#i'm already seeing all the ways their reconciliation could have been so narratively good and i'm preemptively *sighs* about it

[tunemyart]

oh my god kalinda sharma actually is in love with alicia florrick isn't she

[wallbeatjournal]

If they'd have chosen to just be straight up about it, when in the canon timeline do you think is the most likely place narratively for hirarchie to have gone sexual?

i've said before i think season 2 is already a grooming narrative with a subtextual consummation, but if i'm actually script-doctoring what we've got across the whole series to have hirarchie fuck nasty as a shocking and trashy and high-aesthetic plot development, i'm going to argue that it's more satisfying if we don't have an explicit archie cheating plot at this stage in the story. it works better as an emotional affair. (saying this bc to the characters i think it would be first and foremost about the complication of cheating, not bc that's the biggest problem with hiram/archie.)

imo riverdale should have done it as a mid-seasons escalation in season four. give us a season or two to really sit with how unhinged and obsessed hiram is about archie and then decode it in the worst and most extreme bad taste like the second archie turns 18.

putting my season 4 hirarchie proposal below the cut since it got quite long:

the s4 dodger plot is...extremely uneven and feels a bit cobbled-together on the fly by a writing team grappling with the death of luke perry and the in-universe death of fred andrews, and whether it would be respectful to keep being super weird about hiram in the wake of all that. but there are still useful components in the dodger arc - archie is the oliver twist in the oliver twist riff happening*, a boy "orphaned" without reliably engaged, aware parents who was groomed into criminality and doesn't see a way out without a wealthy benefactor. lean into that!

it can happen as hiram starts working out at archie's gym, mysteriously ill in a dickensian sort of way. riverdale's favorite weird incestuous overtones come into play especially hard if we're considering season four hirarchie, when it can really only be largely about fred for archie and holding on to/deepening a relationship with the sometimes-father-figure he has left. archie has been trying so hard to be a good brick in this monument of fred's legacy but it feels impossible because the only tools that come naturally are violence and sexuality and appealing to benefactors, so why not get a little nihilistic-horny with it.

he's also frankly already being a pretty bad boyfriend to veronica this season, it's stale, they're bickering, they don't have emotional intimacy the way he used to have emotional intimacy with hiram during what he probably still unfortunately remembers as their best days......i just don't think he'd be guilt-ridden about fuck-nastying veronica's dad at this point the way he would have been in season 2 when fred's cheating was the big looming legacy beat to avert and goodboyism seemed like an achievable and real thing archie could prove to others.

this is also i think when indulging in fuck-nasty hirarchie would be least damaging/difficult an option for hiram - he's ill and wants to feel vital again, he's ill and he wants archie to remember and honor him when he's gone the way he remembers and lionizes fred (he knows this isn't possible and that makes him resentful and apt to grasp at another form of intimacy that wasn't available to fred). he's feeling aggression towards his daughter, who is leaving him (by going to college) as much as he might be leaving her (by dying of a mysterious illness). it's a big complicated sick emotional motivations stew and both archie and hiram are looking at getting left behind to cook in it while the rest of the core four move forward in life.

and it would be hot. archie and hiram in the gym "personal training" (gone sexual) with weird grief-hate-reconciliation-validation sex would be hot. archie and hiram doing vigilante violence and then making out in sketchy alleys would be hot. are you kidding me?

all of this would make archie even weirder about hiram's illness and tenser in discussions with veronica about what to do about hiram's illness, and i do think barcheating would still happen - it's escapism/avoidance from what's going on within varchie, it's escapism/avoidance from what's going on within hirarchie, and archie is primed to be impulsive. so we still get barcheating fallout but MORE.

does veronica find out archie hooked up with her dad when they all thought her dad was dying? maybe! maybe she feels more sorrow and guilt (irrationally, about being the conduit bringing hiram into archie's life in the first place) than personal betrayal. or maybe she does feel very betrayed and that's an additional factor in everything (especially archie choosing to run away to the military. sorry everyone i know i've disappointed you all deeply and am very fucked up. instead of talking it out i will simply Leave).

all of this fuck-nastyism of course would make hiram's reaction to the barcheating that much more intense and outsized. veronica was feeling her relationship with archie wane already but hiram was IN IT. he's getting well, he's fighting again, he's offered archie a job, archie is about to be his main special interest while veronica and hermione drift and archie would CHEAT on him?? he's only supposed to be cheating WITH him!!!!

and then we segue into season 5 post-timejump when the riveradults are all kind of weird with each other but moving through it, and hiram has been behaving like a jilted ex throwing a temper tantrum for 7 years. and he will certainly continue.

*i think everyone notices but the dickinson crew is mostly named in reference to the gang of thieves who adopts and trains oliver - the artful dodger, fagan, bill. intertextuality, yippee!

[rollercoasterwords]

Fanfic writer asks — 4, 5, and/or 20!

hi!!

4. Share a headcanon about (character name) in (story title)!

left it open not sure if i'm mean 2 do this for one of my own stories or just any story...suppose i will take this opportunity 2 weigh in on the reg birthday debate & say that i see him as a capricorn. could perhaps be convinced of virgo as well...but that boy is not a cancer sorry

5. Is there a tiny detail in one of your fics that you feel goes tragically unnoticed?

not sure if it's something that's been noticed/brought up before but i don't think it has...i love a full circle/mirrored ending moment so in atydsp the very first line is him being awake + the very last line is him falling asleep <3

20. Is there anything about any one of your fics that you have been dying to discuss but haven’t had the chance to?

oooh idk...honestly zar has been getting quite a few voicenotes recently abt different parts of wfrau so there has been quite a bit i've wanted to discuss lol but some of it is just stuff abt the lily interlude + epilogue that i can't talk abt without spoiling...

i guess one thing i've wanted 2 discuss/one thing that's been interesting to see is (again) the way people have responded 2 the whole james/lily/regulus ambiguity...like i know that much of this fandom revolves around shipping etc but sometimes i've just wanted 2 be like it's not happening!!!!!!!! how can i make it more obvious!!!! but then again that's just part of putting ur writing out there in the world like someone can read something & interpret it completely differently than how u expected regardless of what u do...remember one person commented talking abt how they loved the polyamorous rep w james in wfrau & i was baffled bc in my mind i was writing him as aromantic...also was interesting seeing people expecting jegulily bc i thought i'd done a pretty good job writing reg + lily as platonic lol. also has just been interesting in a broader sense to see the different ways people think abt + interpret sex vs romance...like the idea that james enjoys sex but doesn't find it romantic isn't all that crazy to me bc sex & romance don't necessarily go hand in hand in my own life like. sometimes u just hook up for fun u don't have 2 be in love...but for some people those things r very tied together & it's difficult to conceptualize a guy who just wants to sleep w his friends! so that's been interesting 2 discuss...like the whole expectation that where there's sex romance must follow etc...

