#it's just that it strikes me as somewhat hypocritical

[aro-attorneys]

I love seeing tumblr's attitude towards something shift. Like okay guess uh....This Thing we all enjoyed and was all over my dash again is now Cringe

[jayflrt]

𝐲𝐨𝐮𝐫𝐬 𝐟𝐨𝐫𝐞𝐯𝐞𝐫 𝐢𝐧 𝟕𝟖𝟔 36. provisional fight club

"LET'S LAY DOWN SOME GROUND RULES FIRST," Choi Yeonjun declared as he rolled his neck to get a few cricks out. "No biting, no chickening out, no kicking a man while he's already down—unless that man is Heeseung—"

Heeseung's face screwed up. "What the fuck?"

"—and no one breathes a word of this to anyone else."

Sunghoon, who had looked disgruntled from the moment he stepped foot inside the boxing gym, let out a huff. "Wasn't planning on it."

"I've already broken that last rule, though," said Yeonjun with an air of indifference.

"What? Then why would you make that a rule?" Jay asked, exasperated.

"I booked the gym so I'm allowed to break my own rules." He shrugged. "Anyway, who watched Fight Club? Rule one of Provisional Fight Club: You do not talk about Provisional Fight Club."

"Which you already broke," Sunghoon reminded.

"Yes, but, from now on."

The four of them stood around awkwardly for a while, with Yeonjun aimlessly stretching his limbs and Jay pretending to look around the gym and take in each detail. Jay hadn't realized just how tense the atmosphere had been between them until this moment, and he wasn't quite sure how he would muster up the willpower to even throw a punch at any of them. He was trying to recall the few YouTube tutorials he watched on how to punch; all he could remember was Jake specifically warning him not to close his fingers around his thumb.

Eventually, the tension became so suffocating that it was Sunghoon who broke first.

"Okay, yeah, this isn't happening, Yeonjun," he said. "This is too awkward. No one's even mad enough to fight."

"What? No, give it a chance," Yeonjun replied. "Let's just start talking shit about each other openly. Here, I'll go first: Heeseung, you're a hypocrite and no one likes you."

Heeseung, who barely even uttered a word until now other than cussing to himself, looked absolutely bewildered. "The fuck? What did I ever do to you?"

"See?" Yeonjun said with a flourish of his wrist, turning to face Sunghoon and Jay again. "Pretty simple."

"Actually, I don't even understand why you have a problem with me," Heeseung spat at Yeonjun, chest puffing up in his bout of fury. "It's you that's been stirring the pot."

"Oh, you're getting right into it, aren't you?"

"Maybe, yeah. Someone has to take things seriously around here."

"Is that so?"

"Ever since you gave Gigi those—"

"Oh, please, is this about the speed?" Yeonjun rolled his neck and let out a petulant groan. "You act like she's coked-out or something—give her a break. This is why she finds you so fucking annoying."

Heeseung scoffed and took a step closer. For a moment, Jay was sure he was going to strike, but then Heeseung's demeanor grew eerily calm.

Perhaps that wasn't a sign to relax; Heeseung's expression even made Sunghoon stiffen up as Yeonjun raised his brows, unamused, boldly throwing Heeseung a simpering smile. Heeseung was an elastic band right now, and Yeonjun was only pulling harder and harder.

"Heeseung," Jay interjected carefully.

"It's chill, Jay," Yeonjun said. "We're fine. Right, Heeseung?"

"Right." Heeseung kept his gaze fixed on Yeonjun as he spoke. "We're just talking."

Although their reassurance did nothing to undo the tight knot in Jay's chest, he let out a heavy sigh. "Okay, good, so—"

Jay heard the impact before he saw the strike; Heeseung lunged and punched Yeonjun in the face.

"—oh," Jay finished, stunned.

The swing caught Yeonjun under the jaw, sending him stumbling backward with a flash of crimson trickling from his bottom lip. For a moment, he looked disoriented as he regained his footing, and then Yeonjun wiped off the blood with his wrist and glowered at Heeseung.

"Fuck, that hurt." It was probably the first time Jay had heard Yeonjun get furious. His tone was still somewhat playful, but there was an edge of frustration that made him worry for Heeseung's safety. After another breath, he seemed to simmer down. "Feel better? Are you still pissed off?"

"Much better," Heeseung said, shaking off the sting from his knuckles, "but I'm still a little pissed."

"Can I hit you back?"

"No."

"That's not fair," Sunghoon spoke up. "If Yeonjun has a problem with you, then you should let him hit you back."

"That wasn't a rule!" Heeseung exclaimed.

"It was," Jay confirmed. "No chickening out."

"Also, let's not leave actual injuries—not injuries on the face, at least," Sunghoon added. "The Order's gonna ask questions if we show up with a bunch of bruises."

"I think it's a little late for that." Yeonjun scoffed, prodding his fingers against the purplish-blue splotch that started to form on his skin. "I think it's only fair if I get to hit him back at least once."

Heeseung's chest had been rising and falling in rapid succession for the past few minutes, but his breaths started to become more shallow after he took his anger out on Yeonjun. The fire that had been blazing in his eyes seemed to die down, and the shadows cast on his face didn't look so harsh anymore.

Jay considered not bringing up what happened with Jaehyun. He wasn't sure he wanted to be on the receiving end of Heeseung's rage.

"Okay, fine," Heeseung decided. "Go ahead and hit me, but I don't get why you're mad in the first place, anyway."

Yeonjun furrowed his brows and crossed his arms. "I just can't understand why this concerns you so much. You and Gigi aren't even that close, and it's not like you had a problem with me being people's plug before."

"You were there freshman year. You saw how bad her addiction got."

"Yeah, it was bad, but—”

"You're okay with her relapsing?"

"She's not a little freshman anymore, Heeseung. I think Gigi's more than capable of taking care of herself." His eyes grew wider, like he had been struck with electrifying realization, and he asked, "Are you jealous?"

"What?"

"You're jealous... you're jealous that I'm Gigi's plug and not yours."

"Okay, stop right there," Heeseung deadpanned, pinching the bridge of his nose. "Don't get ahead of yourself." When Yeonjun looked as though he wasn't buying whatever Heeseung was saying, the latter gave up and straightened his back. "You know what? Fine. Just hit me."

"Really?"

"Yeah, whatever. Probably less painful than whatever it is you're spewing."

Yeonjun wound up his arm, almost comically, and Heeseung clenched his jaw to brace himself for the impact. Yelling at each other only seconds ago must have taken out enough steam out from both of them. Yeonjun was almost smiling and Heeseung had certainly set his pride aside this one time.

"Don't worry," Yeonjun said, his voice all sweet and light all of a sudden, "you can always ask me for drugs."

Heeseung grumbled something inaudible, irritated, which was a poor decision considering Yeonjun swung his fist at that very moment. The impact was hard enough to have Heeseung stumbling back, nearly ending up on the ground from how disoriented he was, but the punch left a nasty welt along his cheek and blood running down to his chin from his teeth accidentally tearing into his lower lip.

"Good punch," Heeseung muttered.

"Thanks," he replied. "I figured you'd be getting a lot more from Sunghoon, anyway."

Heeseung blanched, turning to Sunghoon, who had his arms crossed and his gaze to the floor.

"Yeah," Sunghoon spoke up, pushing himself off from where he was leaning against the wall to take Yeonjun's place in front of Heeseung. "My turn."

Jay already knew where this was going. He recalled that night when Heeseung opened up to him about his feelings for you, which unfortunately bloomed before you got into a relationship with Sunghoon. There was no reason for Heeseung to fight back on this one, and he could tell that his friend was already starting to accept his defeat.

Yeonjun bumped shoulders with Jay and snorted. "This one should be good."

"You have anything you wanna say first?" Sunghoon asked, cracking his knuckles one-by-one while Heeseung just stared at his fist.

"Uh, not really."

"Good."

The sheer force of Sunghoon's blow had Heeseung falling in a crumpled heap before Sunghoon could even draw back his arm. It didn't end there. Sunghoon pulled his friend up to his feet again, although Heeseung was staggering to regain his balance, and he swung his fist again.

Before Sunghoon could hit him again, Heeseung blocked his next punch with shaky hands.

"I'm sorry," he apologized (somewhat pathetically, Jay observed), "but you should know that I never acted on my feelings because you're my friend, too."

"But you did." Sunghoon's eyes were cold. "Can you really say you've never acted upon your feelings?"

"Yeah?"

Before even Jay could see it coming, Sunghoon threw another punch. Heeseung groaned from the sting, gently touching his bruised skin with his fingertips.

"You said not the face!" Heeseung complained.

"We've been friends for a long time now," Sunghoon said. "I'd like to think we're close enough for you to tell me the truth."

Jay had watched plenty of arguments break out between his friends but never anything like this. It was clear that Heeseung was grappling with his words for a moment, internally trying to figure out if he should just let everything out. Jay was immediately reminded of the first night he met all of them—watching Heeseung leaving his own girlfriend behind to try and comfort you—and he was wasn't sure how this would fare well for their friendship.

"Sure," Heeseung admitted with a hint of spite. "Sure, maybe a little. Could you blame me? She and I stopped being as close once you two started dating, and then you treated her like shit. I couldn't even comfort her anymore."

Jay involuntarily clenched his fist behind his back. It wasn't that Heeseung couldn't comfort you; he simply went about it in all the wrong ways. You essentially had no other choice but to distance yourself when he kept hitting on you whenever you were most vulnerable. Jay knew that he was supposed to keep his emotions under check around them, but he couldn't help but feel angry.

"And it's not just me," Heeseung continued with a huff. To Jay's dismay, he pointed his finger straight at him. "Jay's been getting close to her, too."

Jay gawked at the two of them. "Me?"

