#it's a completely different show but I really like it so far!

[zepskies]

Hi there, friend!! Oh don't worry, I'm just so glad you've gotten the time to dive into this story, especially since I'm working on a sequel! 🥰💕💕

I loved Spirit as a kid and you brought an elegant literary version of it to life that absolutely brought out the inner kid in me. I love the nods the to movie, especially the scene where Dean and the others are trying to break Spirit and the subsequent escape scene.

Oh yay!! I'm always happy to see another Spirit fan. 😊 And thank you so much for that compliment. I tried my best to capture the "spirit" of certain moments, while trying to making it my own for this story. That "breaking Mato/Spirit" scene was the biggest film rip part, but I just had to include it. 💜

As you said in your authors Note, it's clear you put in a lot of research and care into representing the Lakota tribe which is very admirable.

Thank you so much for saying that. I really do care about representation and authenticity, especially since I was writing about a culture that wasn't my own, though in a historical time period that fascinates me. Rewatching Spirit actually made me want to deep dive into that part of American history.

As always, your AU's are wonderful; your AU's are the only ones I read, especially the AU's that deviate from the Canon and/or a completely different universe. You have a way of keeping the fundamentals of the characters and the feel of the show that they are a part of within the AU instead of being completely different.

Wow, thank you, hun!! 🥹🥹 What an amazing compliment! I haven't written many AUs, but I do my best to make the canon characters feel like themselves, even though it's an AU world. 💓💓

I'm so happy you loved Part 1 so far!! I'm so excited for you to read the rest of this journey into the Wild West. 🥰

The Honorable Choice - Part 1

Pairing: Dean Winchester x OFC 

Summary: June 1872. Captain Dean Winchester of the U.S. Cavalry is tasked with one job: break a wild mustang. He just didn’t expect the woman who infiltrates his camp, intent on freeing her tribe’s horse.

AN: I got inspired after a recent rewatch of Spirit: The Stallion of the Cimarron (literally a perfect movie), as well as having Yellowstone in the back of my brain. I thought this idea might be a good fit for this @jacklesversebingo prompt.

Disclaimer: I’ve done extensive research for this one, both on the American Indian Lakota tribe, and on American history during this time in the late 1800s (AKA: the Old West, during the American Indian Wars and the Sioux Wars). Of course, one of my main goals is to avoid inaccuracies, both historical and cultural.

Jacklesverse Bingo24 Prompt: Western AU

Song Inspo: The Spirit Soundtrack

Word Count: 4.6K

Tags/Warnings: 18+ only to be safe. Racism/racial slurs, attempted sexual assault (not successful), protective Dean, angst, some violence and some action.

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🎙️ Listen to the podfic version here!

Part 1: Pride & Prejudice

June 1872

Dean hears some of his men shouting, along with the telltale cracking of bone that would make a less seasoned soldier wince. He spares a look to Benny, his Lieutenant, and sets down his glass of whiskey.

Dean’s path takes him brusquely out of his office and toward the stables. He grabs his gun and his hat on the way there, setting the latter on his head.

Is it too much to ask for one night where he can drink in peace?

Dean comes to find a young woman being detained by two of his men, Kline and Novak. Roman sports a bloody nose and his eye is already beginning to swell. The woman fights against their hold.

Even under the pale moonlight, Dean notes the way she’s dressed: a deer skin dress cinched at the waist, over thin pants and shoes. He surveys her tan skin, her black hair that blends into the night, twisted into a long braid, and the anger in her dark eyes.

“What have we got here?” Dean says. He stows his gun in its holster as he approaches her, resting his hands at his belt.

“I caught her breaking into the stables, Captain,” Roman says. He prods with a hiss at his busted nose while trying to stem the bleeding. That’s going to be a bad break.

She remains tight lipped, stubborn. 

“Probably doesn’t even understand English. Savage bitch,” he says. Dean shoots him an impassive look to cover up his annoyance.

“Put a cork in it, Roman,” he orders. Then, he focuses back on her. “You’re a Lakota, aren’t you?”

Aside from their main mission here in the Dakota Territory, the Colonel has been fixed on fighting back against the Lakota Indians, especially after they sabotaged the supply line last month.

The proud tilt of the woman’s chin is her only answer to Dean’s question. Her gaze drags down his form with disdain, like he’s the savage. His mouth twitches mirthlessly. 

“The Lakota rear up their own horses pretty damn well. Why would you want to steal one of ours?” he asks.

She glances away from him, first at her feet, then over at the camp’s latest “guest.” Dean, Benny, and a few of his men wrangled up a horse a few days ago. He’s a beautiful Kiger mustang with a nasty mean streak. He barely got through a trim this afternoon, and almost took a chunk out of Rufus when he tried to brand the horse.

The Colonel ordered them to tie the horse up to a post just outside the corral—no food or water for three days. He’d turned to Dean with a firm set to his face and issued a single order.

“Break him.”

Now, Dean catches the furtive look the Lakota woman gives the horse, who flicks his tail. The animal stares right at her, as if into her eyes.

“Oh, don’t tell me you here for him,” Dean says with a chuckle. “That thing’s a little too much for you, sweetheart.”

That earns her attention, steely and unimpressed.

“He is too much for you,” she says. Her voice is smooth, and would even be pleasant, if not for the circumstances. “He is one of ours. You will never break him.”

Dean's eyes widen a fraction. He glances back at the mustang.

So that's why she's here, he thinks. She's trying to mount a rescue. Dean feels a twinge deep inside, but he can't allow himself to care about that. They've collected a strong horse that will be a good support for their objectives here, once he's broken.

“Ah, well see,” Dean says, tipping his Stetson up to meet her gaze. “That’s kind of our specialty.”

“Sir, should we take her to the stockade?” Novak asks. He seems reluctant to do so to a woman, even an Indian, but he’s always been good at following orders.

Dean opens his mouth to reply, but another voice cuts him off. Colonel Asmodeus Sanderson steps out and takes a look at their captive.

“Not the stockade,” he says, with that Southern drawl that betrays his Kentucky roots. “Not yet.”

He approaches her with a slow, calculated gait. His hands gather behind his back. Dean gives her credit for looking Sanderson in the eye. She seems rightly wary, but not afraid.

“We won’t hurt you. I give you my word,” the Colonel says, “if you’ll lead us to your people’s camp.”

He takes a hold of her chin, turning her face this way and that, like he’s examining a dirty animal, and all that he’ll have to do to make it clean. She spits in his face.

Dean bites the inside of his lip against a smile. She’s got as much fight in her as the mustang. However, he has to school his face back into stoicism when Sanderson rears back in anger.

The harsh smack rings out in the clearing, along with the woman’s cry. Dean doesn’t allow himself to outwardly react, but inside, his spine tightens as he fights his instincts.

Only Kline and Novak’s hold on her arms keeps her upright. She pants for breath, but again, she meets the Colonel with a face that doesn’t give away anything, despite the reddening mark on her cheek.

“The post,” he barks. “Three days. No food or water.”

Dean is kept busy by his duties. He makes sure the camp is running in order, accepting shipments of supplies and ammunition, among other things. Cas Novak is in charge of the stables, caring for the horses and putting them through their training. Jack Kline is young and strong and a good assistant, along with others in his unit.

Right now, Dean and Benny are going over the plans with Colonel Sanderson for continuing construction on the railroad, from here to the Black Hills. It’s a path that cuts straight through Sioux territory—the bands of Dakota and Lakota Indians that occupy the land.

“The natives are fightin’ us tooth and nail,” Sanderson says. “But maybe our guest will be able to help us…negotiate.”

Dean remains quiet, ignoring yet another uneasy twinge in his gut. He didn’t join the army to fight the Indians. He doesn’t always understand their way of doing things, but he understands why they fight—to protect their land, and to protect their own. It’s the same reason Dean fights, when he has to.

He joined the army because…well, it felt like the right thing to do at the time. His father had been a Cavalry Major, and he’d died an honorable death, now about a decade past.

Has it really been ten years? Christ.

Dean wipes his brow. Even with the windows open, the office is humid and smells like ass. He glances outside, where both the mustang and the woman are tied to their posts under a sweltering sun at high noon.

Not for the first time, Dean wonders what his dad would think of him now. 

After the meeting, Dean and Benny fall into step together to inspect the camp. The summer sun shines hot on their blue uniforms, and occasionally they raise their hats to mop the sweat from their brows.

Things are running as usual, but many of the men’s eyes occasionally turn to the posts. Dean’s attention wanders there too without him realizing, catching on the woman’s dark hair. It shines even blacker in the sunlight, like a raven’s wing. He knows the shade because his dad used to have a feather kept in his journal, like a bookmark.