one other thing i've been wanting to discuss is like. r&s as they currently stand lol sent a whole long voicenote abt this the other day so have already gotten some of it out of my system but. it's interesting again seeing the amount of feedback from people who really wanted them 2 reconcile + have a happy ending at the point where things currently stand/the conclusion of the main story--or who are holding out for a happily ever after, etc. like to be fair their story has changed a lot as i've written it & i didn't know when i started the fic that the main story would end as it has. that being said ever since the obliviation became a key part of the story i've known that r&s simply would not be getting back together after voldemort's defeat...like sirius genuinely does not love remus anymore bc how could he! he doesn't remember him! they're practically strangers! & remus doesn't wanna give sirius another chance bc why would he! after all the hurt he already went through! knowing that the person in front of him now is essentially the guy who killed the person he loved & took his place! or perhaps more accurately is equivalent to the reanimated corpse of the person he loved...came back wrong narrative etc...u get the point (hopefully). anyway it just seemed clear to me that reconciliation would not be in the cards for them & it felt like brushing past that or trying to patch things up would detract from the emotional impact i was going for...perhaps even diminish the depth of the feelings they did, at one point, have for each other--like, it's only because they cared about each other so much that things are so unfix-able now. of course i do have my interlude + epilogue left 2 play around w but also bc i am mean + contrary + like making people sad every comment of someone being like "please make them happy :((" makes me want to not do that lol

& last thing is just a fun detail abt james that i'm not sure if anyone's noticed...putting it under a cut in case anyone wants 2 put the pieces together themself but a fun little detail abt his death:

james's recurring nightmare abt a bright light + his boggart being that bright light was him seeing his own death <3 bc he lost his ability to see color the 'avada kedavra' didn't look green to him; it was just bright light. & that was the last thing he ever saw! fun <3

fic writer ask game

[biblioflyer]

Legacy should be more than legacy.

A wish list for Legacy that embraces as best as it can the warring tribes of Star Trek and could avoid another "The Last Jedi" scenario.

People who have read my Season Three commentary will know that I am far from the last person to cry "memberberry" (did I spell that right? I actually really dislike the concept.)

In processing the broad swath of fandom reaction, it breaks down into a few categories worth thinking about:

People who enjoyed it and see no flaws.

People who enjoyed it in spite of the flaws.

People who disliked it for narrative reasons.

People who disliked it for "meta" reasons.

I would say I'm firmly in that second category. Take for instance Jack Crusher. There's a lot of commentary about him that strikes me as bizarre. A backlash to the implication that there is a portion of the fanbase that is uncritically fawning over him. A segment of the fanbase that I have yet to encounter, although I will admit to not having sought it out.

My initial reaction was to dislike the character for both narrative and meta reasons. Narratively I thought his very existence ran counter to a lot of preconceived notions I had about what the "definitive" version of Jean luc and Beverly are, whether or not they'd even conceive, and if they did how they would handle it. Frankly I felt their relationship had largely been put to bed late in TNG's run and in a very mature way. Not everyone who loves each other needs to be in a relationship or actively bonking. This is a lesson I myself have learned in the fallout of relationships after coming to terms with certain incompatibilities while retaining affection for the whole person in spite of the illogic of maintaining a conventional romantic relationship.

The meta reasons are that he's rather clearly "replaced" in some sense both Elnor and Wesley, although they are both alluded to in the dialogue. I do believe its reasonable to assume we were meant to insert either Elnor or Picard's ex post facto reconciliation with his memories of his father into what is left unstated when he says he would never have been his father. Beverly also references losing both a husband and a son to the stars that Picard was infatuated with.

However, I held my own feelings about this loosely enough that the character was able to prove to me that he "deserved" to exist. That he could be an interesting part of the story.

I was not any less disappointed by the absence of Elnor and Wesley not showing up at all seems completely daft, but the narrative made a satisfying argument to me that Jack could have a place in the story if I was willing to give a little.

As I told the Anon who messaged a while back to say I was being snotty to people who prefer more plausible and immersive worldbuilding and less of the camp and contrivances (and presumably the "memberberries" although I would not want to put words in your mouth if you're still following):

Star Trek belongs to all of us. I believe in a big tent fandom.

Which is why I think that if there is to be a "Star Trek Legacy" it needs to not so much move on from fan service, but to be holistic in its fan service. A particular kind of TNG fan got love bombed by Season Three. I find no sin in this but this also isn't the ideal format for an entire series.

I have repeatedly made note that I think the entire Enterprise-G stuff is not ideal. I don't think the starship service pathway makes sense for Seven, Raffi, or Jack. I think it does a disservice to their character arcs and the broader argument that Star Trek Picard has been making that Starfleet is not the sole source of moral authority in the universe. There are other valid ways to do much needed and good work in the universe. The Fenris Rangers being one example. Jack and Beverly acting as a sort of "Doctors Without Borders" in space being another.

I also don't believe in petty retcons and I do recognize the symbolism of re-christening a heroic ship that is already filled with heroic people "Enterprise" in order to say that what makes Starfleet great isn't its scientific acumen, how many cool gadgets can be stuffed into a frame, or the number and potency of its phasers and photon torpedo launchers, but rather the courage, grace, and openness of its people.

It is in someways symbolic that a path that began with the Federation putting itself between the Romulans and the Synths has now hit another mile marker: with a crew of people who are willing to bend rules in the name of radical decency we are returning to a more "bottom up" Starfleet.

That we arguably already have this in the form of Strange New Worlds is beside the point.

So duly noting that I would have preferred something more like Star Trek La Sirena with our more anarchist characters doing their own thing in their way plugging the gaps that Starfleet can't plug for itself for all of the reasons that Shaw continuously argued, I'm going to lay out a vision of how Star Trek Legacy could be awesome.

Now do DS9

I've long been captivated by the idea of a show that is inspired by the Global War on Terror and the occupations of Iraq and Afghanistan, but not in the same way that Enterprise or Picard were. Originally my thought was that the post Dominion War Cardassian space would be a good setting for this. Show the reconstruction and the painful work of trying to knit Cardassian society back together and trying to create something that is both pluralistic and functional.

Now I am skeptical of the potential of the real world analogs of post war Cardassia (Iraq and Afghanistan) to have been successful regime changes even under conditions of maximum cultural sensitivity on the part of the occupier and the prudent allocation of resources rather than wildly throwing money at problems in ever growing boondoggles that are utterly useless to the people on the ground but sound logical to the vulture capitalists and well intentioned but largely clueless political scientists infesting the State Department and the staffs of politicians. Consequently I would be very wary of normalizing the idea of military occupations.

However, Starfleet is a good vehicle for exploring the ins and outs of trying to rebuild a society shattered by war. Something that is even more relevant than it was when DS9 first started dabbling in this with its stories centering Bajor.

Now if we're to keep going under the assumption that its been more than two decades since the Dominion War, we could update this to the Romulan resettlement zone. Dropping this storyline like a hot potato after season one is one of my great frustrations with Picard because I desperately wanted to see explicit confirmation that the Federation had indeed been thoroughly shamed into rediscovering its wide eyed, do gooder spirit.

With Discovery and Picard ending, there is a space for a serialized narrative show. While I am very wary of this based on how not great the meta-narratives of Discovery and Picard have been and the addiction to epic stakes, I think it could be done and done well.

So an opportunity presents itself to tie up other loose ends.