"It's not his turn yet," Yeonjun said as he was trying to tear open a granola bar.

"Shut up, dude." Heeseung rolled his eyes before turning back to Jay. "You can't tell me you haven't been interested in Y/N, either."

"I have no idea what you're talking about. I haven't made a single move on her."

Now Sunghoon was intrigued. He turned his attention away from Heeseung to stare at Jay, raising a brow as if he was confirming a previously-held suspicion. The look on his face only made Jay's stomach sink deeper.

This wasn't supposed to happen.

"I said interested, not that you made a move on her," Heeseung said. "I've felt this way for a while, but you've been spending a lot of time around her lately."

"That—that doesn't mean anything."

Yeonjun threw his head back to laugh. "Oh my god."

Sunghoon frowned. "What?"

"Nothing. I just think you two are overcomplicating a very simple explanation for this," Yeonjun said, shrugging. "You just feel threatened."

"Threatened?" Sunghoon sneered. "Why would I ever feel threatened?"

"You two have feelings for Y/N, you see her hanging around Jay all the time, so you become jealous because you can't understand why she's choosing him out of the both of you. It's simple enough to figure out."

Jay never wanted to strangle Yeonjun the way he wanted to right now, even though he was saying all the right things that Jay wanted to hear. Regarding the situation at hand, though, he was certain he would be safer if Yeonjun dug a grave and buried him inside.

They were quiet for a few moments before Sunghoon asked in a calm voice, "Do you like Y/N?"

Jay stiffened. "I'd never ask her out."

"That's not what I asked. I said, do you like Y/N?"

Heeseung looked curious, too, and for a moment, Jay could make out sympathy in his eyes. He had been in the same position where he couldn't admit his feelings honestly.

But Jay had different reasons for not wanting to admit his feelings, and it made him feel horrible to even be in such a position.

"It doesn't matter if I have feelings for her or not," he settled for saying instead, letting his head hang low. "I'm never asking her out. We're both just... too different."

"When did you start liking her?"

"Not when you two were—"

"When?"

"Just... just recently..."

Before his words could trail off, Jay was immediately struck with blinding, white-hot pain in his jaw. His vision curled at the edges and he nearly lost his footing and fell against Yeonjun. He looked up to see Sunghoon's arm still outstretched, his fingers curled into a fist.

It felt like the world swayed underneath him for a moment, and Jay could hear the words from Jake's messages parroting in his head over and over again. Straight punches. Tighten your fist. Don't close your fingers over your thumb.

"There," Sunghoon said. "Now I've gotten all my anger out. Heeseung, you can punch me back for being a shit boyfriend to Y/N, and Jay can punch me back for—"

He punched Sunghoon before he could even think straight. It all happened so fast that Jay could only feel the pain in his knuckles afterward.

Sunghoon grunted as he steadied himself, one hand against the drywall and the other cradling his now-bruised jaw. He could barely raise his head for a moment, but when he finally did, Jay could see his dark eyes through his sweat-matted hair.

"Good," Sunghoon rasped out, nodding clumsily. "Good aim."

"Well, one down, I guess," Yeonjun remarked.

"I'll be honest," Jay spoke up, "she was kind of why I told the Order I wanted to punch you."

The three of them looked shocked for a moment before Heeseung and Yeonjun turned to hide their smirks. Sunghoon kept gaping at Jay before he sighed and shook his head.

"I bought you those shoes over that?"

"You can have them back."

"No, keep them," he said firmly. "Now that we've all gotten into the Order, we're all brothers now, whether we like it or not. It only makes sense that we fight these things out."

Jay wasn't sure if he trusted Sunghoon on that one, especially considering the relationship he had with his older brother. Still, the tension in the air wasn't as thick anymore, and they all definitely seemed more light-hearted after punching the bitterness out of each other.

And Jay debated bringing up his gripe with Heeseung as the three punched each other over various things that he wasn't sure made much sense anymore, but he came to realize that he didn't necessarily feel good after punching Sunghoon.

Sure, he finally let a load off his chest, but Jay had only gotten himself entangled deeper into a mess that he wasn't supposed to be part of in the first place.

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SUMMARY ▸ private investigator jay park just wants to complete his mission quietly and move on with his life. you, his new assignment who keeps consuming his thoughts, don't make that very easy for him.

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[burningsuitfire]

Essek and religious trauma

Saw this post from @balleater here and having been meaning to write a meta on the subject, theorizing about what we know.

Essek admits to being seriously traumatized when Caleb talks to him in the Grove.

(141) Caleb: Somewhat hypocritical coming from me, but try to be kind to yourself.  Essek: You, more than anyone, showed me that trauma doesn't define you.

The simplest conclusion is religious trauma, along with neglect and abandonment.

In the wrap-up Matt puts serious emphasis on Essek's parents and family being "very deeply steeped" in the religious culture alongside how Essek has "very much eschewed" the religious culture, that no one has ever genuinely cared about Essek beyond his influence and talent, that his family didn't understand or support his focus on dunamantic research (or his career), and draws clear lines about the negative aspects of Dynasty's theocratic authoritarianism and uncompromising cultural zealotry, at points Mercer even compares it to evangelicalism and doomsday cults.

He also gives us hints that it's a bad situation for anyone who doesn't follow the official faith, like in Eiselcross when Caleb asks questions about the mandated religion and Kryn theories on the beacons:

(124) Essek: It is an interesting idea, though I would caution to keep it close to the chest. Such conversations might be considered sacrilege in some circles of the Dynasty.

Which as word of god tells us Essek had a very bad relationship with his powerful authoritarian den family that didn't understand him or his goals, and he grew up in the Bastion (which is a temple to the Luxon), when the Dynasty laws are founded on the faith and enforced by the military:

(EGtW) The laws of the dynasty, which stem from the faith of the Luxon, are enforced by a network of trusted Aurora Watch captains and soldiers

To the point where Matt emphasized how even petty criminals in the prison were systematically "beaten and emaciated", sacrilege could have ugly consequences, even growing up.

Especially considering that all we know of his father is that he seemed to have a temper to the point of extremely self-destructive tendencies, and that he was possibly military and thus law enforcement (warriors function as both in the Dynasty).

Even in the dinner conversation when he was being outstandingly open, Essek was very careful not to tell the nein anything that could allow other Kryn to question his faith:

Marisha: So his lying about it [consecution] was just about going along with the zealotry and not- Matt: Exactly, because he didn't want people to think that there was something up.

And then there's Essek's massive trust problems, which are specifically focused on the word "trust":

(131) Caleb: We feel we can trust you more than my old teacher. (You see, when you say the word "trust". It's simultaneously like seeing a small hit to the heart... and whatever icy bit that cracked melts away for a minute. There's a moment of him hearing the word and letting it wash over him.) Essek: I'm thankful for the trust you put in me. And I hope to make this up to you.

(124) Essek: I've never really been trusted and so I did not trust. When I- when you gave me trust, it gave me a perspective that was so agonizingly striking. So easy to see that I refused to acknowledge it at first, even. (135) Essek: The more I begin to see Beauregard, yourself return with these markings- I've only just recently learned to trust. It's hard to begin to mistrust so quickly.

Where there's a theory that it might stem from the Dynasty's training for echo knights and dunamancers (when we've heard Essek tell Caleb that the training is comparable to that of scourgers), and we even see the echo knight in Zadash react very strongly to the word "trust":

(13) Mollymauk: We just need to know who we can trust and who we can't.  Thuron: You cannot trust anybody in this city. You cannot trust yourselves. Anyone who has not bound themselves. They are the enemy.

Other context and info gives us that consecution and worshipping the Luxon and following the umavi-written "system of pure faith" created from their interpretation of the beacons (as EGtW dictates the Luxon is canonically silent and unconscious) is required for people to hold Dynasty political/spiritual/military office and influence, to work for the theocratic government (comprised of the 12 noble religious den families), and that dunamancy and the Dynasty's dunamis research is only accessible to those working for the government.

And it seems like Essek hints at unattractive consequences to others discovering he's been lying about his faith (and/or the dangerous nature of his career):

(131) Essek: I just know that I've also survived this long, weaving the intricacies of deceit like I have, by knowing how best to keep myself out of the complications as best as I can.

Finally, we have Essek's relationship with punishment and pain, alongside the Dynasty's systematic religious corporal punishment:

(57) In the shadows there look to be multiple figures. Some human, some ogre-ish with more reinforced bars, drow. Emaciated, beaten. Not looking happy and healthy, but then again, what good Dungeon of Penance would?

(77) ...days of chosen sunlight in which the nightfall is dispelled and the people of Rosohna and Xhorhas bask in the sun. Even those who find pain and challenge in its presence, as it is part of the worship. (EGtW) The Kryn drow who emerged from the shadowed depths of the caverns beneath Xhorhas now endure periods of sunlight as part of their worship. Periods of days, sometimes weeks, will transpire in a state of perpetual evening, enabling the darkness-bound denizens to go about their work. Such periods briefly come to an end to usher in periods of scheduled, mass worship under the sunlight.

(99) Essek: I will take my leave for the night. Thank you for not throwing me into the water. (97) Essek: The pain is somewhat comforting because I am my own punishment. (91) Essek: I have seen those far older than you that have experienced maybe half the pain I see in your eyes. Age isn't everything. Experience is what hardens you, prepares you for the worst. (138) Beau: My essence will haunt you. Essek: And I would deserve it, like I deserve all of the things that haunt me. Jester: Aw, Essek... Essek: Don't- offer me any solace. (141) Essek: Maybe it's time I just found my way. Really began my penance. I've procrastinated long enough in dealing with my sins. I convinced myself I'd be alone for so much of my life. It's hard to say goodbye when I don't feel alone anymore, but… I understand. I understand and accept what I've done.

[tip-top-cloud-surfer]

K's Master List

Hello there! I'm K and welcome to my side blog!

