that they’re less reliable than God’s version of events in the previous season. Many of them don’t make logistical sense (post-church scene in 1941), depict Crowley as meaner or more sinister than we know he is, or frame events... weirdly. The scene with him trying food for the first time feels Really Bad, especially when the series has previously established that he’s a) prim and proper and b) his interest in food is one of the beautiful things that connect him to humanity, not some kind of gluttonous sin. Also he turns down alcohol.

Their meet-cute at the  start of the universe also doesn’t line up with their reactions to each other in Eden, or the fact that knowing each other Before has never come up or been hinted at anywhere ever. I don’t know what’s causing this to happen, only that Aziraphale repeatedly looks pensive when coming out of flashbacks, and Crowley is never there afterwards to corroborate said memories.

His actions also seem pretty inconsistent with what we know of him—i.e. I refuse to believe he would ever mistreat his books, even if they’re just old encyclopedias. Also, he feels a bit too...forceful in trying to get Nina and Maggie to fall in love? I mean, he didn’t exert that much direct influence on even Warlock, when he was actively hoping that the boy would turn out angelic rather than neutral.

I don’t think this removes his agency in that last decision, so much as explains how he was in such a vulnerable place at all. He still needs to apologize and fix things, because he messed up, and even if he hadn’t he still seriously hurt Crowley.

What's going on with Crowley?

There’s something Off about Crowley. The most obvious thing, of course, is his memories. At multiple points in the present day, characters state that they remember him or have met him before, only to be met with confusion. This is especially concerning given that he has a nigh photographic memory for faces (something mentioned in the book when he immediately IDs Mary Loquacious, 11 years after a 30 second conversation).

Overall, he seems to be better known by other supernatural entities this season, in ways that often tie him back to his angelic identity (i.e. saying they fought together in the war, Aziraphale stating he knew the angel he used to be, etc...). This doesn’t feel right, because S1 we see that Hell is largely apathetic towards his schemes, and definitely does not defer to him at any point in any capacity.

Then there’s the issue of his power level. It’s always been speculated that Crowley was a powerful angel prior to falling, when he mentions in S1 his involvement with star making, his seemingly unique ability to freeze time, and creating a pocket universe for Adam before the confrontation with Satan. He also has a tendency of breathing life into inanimate objects, like his plants or car. He also has the regular demonic skillset: miracles that can adjust physical appearance; the ability to change inanimate objects (like paintball guns into real guns); the ability to manifest clothing and similar items; and summon hellfire to his fingertips. This, plus the way he monologues to God with a degree of familiarity rather than reverence seems to indicate that he was Somebody Powerful and Important Before.

But in S2, his skills are significantly expanded upon. The miracle he and Aziraphale summon sets off alarms in heaven and hell, and it’s powerful enough to mask Gabriel from the Archangels. He summons a miniature sun to rain fire on Job, which is way bigger and flashier than anything we’ve seen him summon in S1. (If he needs fire, he alters the course of a dropping bomb, without creating one himself.)

Yet he’s able to cloak his presence so well he goes wholly unnoticed in heaven, or in front of heavenly agents on earth (i.e. the Job flashback). Muriel can’t clock him as a demon, or even as another supernatural being, despite their auras usually being pretty significant, such Aziraphale immediately sensing the archangels when they arrive.  He’s able to interfere with files that Muriel claimed required clearance (although I feel like that might just be a snark about Obeying Without Thinking? I would really need a Narrator to know.)

I might be misremembering, but I don’t think we’ve seen angels or demons transmogrify living beings before either. In the book, Crowley brings Aziraphale’s dove back to life after the failed magic show, and occasionally sinks ducks, but he doesn’t alter them? Not even Adam demonstrates that skill in S1. But he has no trouble turning Job’s children into lizards, however temporarily. Boy that would’ve been convenient during the flood. Or when the guard stopped then from getting to the air strip.

I might be misremembering, but I don’t think we’ve seen angels or demons transmogrify living beings before either. In the book, Crowley brings Aziraphale’s dove back to life after the failed magic show, and occasionally sinks ducks, but he doesn’t alter them? Not even Adam demonstrates that skill in S1. But he has no trouble turning Job’s children into lizards, however temporarily. Boy that would’ve been convenient during the flood. Or when the guard stopped then from getting to the air strip.

I don’t have any real issues with his characterization in the present day parts of S2, but there’s something weird happening with Crowley.