“You okay, brother?” Benny asks. Dean realizes what he’s doing, and his attention returns to the task at hand. Get it together.

Always forward, never backward.

“Just fine,” Dean replies. Benny gives him a knowing look.

“A bit unsavory, ain’t it?” he says. “Keeping her chained up without even a lick of water.”

“The Indians are getting smarter, bolder. They’re ambushing our men, going after our supply lines, and now, stealing our horses,” Dean says. “This is strategy.”

Benny shrugs slightly, making a sound of agreement. Dean hesitates, his gloved fingers flexing against his sides.

“If she was a man, you guys wouldn’t give a shit about putting a bullet through her head,” Dean says.

Benny’s gaze shifts downward. He doesn’t reply, but he concedes the point all the same.

They continue their route, and Dean keeps the rest of the conversation on the work at hand.

Mila has gone far longer without drink, but the sun is particularly unforgiving today. She’s prayed and prayed for even one cloud to glide overhead and shield her for a while. It’s not much better for her companion. He paces in place, occasionally tugging his head against the rope that binds him to his post.

She makes a clicking sound at the horse, getting his attention. She calls him by his name, and his ears flicker in her direction. He offers her a short whinny in response.

“I see you, Mato. I am with you,” she says in her native tongue. She hopes the sound of her voice will soothe him. He looks tired and hungry, but his eyes flick hard and untrusting on any man who comes near him. His spirit isn’t broken.

“Hey! Shut the hell up over there,” Roman shouts at her from where he and Cas are taking a short lunch break. Cas gives him a certain look, crossed mostly with annoyance.

Mila resists the urge to roll her eyes. Instead, she closes them and tilts her face back to the sun. In a way, it feels cleansing. Maybe it can wash away the stench of the White Men’s hands on her body, manhandling her, checking her for weapons.

She spends the rest of the day watching the camp. One of their leaders, the Green Eyed One, called this a fort. It does look fortified, with tall walls made of thick wood constructed to form a cage—whether to keep others out, or to keep the men and horses in.

She identifies the Colonel as their chief, of a kind. Green Eyes is second in command, followed by the Bearded One with a strange voice. Even the scruffy Blue Eyed One has some authority, mostly over the Child Faced One. There are too many others to rank them all, but she knows the Loud Mouthed One is arrogant, even after she broke his nose. The way he carries himself, he clearly thinks he has more power than he actually has.

In her mind, Mila conjures up different plans of escape. All of them fall short in some way. The men didn’t find all of her weapons; a small knife is hidden deep in her boot. She could saw at her binds within an hour, but even with Mato to carry her out and away, the problem is escaping this camp without alerting the men. Without getting shot.

She has three days to think.

That night, the moon refuses to give her clarity. Her stomach is too empty, her throat too dry, her tongue thick in her mouth. Her attention shifts in and out of consciousness, until the sound of boots crunching in the dirt trills unease down her spine. More alert, she sits up straighter.

The Loud Mouthed One. The one they call Roman comes to taunt her, offering her water, then drinking for himself instead. He comes closer to examine her. He has a small bind over his broken nose.

“You know, you’re a pretty one,” he says, taking another cold sip as his gaze drags over her form. “For a wild thing.”

His face nears hers, clean shaven, though his thin smile reminds her of a rattlesnake. Dread and repulsion churn at odds in her stomach as she realizes what he's really here for. It doesn't matter if he truly wants her, or just wants to pay her back for his face. Either way, he means to take her here in the dirt.

She looks away, not wanting to let him see her fear, or the dread tightening her stomach, rising into her throat. He winds long fingers into her hair. At first the hold is gentle, deceptive. Then it's tight against her scalp. She hisses in pain when he tugs her head back and forces her to look at him. Her breathing quickens as she tries to pull away.

He draws in close to try and claim her in a kiss, but she head-butts him, hard.

He cries out and stumbles back, his flask falling to the ground.

He angrily grabs her and hauls her up to her feet. He pushes her hard against the post and unbuckles his belt, just to stuff it in her mouth. With his free hand, he begins to undo his pants.

She refuses to cry out, even though she spits out his belt and fights him, trying to kick out his knees.

Suddenly, the man’s body is ripped away from her. Mila loses her footing and falls to the dusty ground, sliding against the wooden beam she’s tied to. The wind is knocked out of her, but when she raises her head, she watches with wide eyes as the Green Eyed One beats the other man into the dirt. It doesn’t take much, just a few well-placed fists.

Roman lies there catching his breath, and he spits a wad of phlegm and blood. His left eye will match his nose, that’s for sure.

Green Eyes looks angry and disgusted. He huffs and puffs while staring down at his subordinate. He pushes back his short brown hair and points an ungloved hand at Roman.

“Get back to the goddamn barracks. You’re gonna be mucking out stalls until shit’s coming out of your ears,” he growls.

Roman doesn’t argue, though it’s obvious that he wants to. He just picks himself up, makes a show of straightening up his open uniform jacket while catching his breath. He walks past Green Eyes with a resentful, angry look. Green Eyes watches him until he disappears inside.

Then, he turns to her. His gaze softens somewhat, but it’s still unreadable. He crouches down in front of her, resting his arms on his thighs. Mila’s gaze briefly falls to his hands. They’re calloused, the hands of a laboring man. He carries himself like a warrior.

“Sorry about that,” he says.

It’s not what she expected. Mila eyes him warily when he moves closer. She presses her back against the post until it hurts her spine. He raises up his hands placatingly.

“I’m not gonna hurt you,” he says.

“That is what your Colonel said,” she says. Her voice cracks with dryness. “I didn’t believe him either.”

His lips flicker at a rueful smile. It wrinkles crow’s feet around his eyes, breaking his stony face.

“Fair enough.”

He reaches for his belt and retrieves a flask, similar to the one his subordinate carried. He extends it out to her.

“It’s water, unless you prefer whiskey. I know I do,” he says.

She raises a brow at him, but hearing the sloshing inside the flask, her thirst takes over her wariness, and even her pride. She tentatively leans forward. He brings it closer so she can press her lips to the opening. Despite his Colonel’s orders, he lets her drink as much water as she’s able. When she’s done, he pockets the flask and sighs, running a hand through his hair.

“What’s your name?” he asks.

That, she will not give him. Names are sacred to her people, and this man, while seeming to have a shred of honor, isn’t worthy.

“Don’t wanna even tell me your name?” he says. He nods slightly. “Okay, well, I’m Dean. Captain Winchester, to this band of delinquents.”

He gestures around the camp with a dismissive hand. Mila only watches him. She’s never seen a White act like this, breaking his leader’s rules, being…kind.

What a strange man.

But if he had any real convictions, he would untie her and let her go, along with Mato. She won’t hold her breath.

Dean’s brows raise up toward his hairline, and his full lips form a pout. Realizing he’s not going to get anything more from her, he lets out a tired huff and straightens up.

“Well, goodnight,” he says.

He finally leaves her alone, but she can’t help but follow the swaggering path of his bowed legs and heavy boots. They carry him away and back indoors.  

A strange man.

By the morning of the third day, Dean is ready to do what he does best. Or at least, one thing he does best.

He’s no stranger to horses. He grew up on a farm in Lawrence, Kansas, where he and his brother would help take care of the animals. Dean was older, so he helped his father till the land and train the horses. Sometimes he and Sam would sneak off and race their favorite ones, until their mom called them back for dinner.

In fact, part of what earned Dean his rank in the U.S. Cavalry was how well he could command a horse. His own is resting in the stables.

Today, he’s getting in the ring with the mustang.

…Well, not right away. He lets a few of his guys go first to tire him out. Even after three days of no food or water, the horse is living up to his bad attitude. He bucks each of them off after just a few seconds in the corral. Dean can tell it’s becoming a kind of game for the horse. His dun-colored coat shines in the sun, his brown socked legs kicking up dust and manure as he brays angrily at whoever tries to mount him.

Dean notices the Lakota woman watching with an amused smile on her face while she sits with her hands tied to her post. She’s enjoying the show, like she knew this would happen. It seems to give her energy every time another man is thrown off the horse and limps out of the ring.

Dean shakes his head. Pitiful.

He puts two gloved fingers to his mouth and whistles the entire clearing to attention. He saves Kline the chance to bruise his spine and pats him on the shoulder. Dean steps into the corral and positions himself into the stirrups, wrapping the reins around his hand. The horse is breathing hard, but he’s not done. He’s still got fight in him. Dean sees it in his brown eyes.