Minors please do not interact with my blog. I will block you. Blank blogs and ageless blogs have the same protocol. It's nothing personal, just trying to protect myself.

I do not do requests. It has nothing to do with you lovely people. I did requests for a previous fandom I was in and because I'm a natural people pleaser, it just became an unhealthy cycle. So, now I only write what I feel like writing.

Please do not copy or repost (i.e. copy and paste elsewhere - reblogging is a different thing and greatly appreciated) my work. This is the only place that I publish these works.

I don't do a tag list for all works since this side blog is exclusively dedicated to publishing and reblogging my own Top Gun content and an occasional announcement.

I do tag lists for ongoing stories/series. Simply reply to or reblog the work/series and say that you want to be tagged

To be tagged, you must have a reference to your age in your bio. No exceptions. It's nothing personal, but because this blog is 18+ Only, I'd look like a dumbass hypocrite if I tagged ageless blogs. Help me help you and put your age in your bio/pinned post.

Thank you for visiting and I hope you enjoy my works! My actual Master List is below the cut.

Works are separated by character. Characters with more than five posts have a separate master list. Major content warnings (i.e. pregnancy, death, etc.) are provided but please check each work for more specific warnings.

If you see a [*] symbol, it just means that work is more suggestive.

If a work is listed with "OC | Reader," the 'Reader' is biologically related to an established character (i.e. Maverick's daughter).

OC characters might have an established race/appearance, so check the summary/warnings of that work first.

Top Gun

Nick "Goose" Bradshaw

See Separate Master List

Pete "Maverick" Mitchell

Handyman - Fem!Reader (Wife!Reader)

Summary: When it comes time to give your newborn daughter a bath in the kitchen sink, it conveniently breaks. Fortunately or unfortunately, Maverick is a handyman.

Top Gun: Maverick

Bradley "Rooster" Bradshaw

See Separate Master List

Jake "Hangman" Seresin

See Separate Master List

Javy "Coyote" Machado

A Walk Down Memory Lane - Bradshaw!Fem! OC | Reader

Summary: Rooster and Tweety Bradshaw look through their mom’s belongings as Tweety’s wedding to Coyote approaches.

Mickey "Fanboy" Garcia

Come Here - AFAB!Reader

Summary: You have your period. Fanboy takes care of you.

Family Man - GN!Spouse!Reader

Summary: After a long day at work, Fanboy returns home to complete his most important job: taking care of his family.

Robert "Bob" Floyd

See Separate Master List

Beau "Cyclone" Simpson

The Admirals Strike Back - Wife!Reader (Mitchell!Reader)

CW: Consensual and Very Much Legal Age-Gap Relationship (About 15 years); Non-Traditional Father-Daughter Relationship (Between Maverick and Reader)

Summary: Maverick knew that his somewhat estranged daughter was married. He just didn't know who she married.

Natasha "Phoenix" Trace

Bleeding Hearts - Male!Bradshaw!Twin!OC (Braedon)

CW: Hospitals; Exes; Unresolved Feelings; Best Friend's Brother

Summary: After the bird strike, Phoenix's ex, who just so happens to be Rooster's twin brother, comes to check up on her.

Daggers (All 7)

THE FAMILY AFFAIRS COLLECTION >

Mav's Reaction to Each of the Daggers Dating His Daughter - Mitchell!Fem! OC | Reader

Summary: Maverick finds out that his daughter is dating someone that he knows when she invites her new partner to dinner. And so he makes it his mission to greet them at the door first.

The Daggers and Their (Secret) Kids

CW: Pregnancy, see warnings for additional specific CWs by Dagger (include Reference Character Death, Strained Relationships, Divorce, etc.)

Summary: Headcanons about the families that the seven Daggers could have had going into TGM with, since there's nothing about their families mentioned in the movie.

The Love Game - Fem!Reader (Glitch)

CW: Unrequited Love; Angst; Emotional Angst; One-Sided Relationship; ‘He’s in Love with Someone Else’ Trope

Summary: Glitch has been in love with Hangman for years but he’s getting married to another woman.

A.N. Multiple Pairings: Hangman/Glitch; Hangman/Fem!OC; Glitch /Mystery Dagger

[vigilskeep]

I want Nathaniel Howe to tell me how to propose to a man, I think he could do it right

nathaniel: just to be clear, you asked everyone else first?

surana: don’t take this the wrong way but you don’t really strike me as a romantic

nathaniel: less than oghren?

surana: he was literally married!

nathaniel: well. fine. what did they all say

surana: hmm okay. oghren said if just ordering alistair to marry me doesn’t work i should get my house to make an offer to his house, but we kind of are each other’s house so that doesn’t work. i’m not asking arl eamon. velanna told me not to make a fool of myself for a human man and then when i told her she was a hypocrite she said to bring him a dozen wolf pelts and if he still said no set him on fire. i don’t want to set him on fire. sigrun had this bit about straightforward honest communication which doesn’t sound right at all. anders thinks i should sleep with him and then spring the question, like, hey let’s do this forever! which is the most sensible strategy i’ve heard all day but it’s somewhat lacking in, i don’t know, romance. also i know for a fact anders knows as many married people as i do, which is none. oh, and justice said something about drowning us both in blood.

nathaniel: ...

surana: honestly i don’t think he understood what i was talking about.

nathaniel: i really want to ask why you called velanna a hypocrite but that can’t be the first thing i address here

[rei-ismyname]

The Fantastic Four & Krakoa Part 1

I find it revealing, but entirely in character, that the Fantastic Four had a very *liberal* attitude towards Krakoa from the jump. To clarify, by liberal I mean *centrist* or middle class. Historically beneficiaries under most status quo and unreliable allies at best to anyone who doesn't.

BONK!

In House of X #1, the helmet bros send a strike team to steal the plans for Sol's Hammer - a Dyson Sphere around Sol designed by *a* Reed Richards Tony Stark - from Damage Control. ORCHIS built one and they need to avoid genocide. Toad, Mystique, and Sabertooth successfully copy the blueprints but Creed gets carried away killing people. Many different groups had the same idea (looting Reed and Tony's IP) but they manage to get out. The FF do a solid cop impression and try to stop them. Toad and Mystique make it to the gate, and Sabertooth does not.

Just me or were they ready to fight whoever came through the gate?

Creed is detained by Sue and then Cyclops comes to greet the four. All is friendly as befits lifelong friends and Slim shows off his fancy social skills. The four do the same, except Reed. You'd think he'd be used to it considering DOOM is always let go.

'So...' 'So.'

Nobody is surprised in the least when the true reason for his visit is revealed. Reed especially, with his crossed arms and complete silence until the 'so.' Jonathan Hickman knows how to write Reed Richards and The Avengers - if he wanted this to be Tony Stark or whoever it'd be them instead. Of course he knows what amnesty is and Krakoa is MASSIVE global news at this point, so either he's being a dick (possible) or he just doesn't care for that law and is willing to use force to subvert it. These crimes were on camera with many witnesses, there's zero reason for the FF to be handling this incident. A utilitarian might even say that providing medical care would save lives (his super science is incredibly effective.) Maybe he's irked that it's his/Tony's stuff being taken, but he doesn't mention that. Just a stated 'problem with that' then this standoff.

Keep in mind over 150 countries have recognised Krakoa at this point, including the USA, China, India, The UK, Canada. Recognition gets you a trade agreement for Krakoan miracle medicine and two other things.

1. Any mutant can claim Krakoan citizenship by birth.

2. An unstated but limited amnesty period for any and all crimes, the idea being that human bias against mutants makes justice impossible. All mutants from treaty countries are made available for extradition so the nation of Krakoa can judge them.

Is it ballsy as hell? Absolutely, but it's law. Seems very hypocritical to pick and choose, especially when you're enforcing it yourself. Do Reed and co know better than the US government or the United Nations? Eh, probably not. *Cough* ILLUMINATI *cough.* They could be the living tribunal and it wouldn't make this any less hypocritical. They're placing themselves above it here and I can't see why they'd go that far.

Cyclops puts his hands up and backs off, still very politely. That's that settled. Without acknowledging that or missing a beat Sue says her piece. 'What are all of you thinking?' 'Of course not, but...' I really wish Sue didn't get cut off there. I'd have to do a lot less speculating.

What a find!

My read on the subtext is that this engagement started off tense AF, and the FF were not interested in being diplomatic. Johnny and Ben barely speak, Cyclops' politeness and personal, first name greetings compared to 'Slim' and then 'Cyclops.' One would expect the mood to lighten somewhat after he concedes that they're a country unto themselves, but it doesn't. I get the impression Sue's not really listening to Scott, and after the 'but...' he stops trying to meet them halfway. It's impossible to say if he still would have said that about Franklin (AKA the last thing these NIMBYs want to hear) but it wouldn't surprise if it's a subtle 'hey idiots, you're invested in this too. Hope you don't treat your son like this.' (They do.)

Next time we'll find out if they've budged when it comes to their mutant son. (Spoilers, they invade Krakoa.)

It is a recent-ish development, and humans/people are great at kneejerk reactionary initial responses, so maybe I'm being unfair. Honestly, I don't think so. The FF have rarely lifted a finger for mutants and it's obvious this is a subject they've discussed and reached a consensus on. Besides, if you're appointing yourself AmbassadorCop you need to be prepared to deal with situations like this. Krakoa is a country not a treehouse. Regardless of what anyone thinks of Krakoa, by the internal rules of 616 they're as legit as any other country, legally.

Also, Reed should not be surprised by this. Chuck bought up Krakoa at an Illuminati meeting years ago. We don't see the rest of the discussion but I'm pretty sure he knew before Magneto did, for example.