Nazi Hunting and Church Committees

Give me more Raffi/Worf buddy cop action.

Give me accountability for Section 31.

Give me justice for the Romulans.

Justice for Elnor!

Put Seven, Raffi, and Jack's skillsets and personality to their best use.

How?

Bring back Sloan.

Whoa whoa whoa. Don't click away. Hear me out. You've read this far.

Project Phoenix? That wasn't for Kirk.

Here's the setup. Section 31 was lobotomized by Sloan's death. By its very nature Section 31 was set up in a set of cells with no one but Sloan knowing the full picture. Independent cells were able to keep going after but after the agency's existence became public knowledge, their existence became ever more precarious. Their list of allies in Starfleet growing ever thinner as their collaborators were exposed or burned Section 31 to prevent exposure. They needed Sloan or at least the contents of his head to find more safe houses, caches, and closets with skeletons in them.

Laris catches wind of Sloan via old contacts. This time its Jean luc who is off world on business and doesn't need to know the details.

With the assistance of Worf and Raffi, a team is assembled to pursue Sloan. The Enterprise-G as it happens, is already there on an errand of mercy making good on almost two decades of back owed aide.

Already aboard? At least two individuals with relevant knowledge and an axe to grind:

Elim Garak, plain, simple reconstruction and conflict resolution specialist.

Julian Bashir, frontier medicine and medical infrastructure reconstruction expert.

If the performers are down for it, I'm okay with canonizing them as queer representation. I'm not necessarily a big shipper in general, but I'm not anti-ship.

Elnor's affinity with the Sisters of the Absolute Candor would also feature in as the Sisters are about as likely to love Section 31 as they do the Tal'Shiar.

Jack is...slightly expendable. Not because he's a bad character but because I'm scratching my head trying to figure out how he's not redundant skills wise. His knowledge of the less savory parts of the galaxy would be a bit fresher than Seven and unlike her, he's not the Captain. Overall I think that he should hew closer to his mother in this role because I think the Jack that was doing orderly work was more interesting than action hero Jack. Him being a legitimate counselor would also be an interesting twist as we have yet to see a male mental health worker in Trek IIRC.

For more like this check out my other essays reevaluating Star Trek Picard and interrogating the widely held fandom criticism that Picard made the Federation into a Dystopia.

[springbridedragon]

.fallout.

After an emotionally traumatic, physical fight with my sister, which involved her inebriated, mentally closed off mind misunderstanding something our younger sister said to her, and subsequently taking it out on our mother which led to my intervention and getting the brunt of her violence, I'm taking a few days off from work to process the bullshit, after she packed up the kids and told us we are dead to her. I'm attempting to bed rot and adhd deep clean at the same time, spending the day at home in my robe.

I'm hopeful she'll at least make up with mom so she can see the kids. However...I've made a lot of personal growth in the past year where I actually process things now. And I made a mental decision that I wasn't going to try to reconcile on my end. Either all the painful shit she said to me is a bunch of smoke or she was revealing her true feelings, throwing things in my face about my 'stupid pathetic wedding', how she protected me from her demon father every single instance of my trauma, and then after dragging my trauma around the argument and then using it as her own and then proceeding to say it was nothing compared to what she went through...it was a huge mess of words and half yelling, half pleading...I have to compartmentalize it for the moment because so much happened. In the end I realized she wouldn't hear a word I actually said, and I went inside until she left, drinking, which I had sworn off. Luckily I didn't drink much. After I tried to comfort my mom, and talked to my youngest sister; who has been in many more confrontations and said she was proud of me sticking to my guns.

One of the realizations I've had since Saturday, is just how much she controlled the narrative, the situation, every time this kind of shit happens. What sparked this was suddenly we refused to cater to her emotional red carpet, and narcissistic traits. Its not an exaggeration at all when I say you literally couldn't finish a sentence. I already pissed her off earlier when I was talking about "autistic traits" to my mom and I shit you not, I never got a word past "autistic" before she riled and shut down the conversation and said if I wasn't good we could "throw hands". I cowered and said no, no I'm good and she was satisfied with that. And with that, I was angry at her and myself for letting her be in control, just how mom used to when we were kids. Our tones, expressions, body language needed to be 'adjusted' to placate the anger, and when she's not in a good mental place it's exactly the same. And you know, she's always treated mom like shit as some 'divine punishment' and used my trauma (I was the black sheep step child, they were rarely treated the way I was) as an excuse to bully my mom. I have, for the most part, moved on and begun the healing process. And so by my sister consistently using my trauma I was struggling to continue that.

Unfortunately I will never be able to trust her the way I had been. She had made a lot of progress herself and, I thought everything was much better. However she was set back by some horrible shit. And thus, had to take it out on us as she apparently doesn't know how else to process. And now I have no desire for contact. Through my growth I have learned how to put up boundaries to protect my peace; this was just one of the hardest instances I had known and put off for years to deal with. And now I have to.

If there's a possibility for reconciliation in the future; I will unfortunately have to put up strong boundaries. Like with my husband when we got back together. There can be no drinking. And no confiding super personal things. I will never be able to trust that she supports anything I care about. That she isn't having negative opinions about me. That she won't throw it in my face later.

Losing contact with my niece and nephew breaks my heart. Especially since our last visit is marred with trauma of their own witnessing her meltdown and hearing their mother spew horrific things again. I just want them to be okay. And know their family cares about them no matter what their mother puts them through. They'll be in my thoughts until hopefully I see them again.

I needed to write this while it's fresh in my mind. Time to get back to cleaning.

[messymindofmine]

So this is the only time I'm gonna explicitly talk about the baby plotline bc it sickens me to my core and I see red if I even think about it.

1) To start with, there was no narrative reason for this. While I have my criticisms of Carmen, using her as a baby machine for Johnny's arc is just plain wrong. I know that the show is set in 2019 and was filmed before s4 even released so I won't hold them to what's happening in the US right now but it still doesn't make this plotline any better bc it's still using Carmen as a vehicle for Johnny's arc. Literally all we were told this season (told mind you not shown the way good writing is supposed to do) is how much better Johnny is now and how he won't repeat his mistakes. Even if it could've been used to highlight just how flawed Johnny and Carmen's relationship is, that could still have been done without this plotline. Like they could've shown Carmen struggling after Miguel comes back from Mexico. Or her interacting with Robby. It's pretty clear that he's not included in her "happy family" so they could show how that would affect her relationship with Johnny now that Robby is actually here and this could spur Johnny on to actually choose once and for all.

2) Also, for all that they seem obsessed with showing how much Johnny has changed this season, he very clearly hasn't as far as Robby is concerned. And that should be where the focus is. All this talk this season about Johnny getting a second chance when Johnny has already had a second chance, he's had a 100 chances actually, to be a better father...with Robby. All this storyline has done is make it impossible for them to have a genuine, natural reconciliation at any point. Because Johnny is repeating his mistakes. He's still choosing everyone and everything else over Robby. He's still ignoring Robby's feelings in favor of his own.