Where's all the people?

I really like a lot of the new characters, but how were there only like, 2.5 new humans named in the present day? Flashbacks don’t count bc the humans are all dead and can’t affect the story.

As much as I like Nina, she and Maggie don’t drive the story beyond being an occasional and awkwardly inserted plot contrivance? Both are actively robbed of their agency at several points, forced into situations that they could not have avoided or escaped. I’m not really sure what growth they’re expected to experience other than deciding not to date each other after everything. I literally can’t tell you anything about Nina other than that she remembers her regular’s orders, runs a coffee shop, and has a textbook abusive partner we never see. The only meaningful interactions they have are between those two, or in conversation with Aziraphale and Crowley.

Compare that to S1, where Anathema gets hit by Aziraphale and Crowley, but her primary relationships are with Newt, Adam, and Agnes Nutter (I think that counts as a relationship). We know that she’s got a wealthy family back in Puerto Rico, and that she was literally raised to save the world, and that she isn’t happy under all that pressure. Newt on the other hand is connected to not just Anathema, but Shadwell and Madame Tracy. He never even directly interacts with Aziraphale and Crowley. We know about his hobbies, his struggle to hold down a job, and his almost supernatural ability to destroy any electronics he touches. I don’t necessarily like how their relationship came together, but they were both very, very well fleshed out characters with unique backstories and goals. They weren’t just... waiting around to give Aziraphale and Crowley a new questline.

And while there’s no requirement to include a large cast of human characters that are exerting influence over the story, the lack of it is another aspect that makes this season feel not like Good Omens.

Also, it's just. Really weird to me that the events of S1 aren't really referenced at all? Like, Adam isn't mentioned, nor is Warlock. I don't expect them to keep track of the humans they met on the airfield for 20 minutes, but none of it is ever specifically referenced as far as I can tell, beyond Crowley threatening Gabriel. Like, I get that it's been a few years, but the pair caused a big enough disturbance that you'd expect some kind of ripples in their supernatural communities.

Promised by the Narrative (Obvious Chekhov's guns that I will be legitimately upset over if they do not go off)

A sincere apology from Aziraphale to Crowley that doesn't come with the expectation that Crowley will come back to him, but because he deserves an apology, even if the choices Aziraphale made were done with good intentions. Aziraphale does not expect forgiveness, and is shocked when Crowley grants it without hesitation.

A clear declaration of love from Aziraphale, which can't be rationalized away by either of them.

An "I'm Sorry" dance between Aziraphale and Crowley, but with greater sincerity and gravity. The most important piece is that they end up dancing together, which signifies a mutual apology and dedication to come together.

Since kissing is on the table, I expect an actual joyful, mutual kiss between these two assholes.

A shared cottage in South Downs.

Predictions/Theories (just some fun thoughts I've had)

When Adam declared that Satan was not his father, he didn't make himself not the antichrist, but accidentally crowned his human dad the King of Hell. Nobody knows this, because Adam doesn't have a good measure for "normal" supernatural situations, and Mr. Young because he's so "normal" that he explains away all the magical bullshit that's started going down.

When Adam declared that Satan was not his father, he erased Satan altogether. However, this left a vacuum in both power and reality. The defection of both Gabriel and Beelzebub only widens that crack. In an attempt to Fix things, reality is warping the story. Crowley has become leagues more powerful between S1 and S2, as the narrative is trying to force him into the role of his previous boss. Aziraphale is unknowingly being pulled into a similar version on the Other Side, perhaps to replace Gabriel or perhaps to replace God herself, who has been fairly absent in all this. The alterations to their memories or past have come about to keep the narrative running smoothly.

When the Metatron asks Nina whether anybody has ever asked for death, he was actually referring to Death, the sole remaining rider of the apocalypse.

If Maggie is indeed a Plot Device, it would be a fascinating exploration of Free Will to see her become aware of this (cue existential crisis), and then fall in love with Nina on her own terms, rather than because she was written that way.

Hastur will be back. Somehow.

The reason why S2 focuses so much on the supernatural characters is because S3 will be about how the events in S1 have changed the political landscape of heaven and hell. Angels are questioning their roles, demons are yearning for something more. It's scaring upper administration, and then the two most reliable folks in employment run away to alpha centauri. Recruiting Aziraphale and getting him back in line prevents him from becoming a martyr, control the range of his influence. The series reasserts its theme of choice and agency by highlighting that Aziraphale and Crowley aren't that special, they've just had the chance to live and grow, and that the others have free will too, if they want it.