[soapofbar]

I said in my previous post related to RWBY that I stopped watching after Volume 8, because what happened to Penny and how she was treated throughout the volume was very, very distasteful to me. It's the biggest reason, although there are also a bunch of smaller reasons surrounding it. This is still true, I haven't watched V9 and I don't really plan to. I may, some day, out of curiosity/boredom, but I have somewhat been kept in the know even as I move onto other things due to still knowing people who are interested in RWBY, along with fandom talk and all that.

The main thing I want to talk about is the supposed message of V9, and how it relates back to Penny. More specifically, how it strikes as hypocritical and tone-deaf after everything that happened to her.

The core message of V9, as stated by Kerry on Twitter and pretty much blasted at the viewer in the volume's finale, is that you are enough, just the way you are. Ruby chooses to be herself rather than trying to emulate her mother/be the flawless leader/etc. and she's able to get back up and save the day. It's an alright message to send.

The problem: What about Penny?

Penny, in V2, expresses some self-doubt about an android. Feeling that she isn't as real as the actual flesh and blood humans around her, she's comforted by Ruby that she's just as much of a real girl as anyone else, and from then on she doesn't seem to express any discomfort about being a robot. She seems quite happy to be one, even, as she rebukes May for simply calling her "Robo-Girl" in V8E3

Then V8E12 comes around, and the text all but implies that Penny is a girl trapped in a robot body. Ambrosious expresses concern at what's left when he strips all the robot parts from her and Blake replies that there will be "Penny, the girl who's always been there underneath". Yang holds her metal arm and says that those pieces are just "extra". That being a robot doesn't define Penny and it's not who she is and the implication is that it's even holding her back. She's then turned into a real girl by Ambrosious. A thing, which, to my memory, she never asked to have happened to her.

Hell, the whole process is very similar to ascension in the Ever After, even. Penny's original body dies and in it's place is a new, "better" one.

The implication here is the opposite of what V9 is trying to say. That Penny isn't enough. That she's not "perfect just the way she is". The robot parts are just "extra" after all (they're not, and I will always hate that line with a fiery passion).

It's just...it feels so incredibly, incredibly jarring. Penny's arc in V8 was already incredibly bad, and full of ableism, and then we turn around and apply a message which COULD work for Penny and is probably even the one she should have had with her arc...and apply it to the conventionally-bodied protagonist who never had to struggle with her entire person-hood. Who never had to question if she was even a human being or not.

It's just all so frustrating. Penny deserved so much better.

[fatalism-and-villainy]

I think a lot about Chiyoh’s arc, and how it aligns with the broader topics season 3 is touching on wrt justice, prisons, and moral responsibility.

Because what’s so striking to me is how unapologetically ruthless she is in her handling of the prisoner, in a way that even Will calls her on:

Chiyoh: He wants you to look at him, speak to him. But you’re not going to. Will: You’ve cast aside the social graces normally afforded to human beings. Chiyoh: He’s cast them aside. All he’s allowed is the sound of water. It’s what the unborn hear. It’s their last memory of peace. Will: You’re keeping him like an animal. Chiyoh: I wouldn’t do this to an animal.

The kind of solitary confinement she subjects him to is, effectively, torture. And yet she feels so strongly about murder! Her self-defense murder of the prisoner and its immediate aftermath marks the only time when she’s truly emotionally rattled, and everything about the situation suggests that not killing is a very stringent moral standard she’s held herself to. And no matter how wearying the prolonged imprisonment is to her, it’s not one that she has a moral objection to - she believes it’s justified by the severity of the prisoner’s crimes. (It’s questionable whether she considers her treatment of the prisoner to be violence, but if she did, she’d certainly term it “necessary violence”.)

(There is something similar to consider about the random mooks she shoots to ensure Hannibal and Will’s escape in Digestivo - is this “necessary” violence to her? Apparently, but if so, she considers protecting the man she considers to be family something for which it is worth taking lives. And the fact that those murders are far-off sniper shots suggests that perhaps she is averse to violence when it’s up-close, personal, and bloody, but is still willing to enact it when she can distance herself somewhat from its effects.)

All of that is to say - I am convinced that Chiyoh’s insistence that she only commits violence when it’s necessary, and her repeated disavowal that she is anything like Will, despite having actively undertaken vigilante justice, is pretty hypocritical on her part! I don’t say that to demonize her - the jumble of contradictory ethical principles is one of the aspects of her that I find fascinating to crack open despite her limited screen time, and Will himself by season 3 (and almost certainly post-canon) is also pretty capable of hypocrisy. And of course she’s not entirely like Will. She doesn’t seem to take much righteous satisfaction or sadistic pleasure in her handling of the prisoner - her line that “we have been each others’ prisoner” suggests that the situation wears on her just as much as him. But it is pretty clear to me that there are truths about herself, and her capacity for violence, that she is pointedly refusing to acknowledge, and that she’s clinging to some pretty narrowly defined moral principles so as to preserve her self-concept.

And I think the question that that arc involving Chiyoh invites us to ask - whether the bare life conditions she subjected her prisoner to really were all that morally superior to murder - constitutes one potential thread between 3A and 3B. Because what it brings to mind for me is Hannibal’s line to Alana in WOTL: “Any rational society would either kill me, or give me my books.”

And like many of Hannibal’s statements… it makes a twisted kind of sense.

To be clear, I absolutely do not think NBC Hannibal is trying to articulate a thematic statement against carceral justice - it’s too apolitical a show to bear that kind of weight. (And it’s certainly not interested in rehabilitation, either). But it is a show that is very interested in how our moral beliefs as well as our darker urges and fascinations define our selfhood, and the kind of moral doublethink we all engage in. And that kind of thematic backdrop does appropriately pair with the show’s general slant towards murder as not even necessarily more ethical than imprisonment, but more honest. As something that constitutes truly owning our moral judgments, feeling for ourselves the full weight and impact of delivering them.

Alana being the recipient of that line from Hannibal - and her overall role as his jailor - also has a certain kind of irony, given that she herself has to learn this lesson in 3A. She and Margot, as per their dialogue in Dolce, intend to have Mason arrested. But when that plan goes awry and they can’t rely on FBI intervention, Alana ends up having to pay the price of getting involved with Mason by getting her hands dirty. Notably, in the cases of both Alana and Chiyoh, Will has a hand in pushing them both towards murder (and in the case of Alana, Hannibal also plays a role in that - an interesting example of the aligned-but-divergent ways Will and Hannibal might exert influence on others post-canon). The situations are somewhat different in that Chiyoh has shouldered more personal responsibility in taking on the role as jailor, rather than ceding that authority to institutional higher powers. But her situation does still overlap significantly with Alana helping Margot murder Mason, in that the result Will engineers from her feels geared to force her to face what she’s taken on, to get up close and personal and really see.

(And of course, both murders bring some sort of freedom or moral catharsis, along with an intense self-recognition that can’t be found through the complacency of more socially acceptable forms of justice.)

Furthermore, in 3B, Will himself is engaged in a similar kind of thought process. In his conversation with Walter, he’s pretty firm on not killing Dolarhyde, and sending him to a mental hospital instead. And given Will’s arc at this point in the show, it’s pretty intuitive that this intention is a product of Will not wanting to be the kind of person who kills - an intention that is arguably also present for both Alana and Chiyoh. All three do have genuine ethical objections to murder as well, of course - I can pretty easily formulate all of them feeling that fewer people dying is an optimal outcome. But their personal conceptions of themselves are certainly also a factor in their disavowal of murder.

But the culmination of the Red Dragon arc, in which Will and Hannibal jointly kill Dolarhyde, is clearly much more preferable end for Dolarhyde. The way it’s cinematically rendered, with the blood fanning out in the shape of wings, suggests that murder constituted his ultimate transformation, in which his true sense of himself was fully realized. Although defeated, undergoing change to fuel our main characters’ radiance is a much more poetically resonant and satisfying ending, and it’s hard to imagine any other way he’d rather lose. Aesthetics > ethics.

Of course, in real life, I don’t believe that killing people - even genuinely bad people who’ve caused serious harm - is a remotely acceptable ethical solution. But within the world of Hannibal, a world in which the killers conceive of themselves in terms of artistic vision, for whom psychiatric language and its corrective purpose is nowhere near sufficient - by the internal moral logic of that universe, murder is often more merciful, and displays much more genuine understanding and empathy.

All of this is to say, I think Chiyoh’s arc can be figured within these broader themes in season 3. And the lesson she learned from Hannibal - and by extension, Will - from her intervention with justice is much the same as the lesson that Bedelia learned from Hannibal: that observing and participating are the same. Taking on the responsibility of enacting justice, in the world of Hannibal, requires becoming the executioner.

[scarlet--wiccan]

Why do people not like YA v2?

Mostly, but not entirely, I think the distaste for Young Avengers (2013) comes from a misplaced sense of proprietary nostalgia for the original series/characters, and an unwillingness to meet the challenge of a somewhat dense text that eschews many superhero conventions in favor of form- and genre experimentation. I understand that's not everybody's cup of tea, and the series is far from perfect-- Gillen executes many of these ideas more successfully in other projects-- but nine times out of ten, when people don't like the book, it's because they refuse to engage with it intellectually or in good faith. I'm just going to say it-- the magic systems and intersecting character arcs both require a certain degree of rigor to comprehend, and I can tell, when people talk about the book, that they aren't meeting that challenge.

It's also dated in a lot of ways, which I understand can put people off if they're coming to it for the first time in the 2020s. At the risk of being hypocritical, because this is a bit of nostalgia on my own part, the book just makes more sense if you were actually a college kid in 2013, like I was. A lot of its aesthetic sensibilities-- and I don't just mean the art, but the tone, dialogue, and general pop culture outlook-- are just very of the era. It connected well at the time, at least with the target audience of, to be honest, tumblr kids.