3) This is what really gets me. There is no narrative reason for this plotline. Even without it, just about everything that happened could've still happened. Hell even Robby's arc (since the writers seem hell bent on making him suffer) would've been the same. Johnny would still have forced a reconciliation between Robby and Miguel, Robby would still feel out of place in Johnny's life and with the Diazs and he would've still felt the need to create this false self that he created this season to fit in. Even that horrible apartment fight would've taken place the exact same way with the same end, just without the revelation. Even Carmen's little dream scenario (you know the one that Robby is conspicuously absent from) could still have happened, just in a slightly different way.

What really sucks is that there doesn't seem to be a way out of that plotline that isn't demeaning, that doesn't cause even more issues between Robby, Johnny and Miguel, that wouldn't cause more pain for Robby and that wouldn't be yet another reason for fans (since they go out of their way to find bullshit reasons anyway) to turn it around on Robby and use it to hate on him even more.

The writers well and truly shot themselves in the foot with this storyline and I can't think of a way that fix the damage this storyline has done. Not without just getting rid of it and acting like it never happened

[violetfaust]

I'm interested in hearing more about why you think Margot should've been Rumbelle's daughter. Sounds interesting, but what would that mean for her enchanted forest life? I think her being Robin Hood's daughter would've been fine if not for Zelena

Okay, Nonny, since you sent this a few days before Mother's Day, I'm gonna finally take the opportunity to try to sum up and speed-run the Belle's Daughter Margot feelings that have haunted me for THREE YEARS. Buckle in; this will be more than you or anyone asked for.

Disclaimer 1: It's been, well, three years, so my memory of Curious Archer and their story is not perfect; could be off on some details here. And Disclaimer 2: I really loved Tiera Skovbye as Robin/Margot; she did a lot with not much screen time, and she and Rose had fabulous chemistry. So although she was well cast as Robin Sr.'s kid, Tiera would be perfectly believable as a Rumbelle daughter, too--maybe give her some low-lights and call it a day. We keep Tiera as Margot in this rewrite. Okay: onward.

(Since one of the few things that would have to change about Robin if she were Rumbelle’s daughter is her name, I’ll just mostly use her Hyperion Heights name “Margot” throughout this post for simplicity.)

First and foremost, the foundation of everything: Margot is so like Belle! She is so like her. They have the same love of adventure, a similar sense of humor. She took Alice on a date to a bookstore. Most of all, she has Belle’s ability to see past “the mask of the monster” to a person’s heart. There was a great scene where Tilly explained that she didn’t want Margot to see her “bad days” because she thought it would be “too much,” and Margot said words to the effect that she was there for the bad as well as the good.

Obviously, people don't have to grow up to be exactly like their parents (Belle and Rumple sure didn't)...BUT. In fiction, one of the fun parts of next-gen stories is for the audience to see how their favorites' personalities are passed down. It's just more fun to see a Henry who has parts of Regina/Emma/Neal than one who doesn't; it's fun to see Lucy resemble little Henry. And it would be fun to see Margot be like her parents (she is very like Robin Sr; not so much Zee). Seeing a character who has so many of Belle's traits becomes just more...fun...when she learned them FROM Belle.

The family feud Rumple/Hook angle turns Alice and Margot’s relationship up another roman tic notch. A classic trope! It’s about reconciliation and love remaking and erasing those old grudges. Which is even more important when we’re supposed to believe that the evidence of Rumple’s final redemption is his saving Rook.

On a more macro level: the entire claim that OUAT is "a show about hope" COLLAPSES because it ends with the annihilation of the Stiltskin family. Rumple, Belle, and Neal are all dead; Henry doesn’t acknowledge them as his family; and Gideon is a friendless and forgotten orphan in another world. I did my rants about this three years ago, but long story short: the show’s not about hope unless it’s hopeful for EVERYONE. And having at least one of Rumbelle’s children alive and happy at the end (with her True Love and friends and acknowledged as part of the family) would fix that. My objection has never been that Rumple (and even Belle) die, but the way it happened.

And of course, Rumbelle needed to have at least one other child because Kitsowitz managed to deny them even one single shared happy moment surrounding Belle’s pregnancy with Gideon and his birth. Even if the audience didn’t get to see it (and we could have gotten a glimpse in Beauty), we deserved to know it happened.

Finally: Zelena did not belong in S7, period. I know it was fun for her fans! (Although apparently there weren't enough of them to positively affect the ratings, meow.) I do know! But it was bad storytelling. She served no point in the larger season arc, and the serial witch killer plot that was invented to serve her was one of the worst and most stupid things Kitsowitz came up with in seven years, and ate up time that could/should have gone to develop other characters. (Driz and Ana come immediately to mind, instead of having them shunted off to another universe, but also Henry/Cinda/Lucy and of course Rumple since his plot was coming to a close.) Zelena didn’t even get any significant growth herself, or develop her relationships with Regina or Robin. She still didn’t express regret for the horrible things she did to characters we love (Rumple, Neal, and Robin Sr.); the only result of all that screentime was to give an unrepentant rapist a love story with a person--we barely see and have zero investment in. And even that was ultimately negated at the end of the season, because in the finale Zee’s back in Storybrooke sans Boo Bear.

So, all that said: what would have to change about Margot’s, and Curious Archer’s, FTL storyline to give us Margot Gold?

Her name—but actually very little else. (And frankly it would have been more respectful to have Belle name her daughter after Robin Sr., who was actually her friend, than for Zee to name her kid after the man she raped, manipulated, and ultimately got killed—but that ship had sailed.)

Belle and Rumple could have given their daughter any number of fairytale names after people they know, aka fresh take on a Disney character. My favorite possibilities are Aurora (and then Curious Archer could have been Curious Beauty, and done a riff on the Sleeping Beauty story as part of their FTL backstory, with a built-in TLK) and Merlin (very pretty for a girl, I’ve always thought).

But the character herself would have been very much the same: she could be Rumbelle’s jock daughter, trained in archery and swordsmanship by family friends (Merida/Mulan/Charming), but always feeling out of place in her family of scholars/sorcerers/nerds.

I am SO sorry for the length of this--there's even more under this cut!

Robin/Margot felt insecure about trying to live up to her father’s name; Rory/Merlin/Margot could have similar anxieties trying to live down her father’s Dark One rep. There could even be a similar story where she was born with magic (like Robin was) but loses it or chooses to give it up—something that would estrange her further from her family. Or, if she was Merlin, she could keep her magic but be reluctant to use it, and part of Curious Archer’s Hyperion Heights arc would be both Margot and Tilly discovering and accepting their magic. (Sapphic sorceresses for the win.)

Now, one of the cutest things about Alice/Robin’s FTL dynamic was Robin being a girl from the Land Without Magic finding her feet in an enchanted forest, with Alice’s help. But it would only take a little finessing of S7 Rumbelle’s story to get that for Rory as well. (Of course, any decent story would have a LOT of finessing of Rumbelle’s plot so that Belle didn’t die and put Rumple on a suicide mission, but again—assuming the ship has sailed…)

Say that Rory is five to six years younger than Gideon. The Rumbelle family spend a dozen years or so traveling the realms, but then Rumbelle decide that they want Gideon and Rory to be comfortable in the LWoM with their extended Charming family, so they settle back into the Pink Palace so the kids can get a LWoM education. They still take occasional journeys, often Rumbelle going to save some hapless souls, but Rory grows up primarily in SB with very few, vague memories of all the fascinating places they visited when she was a small child. This feeds her hunger for adventure along with some envy of Gideon for having so many more fairytale experiences—another thing that makes her feel like a misfit in her family. So, presto, when she moves to FTL she and Alice have pretty much the same meeting/adventures.