The reason why they wanted to separate Aziraphale and Crowley, is not to get Aziraphale on his own, but to get Crowley on his own. He literally stopped time and made a pocket universe in front of Satan last season. He's powerful and dangerous and somebody wants to see that reigned in.

Wishlist (stuff I desperately want to see)

Crowley getting an audience with God and an opportunity to ask his questions, only to refuse to do so because he's found his own Answers and he no longer needs hers

Aziraphale and Crowley growing more into their book incarnations. Aziraphale becomes confident in his sense of morality, which he developed the hard way through millennia on earth besides humanity. He slowly learns what it means to be loved, unconditionally, but also is better at asserting and maintaining his boundaries. Crowley, still anxious and unwinding, works through his fear of abandonment, providing him opportunities to be kind and gentle and nurturing--all traits that he's aggressively hid since being a demon.

Hand holding. I know that Gaiman was referring to Ineffable Bureaucracy, but I still feel like we'd benefit from meaningful hand holding, especially since that got cut from the adaptation of the book.

Shifted focus away from the supernatural shenanigans, and back onto the humans that actually drive the story.

Cameos from S1 characters (if not a more substantial appearance).

The Four Other Riders of the Apocalypse.

Cursed Thoughts (why I shouldn't be allowed a social platform)

Ineffable Bureaucracy turns up in season 3 because Beelzebub got Gabriel pregnant somehow.

[solar-halos]

i finished the umbrella academy s4. i am not amused. here are my thoughts (looong post incoming)

1. i don’t remember diego being so fucking annoying. actually that’s a lie he’s always been annoying but since he was hot i let it slide but now that he’s not treating lila right (how do u fumble a baddie THAT HARD) i think he should participate in the shut the fuck up challenge

2. “their uncle will pick them up” HUH? like obviously this timeline is different but you’re telling me lila has uncles (and parents! or someone! she was talking to some elderly couple before the party!). what does that mean for the others… were their mothers still killed in this timeline or did klaus live out his little amish dream, even if he wasn’t around to experience it? ykwim? like did they show up to this timeline and someone was like “omg where did u wander off to? i was looking all over for u!” and then it turns out it’s their sibling/uncle/whatever in that timeline and they just have to be like ah yes. i surely do know who u are

3. what they did to lila and diego was criminal!!! “she said she couldn’t get pregnant while breast feeding. but she could” dramatic ass reveal for no fucking reason. like get over yourself diego

4. ok i know they prob couldn’t get rays actor to come back but what the fuck do u mean he walked out. and how can allison afford that nice house when all she’s doing is being in commercials nobody wants. our girl has a BEAMER. also i thought they weren’t supposed to have phones or anything like that so why does allison have a vape lollll. not complaining bc that scene was funny to me but why and how

5. ughhh they were tryna set up lila and five SO BAD in the beginning. and even then they still gave off intense sibling vibes

6. ok maybe im just too american but the gun imagery was kinda not it for me. like idk i think the bit with santa claus coming out shooting at everything was supposed to be funny but idkk i think im just too sensitive bc i was like mkkk whatever not funny. also i know luther has super strength but even in s1 he still got majorly injured when that chandelier fell on him but now he’s fucking indestructible apparently?? like getting shot at and stuff?? what???

7. ok but that grandma loading her old timey gun while she turned to the siblings like O.O was funny i’ll give them that

8. speaking of guns wtf siblings are killing EVERYONE. like ik they started the apocalypse and everything but idek just the way they did it was so weird. like less detached/guilty and more like… triumphant? satisfied? idk but it had a different tone than even s3, i remember in s2 it was such an intense ordeal when allison made those two european brothers kill each other but this time they straight up mass murdered a bunch of ppl in a small town and were like B). like ok. like allsion mutilated that guy in front of her DAUGHTER and it was just chill. major tonal shift

9. “you just had to one up me” 1) you just killed a bunch of ppl diego!! 2) that is NOT the lila and diego i know. the real lila and diego would have started making out nasty style the moment lila killed that guy w her laser eyes. also wtf were the point of the laser eyes. she used them like twice and then that was it

10. with that being said all that affair stuff and recovery and addiction and relapse was getting so heavy. which ik is the point and the umbrella academy has always been heavy but like holy shit u GOTTA pick a struggle. is lila gonna groom five or is klaus gonna give claire trauma cos u can’t have both