“All right, mustang. You’re big and bad. I get it,” Dean says lowly. “But I don’t scare easy. Gimme your best damn shot.”

Cas and Benny give him wary looks from where they stand outside the gate.

“Hold onto your hat, Cap,” Benny mutters.

Dean adjusts his hat and rests his gun on the post for safe keeping. He wants to feel as natural as possible, like it’s just him and this horse, out back in his family farm. He holds on tight to the reins. He’s fully prepared for how the mustang takes off at a galloping clip around the ring. He twists and bucks, but Dean claps his thighs tight and holds on for the ride.

The horse gets smarter.

He runs for the water trough just outside the ring. He slams Dean against the side of it once, twice—and manages to throw him off, with Dean landing right in the water trough.

He bursts out from the dirty water, sopping wet and spluttering in anger. He looks over at the horse trotting around, whinnying and tossing his head like he’s laughing. Dean can’t help it. His anger fades, and he smiles.

This guy’s got some brass balls, I’ll give him that.

The Lakota woman laughs. Dean hears it and his head swivels toward her. She bites her lip, but she knows she’s been caught. Despite his injured pride, Dean’s lips curve with a smirk. Just gonna laugh at me, huh?

“I see things are going well,” comes a familiar drawl.

Dean’s face falls as he looks up and finds Colonel Sanderson. Dean pulls himself out of the trough and tries to squeeze some water out of his uniform. He clears his throat.

“Well, uh, it’s going, sir. Just gonna take a little more time than I thought,” Dean says. He quickly reclaims his hat from the ring, giving the mustang a smart berth. After he climbs back out, he goes over to the post where he left his pistol.

“Hold him steady,” Sanderson barks out the order, but not at Dean. The other men wrangle the horse back into the pen, where Sanderson climbs up and mounts the horse himself.

To his credit, he stays on longer than even Dean thought he would. The mustang gallops and circles. He tries slamming Sanderson on the sides of the corral, tries bucking him and bucking him, but the man clings on, even when his hat falls into the dirt.

The horse is exhausted. He eventually stops in the middle of the ring, panting for breath, his legs shaking slightly. Dean straightens at attention.

So does the Lakota woman, he notices. She looks worried, her brows furrowing.

Sanderson swipes a hand over his graying hair and moustache to collect himself. He raises his head with an arrogant smile.

“You see, gentlemen. Any horse can be broken,” he says. He kicks the horse with his spur. “Move along, mustang.”

To everyone’s amazement, the horse obeys him. He moves forward at a slow clip. All the men applaud, even Dean, belatedly.

“There are those in Washington who believe the West will never be settled,” Sanderson continues. “The Northern Pacific Railroad will never breach Nebraska.”

His gaze draws over to the woman. Her eyes are filled with tears as she watches the Colonel makes his rounds.

“A hostile Lakota,” he says in derision, “will never submit to providence.”

She stares back at him with steel in her watery eyes.

Dean doesn’t realize his jaw is clenched tight until he feels the strain in his jaw. He forces himself to relax, with his hand on his dampened belt.

“And it’s that kind of small thinking that would say this horse would never be broken,” Sanderson says. “Discipline, time, and patience. That’s all you need to level a wild thing.”

Just then, the horse stops abruptly.

“Mustang?” Sanderson asks in warning.

Dean tenses. He knows what’s about to happen.

“Sir!” he calls out.

But it’s too late.

The stallion revs and charges, bucking even wilder than before. He swings his head and rears back high on his hind legs with a powerful bray. Sanderson yells in fear and strain, but he stays on the creature’s back.

The horse’s angry eyes take on a darker shade of conviction. When all four of his hooves hit the ground, he finally bucks hard enough to get the Colonel off his back, though he still clings to the reins near the animal’s head. He comes face to face with the horse’s crazed eyes. His own are wide and full of terror.

Hot breath heats Sanderson’s face. Then the horse swings his head and tosses the man out of the ring. In the process, the horse falls on his side and shatters a section of the wooden beams that fenced him in.

While he shakes his head and gets his hooves under him, Dean and Benny help the Colonel up to his feet. His uniform is a wreck, and now, with a bruised body and likely a couple of broken ribs, the man is fuming.

Kline and Roman wrangle the horse’s reins and keep him more or less in place. The Colonel shoves Dean and Benny off of him. He reaches for his gun at his belt and aims it at the mustang. Dean goes rigid in shock, but he knows he can’t interfere. If he does, it could warrant some major discipline.

The Colonel pulls the hammer back on the revolver, but before he can pull the trigger, the sound of cutting rope and a feminine yell breaks the silence in the clearing. The Lakota woman pulls the Colonel’s arms down, and the gun goes off into the ground. Her elbow comes up quick to strike the man between the eyes. He careens back into Benny, who catches him.

Meanwhile, the woman swings up onto the mustang. She grabs a stronghold by the neck and barks something in her native language. It spurs the horse onward, and he breaks through the crowd of men at a gallop.

Dean watches with widening eyes and furrowing brows. “Shit!”

He runs to the stables where he finds Baby waiting for him. Her black coat ripples as she stamps impatiently.

“Come on, sweetheart,” he beckons. He leads the mare out of the stable, and after grabbing a coil of rope from the supply bench, he mounts her smoothly. With a subtle kick of his heel, she picks up speed to follow the mustang and his rider.

They’re already approaching the gate where the men are quickly trying to close it. There’s still a window of opportunity for escape, but not only is Dean on their heels, Roman also stands on a pile of crates filled with iron parts that are due to be shipped out in the morning for continued construction on the railroad. Roman holds a rifle. He trains his weapon on the woman, taking deadly aim.

Dean’s jaw clenches and his brows furrow. He knows then, in the breadth of a few seconds, that he has to make a choice. If he does nothing, both she and the horse are as good as dead.

Sam used to call him reckless, stubborn as the horses he spent long hours taming.

Right about now, his brother is probably right.

Dean reaches for his gun, aims, and shoots within the span of those seconds. Roman goes down before he even knows what hits him. His chest plumes with blood after he slides down the crates and flops heavy to the ground. His eyes stare unseeing at the crisp blue sky.

The mustang tears through the narrow opening in the gate, and Dean isn’t far behind. The woman is an excellent rider, far better than he expected her to be. She clings to the horse’s neck and mane, and she doesn’t even use the stirrups. She clings on when the horse leaps over rocks, and when she notices Dean tailing her, she urges the horse at an even faster gallop.

Dean’s face furrows with determination. Baby is built for speed too.

He gives her a little kick with his heel. “Come on, Baby. Go!”

He’s able to keep up with the mustang just a few yards behind, even when they reach rougher terrain, going further up and into a canyon. He follows them through every curve and dip, guiding his horse just as much as she's guiding him.

Dean takes his rope in hand and turns it above his head, but his attempt to lasso the mustang's neck fails; the woman saws straight through the rope with her knife.

"Damn it!" Dean mutters.

He's forced to let go of his frayed rope when he and Baby nearly careen off the edge of a cliff. His heart settles high in his throat as he grits his teeth, but he pulls back on the reins hard and leans in the opposite direction. Baby's able to bank left, saving them from a long way down to certain death.

They continue up the narrow path the mustang has trod ahead. It carves around and through the mountain.

Dean mentally grasps for a plan, aside from just keeping up. Without even a bit of rope, he doesn’t know how he’s going to slow the woman down without hurting her or the horse. He doesn’t want to have to use his gun.

Eventually, the canyon breaks into a patch of desert, and then, grassy plains and tall forest trees. The mustang begins to tire and slow to a stop. His rider murmurs soothing things to him, stroking his neck. She turns back to look at Dean over her shoulder in dismay. She knows she’s caught.

“All right, sweetheart. That’s enough,” Dean says.

He sidles up next to her and intends to grab the mustang’s reins.

That’s when her swift kick comes, dead in his forehead.

AN: And here we go! 😅 Feels right that November is Native American Indian Heritage Month. 🫶🏽 For that reason especially I've done my best to do the Lakota people justice, even in this little series and complete work of fiction.

There's a lot packed in this first chapter, and yep, I did borrow a bit of scene from one of the best scenes in Spirit as an homage. From here on out, we're literally going off road...

Next Time:

Dean falls out of his saddle with a yell, landing hard in the grass. The impact knocks the air out of his chest and his hat off his head, not to mention the pain that rattles down his back.

“Son of a bitch,” he wheezes, while trying to get back up.

The woman jumps down from the mustang’s back and all but leaps on Dean. Straddling his waist and grabbing a fistful of his collar, she lets out a battle cry and raises a small knife at him. It’s probably no more than two inches long.

