#it's not that big of a deal but i thought it was interesting

[vidavalor]

The Devil Takes The Hindmost

The Big Damn Post I've promised for ages on all the stuff suggesting that what we're watching in S2 is Aziraphale's mental health crisis leading to his fall...

...with a focus on a religious concept that intersects with secular ideas about mental health-- The Devil Takes The Hindmost-- that was unintentionally mentioned by Mrs. Sandwich and might be what's going on in The Final 15.

Plus, a look at the possible purpose of The Whickber Street Shopkeepers and Traders Association in the story and a dive into the symbolic role in Aziraphale's story played by Muriel... the most adorable Angel of Death anyone's ever seen.

@ao3cassandraic @komorezuki @kayleefansposts @masnadies -- This is basically what I was starting to talk about the other night, if you're interested. @ochre-sunflower -- the meta I mentioned.

TWs: suicide; depression; PTSD; negative self-thoughts... It's optimistic by the end but it's a look at some darker stuff in the story so please take care.

In GO S2, we have a lot of stressors building and overlapping for Aziraphale, with each episode adding new ones, all boiling hotter and hotter until we reach the The Meeting Ball. There, everything stops for the arrival of Shax at the door.

When she turns up, all the other plots cease to be relevant in the moment because the whole story's stakes upon her arrival now come down to a single, pivotal question:

Are these demons going to get into the bookshop?

On the surface, in our plot, Shax, Eric and the smallest number of completely ineffectual demons that a redemptive Furfur could get away with sending without looking like a traitor 😉 are interrupting Aziraphale having turned his first pass at hosting the monthly meeting of The Whickber Street Shopkeepers & Traders Association into a party.

Why is he doing that? For a dizzying number of reasons. So he can try to protect Gabriel by getting Maggie and Nina together and try to be part of his community by using the party to get Maggie and Nina together which is also so he can protect Gabriel... but, let's be real, it's really all so he can dance with Crowley...

Our heads are spinning as much as Aziraphale's is by this point and it's exhausting just to try to recap everything he's dealing with by The Meeting Ball... which is why it probably isn't surprising that all of that story just stops when the brick goes through the window and Shax is at the door. Because, symbolically...

...this is an anxiety attack.

Shax and the demons are Aziraphale's inner demons and they're trying to force their way past the threshold to take control of the bookshop the way that darkness can consume a person...

...as they're trying to take control of the bookshop that is what, symbolically?

Aziraphale, yes.

Aziraphale and Crowley. (And, as we looked at recently, also Maggie, on account of her family's history with it.)

Why this bookshop attack that is a metaphorical anxiety attack at this point in the story?

Because a lot of what Aziraphale wants out of life was happening before the demons that represent his inner demons showed up at the party.

For the first time ever, Aziraphale was no longer compartmentalizing his worlds and hiding parts of his life from people. He had Maggie and Gabriel under the same roof-- his human and angel families together. He had neighbors over and felt brave enough to call himself one of them by hosting the meeting. He was impacting the society around him in a big way by unifying Whickber Street's black market with its "legitimate" front by inviting Mrs. Sandwich to join the group. He was helping Maggie and Nina fall in love.

Most importantly, there was what the whole thing was really for: having all that happen with Crowley there, too, and everyone knowing they are together. Being able to dance with him and be a couple openly like everyone else. This Jane Austen cotillion coming out ball for ladies Maggie and Nina is really a coming out party of sorts for Crowley and Aziraphale. This is like the Christmas party of Aziraphale's dreams here. The one he's never, ever been able to have.

It's a wonderful thing when people who are in a great deal of emotional pain decide they've just had enough and want to break free of their misery and allow themselves to work towards being happier.

It's just a very delicate period because it can go either way, in a hurry. One minute a person can be thinking they're on top of the world and starting to live the life they've been dreaming of but the next minute find themselves freefalling emotionally. This is especially true of people who feel they have to present as cheerful and optimistic for everyone else and who hide their pain behind a smile.