One of the key notes of Rumple and Alice/Tilly's relationship, showing his growth and making it so special, was how he chose to set her free of being the Guardian or whatever, allowing her to be free and get what he never had, the chance to grow old with the woman she loves. And that would be weakened if Rumple knew that by choosing Alice's happiness over his own, he was also choosing his own daughter's happiness (because we know Rumple picks his kids over himself ever time). But--he doesn't have to know WHO Alice's True Love is when he makes that choice. He could just know that there is someone, or simply realize that Alice deserves her freedom for her own sake. (Rumple's daughter also getting happiness would be a side benefit that he didn't learn about till later, and have the added perk of Rumple actually getting a narrative reward for doing something good. Which almost NEVER happened! Bonus.)

Finally: I do understand that Robin's presence on the canvas was important to fans of Robin Sr.--getting to know he's remembered and having someone carry on his legacy. Of course I get it--Rumbelle and their family not having that is my biggest complaint (of so so many).

But we don't need a grown-up Robin Jr. to be Robin's legacy. Let her stay a cute background kid with perennially baby Prince Neal. There's already a character, one we're invested in, to carry on for the Hoods: Roland. And again, it would be satisfying for the audience to learn that a five-year-old orphan wasn't shunted off from what family he had left (Regina and Henry) into another universe and never heard from again. If Kitsowitz didn't waste time with Zelena, they wouldn't have needed the idiotic Jack-is-Hansel-the-serial-killer twist, and we could have have had Roland filling the role of Henry's best friend/little brother (and therefore Lucy's fake HH dad--God, that plot was bad all the way back in season 1; why Kitsowitz why?). We'd see Roland onscreen, part of the family, at the end of the show, perhaps with his own True Love (Drizella, maybe, or better yet Gideon) and happy future.

So, that's it: the combination of Margot Stiltskin-Gold and Roland Hood tightens and heightens the storytelling throughout S7, closes some plot holes, and actually fulfills some of the show's stated themes. Who knew!

Anyone else want three years of OUAT theory vomit? 😋 Shoot me an ask!

(I actually have another one, god help us all, but I might save it till Father's Day...)

[tysukis]

Hi, first(?) AU anon here. I will absolutely dive down this rabbit hole with you. I went a little overboard (sorry?). I absolutely agree with you on your Zuko take. I think we all kind of land there naturally. But I also think that Zuko would latch onto stability the moment he realized he had it. So this is kind of how I see it going down:

I think the band Sokka is part of would be solid. Just a local hit, right? But Sokka is the plans guy, and the aspirations guy, and they can do *so much better*. I 100% do not know how real life musicians work so add a pinch of salt here, but he would absolutely land them a gig as openers to a mediocre niche headliner just by sheer power of phone calls and charm. (He scripted it as much as possible, we all remember how that canon speech went when he winged it, but he knows how to put words together when he has time).

And yeah I love the idea of Zuko being an academic. I'm assuming Ozai is out of the picture for this, and the boy gets to pursue his passions instead of an expectation. Unfortunately, you mix in passion and the general anxiety of a kid who lived under intense scrutiny and you get an adult who gets tunnel vision during spring finals/prep for a conference/etc. So he doesn't quite rise to the occasion when his boyfriend drops this life changing news, he's proud but distracted, and he's already so bad at words in comparison to Sokka that it's just. Lackluster. And he probably meant to meet them at the bar/house party to celebrate after he got home but he's sleep deprived and his phone is dead because he's a disaster sometimes.

So now you've got Sokka stewing on immediate events, and being a little heartbroken because he went all out every time Zuko accomplished *anything*, even if it wasn't super impressive to Zuko himself. And maybe there's a bit of Zuko assuming Sokka doesn't need that reciprocated. He just doesn't vocalize his important needs, so Zuko assumes they're being met, you know? I like the drama of a blown up confrontation but also the idea that Sokka just confronts him sounding hurt and so damn tired of being the emotional one for that long.

But on the other side you have Zuko with his internalized plan that this is his forever person, and he does go to almost every performance even if they don't play his preferred music. And he assumes Sokka is satisfied with this. Maybe because Zuko can't imagine being happier than near his family - the good ones anyway - or because he genuinely thinks Sokka and the band are happy with being local celebrities and leaving it at that. So he plans for permanence. Because he is still a disaster, Zuko probably never vocalized this beyond doing window shopping for apartments or something. Vague jokes about a wedding that Sokka laughs at/agrees with and Zuko interprets as, "Yes I am also thinking about being here with you forever." He's not the wordsmith, he's the pragmatist and love means house shopping and snuggling over takeout and planning trips to visit their distant family together, right? Sokka's confrontation blindsided him, because he thought they were on the same page, and Sokka didn't have to leave to keep playing music, why is that even a thing??

They're both justified in being jaded because they're dumb as hell (affectionate). This isn't an AU for two grown ass men who have put in therapy time, they're both young and full of their own understanding with poor communication skills.

musician au anon!!! hello welcome back thank you so much for this incredible ask, let’s GO

(I’m gonna pop this one under a read more because otherwise this post will be eight miles long lmao)

Honestly I’m wracking my brain with what I can possibly add to this because you’ve got like. A fully fledged outline here my dude and it’s a good one. Do you write? Because you should, if you don’t. I still love the alternative take of Sokka being the one to leave and honestly this pretty much cements how much potential it has. I absolutely adore how you’ve thought about just how the communication would break down between them - and you’re completely bang on the money with it as well. Zuko is fully a hot disaster and would completely just assume Sokka’s needs are being met if he isn’t vocalising them, and we know Sokka, he’s a complainer but when it really comes down to those he loves - he’s known for being pretty selfless and for putting up brave faces. I can totally see Sokka perhaps almost feeling a bit self conscious about how hurt he is by Zuko’s lack of enthusiasm. Because Zuko loves him, right? And it’s just one show, right? So maybe he’s just overreacting, right? Or maybe he’s actually not even that good. Oh no, maybe Zuko hates his music and is just waiting for the right time to break it to him gently. Oh no, oh no, oh no. I think I might have already said it at some point tonight but Sokka would absolutely spiral until he convinces himself that him leaving would be nothing more than simply just leaving before he gets left. And like you said: Zuko  is out here planning a whole future assuming that they’re on the same page, meanwhile he has no idea.

I totally buy Sokka winging his way into a supporting act spot using his charm and charisma, and yeah his speech in canon didn’t go too well but this could likely be over the phone to only one person which would probably make it easier. I was thinking about how Sokka performing would work in conjuncture with his canon almost stage fright/fear of public speaking - and I’m leaning towards the hc that he embodies a sort of persona in front of large crowds and he’s able to let that take over and act casually and confidently no matter the audience.  (source: I am someone who studied acting and excelled in public speaking most of her life despite having a chronic anxiety disorder - playing parts and speaking on stage didn’t feel like ‘me’ because I was always channeling a character either fictional or an alternative version of myself. It works, folks.)