11. speaking of claire… “would it help to remind u that we were just as shitty at her age” no u fucking weren’t. u could have breathed at ur british alien father wrong and he would have made u do drills until u puked. don’t play rn

12. why did they not trust the audience to pick up on the fact ben spiked their drinks. like we did not need a full on FLASHBACK. or like to be fully immersed in that scene, a tiny little flashback would have done

13. ok but why is this season so scary. like that train station made me paranoid

14. i will never forgive them for what they did to my girl lila. she used to serve CUNT

15. that british lady alien annoyed the fuck outta me

16. WHERE was pogo. and grace. they needed to find a way to bring them back. maybe they could have transported to a universe where the apocalypse happened and now the world was getting ruled by a planet of [gunshots]

17. why the fuck was diego acting like jennifer and ben weren’t linked in some way when all of s3 they alluded to the jennifer incident every other scene. i get it was supppsed to be so obvious even to someone who has ONLY watched s4 that jennifer and ben were linked so it was just a case of diego being stupid BUT that doesn’t work when it’s already been established that they all know jennifer played a part in ben’s death. hence calling it the Jennifer Incident

18. “they tried to address that in later scenes” they failed. they didn’t know how ben died, fine. but they knew jennifer had something to do w it. i’m tired of scenes that poke fun at diego for being stupid. he’s not stupid—he’s cocky

19. okay no but this season was SO gory. like. whatever they have guns this is a revolution but the guts? the intestines?? they wanted to be stranger things sooo bad

20. no but we need to talk about that. the monster thingie at the end was so stranger things and the guns and the military and everything it was like we were back in s3 (or whenever we met the russians)

21. LOL but that scene where diego finds out about five and lila was lowkey funny. this season was so meta in general

22. speaking of the holidays… i sure did love watching everyone sing christmas carols and walk around in the snow when it was hot asf in real time

23. i do like how many parallels there were to s1. like w viktor and reggie, it was very viktor and leonard in s1. and klaus getting kidnapped. although i was kinda tired of klaus getting abducted and his siblings not giving a fuck. i thought there was supposed to be growth there

24. okayyy but ben and jennifer were cute SORRY. “let’s get married” that would have worked on me. however being rude to me while i was at work WOULDNT have worked on me so maybe yall are right maybe we didn’t need a love interest this season

25. i did NOT expect them to actually drag out lila and five’s love story. other than the age gap (no matter how ur looking at it) you already knew it was gonna be bad as soon as they had their first kiss. i hate those multiple little open mouthed kisses that are literally just ALL lip and spit like that’s fucking gross if ur gonna stick ur tongue in my mouth u better do it by the third little :O we got going on there. and then five was giving boy. like literal boy. and lila is a literal goddess but a goddess that’s well into her 20s and the contrast was so sharp it rlly was giving mom and her caucasian child. i mean that bit about lila viewing it as survival vs five actually clinging onto it showed their different levels of maturity, but since it’s never specified if five is still a 50 year old man or just aging normally, his reaction rlly was such a teenage boy thing. “i’m gonna kill him” man shut the fuck up

26. ok no bc we need to talk about this. i think fives actor is my age—maybe even a little bit older—but i don’t see how anyone over the age of 18 is supposed to find him attractive. like idk it’s weird in the show but even creepier irl cos lila’s actor had to have known him when he was still a minor. why did anyone at the umbrella academy think we wanted this

27. anyway not to make this about myself but when i was writing the odesta longfic there were a lot of lore inconsistencies as we kept going bc i forgot some of the details and was too lazy to go back and read it sometimes, and i think that’s what happened this season. the most notable detail is when klaus covered his ears while everyone was shooting at each other. i was expecting some sort of vietnam flashback but like no. he was just there being normal about it, all things considered

28. “ex-squeeze me?” it wasn’t funny when klaus said it in s1. and it wasn’t funny here

29. alright i think that’s really all i wanted to say about the season tbh… like idk diego and lila starting a family made sense i guess and i know they were falling out of love (even tho they would never do that…) but i didn’t rlly feel any of the love w the kids. like even when lila stepped off the train at the last min and her daughter was banging at the glass it looked more like she was like “oh no :(“ and then just started poking at the glass. i don’t even think it matters that she didn’t fully know what was going on—if you’re a child and ur mom steps away in an unfamiliar situation, you’re gonna start to freak. especially w everything else that was going on