Dean may be on the ground with a smarting forehead, but he’s still got the upper hand. He grabs her knife-wielding arm and whips out his pistol from his belt. Her eyes widen, and she stills above him. The gun lies between them, aimed for her chest. They’re both breathing hard.

Dean has a problem.

Looking into her eyes, soulful and brown, the slope of her nose and her full lips, parted with shock… 

▶️ Keep Reading: PART 2

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[tanadrin]

There's this big gripe I have with a lot of television shows that are dramas, which is that they take the formal elements of modern prestige television--very good cast, high-quality cinematography, terrific music, often even a pretty interesting premise--and just fall completely flat-footed on the execution, because the plot has the structure of a floppy spaghetti noodle.

Plot can be just one damn thing after another, but in general this is not a satisfying way to approach plot. Satisfying plots usually have some kind of structure, build logically to some kind of climax (or even series of climaxes, in serial formats like television), often leveraging diverse dramatic techniques so that even if the plot temporarily veers off into some cul-de-sac or subplot, you feel like the overall momentum of the story is moving forward, is coming to some conclusion. In short, you feel like there is a reason for you to be watching this story in particular, that it has some weight or consequence for its characters, that each sub-element of the overall plot, each chapter or episode or what have you, is in retrospect a necessary element in the story the creator wants to tell, and the audience wants to watch.

(Obviously, for more episodic structures, which a lot of perfectly great TV shows have, the rules are different, because the plot of each episode is partially or wholly discrete; but a key element of modern prestige TV is a serial and not episodic format. I don't know why this is exactly, but I assume it has something to do with the long shadow of The Sopranos and the notion that episodic formats are for cheesy sitcoms or cheap science fiction.)

But almost every prestige drama and quite a few other shows I have tried to watch in like the past--I dunno. Ten years? Maybe not that long, but it sure feels that long--has the floppy spaghetti plot problem. The plot really is just One Damn Thing After Another, usually fuelled by characters having to hand off the Emotional Idiot Ball to one another to generate conflict. Hell, one reason Game of Thrones stood out was that it wasn't this: for all I have ragged on George R.R. Martin, I think he has some notion of structure, and though in a long-running book series you can let that structure expand and breathe, the parts of the show that followed the plot he laid out in advance benefitted strongly from having that structure to guide them. Most showrunners these days seem to think only as far ahead as the next episode, and boy, it shows!

I'm not saying all writers need to be J. Michael Straczynski, and plot their shows out five seasons in advance with multiple escape hatches for various characters in case their actor has to leave the show, but I do think I haven't seen a well-structured serial drama television show since around the time of The Wire. And this lack-of-structure problem has even infected a lot of episodic, decidedly non-prestige TV shows that have tried to incorporate overarching plots into their seasons, which I think is in part due to the idea that serial storytelling is somehow, I dunno... like More Serious Television? Anyway, I wish it would stop. I wish writers and showrunners would care more about structure!

(There's also a related problem where a show will start out with some interesting premise or concept, and abandon it like three episodes in to focus on side plots, despite the premise being the whole draw of the show.)

[mymoshangthoughts]

the amount i wanna explore the immortal alliance is just So Much

okay there are LAYERS to how i feel about these events

because look guys, so far as we understand, airplane is a pretty normal dude. a bit of an internet troll (ok a lot of an internet troll), a horny writer, and an immature punkass who's completely shameless, but like... he's not a mass murderer ya'll.

it KILLS ME that we never got an airplane extra about the immortal alliance because dude HOW HE FELT ABOUT THAT IS A LOT

yeah, he's grown up in this world and yeah he might have had no choice either via the system or via mobei jun or a mix of both, but its absolutely bonkers to be able to just walk off "yeah, a bunch of CHILDREN died in really brutal ways directly because of my influence". like shen yuan was wracked with guilt for years and he only 'killed' one kid and he knew that kid would walk it off.

and i dont buy the explanation that airplane wasn't treating pidw like a real world because frankly... i just dont think that makes any fucking sense if he was born there. yeah, it's gotta feel a bit wonky and unreal with the system in his head, but dude he was BORN here. suspension of disbelief that this world wasn't 'real' wouldnt last a few years, much less several decades. the sheer number of people he would have met, interacted with, and knew were REAL wouldnt make it possible. i do think that he made a huge effort not to get attached to anyone, knowing that bing-ge was gonna kill the fuck out of basically all of them, but theres a big difference between "ahh yeah that guy is gonna die so imma try not to get attached" and "lol ive lived in this world for thirty years but i dont actually think any of this is real"

so look, theres two possibilities for airplane's reaction:

he really does have a seriously fucked up side of him thats 100% okay with murdering children

he was VERY not okay with what happened but he had no choice and he's just Coping the best he can

there's also some answers in-between, but fuck i need to know this answer so badly because knowing the answer to how airplane reacted to the immortal alliance is SO character defining and it drives me insane. characterizing a person who can justify children dying because "not my problem, idc" versus someone who's horrified and traumatized over the part they played in child murder IS KINDA A BIG DIFFERENCE

personally, im coming to a headcanon somewhere in the middle. because tbh none of the airplane extras really spend any time addressing him feeling any sort of guilt over the situation. which does make it seem that he really does have a seriously dark side to him. and he did walk off his fellow disciples getting murdered by mobei jun very easily. but also, i headcanon that he is just the Master of compartmentalizing shit that fucks with him. cant deal with the events of the immortal alliance? thats fine, imma just put those feelings in a box and Never Think About Them.

i actually like to think that airplane's issue with the immortal alliance is the exact reason that mobei jun showed up in person. airplane is doing the immortal alliance thing because the system isnt giving him a choice and he's trying Very Hard not to think about "oh wow, theres gonna be a lot of junior disciples dead by the end of this haha, wow, they look so young ahhahaha, did teenagers always look like toddlers??? bc this is fucking me up REALLY FUCKING BAD" and mobei jun notices that something is Really Wrong with airplane and he cant decide if he's worried or suspicious of airplane's behavior

so he decides to show up in person, just to make sure shang qinghua isnt gonna pull anything but also that the idiot doesnt die while he's acting So Weird

but i think that airplane is like hyper pragmatic

so he's horrified in the planning stages and maybe even in the execution stages, but once it's over he's very much "they're already dead, theres no changing that, theres no point agonizing over it" and its not that he's OKAY with what happened but he literally cannot justify tearing himself apart over people who are dead because that isnt going to help anything. they're not alive to see him upset over it and even if their ghosts could see him, they're not gonna really feel better over dying bc "the guy who killed me feels really bad about it"

i also think that the years airplane spent growing up as shang qinghua play into it A LOT. he's had decades to come to terms with the immortal alliance happening. he knows its a major plot point, it's basically one of two major plot points that shang qinghua has a part in, and the system is unlikely to let him get out of it. so he's spent a longgg time numbing himself to the reality of "im going to murder dozens of children"

this is all my speculations tho and i just wanna rip my hair out that we dont have an immortal alliance extra!!!!!! i just want to KNOW instead of guessing where his head is at. literally, if he doesnt feel any guilt over murdering children, that's kinda a Big Deal characterization-wise. and if he does feel guilt but he doesnt express it thats ALSO a Big Deal characterization-wise!!!