Are we thinking he broke away from the band and went on to succeed in a solo career? As in, he felt being local heroes was a limited pathway? Or did they all go together? Who else would be in it I wonder.

I LOVE your interpretation of Zuko and how the factors under which he was raised would shape him, especially in a modern setting. He would absolutely go into tunnel vision and that perfectionist mindset he was essentially forced into as a kid would probably be alive and well into adulthood. (And yeah, these aren’t men who have been to therapy - yet! - so we’re probably gonna assume that Zuko views this as a Perfectly Normal And Healthy Way To Live And Not At All A Trauma/Survival Response.)

I’m assuming this confrontation is what leads to their break up and then Sokka going off to pursue music further? I wonder, even all their other issues aside, what Zuko thinks about him travelling so far? As you said, we’re operating under the assumption that he doesn’t understand why Sokka couldn’t continue music and stay local. Even if things were perfect between the two, I imagine they still might not see eye to eye on that, which of course would just be another breaking point for them to tack onto the list.

As for their eventual reconciliation, Kaleigh @zukkau with her gigantic brain, said earlier that Sokka being the one to leave could also tie into a whole ‘I couldn’t ask you to uproot your whole life for me’ anxiety (especially if we’re painting zuko as a bit of a homebody here; hates change, likes routine) and that sets up perfectly for a “I would go anywhere for/with you” moment. All this to say that I think that would slot into this (^) narrative nicely.

If you have (or anyone has) anything more to add or touch on I would absolutely love to hear it, I am now fully in love with this AU and all messages and mentions of it are permanently welcome in my inbox and DMs <3 

[aspoonofsugar]

Hi! I'm happy to find you reblogging something about Death Stranding. I love this game especially the story. It conveys the importance of the connection between people. I'm curious about who you like most in this game and your thoughts about the story.

Hello anon!

Thank you very much for this ask! I have recently watched the game’s cutscenes and I love the story and the characters!

In this answer I won’t be able to touch on every aspect of the story, but I will talk of some things I liked and of my two favourite characters:

I am fond of Fragile and love her with all my heart, while I like how complex Amelie is as a character and the perfect equilibrium they managed to obtain with her characterization and story. Basically I love the first with my heart and I like the second with my head.

Both women are representative of different aspects of society and to be more precise Fragile represents society’s positive traits, while Amelie society’s ambivalence.

This ambivalence of society is well represented by the cuff links. As their name implies they both connect (links) and control (cuffs) people.

This same ambivalence is conveyed through the entirety of Amelie/Bridget’s story and character.

Amelie’s name, as it is explained in the game itself, has multiple meanings:

On one hand it means “a soul that is a lie” because Amelie is nothing more than a part of Bridget and not her own person. To be more precise she is Bridget’s Ka:

This works for the wordplay Amelie-Ka aka America:

“Have I ever told you my real name? It’s Amerigo, after Amerigo Vespucci, the man who discovered the continent”

“I thought it was Columbus?”

“Except Amerigo was full of it. He lied. America is a lie”.

So America (aka society) is a lie just like Amelie is. However, things are not so simple:

This is highlighted also by Amelie’s final speech to Sam. In this speech she keeps contradicting herself to the point that it is not even clear what her true objective and motivations were.

On one hand she claims that as an EE she has realized extinction is impossible to avoid and that she has done her best to try and make it faster, so that she won’t be stuck alone on the Beach.

On the other hand she claims that all her experiments as Bridget were an attempt to find a way out using the knowledge of the universe to stop the Death Stranding.

Basically, Amelie came up and implemented a plan which worked both to save humanity and to destroy it and she herself is probably not sure of what she was hoping for.

This is made clear also by her act of saving Sam:

When she is the one narrating the story the whole scene is portrayed as sweet and as Amelie being able to feel sympathy and warmth for another life hence her resurrecting Sam and developing a bond with him.

However, later on, when we see what actually happened in Cliff’s past, we are shown this:

It was Bridget who killed Sam and Amelie’s resurrecting him ends up acquiring a more utilitaristic spin since Bridget was interested in Sam because of her experiments. That said, Bridget decided to bring Sam up even if he can’t be useful anymore in the BB experiments suggests a genuine attachment on her part. In the end, it is through this redemptive action and through her bond with Sam that the Last Stranding is postponed since Amelie chooses to believe in him.

In short, Bridget/Amelie is an extremely ambiguous character, just like society is and this is why what Sam tells Die-Hardman in the end is so important:

As Sam implies, Die-Hardman unwillingly represents the old ways which need to be overcome if there must be hope for the future. He is a character as ambiguous as Amelie is since he too appears thorn and to be more specific he is thorn between his loyalty for Cliff and his loyalty for Bridget. In this he is similar to Sam and in his last speech to him, Die-Hardman tries to reconcile these two loyalties, but this reconciliation is only partly possible for both him and Sam. In the end, Die-Hardman did not actively kill Cliff, but he did so thanks to his passivity and at the end of the game he is shown encouraging the narrative depicting Amelie and Bridget as heroes and concealing everything negative she did. In other words, he is still telling and spreading lies.

In short, the ambiguity of society is conveyed through characters like Amelie and Die-Hardman who have sacrificed babies (aka the symbols of the future) to a plan which could have potentially both saved and destroyed the world. Despite this, society is still the only chance humanity has to survive.

And society still has beautiful things and these things are embodied by Fragile who is   clearly a very important character thematically:

Fragile is a person whose time has been taken away from her and this is why her body has aged prematurely. However, she has never given up and has kept trying to do the best she can with the little time she has left. This is literally what all humanity must currently do as it was stated by Amelie as well:

The only thing humanity can do is to try to evolve and to survive. After all life itself is:

Life is fragile, but not that fragile. It fights to survive and Fragile embodies exactly this. This is why she is a porter just like Sam and she is specialized in taking care of frail cargo. She protects fragility and makes sure it survives. This is something symbolized also by her powers which let her teleport through the beaches of people she knows and understands. In other words, her ability is a physical embodiment of the ability of becoming connected with another person.

Of course, because of society being a double edged sword she too has been used to create damage and in particular Higgs used her to destroy a city. However, even if she was betrayed in such a way she did not give up and managed to save another town in exchange of a high personal sacrifice.

So Fragile is the life which struggles under adversities and her arc in the game is symbolic of this. After all, she starts the game in a similar place as Sam:

She too does not care about America and she is simply motivated by the loyalty towards her father and her feelings of revenge against Higgs just like Sam is motivated by her bond with Amelie. However, by the end of the game she has changed:

She has decided to implement her father vision and as Sam says she is “going on with the world”. She is evolving and has found a new place within society through her newly found connections.

However, this is specifically why her path diverges from Sam who, like her, finds a new purpose through his father’s words. That said, this purpose is different from Fragile’s:

Thematically speaking Fragile is the good about society and it is not by chance that she is the one that, since their first encounter, offers Sam the possibility to be part of a group aka to be part of something bigger. And she repeats her offer to Sam at the end of the game.