30. ok this is such a small thing to harp on but they abused the fuck outta that time skip font. like i don’t think they ever used it that much before now

31. now let’s get into the ending. this is how i would fix it:

we can keep jennifer. whatever. that thing they added at the very last second about her having a particle that causes the end of the world was… whatever. like i get it. they needed a way to explain the end of the world and that was the thing they used and even if it was very late to introduce such a (admittedly confusing) bombshell, at least it fits in with what we already know about this universe’s rules. magic and particles and marigold and whatever. jennifer is fine.

tbh when jennifer started feeling sick i was honestly thinking that they were gonna go the surprise pregnancy route even though they weren’t even fuckinf hinting at that i just have no media literacy. i wouldn’t have minded that tbh, like the monster transformation made more sense but imagine if we did a twilight ripoff for a second, except that jennifer and ben were both equally protective of the killer baby growing outside of jennifer’s womb (or in her womb… whatever. point is there’s a baby). i don’t think this is a good idea—if anything i think this is a shit idea. but something that’s always been so prominent in tua are the moral implications of what they’re doing, like with everyone wanting to kill harlan in s3 instead of letting the entire world die, and with everything that happened with viktor in s1. there was the whole “i can’t kill my brother” bit, sure, but everyone kinda didn’t rlly seem too enthusiastic about it.

actually the baby addition is actually a shit idea. i’m just keeping that part of the rant in bc we need SOME sort of moral dilemma that isn’t just viktor arguing w hargreeves and then his siblings dropping in later with opinions that don’t even seem that strong. everyone needs to have a strong opinion on SOME sort of moral issue that we wanna introduce—that, in a perfect world, we’d be building up to throughout the season—and then yeah whatever there can be an epic fight scene

i don’t watch/read a lot of time travel stuff, but from what i gathered, the timeline can never be restored once it’s fucked with. there has to be consequences, like with any story. and tua did address that—they tried restoring the timeline thousands of times—but i think they shot themselves in the foot there. time travel with a (somewhat) happy ending is possible—there just has to be something to lose, and it has to be something that isn’t nonnegotiable. claire was nonnegotiable, which is why i think they stayed in s3’s timeline for as long as they did

point is, i think they should have gone back to 2019. i mean i don’t think anyone really wanted them to die. i made a joke in s3’s rant that i would just give up, but lucky for me, i am not a fictional character in tua, so the fact they just die in the last five mins and we’re supposed to be ok w that makes the last three seasons pointless. like, actually pointless. what was the message here? why is the ending of the show painted as some sort of utopia just bc we got rid of the siblings? and why is five okay with that? i think him being on board w dying could have been an interesting route to take if they showed his relationship w his siblings consistently deteriorating (both on screen AND off screen) but they only rlly managed to do that with diego, and it was for something fucking stupid

ANYWAY. bring those fools back to 2019, but don’t make them totally happy. just give them something that makes them all just stay put, like how allison has claire (doesn’t matter which timeline. it could be from the fucked up timeline. i don’t think the cleanse would happen bc of that bc claire is only one person and not an entire fucking organization like tua or an assassination like jfk. so hell. might as well throw harlan and sissy in there for viktor. that makes lila and diego’s motivation really easy for staying put, cos then they have their kids. klaus is klaus and no offense to him but i think hes just gonna roll w the cards he’s dealt without trying to fight back, for better or for worse. then ben can have jennifer and since they love each other idk they just stick around. then five’s motivation for staying is that his family is alive and none of them want to leave and that’s good enough for him bc that’s why he time traveled in the first place

again… i don’t think what i came up with is any good. i just think it’s better than them all dying at the last fuckin second. i think this show relied on a lot of haha random xd humor at the beginning and they tried to keep that intact here but everything got so serious that i think them all dying rlly did seem like the only way out but.. it’s not. they could go back to the way things are as long as there were consequences. it would suck, and none of them would be as happy as they could be, but they know that’s as happy as they’re gonna get, so whatever. like, if we were gonna take the suicide route, we might as well gone the time loop route and gone back from the very beginning when five blinks back to 2019. i think that rly would have driven home the “this all would have happened anyway” point way better than them just being like guess ill die :) bc ughhh. no they wouldn’t. also they wouldn’t let lila leave bc she still had marigold in her but… what about her and diego’s kids?? they’re half marigold, and claire is a quarter, so… what’s up with that?