And for the record-- I like McKelvie's artwork. It evolved a lot over the course of his next project, The Wicked + The Divine, but I think YA was a strong showing. I do not see the faults that other people see in it, especially not when it comes to character design. As an example, I see a lot of folks ragging on Billy's look in this series, and it always strikes me as odd because in 2013.... that's what I looked like. I had exactly that hair, I wore an earring just like that, and I walked around campus in black skinny jeans and a galaxy print backpack. Again, I understand that this is dated, but you can't tell me that's not an appropriate design for a nerdy, slightly emo, eighteen year-old millennial gay guy in 2013. I lived it, and I had the black, plastic-rimmed glasses to prove it!

There are other, more valid critiques to be made. It's not a great sequel or continuation of the original series-- it's not supposed to be, but people have a hard time accepting that, and the fact that so much of the story is really just a continuation of the Kid Loki saga can feel a little unfair. Tommy and Eli's exclusion-- the latter of which is wrapped up in editorial red tape that's never been properly explained-- had a lasting negative impact on both characters. I don't think that David and America's depictions are necessarily offensive, but they're not perfect, either, and I understand why people feel driven to call them out. But the thing about books that are over ten years old, is that you have to be able to view them, objectively, as part of a larger picture, and this is where Young Avengers fans struggle. Again, that might make me a hypocrite, considering how I talk about titles like HoM, or writers like Peter David, but that is a very different magnitute of harm and problematic context.

People are entitled to their opinions, but overall, I just find the conversation around this book to be far too subjective and reactive to engage with. I like the series! It came out at exactly the right time for me, I understand and enjoy the supernatural elements, I like the characters, and I, personally, get a lot out of Gillen's esoteric bullshit and top-down relationship with form. If you don't like it, that's fine, but I feel like everyone complains about the wrong things.

[philosophicalparadox]

The thing I like about Berserk most of all, ironically for me, is that the characters are dominantly human.

I usually never like the human characters or root for the human side in Man Vs Monster tropes, cause humans are usually dicks being unfair and judgemental and most man v monster is just Catholics vs Jews or Catholics vs. Protestants, or Catholics vs Heretics of any other flavor 2.0

But Berserk doesn't play by those rules, ironically - VERY ironically, considering there's a whole arc dedicated to the Holy See and Catholic church torturing heretics for funsies.

But that is exactly what I love about Berserk - there's no “man must become a monster in order to defeat one”, no - man is already a monster, plain and simple. Anyone, anywhere, can become a monster in the right circumstances - and those circumstances are A) not at all universal and B) not always tragic or relatable or heroic. They're often vile, disturbing, disgusting. Hypocritical. Nasty. I wont go into detail - if you've read Berserk, you already know.

But that is how it is - everyone has their reasons, everyone has their moments - and they're not always pretty, or justified, or sane. Sometimes the person in those moments thinks so - but often in Berserk you see people, ordinary humans, doing heinous things knowing they are doing something injurious or harmful, purely because they can, or they want to, or because they think they'll be rewarded in some way. Inquisitors torturing innocent people because they think God will reward them is among the least of it. Hell, the Band of the Hawk is unto itself a Mercenary Band. Judeau said himself they had all types of folk in their rank - that they didn't care about pasts, only futures. Criminals, bandits, you name it. Judeau himself was a performer - not a nice thing to be back then - Corkus was a common bandit/petty theif. They had decent folk the same; second sons would have been trained knights without a title, not that being a knight made one at all decent. Plenty of nasty, rapey ones existed.

Point is, the only black and white in Berserk is the colour coding of Griffith and Guts (which is deliberately ironic in multiple ways) and it lays that out right from the start.

Grey. There's so, so, SO MUCH GREY, it's all there is, anywhere, in anyone. There's no virtue without vice. There's arguably the opposite- Wyald comes to mind - but even he is just supremely dark grey. His actions are as despicable as possible, but his reasoning is that of a child. He is so dark he might as well be black, but I still hold that he is just the deepest grey- similarly, Laban is surprisingly very chivalrous, and a genuinely good and honest man. Even in the face of the destruction of everything he knows, he remains virtuous and steadfast. He is mostly white - as white as its possible to get in this story and still be somewhat grey; for even he can't help his humanity and despises those which would assail himself and his country, as a knight ought to I suppose.

What's interesting here, though, is that both our image of the deepest grey and the palest are both side characters. Wyald plays a pretty important role in the plot, but so I would argue does Laban, for what little we see him. He demonstrates that even in a world collapsing, humans can still have hope, and that when calamity strikes is when humans are most keen to band together and support each other in the wake of common circumstances (plague, famine, disaster).

The two main characters however (well, 3 if you count GA Casca) are, despite their respective color palettes, extremely mid. Yes they both do some extreme stuff, but morally they’re both opposite but still similar shades of grey- and personally I’d argue their palettes reflect the exact hues they possess, with Guts actually being the darker, more morally corrupt one. But that’s a post for another day.

Berserk is the ultimate tribute to the Cynic's philosophy. And I am nothing if not a cynical philosopher lol.

[prince-of-elsinore]

Dear M*A*S*H: S1 Ep 01 “Pilot”

I want to talk about M*A*S*H. The 50-year-old show that, completely unexpectedly, has captured my heart and mind. I finished the series just over one week ago and had to force myself not to immediately begin a rewatch. Now that I’ve had a bit of time to process, though, I’m eager to dive and dig back in, to pick apart what makes this show tick and what made it resonate with me. I want to take my time this go-around (though I expect that will be difficult) and document my thoughts on episodes and characters as the show morphs and grows. I don’t know if I’ll make posts for every episode (that’s a lot) or how long I can keep this up tbh, and I make no promises as to the eloquence or deepness of all my reactions (sometimes you just wanna stare at Mike Farrell’s fuzzy chest amirite). But this show left my brain buzzing with how much there is to talk about and, well, it’s my blog, so here goes.

Korea, 1950: a hundred years ago

What a line to open on. When the show first aired in 1972, it was only 22 years ago. But maybe for audiences jaded by 7 years of direct American entanglement in Vietnam, the first war with moving images broadcast directly into living rooms across the nation, swiftly drawing to an embarrassing and disastrous conclusion, this other war did seem like a hundred years ago. That other, “lesser” war sandwiched between the heroically fought Second World War and the unprecedentedly divisive living nightmare of Vietnam. The supertitle is a simultaneous reminder to the audience of a conflict not often discussed around dinner tables, despite its relative recency (almost as recent to them then as the Iraq War is to us now), and an acknowledgment of how very, very distant it feels. What fascinates me most is how it positions the story we’re about to see as a fable of sorts from a distant time and place, presaging--somewhat paradoxically--the show’s perpetual relevance. This is Korea. It is also every war.

Then, the rest of the cold open. Visual storytelling at its finest! In a brief series of images we glean not only a sense of who our major players are at their cores, but also the notion that at the 4077, not all is as it seems. Two men in Hawaiian shirts playing golf: a familiar sight, until--kaboom, the ball lands in a minefield. A surgeon and nurse work over an unseen patient--oh, no, it’s a bottle of champagne. A man and woman in uniform studiously read a Bible and medical manual--while playing footsie under the table. So, Hawkeye and Trapper are the happy-go-lucky types who don’t see being in a war zone as any reason not to get their kicks where they can; Henry may appear official on the outside (though as we’ll soon see, rarely even that) but really he’s concerned with having a good time with a nurse (it strikes me this could also be an appropriate establishing situation for our two leads, but it’s even more fitting for Henry who is consistently negligent in his duties as Commanding Officer for the sake of sensual indulgence); and Margaret and Frank put on a hypocritical show of military and Christian officiousness while succumbing to their baser desires like anyone else.

Perhaps the implied injunction to look beneath the surface is nothing more than a promise to audiences of what kind of comedy the show will deliver. Perhaps it’s a commentary on the absurdity of life in wartime and under military jurisdiction (people will be people, no matter how many rule books you throw at them). I doubt the show intended this at the time, but I also see an early indication of the ethos that will come to permeate the series: that the truth--and often, our shared humanity--is found in looking closer, not making snap judgments based on superficial features. In any case, this much is clear: your expectations will be subverted. What is familiar becomes foreign, what’s foreign is familiar. It’s a topsy-turvy world. That’s the oldest root of comedy; it’s also war.

“Par is a live patient”

We get Hawkeye’s first “Dear Dad” over our first O.R. scene, conveniently filling us in on the what and why of the 4077 and meatball surgery. It’s also a thesis statement of sorts. They’re there to save lives, not for glory or to be pretty or precious about their work. Life: the number one concern of a doctor, and the number one thing that war takes away. In some ways, a doctor in a war zone is a paradox. This will be Hawkeye’s struggle straight through to the end of the series. He’s more needed here than he could be at any General Practice or stateside hospital, but what the hell is he doing here? He keeps fixing bodies--just enough to keep them clinging to life--only for the war and the army he works for to keep breaking them.

Back at the Swamp, Hawkeye voices a sentiment we’ll often hear repeated over the 11 seasons to come: invite the North and South to a cocktail party. Last one standing wins the war. Here, it’s a throwaway joke, but as we’ll come to see, the tragedy of Hawkeye Pierce is that he simply cannot grasp, cannot accept, how human beings, given the chance to just talk to one another, cannot come to an understanding, or at least an agreement, and settle their differences without resorting to killing.