However, by that point Sam has two problems. The first is what he himself states:

He is still grieving and is scared of creating bonds or to better say to enjoy his bonds since by that point he has clearly created strong bonds with the other members of Bridges. As a matter of fact his whole speech about how he still has no bonds is clearly false considering that in the end it was his bonds with the others which saved him from a lonely existence on the Beach. However, it is true that he has gone through a highly traumatizing experience.

What is more, this experience has casted a shadow on the way Sam sees society. This is made even clearer by the fact that society still plans to use and dispose of BB. This is something Sam can’t accept and his wish to try and save Lou is what motivates him to leave the others.

The fact that the last scene between Sam and Fragile is so sad is probably because she represents his chance to go back to be a part of society, but by that point Sam has already chosen to escape society hence him pushing her away.

Basically, while Fragile has found new bridges to put society back together and will keep working to obtain this result, Sam has found a different kind of bridge:

It is a bridge to the future aka a child and as Cliff stated:

Louise has become Sam’s bridge to the future. She has become a link he must accept and take care of because Lou is completely dependant on him, so he does not have the luxury of leaving her behind. In conclusion, Sam himself has become the Cliff which needs to be connected to the future and given courage by a little bridge. This is why babies are bridges. It is not because they are connected to death, but it is because they are connected to hope and the future.

So, Death Stranding is a story which explores the beauty of living even in desperate situations and the beauty of different kinds of bonds both in the present (among peers) and in the future (parent-child relationships).

I loved basically all characters. Cliff’s story is heartbreaking, but his last moments with Sam are beautiful and I loved Deadman, Mama and Heartman. Their stories were all interesting and were used to explore different aspects of the worldbuilding and of the themes and foreshadowed different plot-points (like Amelie being Bridget’s Ka in Mama’s story and Cliff using the Beach to search for his lost son like Heartman using it to look for his family).

Thank you for the ask, I am sure I did not do justice to the complexity of the story, but I hope my thoughts were interesting! Feel free to ask something more specific and have a great day!

[clarkgriffon]

(wrong opinion anon 😁) Don't worry I'm not offended, I would've responded in the same way if I felt the way you do. I guess the hug was just too short for me idk. I'm used to the clinging hugs from Bellarke lol

You’re definitely not the only person feeling that way, there were some replies on the ask you sent agreeing with you. And I don’t know that I can convince you or anyone else otherwise, because I know once people have an opinion, they tend to be firmly set in it, but I can still at least share with y’all why I am loving Bellarke this season.

It could get lengthy, so I’m going to throw it under a cut.

I figure this is a good place to start. “They’ll come around.” This was the first thing that hooked me with Bellarke this season. Because not even ten minutes into the first episode, we get confirmation that Bellamy himself has already come around. And there are clearly still hurt feelings there (on both ends), but he’s the one person who doesn’t need convincing to forgive Clarke. He does it like it’s second nature. Forgiveness is their thing. (Which is implied further by the BE scene later in 6x01.)

This next. We’ve never gotten to see Bellarke smile at each other like this. E V E R. And don’t get me wrong, I love Bellarke smiles, but they’re usually muted, understated things that make light of a dark situation. Like, “Some medicine would be nice.” or “You distract him, I’ll shoot him.” or “Mama bears don’t think.” They know they’re fucked, so they joke about it. The closest one to how big and wide these smiles are is We Will Rise, when Clarke and Bellamy almost crash the rover, but that’s a smile of pure relief. They aren’t smiling just for the heck of it.

These smiles are special because they don’t need an instigator from an outside source. It’s not relief, or fear that’s causing them to smile at each other. It’s just the two of them. And just to paint the broader picture, they talk about the radio calls here. You know, what we were waiting for all of Season 5 and didn’t get a semblance of anything close to it until 5x13? Yeah, that was addressed in the first episode. And we know that after four episodes, it’s still not done being talked about. It keeps coming up because it’s imperative to Bellarke’s relationship.

This is a little more subtle, but the keys were a detail I loved. Clarke kept Bellamy’s key. Clarke. Why not Echo, arguably the person he should trust the most on the planetary exploring mission? She’s his girlfriend and he lived with her six years. Same goes for Emori, minus the girlfriend part, but he should explicitly trust her. Okay, but they weren’t in the same room and we’re going to ignore the implications entirely of why Bellamy and Clarke had to be stuck in the same room even though that’s even more proof of the writers feeding us. But what about Murphy? Again, six years in space. Bellamy is the one to continually tell him he isn’t useless, to have faith in Murphy. But when it boils down to it, he gives Clarke his key. Clarke, who left him in the pits. He still, after everything, trusts her more than anyone.

Now, I’ve gone over this more in depth before, but Red Sun Rising including the line “I don’t need you anymore” from Bellamy to Clarke was extremely telling. I don’t want to rehash the whole thing here, but you can read that meta if you want at this link. The synopsis is that the eclipse-induced psychosis prays on fears, like Clarke’s fear of losing Madi or Emori’s fear of being heartbroken by Murphy. Bellamy says he doesn’t need Clarke because he’s afraid that he does, and she left him in the pits. If he needs her again, he’s afraid she’ll break his heart again. And just look at her face, she’s terrified, even before the toxin hits her, that he’ll break her heart. She wants to be able to be there for him.

“We’ll bring Madi back. I promise.” Now, we’ve gotten a lot of focus on Clarke leaving Bellamy in the pits, but weirdly none on Bellamy chipping Clarke’s daughter. This was the rectification for that. They threw in an exact parallel to 5x08/9, except this time, Bellamy keeps his promise. And it means the world to Clarke. She can finally trust him fully again.

The separated Bellarke for just one episode. Not a longer separation like it usually is when one of them leaves. Suspiciously, Clarke gets a big dress reveal while Bellamy is not there to react. ‘Nuff said.

Now, before we even get into the hug, let’s dissect this conversation. Bellamy has - from episode 1 of S6 - already made it clear he’s willing to move past Clarke’s S5 mistakes. But Clarke still feels the need to atone because she’s that distraught about leaving Bellamy behind. She wrote it on her lantern. Yes, a girl who has committed/helped commit multiple mass murders to protect her people regrets nothing more than leaving behind a boy who didn’t even die. And Bellamy, bless his soul, wants to avoid this conversation like the plague. This whole episode has a focus on Bellamy being confused about how he feels and it starts with this conversation. We haven’t seen Bellamy express any confusion about his feelings this season until after Clarke tries to apologize and hugs him. A catalyst for Bellamy to have deeper thoughts? Maybe.

And Clarke says “You’re too important to me.” She admits it. She calls him family, something he actively excluded her from last season. This triggers something in Bellamy, because he’s gotten used to keeping Clarke at a distance and protecting himself because he thought she didn’t care. And, of course, the radio calls proved that she did, but that was before he came back. It doesn’t have to mean anything. But now, she’s admitted he means something to her in the present, the current moment. And he’s confused as fuck about it.