I JUST WANNA BE ABLE TO ACCURATELY PORTRAY HIS PERSONALITY FFFFUUUCCCKKKK I HATE THIS

anyway, im obsessed with the idea that mobei jun is the one who notices when airplane is Not Okay even when he's compartmentalizing like crazy. like airplane is so far down his hole of "its nbd and idc" that he actually believes it. he has to believe it to be able to live with himself. but the way he's fucked up shows up in other ways, maybe he's more forgetful than normal or scattered or clumsier or some mixture and mobei jun just Knows something is wrong, even when he doesnt know exactly what that wrong thing is

and like it becomes this thing where sometimes mobei jun knows airplane better than the little shit knows himself. airplane is so busy lying to himself to cope with his new reality and mobei jun sees through the lies that airplane believes.

but heres where mobei jun hits a problem lol. like, he knows theres something wrong, he knows how to read shang qinghua suupperr well, but does he know what to DO about any of that? absolutely not lmfao

"hm. qinghua is not okay. i should beat him four times today" LIKE THIS MAN DOES NOT KNOW HOW TO HELP EVEN WHEN HE UNDERSTANDS THE PROBLEM AND THAT'S HILARIOUS TO ME

like mobei jun shows up to the immortal alliance like "qinghua has been in pain over this. i'll show up unplanned and beat the shit out of him in front of everyone. that'll help."

i just think these two are an absolute disaster area and i love it

btw i am desperate for mobei jun's pov during the immortal alliance okay because LOOK

I'VE BEEN THINKING ABOUT IT ALOT

AND IM CONVINCED THAT MOBEI JUN /DID/ HAVE FEELINGS FOR AIRPLANE DURING THAT INCIDENT

BUT ALSO

ITS COMPLICATED

like i dont think mobei jun is simping like binghe, i think he's got some weird mixture of denial and affection and frustration and pining and hatred and suspicion thats all mixed up in all the best ways that during that time he is super in love with airplane but he's also got a lot of other Complicated feelings toward him AND I JUST WANNA SEE HIS POV TO PROVE MY HYPOTHESIS SO FUCKING BADLY WHY THE FUCK DO WE NEVER GET HIS POV IMMA SCREAM

mobei jun's fb status "its complicated"

airplane's fb status "single"

mobei jun: ...........im going to murder him. im going to murder him in his sleep. omfg i hate him so fucking much. WTF DO YOU MEAN SINGLE, YOU ASSHOLE

[brella-boi]

Okay guys this is becoming a tradition of me seeing films recently so heres a

Sonic 3 review from a technical standpoint

Look im no film critic or anything, but i AM an animator and theres a lot of. Things. I see whether I want to or not. Its just how my brain is wired because of my profession lol

(This is full of spoilers btw so now's your time to fast scroll away)

Anyway lets begin!

The movie is great. Cool even. I liked it! But theres a lot of direction decision that I am just. Baffled by I guess?

First of all- the models are different. (Httyd ass moment) And the way they sculpted the characters lips absolutely destroys anything theyre trying to emote. It looks like theyre CONSTANTLY pursing their lips. Like they ate a lemon. Do you understand? Sonic also has much more pronounced brows which makes him look more pissed off constantly LOL

[Sonic 1 model vs sonic 3 models, pay attention to the lips]

Eggman and Dr Stone had possibly the best interactions in the entire movie. Their dynamic was fantastic, and I would argue they kinda carried the movie. Unfortunately! The ending left their issues unresolved. And Dr Stone looked entirely unbothered by the possible death of Eggman.

This brings me to some writing choices that I feel may be due to... Either infantalising or time cuts. The storyboarding of this film was just. God how do I even describe this. It feels like a lot of crucial scenes where cherry picked to be deleted between shots. Thats not good at all- and while character continuity WAS there, it really did feel like something crucial was missing in some scenes. This is especially evident in the Chao Garden scenes. Specifically when the general dies (WHY DOES HE DIE LIKE THAT. WE DIDNT EVEN SEE THE RUBBLE GO ANYWHERE OR PIN ANYONE DOWN OR SEE MASS PANIC FOR PEOPLE TO DIE?) The characters COMPLETELY gloss over his death- a death that feels like its out of a show for 8 year olds Im not going to lie to you. He just flops, delivers a line, and thats it.

It feels like the two halves of the movie were written by two different writers.

The first half is weak. The jokes are stale. And the storybeats almost feel off. The actions scenes- while there's nothing particularly offendish about them- don't *hit*. If you're an animator or writer you understand that important beats need to pack a punch. It was severely lacking in packing punches in the first half.

I also wanna speak to the animators. Are you okay? Was this made on tight deadlines? Where is the fun and whimsy? Did you outsource this? Did you give your workers a good environment or were they crunching and hating life? Or did you hire younger animators with no senior feedback because they're cheaper to hire?

Look, the animation is good. Just that. Its good. Its TV show standard, not movie standard. Its lacking a good push to the poses, its using slow keyframing between poses instead of it being snappy, with good silhouettes, with good visual gags. Instead were left with this.. subpar passable animation for every character instead of something energetic and snappy like Sonics personality. I think this is where I take the most issue with because guys come on. You didnt push the models to their limits at ALL. And Sonics speedy running is... Well read my previous points. Where are the fundamentals of animation about exaggeration? Not in Sonics run cycle.

The second half of the movie carried the first half on its back thanks to Eggman. I am SO GLAD to see giant spaceships and mechs and whatnot. Thats great! Loved to see the lovely mech models and once again- interactions between Eggman and Dr Stone. Id go as far as say they should be gay tbh (hello? The scene where theyre tied up?)

I didn't bring up Shadow entirely so far. And honestly Ive no notes about him. All my notes are entirely about just the animation and not hitting the beats well. His characterisation was great- it actually explains his aggression pretty well and then redemption. Genuinely the last arc of the movie was fantastic. And finally we got to hear a rock score to go with it. Maria was fun, the flashbacks were fun, the scientific exploration was fun. All in the second half of the movie of course!

My overall score is 6/10.

To untrained eyes the movie is going to be extremely fun- if a little more childish in some parts than others. I'm glad they took some risky moments, I'm glad the characterisation is well written. I just wish other aspects were tightened down, mainly animation and storyboarding.

6/10 but I never thought Id leave the cinema with the thoughts "I could storyboard some of these scenes in a lot more meaningful way, and Im not even a storyboarder."

I recommend a watch! Its not a bad movie. Its not a rock-it-out-of-the-park movie either though. I feel like maybe all the anticipation and high expectations maybe made it not as gut punching for me as it couldve been. Overall, all I can gleam from it is theres a lot of things to improve on! But nothing that really destroys it or makes it bad. Just a lot of room for improvement.

Thanks for reading!

[subterraneanwatcher]

Thank you :)

I haven't really thougt about why this is passed from person to person until now.

Maybe it's because, they are blessed/tasked by Agni to carry the essence of fire-bending within them (don't know what to call it) and as long as this is passed on to the next person like a torch, when one dies and the cycle does not break, there will always be fire benders. If the cycle breaks fire-bending will become impossible. Just like it is with the moon and water bending. The problem here is, this important spiritual knowledge is forgotten in most of the Fire Nation. And there is only one way to break the cycle, killing the White Dragon with lightning.

That the Gaang takes Azula and her friends with them is mostly due to the fact that they trust Aangs judgement here, and that they found Toph for a similar reason. But that doesn't mean they trust the Dangerous Ladies completely. Later when they trust them and become friends, Toph and Azula might or might not start a prank war on Sokka, who pranks them back.

And yep, Sun Warrior-Island is really the best option here. Because the Sun Warriors are one of the few, who know about this. And Ran and Shaw of course, who also met Azula's predecessor. They both teach her how to shift between human and dragon, how to fly and teach her all about the history of the White Dragon. This includes how long she will live (Not as long as a real dragon but still a few centuries. Chu-yung was over 400 years old, when Iroh killed him.)

And yes they also know about this eclipse, but when the Sun Warriors tell the Gaang and the Dangerous Ladies, Azula gets angry. This is still her nation after all and the Fire Lord is still her father. So she runs away and hides somewhere on the island.

Chu-yung is the one who convinces her to help the Gaang. Why him though? Because he tried to stop Iroh during the war. Because Chu-yung thought if there is no Avatar, to stop the war, maybe he could make a difference. And he saw the things the Fire Nation did. All the horrors that happened during the war, and he shows them to Azula. This is so horrifying for her that she nearly has a breakdown.

Ty Lee and Mai later find her and they have a long talk. "My mother always thought, I was a monster. Isn't it ironic that the rest of my family is far worse? And I'm a dragon." Azula says laughing between sobs. She later agrees to help the Gaang and to teach Aang fire-bending.

And later it is Zuko, who nearly kills Azula and breaks the cycle, as she takes a lightning shot(Yes, Zuko finally manages to learn it here) that was meant for Aang, to save Aangs life. Zuko finds to his complete horror, that he (and Iroh and other fire benders, too) now can no longer bend fire.

Until Azula wakes up a few days later, that is. And that causes a change of heart in both Zuko and Iroh. About the Avatar AND Azula.

But Katara and Aang manage to save and heal her. But she's comatose for a few days.

Favorite dragon!azula headcanons or ideas? Or just general Azula headcanons that people wanna share?