All right, on to Lieutenant Dish. The scheme to auction off a nurse, even for the good cause of sending Ho-Jon to college in the States, is cringe-inducing today, as is the awkward montage of Hawkeye’s dogged pursuit of the lieutenant. The show’s misogyny, especially in its early seasons, is by far the hardest aspect for me to stomach. If, however, you take what is shown at face-value, as intended, there’s no harm, no foul here. The Dish-Hawkeye dynamic walks a thin line. Yes, she rejects him over and over and he ignores her over and over. Yet, even as she claims to be saving herself for her fiance, Dish seems indulgent towards Hawkeye, and later at the party even flirtatious. So, she enjoys the attention. Convenient and typical of an attractive woman written by and for men. At the same time, it doesn’t take any stretch of imagination to see that flirtation and sex are some of the only outlets available to the women of the camp, and that they could enjoy it just as much as the men.

I do want to know what the hell the plan was with the raffle of the weekend passes. Father Mulcahy winning is simply too convenient. (Incidentally, I feel robbed of seeing William Christopher react to his name being drawn. I’m looking forward to more familiar faces rounding out the supporting cast.)

The party scene also provides the stark juxtaposition of revelry and Hawkeye dancing cheek-to-cheek with his conquest with the sobering reality of their purpose, the raison d’être of the whole camp. To his credit, Hawkeye looks appropriately grave as he informs Margaret that they’ll be operating on a fresh batch of wounded within hours. While the 4077 dances and drinks, Canadian troops are fighting and dying not far off. Not only is this the linchpin of the episode, the get-out-of-jail-free card for Hawkeye and Trapper after all their shenanigans behind Henry’s back, but also a stamp of credibility for so much of the show. How on earth can these clowns get away these schemes, in the army, of all places? Because they are indispensable. Not only are they surgeons, they are the best at what they do. And once again the hypocrisy of army rules and regulations reveals itself; if everything were done by the book, to the letter, the army would cease to function. It would regulate and court martial itself into obsolescence. (Though, as is pointed out more than once in later episodes, would that really be a bad thing?)

Okay, some more thoughts, now as bullet points so I can wrap this up:

I’m watching without the laugh track, and boy is its absence obvious here in a way it never is later on. The pacing is off, much of the comedy wooden. Still, I prefer this subdued, awkward version of the show to the one with the incongruous canned audience. I think watching it this way allowed me to see so much more.

We get a “Come on, Mary” from Hawkeye to Trapper in the first six minutes! And they facetiously, effeminately point their noses in the air in unison as they walk away from Frank. They’re so in sync straight from the start and I love to see it.

I’m so glad the show left these awkward montages and flashbacks (Hawkeye with Dish, Margaret with General Hammond) behind.

Margaret’s limp hair and awful bangs make me sad.

I forgot The Still (tm) is not with us from the start! I assume they build it after Frank breaks their rudimentary barrel gin mill.

Oh, the bucket hat. Odd that it stays with us in the opening credits for the entire series run, when it feels so odd to see Hawkeye wearing it.

Radar is a surprisingly smooth operator here, even devious. He’s no dummy but it’s odd seeing him like this before he became more the wide-eyed innocent kid.

What is the true origin of “Hot Lips”?? Hawkeye calls her that seemingly off the cuff, and her reaction makes it seem like it’s a new nickname. Then Hammond shows up and calls her the same thing. Is this simply a case of Impossible Coincidence Played for Comedy?

I don’t think I got it the first time around that Margaret recognizes the gauze-covered Frank by his butt when she goes to give him the injection. One of the better jokes of the episode imo.

I listened to the Mashcast podcast for the episode and they were puzzled by the use of Japanese covers of popular songs. I assume that this was because Japan was so firmly established as a base of US military operations, a place every G.I. would pass through on their way to Korea, and where they would hope to go for R&R. I assume (but have not done research to confirm) that radio stations they might get would play Japanese tunes like this. The Japanese cover of “Happy Days,” for instance, seems like a nostalgic choice for US servicemen of the era.

Biggest laugh for me: Such a simple moment, but when Hawkeye and Trapper come into Henry’s office and shake hands with a “How are you, Henry?” and he responds, a little wary and knowing, a little sad-sack, “That’s not what you guys came to ask. I mean, the last thing you wanna know when you ask ‘how are you’ is how am I.” God, I really love Henry.

Parting thoughts: In retrospect, the pilot does a better job than I would’ve suspected in setting up not only the characters but also the lasting themes of the show, even while striking a tone a world away from what the show would become. Not a particularly good or funny episode, but it’s rewarding to rewatch and see the pebble drop into the pool, sending out the rings that will reverberate far into the future.

[goldenbunniesxo]

a compliation of me tweaking out about K from When Twilight Strikes somewhat coherently: (spoilers btw)

reading k(ian)'s scene of when ur choosing a character to go to for comfort made me somehow 100% percent more obsessed with him. there's something about one of the harsher characters treating you so comfortably that just completely blindsided me. all he did was get me a blanket and let me eat a macaron and have dinner with me and i was like. what if i cried. i srsly cant choose between him, rylan, and blane, but the sheer quiet niceness of this moment, almost domestic, made me SO. god. i love the way kian is written so much. i also thought it was an interesting decision to have your romance dialouge option at the crimson rouge to completely backfire if you choose to proclaim you're his date. its actually a really nice way of setting up Kian's boundaries and deeper issues, and i thought it was a really neat point of characterisation when it led to a positive interaction in all the other routes.

the touches of his and mirai's history if you choose to bring him with you for that confrontation is fascinating. i think its really admirable the amount of work that it takes to keep all the scenes in character across the board, and i like the amount of depth you get on his character if you bring him along. thank you for putting in the hard work creator! kian's touch averse-ness is also interesting. i like all the subtle ways this is referenced, and that he will lean you against the wall even after getting stabbed for him. his sheer pragmaticism and rejection of emotions is also such a false act and hypocritical coping mechanism when you consider that he cares enough about people on a baseline to let them into his home if they looked like they needed it, but also can't fathom someone sacrificing themselves for his sake even if he's an immortal. like that isnt just a pragmatic guy, because a pragmatic person who can't understand emotions wouldn't be so kind. i'd say he more so can't understand emotions directed at *him*, and then uses his pragmaticism to try and puzzle out the illogical, unaware of how hypocritical that is (when he has emotions too and isn't a cruel or uncaring person as much as he may act like it). its like, being alive for so long has made his walls tight, but its so interesting how he still helps people. i wonder what led him to become so powerful, and why he chose to build up his reputation?

him and rylan r so funny together yessir.

[jessicalprice]

the adventures of kid jesus, holy terror

(reposted from Twitter)

So I tend to think that the reason the four gospels that made it into the Christian Bible did so was because they were the ones that conflicted least with most of the major schools of early Christianity. Like, they don't preclude gnosticism, they don't really put Jesus in a particular political movement, etc. They're open to mystical interpretation, but they're among the least mystical of the candidates, etc.

They also involve relatively little Asshole Jesus.

But allow me to introduce you to the Infancy Gospel of Thomas.

No, not the Gospel of Thomas, the most famous of the noncanonical gospels.

The Infancy Gospel of Thomas.

The Infancy Gospel of Thomas was written before 185 CE, when Irenaeus was ranting about it, and after 80 CE, since it borrows from Luke and that's probably when Luke was written point being: as these things go, it's pretty old--this isn't medieval fanfic or whatevs. It was also very, very popular.

So.

The first thing baby Jesus does is make some clay sparrows on Shabbat which freaks everyone out in the way that only Jews written by Christians freak out, because he's 5 years old and 5-year-olds playing with mud on Shabbat is not, like, a big deal.

So anyway, Kid Jesus is there with another kid, who takes a stick and stirs a mud pool Kid Jesus made.

so Kid Jesus turns him into a mummy

The now-mummy kid's parents are understandably upset that their toddler got mummified for stirring some water with a stick and they go to complain to Joseph that his little holy terror of a son is desiccating people.

meanwhile, Kid Jesus is running around town

Another kid is running around town and bumps Kid Jesus's shoulder.

so Kid Jesus kills him

Joseph now has TWO sets of angry parents being like "my dude, your son is killing little kids which is profoundly Not Cool" so he goes to have a talk with Kid Jesus about how we don't just straight-up murder toddlers who bump into us.

Joseph sits Kid Jesus down and is like "look, son, we're being persecuted (translation: asked to stop) now because you're murdering children so maybe stop it?" and Kid Jesus says "aw, Dad, I know you don't mean it" and...

...Kid Jesus strikes the parents complaining that he's murdered their kids blind

Joseph twists his ear and Kid Jesus tells him to quit it and leave him alone to do his murdering in peace.

There's this teacher named Zacchaeus who for some reason is IMPRESSED by all this and is like, "your kid is so wise, my dude, let me teach him" and apparently he was okay at teaching the alphabet:

And he told him all the letters from Alpha even to Omega clearly.

Kid Jesus, on the other hand, is the worst student ever and is all:

thou hypocrite, first, if thou knowest it, teach the Alpha, and then will we believe thee concerning the Beta.

It's unclear whether he actually understands the definition of the term "hypocrite."

Zacchaeus, who's clearly a hardcore masochist, is all like:

Woe is me, wretch that I am, I am confounded: I have brought shame to myself by drawing to me this young child

And he's like "this 5-year-old who yelled at me about the order of the letters is CLEARLY an angel or a god."

No, I mean literally:

he is somewhat great, whether god or angel or what I should call him, I know not.

And Kid Jesus is like yup, I'm here to make you all miserable.

No, I mean literally:

I am come from above that I may curse them, and call them to the things that are above, even as he commanded which hath sent me for your sakes.

But Kid Jesus goes ahead and heals everyone he cursed, and after that, everyone's afraid to contradict him, because they are *literally terrified he will maim them.*

No, I mean literally:

And no man after that durst provoke him, lest he should curse him, and he should be maimed.

Then Kid Jesus and some other kids (I'm hesitant to characterize them as his friends) are playing in the upper story of a house and a kid falls out a window and dies so the dead kid's parents are like, "clearly this kid that's already straight-up murdered 2 other kids did it."