Now, let’s actually analyze that hug shall we? You’re on the money, it’s shorter than usual, but I don’t think that’s necessarily bad in context. Because this hug, as beautiful as it is, is unnecessary. They’re hugging just because they can. Think about it. Other Bellarke hugs have a catalyst. A reunion: 2x05 - the running hug, 5x04 - the “And now you’re home hug.” A comfort: 4x13 - Clarke doesn’t get the chance to say goodbye to Abby. A forgiveness: 3x13 - Bellamy agrees to move on, to grant himself and Clarke forgiveness. 

But isn’t this a forgiveness hug, too? No! As I’ve mentioned, Bellamy already forgave Clarke. This entire conversation is initiated on Clarke’s end to give her peace of mind about what she did, it just so happens to stir up confusing emotions in Bellamy. But it’s not the monumental forgiveness of 3x13 because Bellamy hasn’t been angry with her since they got to Sanctum. He forgave her in 5x13.

And just the body language- Clarke does her signature smile of relief while hugging Bellamy. Bellamy looks confused then relaxes into it, relieved, furthering the narrative he doesn’t quite know how to feel when it comes to Clarke. 

Now, this is the one I’m going to give a point to you for not being sure it’s romantic. I can see how this one, more than the others, is confusing. This isn’t seething-with-rage jealousy. I’ve discussed with with some other and it’s miserable jealousy. I think it’s mixed with Bellamy’s confusion, he doesn’t want to see Clarke dancing with another man and he doesn’t know why, he just knows it makes him sad. 

Right after this, we get the B/E fight and Bellamy snapping at E/cho. His reasons are Monty, Harper, and Octavia. But none of those situations are immediately relevant. What is relevant? What is the ONLY other thing we’ve seen in this scene? Clarke dancing. Bellamy admits that he has no clue how he feels and he says it’s about Monty, Harper and Octavia, but why now? Why in the club only after he’s seen Clarke dancing with someone else?

And I’d be wary about this too, because when I first watched, I wasn’t even sure his line of vision matched up with her. How could we know he was watching her? Upon rewatching multiple times and the flashing between Clarke dancing and Bellamy watching, plus the way the camera pans, it’s clear he’s watching her dance.

All of this and more is why I’m loving Bellarke this season. And I understand frustration that it’s not like the early days because it isn’t. It can’t be. Season 5 wrecked them to a point I thought it could even be beyond repair, but Season 6 is showing that it can still be repaired. They’re not going to immediately fall back into pre-Praimfaya patterns because they’re not those people anymore. But the feelings, the care is still there and THAT is what Season 6 is showing.

Yes, there’s an emphasis on reconciliation and forgiveness, and addressing feelings because it’s necessary. Without it, they’re back where they were in Season 5, not understanding who the other person is after such a long time. They’re falling back into sync this season, not just with their feelings, but also as coleaders, which we see in Clarke being a representative for their people and in the way they lead in 6x02, giving each other their keys.

And what am I most excited about now? Bellamy’s gonna lose her again. I know that sounds bleak. But Bellamy’s focus on confused feelings in 6x04 are setting this up. He’s gonna know exactly how he feels when he loses Clarke again. He doesn’t want to accept the feelings he has for her (proven in 6x02), he wants to be in denial (6x04). But when he loses her again, he’ll know. Josephine!Clarke is going to bring out that Season 1 Bellamy, where a switch will flip and he’ll do whatever it takes to get Clarke back, consequences be damned, the same as he’d do it for Octavia in Season 1. I’m thrilled about the direction this season is going.

To anyone who’s not: that’s okay! You don’t have to be. I hope you can enjoy the show for what it is. I think this - all of it - is relationship setup and romantic setup, but hey, that’s just me.

[tinkdw]

I could forgetting but didn't Lucifer not have an Angel blade anymore?? Did he pick up Crowley's or did Cas leave his behind after stabbing Lucifer? I don't see the second one being a thing unless Cas was being influenced. Even then that's kind of weird? So I'm inclined to believe Lucifer picked up Crowley's Angel blade and that's what he stabbed Cas with. Which is more interesting to me if Crowley is meant to be Dean's dark side, but what do you think?

Yeah, it’s really interesting to me that Crowley died in a self sacrificing manner the episode right after Dean reconciled his past and his “dark side” which Crowley is associated with, its a great metaphor :D

Cas dying also fits because the metaphor works best if both sides “die” to then mingle together to create a whole NEW Dean Winchester… hence my meta titled “Dean Winchester is going to die” earlier in the season with all the foreshadowing of this.

It would serve the metaphor best if Crowley died by ‘his’ blade (even though its not technically his, its his by ownership) and Cas by ‘his’ blade (which we also assume isn’t actually his because how could he still have it after season 9).

So yeah this makes sense metaphorically but not necessarily narratively, WHY would Cas leave the blade lying next to Lucifer when Lucifer clearly won’t be killed by it (Angels must know that an Archangel cannot be killed with a normal blade and / or if for some reason he didn’t WE know and usually its safe to assume that they wouldn’t make the narrative rest on the fact that Dean and Sam never discussed this with him over the years….).

The self sacrificing part and the potential for it to be by their own blades is awesome and a great metaphor for Dean’s state right now. He is on that cusp of reconciling his past and present in order to move forwards and Cas’s death is also going to help with this. He might try to fall back into old habits, but find that he cannot now that he has let that side of him go, he might not even try to do this at all and deal in a new, different way, he might finally admit to himself his feelings about both Cas and Crowley (although it seems he kind of already did about Crowley, which makes sense given his death was in this season and that admitting he doesn’t hate Crowley would be a stepping stone to admitting that he loves Cas, whether you see it as platonic or not, love, romantic and familial, is something that Dean needs to address, hence the first ever “I love you” to his mother in 12x22).

Season 12 has been one long ode to Dean Winchester letting down his walls and is it such a surprise that this is the season that we also got this the buddy cop comedy duo? Not a team up behind Deans back with all kinds of terrible implications of season 6, but a reconciliation of Cas and Crowley, working together for the greater good… 

I hope we see a few small changes, twerks in Dean but not too many, I don’t think they will make him completely different as that is not the story we have been told. It is great now rewatching season 1, seeing the Performing!Dean right from the start, remembering that I noticed it at the time but kind of disregarded it as ‘oh well, that’s just who he is and its kinda sad he isn’t fully himself but thats just the character’ to in later seasons really seeing how this affects him deeply on an emotional level, to have to close himself off, to hide, and THAT is why I’m so happy that Performing!Dean and his ‘dark side’ are being reconciled within himself, to allow himself to be whole and really who he is… to enable his happy ending.

The metaphor of Crowley and Cas is awesome and although it narratively makes sense for both Cas and Crowley to come back (and both be Human) I can see why production-wise they won’t bring back Crowley. However Cas is another matter, his character is much more developed and his relationship with both the boys is completely different.

I feel like now that Crowley is dead, Cas will no longer represent this other side of Dean in the metaphor, now that this metaphor is essentially void.

Cas now can be HIMSELF, Cas is not a METAPHOR for anything anymore, he is his OWN character and I am SO here for that!