[acupofinkedblood]

Banhammer x reader

TW: NSFW headcanons

𓆝 𓆟 𓆞 𓆝

• Look at me straight in the eyes and tell me that this guy isn’t a top as well as a hard dom. If one day you hear him saying that he is willing to switch the dynamic for once, that’s not him being sober at all, because his ego is too far within the reach to the point that if we jump from his ego to his IQ, we would be hospitalized because of how impactful the fall was. Banhammer will rather bite his own tongue than thinking what will turn out if he’s a sub, let alone a bottom. He will be damned if he says that out loud to you. And it’s almost engraved in his mind that he is more cut out to be the one in charge, so there is no argument in that aspect sweetheart

• Banhammer, as expected, is quite the size to deal with. As if his appearance didn’t make it obvious to you that he’s a big guy. You know that you’re in for a ride full of surprises when the two of you get into it. To say that Banhammer isn’t the kinky type is actually not that accurate, but when we drag him over to the scale with other certain demons that is probably far more off the ground than him, you can tell that he is there somewhere in the middle ‘having sex’ tier but also pretty close to the ‘fucking wild’ tier. You get what I mean by that, don’t you?

• Definitely enjoys the size difference between the two of you. Heck, I mean it when he is big in both aspects. Seeing you so small in physique compared to him brings that shit-eating grin on his face. Just the thought of if he towers over you completely, everyone can only see his back without knowing that you’re also there. It feeds his ego, you know that. On side note, he has two specific tones of voice: His normal voice and his warden voice. The warden voice is more threatening and harsher, even a grunt of his in that tone is enough to make anyone stops on sight. He likes to use that on you, basically commanding you around like he is using his authority against you. Seeing you fold that quick when his voice suddenly drops just make him want to go further to see how long can you stand it

• Also enjoys handcuffing you behind your back as if you’re a criminal, in which he also enjoys holding the chain of the cuffs to drag you close to him without giving you time to react that he’s right after you. Blindfolding you is also there on the list. It makes things more interesting because you will have no idea where is he going to touch you next. Beside, you know his teeth are sharp, right? He absolutely loves marking you up in the most visible spot ever to show everyone around that you belong to him. Good luck covering it up in hot weather though, because I can assure you that he doesn’t play around when making sure that you’re completely covered in hickeys and love bites

• In certain cases when he’s in his office — although you know it’s mostly for show, he doesn’t even touch paperwork in the slightest after all — after a chase with a certain criminal that keeps slipping away and testing his patience almost every single damn time, he might get a bit pent up in annoyance. If you’re there to rile him up, he isn’t opposed the idea of taking you right there and right now on his working desk. The audacity he has to shoo his subordinates when they knock onto the door for permission with a somewhat normal shout while pounding into you, it’s so annoying yet questionably hot

• He doubts that you can handle him fully, although he won’t say it aloud in front of you. As much as it’s in his nature to be hasty, he still knows how to keep his pace steadily slow so that he won’t hurt you. Slow, but the roughness is still present there. Most of the time is you riding him after all. He knows exactly where is that sweet spot that will make you see the star and just keep going deep against it over and over again in a pace that will satisfy the both of you. A head up for you specifically though: He can’t really keep tab on whether or not is he being too rough or not, so you gotta tell him if it’s too much for you to handle

• Not too keen on oral when it comes to receiving, if I dare say. However, when it’s about him pleasing you, that’s another story. His tongue is pretty thick, yet he knows how to use the right way to make you scream in bliss by some unknown reasons. He enjoys eating you out as foreplay, and he is damn good at it. And by that logic, sit on his face. He loves that shit

• Do I have to remind you how much of a bastard he is? Even when he isn’t annoying you in purpose for attention, do you think he will make it any easier when he’s having sex with you? Lowkey into degrading you slightly as well, so that’s just the deadly combination that exits in him. This asshole will make you beg for him to give you what you want. Unless he is in the mood to have mercy on you, you’re stuck with that damn attitude of his

• Isn’t it that clear on how much endurance he has after seeing him dragging that gigantic hammer of his around to send criminals right into their cells without breaking a sweat? Guess that’s a blessing that comes with being a demi-deity. He can and will wreck you until you pass out if you allow him to. If he doesn’t have anything else important enough on his working schedule the day after, then I hope you’re ready for what he brings to the table. Walking right away after it isn’t recommended, you will fall almost immediately. Just saying

• Despite being such a dick most of the time, he knows that you will probably be — more or less — spent like hell afterwards. Banhammer will be less mouthy than usual when he’s finished with you. He’ll check up on you physically first to see if everything is fine before running a bath for the two of you. Then he will ask how are you holding up, do you need anything else after this, is there anything you wanna tell him. He’s fine with feedback, don’t worry about it. Compliments are almost a must as well, he won’t hesitate to tell you how great you have been and how much he loves you. Even when it might be corny as hell hearing it from him, but hey, that’s a rare moment when he isn’t being an asshole, so savor it

𓆝 𓆟 𓆞 𓆝

[hestzhyen]

Chapter 62 Chuunibyou Posting

...Hello dear void. Rumours of my death are only slightly exaggerated. I'm back from the hospital and I'm ready to chill with this chapter over the break. Taking it easy on myself and not doing the editor's notes this week. This will be short in general since I'm still in recovery, actually- sorry about that. Gonna rest up and get ready for the next chapter that drops on January 3rd.

Chihiro...?

Something something fresh hatred

I got a kick out of Chihiro from Wish, I really did. Goes to show how ridiculous his edginess in the first few chapters was before Char softened him up for the better. Everyone give Char a pat on the head for doing a good job, okay?

Iori's impression of Chihiro as a murderer is something I'll allow myself a little satisfaction for since I called him having a trashed public image thanks to his interruption of the kabuki play back in chapter 52. He's going to have a harder time completing his mission thanks to this in some way- betting on the Kamunabi using it against him somehow, but the Hishaku easily could too. It's anyone's guess on how exactly this will come to bite him in the ass but it will happen.

Worst of all, though, he's got kids imitating him like he's some MC out of an edgy wish-fulfillment LN. What a way to trivialize what someone's been through (not that Discount Chihiro knows, of course). Chihiro's image is already out of his control in some pretty damaging ways.

But She Was, in Fact, the Chosen One

Thank you for your helpful narration about the general public's reaction to Owl darkening the skies, Iori.

We don't know the kanji for Iori's name yet since it's only been spelled with Katakana so far (イヲリ), but it's clear as day that she's inherited some of Samura's reckless bravery and quick assessment abilities.

I like that she's very much an ordinary girl being thrust into a situation that's way over her head. Her memories of her dad are locked away so she's just an average highschooler being plucked out of the ordinary and tossed into the extraordinary like Discount Chihiro wished he was until Kuguri held a sword to his throat.

The seal is breaking through Iori's own will to know what the hell is going on so I wonder if the Masumi will re-do it. I think not, since Minimura had that bit about Samura underestimating kids near the end, so she'll probably get a few panels to come to terms with her real identity while Chihiro does some cool moves in the classroom to fend off the Hishaku.

I have a feeling that Iori's going to be sticking around for a while. She's getting a lot of screen time and set up for development if she's just meant to be an arc character or damsel in distress. Won't get too attached, obviously, but I kinda like her already based on the little glimpse we've seen. Looking forward to learning more about her personality and seeing what's in store for her beyond this arc.

Silly Murderers

There's no fixing this kind of crazy.

Place your bets: blood-based identification sorcery, or just plan nuts? We'll find out sooner or later.

This is gonna be another inconclusive fight since we need to see Kuguri meet the Bearer that's bonded to the blade he's pining for and learn Tomboy's name.

Small Complaint

Just a note about a small difference I'm petty enough to be annoyed about in the EN version:

The "no"s stop pretty short in English, but in Japanese...

...they run on into Minimura's speech bubble to show her racing thoughts getting cut short.

Alright dear void. Let's enjoy lobotomybachi week and let the brainrot flow during the break. Also, consider getting help before you shut down and enter a tailspin- this is a very difficult time of year for some of us. You're not alone if so. Reach out for help if you need it.

[okmcintyre]

Started watching 'Tracker' and pleased to see our boys Murphy & Gabriel II already making guest appearances in S1 😎

[oddyseye]

I see where you're coming from with the musical choices, and yeah, I can respect that the sound and structure of the saga are definitely strong. The vocals and the narrative arcs do tie together really well, I can give you that. But from a literary perspective, the issue is that what the characters are doing doesn't always hold up. Music can amplify the emotion, sure, but if the foundation isn't solid, it doesn't matter how great or symbolic the vocals are.

First, let’s talk about Athena and Odysseus. You’re saying it’s a ‘gentle reminder’? Sorry, but I can’t get on board with that. He brushed her off. She is laying her heart bare, and he actually cuts ties with her. The relationship that was so complex and crucial earlier just gets reduced to him rejecting her for the sake of a “monster arc.” It doesn’t track, and that’s a problem. This moment could have been so much richer, but instead it feels hollow and forced. She’s literally been absent from his life for ten years because of his disobedience, yet when he’s at his lowest, stranded, helpless, and begging for help, who does he call for? Athena. And what does she do? She defies Zeus and goes to bat for him. She risks everything for Odysseus, and when she finally does show up to help him and his son? He just blows her off. That doesn’t sit right with me.