So Kid Jesus raises the other kid from the dead not because, you know, he's a little kid who fell out a window and died and that's tragic, or because his parents are grieving or whatever.

no, he raises him from the dead so the dead kid can back him up that he didn't murder him

Then Kid Jesus turns six and for a little while it seems like he's going to be less of a serial killer. He carries some water to his mom after the pitcher breaks, and uses his superpowers to help his dad with carpentry.

But then his dad decides that he's six so it's really time he learned his ABCs and now that he's a little older maybe he won't be so much of an asshole to his teachers so he gets a new teacher, and this one isn't as submissive as the last one.

Kid Jesus is an asshole to this teacher too, but this one smacks him upside the head for mouthing off.

so Kid Jesus kills him (or maybe just puts him in a coma)

Joseph is like maybe we just homeschool him.

But there's a teacher who's like PUT ME IN, COACH. And Joseph is like look my dude my murder-child has a 100% teacher-killing rate, are you sure? And the teacher's like I CAN DO IT.

Oh wait, Teacher #1 lived because he groveled, I forgot. Anyway, Teacher #3 also grovels, which pleases Kid Jesus so much that he heals/resurrects Teacher #2.

So then Kid Jesus's brother James gets bitten by a snake and Jesus heals him which is nice I guess but James best thank him thoroughly or he might get murdered like every other kid in the village.

And then a baby gets sick and dies and Kid Jesus resurrects him and the villagers are like: "Of a truth this young child is either a god or an angel of God; for every word of his is a perfect work."

because they have the world's shortest memories

So a guy dies and Kid Jesus resurrects him and they're all:

This young child is from heaven: for he hath saved many souls from death, and hath power to save them all his life long.

which IGNORES THAT MOST OF THE PEOPLE HE RESURRECTED WERE DEAD IN THE FIRST PLACE BECAUSE HE KILLED THEM

And then there's a paragraph about him teaching in the Temple when he was 12 that's very similar to the one in Luke and that's a wrap.

Behold: the Infancy Gospel of Thomas

and this shit was apparently VERY POPULAR

So yeah, one of the more popular early Christian bestsellers was, just to sum up: Jesus murders a bunch of people, maims anyone who objects, brings them back to life, and everyone who witnesses it thinks that everything he does is perfect after he terrifies them into submission.

[rose-n-gunses]

Okay, so. I've got a LOT of thoughts about the Catholic Munsons post that's going around and I really wanna talk about it because I think it's SO interesting so I'm going to post about it here so I'm not clogging up the tags on that post (and I'm probably going to end up turning it into a little bit of a hellcheer thing because it plays a bit of a role in one of my upcoming wips).

Fair warning, this post is really fucking long and really fucking rambly. I had Thoughts and they. Refused to stop, so just,, bear with me!!

My Catholic father grew up around this same time near Cleveland, Ohio in a little town that's maybe half the size of what Hawkins is projected to be according to the fandom wiki page. He attended a parochial school for elementary and I think middle school, and the majority of his friends growing up were either Jewish or Catholic. When I asked him today about the distribution/ratio of Jewish to Catholic to Presbyterian in that area (since my research wasn't quite answering my questions), he told me that he was probably in middle school before he actually realized that there were other religions besides Jewish, Catholic, and whatever denominations the African American churches in the area were.

Because of this and the general notion that Catholicism is/has been somewhat more prominent in the northern/northeastern and, like, some of the more northern midwestern United States (if that makes sense), I've always imagined that Hawkins, being a decently sized (10-15K according to the wiki page) town pretty close to Indianapolis (around 80 miles, again according to the wiki page), would have a pretty solid Catholic community, so it's always kind of surprised me to see so many people write the Cunningham family, for example, as attending a Presbyterian church (although it is entirely possible, but more on that later).

Okay so now my actual thoughts on the Catholic!Munsons:

Since the pictures from the Munson trailer (and I love that it's been a year and we're still finding new stuff in there) show that calendar, we know that if Wayne did purchase it intentionally, then he's most likely gotta be actively Christian. However, I don’t see Wayne as the attending-mass-every-week type of Catholic -- he strikes me as Too Tired For That Shit. My personal headcanon is that he’s Christian, and was probably raised Catholic, but he only really attends mass for Christmas and Easter (not even for other Holy Days of Obligation). I guess to put it in shorter words, I see it as Wayne is definitely Christian, but he’s Catholic for convenience, meaning he believes in god but would prefer to do it privately and on his own terms (like, idk, praying on his own and displaying his faith through his actions) rather than having to deal with the church and its members, and he just continues to go to mass occasionally because it’s what he grew up with so he’s used to it and there’s no point in fixing something if it ain’t broke.

But Eddie. Oh, Eddie. If Wayne grew up Catholic, then so did Eddie’s dad. Since Eddie's dad is, like, y’know, an asshole, I think he’d be the sort of Catholic that’s a total hypocrite and gives the entire Catholic Church a bad name. Eddie’s mom could be Catholic, she could be Presbyterian, she could be Jewish, it really doesn’t matter (though I do see a lot of people headcanoning her as Jewish and I do kinda really like that headcanon).

If Eddie’s dad is Catholic, then it’s possible that Eddie could have attended a parochial school, but it could go either way. One: maybe he didn’t because his mom is Jewish/non-Catholic or just because his parents didn’t feel the need to send him to one, or two: he did attend a parochial school, at least for a little bit. However, since we know that Eddie and Chrissy attended the same school for middle school, there are also two ways that this can go. One is that Chrissy also attended the same parochial school and the talent show they talk about in the forest scene in 4.01 occurred at said parochial middle school. The other is that Eddie did attend a parochial school for a while but got kicked out and sent to Hawkins Middle School, where he then participates in the talent show. (I also think the concept of Eddie getting kicked out of a Catholic school and sent to a public school -- whatever the reason may be -- would add to his reputation and image as A Freak or Mean And Scary because did you hear that the weird new kid got kicked out of his other school? will always spawn rumors.)

In regards to Eddie’s personal beliefs, I think he’s kind of similar to Wayne, but also not. Whereas I see Wayne as “Catholic for convenience”, I see Eddie as more of just “Christian for convenience”, which to me just means that he’s not really sure what he believes, but when it comes down to it, he’ll say sure, I guess I believe that there is A God because it’s a little easier and a little less terrifying to believe in Something than it is to believe in Nothing. I don’t personally see Eddie as an atheist, because to me, he seems like he would be the kind of person that wants to believe in something, but he doesn’t like to spend too long thinking about what exactly it is that he believes in (in regard to there being a higher power) because it’ll send him spiraling into some sort of existential crisis. Which, same.

I do think that Eddie would become disenchanted with and disconnected from the Catholic church as an entity/community, because I definitely think he disagrees with a LOT of the stuff that the church preaches/believes. Also, since Eddie’s a big fat nerd and I headcanon him as a major literature buff, I think he’s definitely read the Bible (and probably the Catholic Catechism as well) so that he can 1) call out aforementioned hypocritical Catholics/Christians and 2) get inspiration for writing campaigns and/or songs.

Somewhat unrelated, but in the one (upcoming) fic I have right now that bothers to explore the religious sides of the characters, I have Eddie attending mass with Wayne for Christmas, but it's an anomaly for him and he grumbles about it the whole time. (It's for plot purposes and he doesn't like it.)

And then of course, Eddie's probably really interested in the stories of some of the saints and martyrs because some of them are pretty fuckin' metal. I also think he's super interested in religious iconography and metaphors for some reason, and loves finding those references and metaphors in songs and books.

Side note: I don't necessarily think that being Catholic is something that would have Othered Eddie (and Wayne) in Hawkins, especially if there is a strong Catholic population, but I do think that because of Eddie's non-conformist attitude and apparent general disdain for authority, he would have been Othered by the church (or rather its parishioners) and probably therefore deemed Freak, Satanist, etc.

I also think there’s something to be said about Eddie being put in an almost Christ-like shepherd position with his freshman sheepies. Also, the sentiment expressed in Mark 2:17 feels vaguely Eddie-like. (For those not familiar, this occurs when Jesus is asked by the pharisees and officials why he associates and eats with tax collectors and sinners, to which he replies “it is not the healthy who need a doctor, but the sick.”) However, I think that Eddie’s thing is less redeeming the sinners and more giving the excluded and ostracized a place to be included and treated well. But I digress.

Now, Chrissy. Dearest, loveliest Chrissy. While it is totally plausible that the Cunninghams are Presbyterian or Evangelical Christian or something else, miss girl has mega Repressed Catholic Girl Energy, so I’ve been headcanoning her family as Catholic. I definitely think Laura would use Catholicism (or Christianity in general) as a large tool in her attempts to control Chrissy and dictate her life. So like, because Catholicism is more strict/regimented/structured compared to other denominations like Baptist or Presbyterian, I think Laura would try to use it to make Chrissy’s life more strict/regimented/structured. (And also there’s the Guilt™️. Chrissy seems like the type of gal to be crippled by Catholic guilt.)

I’ve got this image in my head that I hope to be able to express in that upcoming wip I mentioned where Chrissy, once her mother (and Jason) starts trying to control her and obsess over her body, somehow equates the general “be Christ-like” thing with “Take this and eat of it; for this is my body, which has been given up for you” (which, again, for those unfamiliar with the proceedings of a Catholic mass, this is something that the priest says in regards to the Eucharist/communion wafers; it’s a reference to the last supper when Jesus broke bread and shared it with his disciples.) so she ends up letting her mother control her because that’s what she thinks is the right thing to do in order to “be Christ-like” and gain approval.