[gingergofastboatsmojito]

My Sydcarmy dream happy ending? Or Storer's?

This is the 1st time I actually envisioned a whole scene with music and all in my head. I always had the feeling that the end of the show is gonna be like the final scene of Braciole: All together, the found family, maybe at the restaurant, maybe not, and just having dinner and having a good time.

After that "vision" I had, I found out that Storer mentioned in a panel that food had always saved them as a family, he was talking about his own family. So I figured: OK so since the show he created, the whole Bear universe, revolves around food, that's gonna be the ending. I felt he kinda confirmed my "vision", my take, the one I had as soon as I finished watching S1. I could already see that ending and believe in it wholeheartedly. And it looked like that, but blurry, because it was just season 1, and even though I knew there was a S2 that I hadn't watched yet (watched it the next day, actually), the overthinker in me was already daydreaming about THE SHOW'S FINALE.

OK, cut to me obsessing about this show after watching S2, that IMO was even better than S1, which is VERY RARE nowadays on TV, and then me re-watching both seasons and dissecting them till the cows go home and then re-watching S2 only over and over to analyze every single layer of Sydcarmy as humanly possible, and literally cutting my working hours to have more time to do that LMAO! etc. So, I ended up noticing the whole script structure Storer (and Calo) came up with, it's Austenian. And at that point, I was already a Sydcarmy soldier, of course, but when I picked up on the Austenticity of it all I FUCKING FLIPPED OUT because that gave me hope. It meant that the Sydcarmy endgame I had in mind could very well happen seeing as it was IC and Austenian, and it fit the slow burn process I had already picked up on right after watching Braciole, as I mentioned HERE. It all made total sense. How will it happen exactly, IDK, I wish I did but Storer is diabolical and way better than me at plot twists, so I won't even try to guess, but I will put my trust in the Austenian arc he swears by.

Me growing up reading Austen (real footage):

For those who haven't read Jane Austen, her trademark is: taking something painful and making it beautiful, finding beauty in pain, and always building towards a happy ending and redemption arc for her main characters, unless she kills them first and if she does, we can be sure that death will serve the happy ending purpose anyway (AKA: Michael, Syd's mother and probably Cicero, I wanna believe Donna will live, but I'm on the fence about her, I do believe she will be redeemed after Nat's baby is born, either way), she will take that death and make it worthwhile and beautiful. She doesn't stand for unhappy endings, but she does include bittersweetness in the endgame of some of her characters, usually not the A ones, but the B ones. The Alphas usually get a relatively "clean happy ending". Relatively being the operative word and what we can ALWAYS expect no matter what, is a "teaching", a lesson learned by the main characters. They walk out of that story as new men/women after having learned that/those lesson/s. She does this. She slow burns romances left and right, kills characters off, takes losses and turns them into gains, and builds towards a happy ending. That's an Austenian structure right there. It's usually used in Romance movies, rarely seen on this kinda TV shows, but here we are. The Storer-Calo duo are giving us Austenian characters in a nutshell.

So, back to my point, I always had this take and wishful thinking even, but up until now, I was never able to actually envision a final scene that could be actually canonical. I mean, I could even fucking write the whole script of that whole final ep, line by line, for every character if they allowed me to. I have the music in mind, the outfits, the whole set, and the final take that faiths to black and reads THE END. And no, this is not just a wishful thinking list or prediction post, it's an actual argumentative outline about why I think The Bear’s series finale will look like the Happy version of Fishes:

And just because Carmy said this, I will take a wild guess, this is gonna be part of the menu:

He associated them with his, and I quote: "fucked up family life" end of quote. So he wanted to reversion them:

And Marcus, based on Sydcarmy's pointers, came up with The Michael Cannoli:

I am also assuming, Sydcarmy will be endgame because of the aforementioned reasons, but I'm not sure Storer will actually show it on camera, maybe just insinuate it, because we all know he is diabolical and also because that's how the original movie script turned into TV script ended before Storer knew The Bear was going to be picked up for a 2° season, he always had this ending in mind for The Bear, behold:

So what I'm saying is: We Sydcarmy truthers have an actual shot here. I also dive into this theory HERE but from a totally different angle.

This happy Sydcarmy endgame we want is at arms' reach.

Now I see it more clearly.

Who's with me?

@ciaonicole85 thanks for the inspo to write this post, it all came to mind when I saw yours.