The emotional depth of their relationship isn’t just about ‘him choosing revenge and violence,’ it’s about the history between them, and the rejection of her is such a disservice to everything they went through. She could have stayed away, she had every right to. But she didn’t. She’s been there for him despite his mistakes and disrespect, forgiven over ten thousand mistakes and now, at the pinnacle of his journey, she’s left vulnerable and questioning everything — and he rejects her. That feels like a betrayal of everything Athena has done for him. It’s one thing for him to grow darker, more monstrous, but to dismiss Athena in that moment just feels like an easy plot device rather than a meaningful emotional choice.

The whole idea of Odysseus ‘moving on from Athena’ because he’s now a ‘monster’ just doesn���t work — literally or thematically. This isn’t a natural progression of his character. This kind of rejection could have been poignant if there was a deeper exploration of Odysseus’ corruption, but instead, it’s treated like a cheap plot device. If Odysseus truly is a ‘monster’ now, his rejection of Athena should have been earned, showing us how far gone he is and how he’s lost everything that made him human.

Odysseus had this ideal: ‘‘If I become a monster, it’s to everyone but US.’’ That was the rule. This means that, as long as he’s ruthless, violent, and feared by the world, he’s still loyal to the people he cares about — back then his crew, and now his family. Think about how Poseidon’s a monster to everyone except his family, or how Circe’s seen as ‘‘insane’’ by everyone but her nymphs, or even Polyphemus, who kills without guilt to protect his sheep friends. They’re all monsters in the eyes of the world, but to their inner circles, they’re still the same. Now, if Odysseus really becomes this monster — if he truly embodies this brutal, ruthless version of himself — why on earth would he push Athena away? Athena is his circle. She’s not an ‘enemy’ or a ‘casualty’ of his monstrousness; she’s the exception. The idea that Odysseus would reject Athena after everything she’s done for him completely contradicts the logic of his own ideals. His monstrousness was never supposed to extend to the people who matter to him. Thunder Bringer was different because there was some heavy shit at stake. Here? There is literally nothing. His wife and son are home, they are safe. If he’s truly become a monster, then Athena should be the last person he pushes away.

It doesn’t matter how far Odysseus has fallen — his rejection of Athena doesn’t make sense, even within the monster arc. We know Odysseus hasn’t moved on from his humanity because, in the very scene after that, he’s asking Penelope if she’ll still love him once she knows the extent of what he’s done. That’s not the behavior of a monster who’s totally detached from their past or their relationships. That’s a man who’s still grappling with the consequences of his actions and desperately seeking validation from the one person who’s always had his back. It’s not like he’s acting irrationally. He knows exactly what he’s done, and he’s worried about the consequences. It’s that self-awareness that makes his rejection of Athena feel completely forced and out of place. He’s still searching for connection, still longing for understanding. So for him to reject Athena, who’s been the one constant presence in his life, just feels like a completely forced move. The scene doesn’t track with the rest of his journey. He hasn’t moved on from her, so why would he push her away in such a harsh, unnatural way?

Now, Telemachus? Oh, no, no, no, I definitely disagree with that one. Telemachus being docile isn’t some deep character development. It’s just lazy writing. I get that it's a retelling, and sure, characters can change, but when you strip away everything that made Telemachus a force to be reckoned with, you’re left with a shadow of the character that actually existed in the Odyssey. The kid who nearly strung Odysseus’ bow? Yeah, that kid would not be the one just standing around waiting for daddy to come in and save the day. Sorry, but that’s just not Telemachus.

If the idea is that Telemachus doesn’t need to copy Odysseus, then why in the world should it make sense for him to copy his younger self or even someone like Polites? I mean, come on, this whole ‘open arms’ approach is supposed to be this big moment of character growth, but we’ve got no reason for Telemachus to suddenly become this merciful, welcoming guy. From a literary perspective, it’s even worse because it completely ignores the fact that Telemachus is angry at the suitors. We know this. What happened in the story to make him do a 180? Absolutely nothing. And that’s where the story fails: Telemachus doesn’t need to copy Odysseus, but he sure as heck doesn’t need to copy some version of himself or another character that doesn’t even fit the narrative.

This whole thing could’ve actually made sense if we had the one character who could’ve shaped that decision for him: Peisistratus. In Epic, though? Peisistratus doesn’t even exist. That’s a huge missed opportunity. Peisistratus is the perfect person to guide Telemachus toward mercy. We see in the Odyssey how Peisistratus’s presence helps balance Telemachus’ youth with his sense of responsibility and honor. The two of them have a bond that could’ve very easily translated into Telemachus developing a more measured, merciful approach to his father’s enemies. They share something deeper than just friendship after all, though we could go into that conversation another time, I’m not about to open that can of worms right now. Without Peisistratus, though, Telemachus' decision to have 'open arms' feels completely disconnected from everything we know about him. He’s spent years watching the suitors destroy his home, and suddenly he’s the one calling for mercy? That doesn’t track. If Epic had kept Peisistratus, his quiet wisdom could’ve been the perfect foundation for that decision. Telemachus could’ve struggled with his own instincts to take vengeance and found the courage to adopt a different path because of the influence of his friend.

But no. In Epic, Peisistratus isn’t even around to be that grounding presence. Instead, we get a Telemachus who acts out of character, with no real justification. If they’d just kept Peisistratus in the story, it would’ve given Telemachus’ arc the depth it desperately needed and made his 'open arms' thing make sense. Instead, we get an empty, confusing decision that comes out of nowhere and leaves you scratching your head. If you actually take a look into their characters, that is.

So no, it’s not just about not copying Odysseus — it’s about the fact that Telemachus has no reason to be copying anyone. That kind of transformation needs to have substance, and without it, we’re left with a character who feels more like a plot device than an actual person. If Telemachus were to have a change of heart like that, it would need to be earned. Which it was absolutely not.

I get the whole musicality thing. Yes, I’ll give you that: the music is brilliant. It’s a whole different level of genius, and that’s clear. But we’re not talking about music here, are we? We’re talking about story, character arcs, and how the narrative holds up in its own right. The music is amazing, but it doesn’t get a free pass to paper over the fact that the story drops the ball in some key places. I can respect a musical for its execution, but if the writing falters in its foundational elements, I can’t just ignore that. This is all coming from a place of respect. Debate like this is important, and it’s how we really dig into stories and their meaning. But I’m going to be honest: I can’t agree with these takes. At all. It’s not about trying to tear anyone down; it’s about looking at the story critically. I respect other perspectives, but when the reasoning behind something doesn’t hold up, I’m going to call it out. There’s a difference between an intentional creative choice and one that just doesn’t make sense, and I think we crossed that line here. So, no shade, no hate — I just can’t agree.

Things I did NOT like in the Ithaca Saga.

Okay, it was fine, but there were just...choices... There’s just stuff in that section that had me rolling my eyes so hard I thought they’d get stuck.

First up: "Hold Them Down." I get that Epic is trying to make the suitors worse villains, but the way they went about it was disgusting. That song outright says the suitors were planning to force themselves on Penelope, which is not even remotely in the Odyssey. Yes, the suitors are terrible — they’re greedy, arrogant, would-be killers who exploit her hospitality — but this crosses a line that feels like shock value rather than staying true to the source material. They included that song, but erased Calypso’s actions toward Odysseus? In the Odyssey, she held him captive for years and forced him into a relationship. That is literally such an important part of the story. Yet, not only did Epic omit it, but they also banned people from even discussing it in their Discord server. How does that make sense? You can explore one kind of assault but not acknowledge the other, especially when the one they ignored was actually canon? The double standard is infuriating, and it completely undermines the narrative’s integrity. Yet somehow this suitor nonsense made the cut? Make it make sense, because I can’t. Next, Telemachus. Why did they do my boy so dirty? In the Odyssey, he was brave, capable, and growing into his own. He fought beside Odysseus, killed suitors, and even comes this close to stringing Odysseus’ old bow, which is supposed to be impossible for anyone but...well. Odysseus. That’s a huge moment! It shows how much he’s grown and how much of Odysseus’ strength and legacy he carries within him. But in Epic? They turned him into some weak, helpless little thing who can’t do anything without Odysseus. Like, hello? Telemachus isn’t just Odysseus’ son; he’s a fighter, a prince, and a man trying to defend his home. Stripping that away to make Odysseus look like more of a hero is just lazy and disrespectful to the original story. They took away his courage, his growth, and his ability to hold his own. It’s like they didn’t trust the audience to see Odysseus as a hero unless Telemachus was made to look useless by comparison. And then we get to Odysseus and Athena. What even was that? Yes, the idea that Odysseus has become a “monster” is a fascinating angle—he’s been through so much that revenge, violence, and survival have completely overtaken who he once was. But Ithaca does nothing to earn this shift, and it outright ignores the groundwork laid in earlier sagas. Two sagas ago, we saw Odysseus at his lowest. He was stranded on Calypso’s island, completely defeated, and begging Athena for help. Let me say that again: begging. And this wasn’t just any goddess he was calling out to — this was the mentor who had abandoned him as a student. She had walked away, and he still reached out, still trusted her to save him when no one else could. That moment showed Odysseus’ faith in Athena and their deep, complicated bond. Calypso.