And then I know a lot of people headcanon Jason as the pastor’s son. In a story where they aren’t written as explicitly Catholic, I do like this headcanon because I think it would explain a lot about his character. However, in a setting where they are written as Catholic, I think Jason would be of the hypocritical sort. (He’ll preach the Bible at anyone he disagrees with, but then will turn around and completely disregard anything said about premarital sex, love thy neighbor, love thy enemy, etc. Essentially the sort of Christian that twists what’s said in the Bible to suit their needs and ignores the parts that they disagree with -- which is exactly the kind of person I think Eddie would read the entire Bible to be able to argue with.)

[lost-batarang]

Duke Thomas - Writing Exercise (7500k Characters)

A Small writing exercise? Is that the write word? About Duke's (highly canon divergent) somewhat early days as Signal. I don't know much about Duke or his personality, so this was just to help me understand him better. Let me know if there's any spelling mistakes, because I'm not the best at proofreading.

Duke readied his escrima sticks and put on his helmet once again. Another patrol. Another battle. Another crime stopped. That's what he was hoping for, atleast. He scoured Gotham's streets until he saw a bank robbery; he grappled to the top of the building, then sneaked into the vents. He then broke open a vent, grappling onto one of the robbers, knocking them to the floor and breaking 2 of their ribs, fracturing another 3. Duke then threw one of his escrima sticks at the other robber, knocking them to the floor as they tried to flee the scene, their head colliding with a wooden desk as they fell. Duke Thomas scanned the rooms for the last robber- none was picked up by his scans, but then a gunshot was heard; the last robber stood behind a desk, aiming a sniper at Duke's shoulder plate; it should've stopped the bullet, but it carved right through Duke's shoulder. Duke screamed in agony, then went to throw another of his escrima sticks at the robber- but another gunshot was fired, striking his kneecap. Duke Thomas used his helm's voice commands to send a distress signal to the other bats, but the robber readied their final shot; aiming for Duke's helm, the robber fired a bullet going straight towards- and likely through- Duke's head and helmet. Duke, with the last of his energy, masterfully struck the bullet away with his escrima stick, but then collapsed as everything turned black, awaking in the heart of the batcave. "B..Bruce? Al..fred?" He said quietly, his voice hoarse and his wounds heavily bandaged, whilst trying to stand from the stretcher he was lying on. He could only see the roof of the batcave and his bandaged wounds, but he heard a voice; "Now now, Master Duke, you're heavily injured- by no regular bullet, I must add. Who did this to you, lad?" Alfred asked him. "I..I..cou..ldn't..see…the…ir.." Duke tried to speak, but his words were becoming more and more difficult to say; He heard footsteps, however, and Batman walked to his side. "Duke. Alfred's taking care of your wounds, and soon you'll be strong enough to patrol again- Although I would advise against it, I'd be a hypocrite to try and stop you. The bullet that struck you was no ordinary bullet; it was enhanced with a powerful metal that could pierce some parts of your suit- but that's the odd thing about this. Some parts, that would be usually impossible for your average robber to strike. The person who assaulted you must've had some sort of metahuman precision, to able to harm you like he did. Lucius, me, and Barbara are working on improvements to your suit that could help defend against this attacker- but that's only if you'd like to track him down. Oh, and Duke? Good call with the distress signal. I'm not entirely sure what would happen if you didn't call us." Bruce spoke, as usual, sternly. Bruce then left as Duke rested until he could speak and properly see, and told Bruce that he'd want nothing more than to track down the person who harmed him so gravely; and asked to see the new suit. Alfred brought Duke's stretcher to a small viewing chamber in the batcave where Duke could see his new suit, as Batman explained the functions. "It may resemble your old suit, but we've deeply enhanced it. The bat ears now give you majorly increased hearing abilities, and the improvements to your scanner are experimental, but should be powerful if they work correctly. The person who assaulted you had some sort of ability to hide from our scanners- hopefully, these upgrades should remove- or weaken- that ability. We've also added a way to create a hologram over some smaller parts of your suit, which are near-constantly shifting and would throw off anyone who'd try to fire at those points. Your escrima sticks have been reinforced against bullets, allowing you to deflect them more effectively, and they can now fire a small sleep-inducing syringe from them, alongside an EMP grenade in your utility belt. Best of luck, Duke." He said, Duke staring in amazement. "Thanks, Bruce. I'll use it the best I can." Duke spoke, Alfred bringing him back to the batcave's medical room.

Once Duke could go into the field again, he readied his new suit; it was an adjustment, but it was certainly stronger than his old one, and set out to patrol- and find the 'robber' that tried to kill him. Duke patroled the area, looking for the robber- or any robber- that was similar to the one he's searching for. Eventually, he spotted 6 masked gunmen interrogating- or robbing, Two-Face in an alleway. Two-Face seems relatively calm, which means he's likely got it under control- but still, the gunmen are wearing similiar masks and outfits to that of the person Duke's searching for, and that's close enough. As Duke approached the gunmen, Harvey tries to calm the gunmen- then shoots one in the leg, and throws another to a wall as Duke shoots a sleeping syringe into 2 of them, then uses his grapple to take away their guns, rushing towards them and slicing one across the chest with his escrima sticks, another going to deliver a right-hook to Duke, but Two-Face blasts their arm off with a well-placed bullet, as another goes to hit Duke, Duke swiftly catches their arm with the hook of his escrima stick and throws them to the floor, 2 of them fleeing, and the ones that had been shot either dead or limping away with the others. The sleeping ones were the only ones left. "Harvey- what- why are you being interrogated by these idiots?" Duke asks, gesturing to the sleeping gunmen. "I don't know why. I didn't work with their metahuman boss, so that could be it. But it seems like a bit excessive, all I did was turn the guy down. Anyway, night-light, I'm getting out of here- alright? I don't want to fight any bats tonight." Harvey says, aiming his pistol at Duke as he slowly backs away and runs off into the night. "Well, that's a lead, and also a lead lost. Atleast I can bring these guys back to the batcave." Duke says, staring at the sleeping gunmen who awake in the batcave's interrogation room. "Who do you work for?" Batman says as Duke leans against the nearby wall. The gunmen are silent- until a scream is heard as Batman breaks one of their fingers. "Every minute you don't talk to me is a broken finger. Talk." Bruce continues, the gunmen trying to keep silent. Duke smiles smugly as he knows they'll talk- even if it is a bit gruesome. Batman draws a batarang from his belt, then goes to stab a gunman in the neck with it; stopping an inch away. "Talk. Or you'll die covered in your own blood." Bruce says threateningly. One gunman speaks up; "The Bat doesn't kill. He's bluffi-" He says before getting cut off by an android- which may look like a regular human to the gunmen- walks into the room, Batman taking it's head clean off with a well-placed batarang. "You think I'm Batman? I'm worse." Bruce yells. The gunmen begin to talk, saying that their boss is a metahuman with extreme precision, slight invisibility, and increased toughness and stamina. Then they're knocked out by Bruce, who leaves them tied up at a local police station. "Thanks, B. You're a lifesaver." Duke says as he goes to fist-bump Bruce as he returns to the bat-cave, who reluctantly fist-bumps him. "Wow. Did not expect that." Duke says to himself as Bruce walks off deeper into the bat-cave. Duke hops on his bat-cycle, better known as the bat-cycle spray painted yellow, and leaves the bat-cave, starting his search again. The gunmen also said that they had a base of operations near the docks- that'll be where Duke starts his investigation.

I'll be writing more until Duke finishes this battle or whatever, but I'd say it's not exactly the best writing I've done. I know like. nothing about Duke, so bare with with me here lol.

[greater-than-the-sword]

Spoilers for the END of Seed

I'm not necessarily criticizing (yet), but I can't help thinking that Sam definitely got the least happy ending out of all the characters in the webcomic. As a matter of fact, his ending made me feel downright sad.

I understand that he had a great lucrative career with cushy benefits and enough power to forestall possible AGI abuses (he basically inherited Russell's job, under somewhat more amenable corporate conditions than existed before the incident).

However, Sam's character was always largely based on his innocence. In a different sense than Emma, of course, but he was Russell's innocent bystander, or paragon, if you will, in the same way that Emma was Michael's. He was completely innocent of every crime that he was framed for in the story.

So, it strikes me as a downer ending that Sam is then forced, explicitly against his will, to spend the rest of his life in corporatopia covering up for Russell's arson and murder. Which the story explicitly acknowledges were both Russell's fault and morally wrong.

While I realize that Sam and Russell's goals re: preventing AGI development did ultimately align, Russell is basically the epitome of "cool motive! Still murder." and it is pretty much outright stated that some innocents did die in those fires - I mean Taurus went ahead and set them after all. Even if no one died in the BlackKey building it's hard to believe that in the "inherently chaotic" situation of multiple burning buildings Taurus was somehow able to forestall any deaths until Russell had his critical moral crisis.

So ultimately Sam is still stuck covering up for a murderer, for what is ostensibly, "the greater good", of making sure these trash bags' plan to manipulate society actually works.

(I'm sorry it is just really hypocritical, Russell and Michael are against playing God, and then go ahead and decide to play God in order to prevent other people from doing it? And I know the story knows that, but the idea that Sam has to buy in that this makes sense in order to save the plot and wrap up the story...) It is like if the villain said, "join me and live and we can rule together", and then the hero was like well I guess I have to. Yes I realize he literally had a gun to his head. I am just saying it's not a happy ending. I mean that's not Sam's true character. Consider for a moment when he was in the burning building and needed to find the phone that could kill the AGI if it were to be used at the right moment, but also needed to save Gabby his girlfriend. He said, screw the AGI business, I'm getting Gabby first then worrying about the phone. One concrete human life prioritized over some theoretical chance at saving the world from an AGI, which is exactly the philosophical opposite of the choice Michael Hayes made. It was appropriate, then, that when he found Gabby the phone was with her. The narrative rewarded that. What, then, am I supposed to take away from this ending for him?