And Athena? She didn’t just listen—she fought for him. She went up against Zeus himself to make sure Odysseus could leave that island. She defied the king of the gods because she believed in him. Odysseus doesn’t know that detail, but we do, and it makes her devotion to him so much more impactful. She risked everything to give him another chance at life, at home, at redemption.

Fast-forward to Ithaca, and what do we get? Athena shows up, vulnerable and introspective, questioning the path they’ve taken and the world they’ve built, and Odysseus just brushes her off. He doesn’t just say no — he dismisses her entirely. His response boils down to, “Not my problem. I’ve got a wife to see.” Excuse me, now? This is the same man who was crying out for her intervention just two sagas ago. The same man whose survival has always depended on his intelligence, resourcefulness, and the help of others — Athena most of all. Now he’s too proud to even engage with her? It doesn’t track. It’s inconsistent, and it cheapens their relationship. She’s opening her heart, showing her vulnerability, wondering if there’s still a way for them to fix what they’ve broken. She didn’t owe him anything, but she did it because she believed in him, because she had invested in him from the start. So for him to now completely disregard her — when she’s in front of him, showing empathy and pain — feels like a betrayal of everything that came before. Odysseus’ monster arc didn’t need to erase Athena. In fact, rejecting the one person who literally raised him, who fought for him, who saved him so many times, doesn’t even make sense for his character. That’s not the arc of a man who’s become a monster; that’s just cruelty for cruelty’s sake.

This is someone who has given everything to Odysseus, and in this moment, she’s realizing that the person she fought for is no longer the man she thought he was. And that’s what’s tragic.

But Ithaca doesn’t explore that. Instead, it uses Odysseus’ rejection as a cheap plot point, stripping away the emotional weight of his relationship with Athena. She was the woman who raised him, who guided him, who saved him — and they reduced her to a mere plot device to show how “monster-ified” Odysseus has become. It’s lazy, it’s cruel, and it completely disregards the depth of their bond. The pain in Athena’s voice, the heartbreak in her words, is completely wasted.

Odysseus doesn’t need to be a monster who rejects Athena to be a tragic figure. The tragedy would have been in him choosing revenge and violence at the cost of his humanity, not in cutting ties with the one person who raised him into the hero he became. Ithaca could’ve explored that, but instead, it gave us a shallow, hollow portrayal that didn’t respect the characters, their history, or the emotional weight of their relationship. Ithaca is a hot mess, and it’s honestly embarrassing. It had all this potential, and yet it chose to phone it in with lazy writing and shallow plot twists. It throws out big ideas and then does nothing with them, leaving us with empty, unearned moments that just fall flat. Instead of digging into anything meaningful, it relies on cheap drama to get a reaction. The story feels rushed, disconnected from the other sagas, and like the creators couldn’t be bothered to put in the work. They had an opportunity to make something impactful and then just decided to half-ass it. If you're looking for a mess of missed potential, Ithaca is your go-to. That being said, the songs are sick and I will sob again over the last song. Thank you.

[skeletalheartattack]

Subtitles below the keep reading:

Hey you, shut your mouth and look at my paw! DON'T FORGET!! [Incomprehensible sped up gibberish] This... Journey... Money... Loads of coins. [Incomprehensible sped up gibberish] What-about-her? What-about-her? ... What-about-her? 'She still like me? [Quiet but mostly incomprehensible gibberish about subtitles] O P S O P N O-1 1. Here's the spell: Love the mermaid, for sure! The mermaid is HAPPY! Okay! It's pretty normal for a fish, right? Guuuyyyssss, beeeee caaarefuuulll wiiiiith theeee GIIIIIRRRRLSSS!!! [Incomprehensible] Oh! Silly! Oh yes! Lamb chop boy! [Incomprehensible] [Very quietly, while white noise is playing over it] Goood eevening, aand weeelcome too the shoooowww... [In the background] Ohhh, mooney!

[miragethecat]

idk what it is but arc just isn’t hitting rn. like I’m trying to let Arc get its footing and establish itself as a show but right now it’s just not that interesting to me. And I feel so bad because I want to enjoy watching it and look forward to the live streams but I just can’t. 

like I know we’re in the beginning stretch, but it has not captured me and my imagination in the same way blazar did when it was coming out. I don’t like comparing the two shows because they’re completely different but it’s a 180 if you go from one to the other. I can’t help but compare the two. Hopefully once arc gets more established, it’ll kind of its footing I guess. I really do want to enjoy it. 

[untimelyambition]

the whole diamond heist scene with the lasers in gl2 is genuinely the funniest thing i have ever seen in my entire life. vinny so reassuringly saying “throw me” and ranboo and sneeg not even arguing with him just flat out agreeing to lob him across the room. the different shots of them swinging him back and forth to get momentum. the fucking puppet flying through the air. sneeg and ranboo staring off into the distance to watch him soar, the instant cut to them holding each other screaming. vinny hitting the fucking roof???? the elation. the anvil falling sound effect. the looney tunes stare as it falls from the sky. vinny’s final words. the fucking anvil crushing his head in (and the shock that came watching it live and not being able to pause or rewind and see the cut). ranboo making the world’s worst pun. sneeg’s indignant “i’m not throwing you!’. everyone moving on as if it didn’t happen. truly the funniest scene in all written history. i will never recover.

[leandra-kinard]

Seconding this. Just thought about it yesterday when I finished s6.

They may not spend as much time on personal stories in general, as the show is very action heavy, but when they do, they're consistent and give the personal stories enough space to make them feel realistic and meaningful. For example, in 911 I often felt like certain conversations between characters could and should have been much longer, but were likely cut because not important in the eyes of whoever decides that. In SWAT, I rarely ever felt that.

And yeah, they are super consistent with their back stories. Things that were established in s1 or 2 get mentioned and brought up again, and still impact the present, even if it's just a small throwaway line within a completely different conversation. I so far haven't seen them retcon anything we've seen before, or mess up timelines and dates.

And yeah, well, I'd love to see more Rocker too, but what's funny to me is how he often gets mentioned in such passing conversations even when we don't see him, just to remind us that there is a second team on SWAT that still exists.

They also make the characters' pasts tie in with the present rather well; sometimes people from their pasts will show up and be involved in a case that needs to be solved (which, on 911, I only really remember with the Amir story and the story of Emmett, but other than that? Have we ever had an old army buddy of Eddie's show up? Nope. Did we meet someone Buck knew on a call? Never. We have met Connor but he wasn't tied into an emergency. And we never met anyone from Hen's past. So many missed opportunities there).

Now hoping that I'll be able to find good sources for s7 because German Netflix only has SWAT up to s6. Meh.

Reached the end of Swat season 5!

This show is good! Continuity call-backs all over the place, they follow through on storylines, the characters grow and change.

I was never even that into Chris & Street but I’m glad they got their happy ending (at least for now, I have no idea what happens in future seasons).

Same with Hondo & Nichelle, they’re cute, I hope things go well for them!

My only complaint… was our boy Rocker even in this season??? I’m so Lou deprived… thank goodness for my fellow tumblr LOUnatics who fill my dash with him everyday. 🥰 You’re doing the LOUrd’s work.

I’ll see myself out…

[dw-flagler]

its kind of funny to me that in the comics supergirl kind of occupies the spot for like the edgy superman. which is kind of weird for her typical role as kid sidekick to superman because her thing as a character (at least the versions of her character that i like) is that she doesn't have a reason to help anybody and doesn't like earth. edgy superman. but she's also the kid sidekick. strange juxtaposition

[sysig]

Getting up to trouble is his speciality (Patreon)

[lab-gr0wn-lambs]

twd season 9 intro has no right going that fucking hard with the visuals