They are some of the most at risk of their lives becoming like the Salinger short story about trauma and suicide referenced in S2-- "A Perfect Day for Bananafish"-- in which a man suffering from PTSD is believed to be fine by himself and those around him, has a nice day at the sea and chats with a symbolic daughter-like character and then, unceremoniously, goes to his hotel room and shoots himself dead.

As Maggie shows us during The Meeting Ball when she parallels Aziraphale's struggle, people get tired of being afraid and want to live-- want Nina, who is coffee, which is freedom-- but they can overdo it, if they're not careful, and wind up taking steps backwards.

Sometimes, the thrill of feeling like they might be on the edge of something good can cause someone to go too far, too fast, and, without the right support, they can find themselves going faster than a rollercoaster-- and right off a cliff as a result.

These people might look at their inner demons and think they're fine, now, actually, and that the darkness doesn't frighten them at all and they're all over their negative stuff-- all good now. No problems here.

Problem is that, sometimes, in the process, they might realize they're lying to themselves when they suddenly tell those inner demons that they can come in and say all that pathetic shit to their face... before they're really ready for that. Maggie, paralleling Aziraphale here, shows that with Shax during the bookshop attack. Not the best way to deal with inner demons, that.

And one person's inner demons can be an unintentional trigger for others, which is one of the things that started off Aziraphale's mental health crisis boiling up into a breakdown earlier in the season.

Aziraphale was already having a terrible week and then he projected his own issues all over his adopted goddaughter when she was having a moment and wound up accidentally saying something about himself that she took to mean about her and that came out sounding incredibly hurtful in a way that Aziraphale didn't mean for it to be. He then sought to make it up to her by finding a way to make her romantic dreams come true but was, all the while, silently berating himself for not having handled it flawlessly in the first place.

And when that got mixed in with trying to *checks Aziraphale's S2 list*... Jesus...

...recover from PTSD, manage all the anxiety and depression that comes along with it, deal with the fallout of his relationships with his abusive family, save his losing it brother from a religious cult/fascist regime trying to kill him and figure out why he's lost his memory, assuage his guilt over the memory-wiped angel that he feels he failed to save that showed up at the door, figure out wtf to do with the bookshop/embassy he's never wanted to run but that has become the M-25 that he's built and is now stuck in and that just reminds him that he hasn't any family to pass it onto, and, most importantly?

Tell his partner that he would like to live openly with him in the a little cottage by the sea in the South Downs...

I mean, by the time Mr. Vacuum showed up and suggested that Aziraphale add to the list that this week also be the first time he's ever hosted the monthly meeting of the business organization of the street he's basically founded but doesn't let himself really feel like he belongs to?

Sure, Mr. Carpet. Sure. Bring it on. Why not, at this point?

But Mr. Vacuum's idea actually caused Aziraphale to think he had the perfect solution-- continue to do what he was doing all week and combine this shit together! Protect Gabriel by tying him to Maggie and Nina and solve Maggie and Nina through the Whickber Street meeting and, well, if he's going to make it romantic for Maggie and Nina, well...

...maybe this is how Aziraphale can solve his biggest problem-- finding more of a way to just be forever near that one, particular person who makes everything okay.

So, by the time we get to The Meeting Ball? Aziraphale is pretty much losing his damn mind.

The heebie jeebies that Crowley gets in the street? It's not the low-rent demons. He knows what they feel like. He can't identify it but the thing that is really, really wrong is Aziraphale himself, in a dark reverse of Aziraphale feeling Crowley's love in S1.

Thousands of years of feeling a lack of enough control over his life have basically led Aziraphale to snap. Parts of it are very funny. Gabriel dressed up as Liberace circling with temptation trays of vol-au-vents is as hilarious as it is loony. Miracling the room so that everyone speaks like it's the 19th century causes a lot of humorous scenes, especially with Mrs. Sandwich... but is also a horror show. Justine loses her ability to speak English well and others have trouble understanding one another. It's like a zanier, more comedic version of Aziraphale's parallel antichrist, Adam, taking over The Them and deciding how, when, and if at all, they could speak.

It's a person in Aziraphale, who is normally very kind to others but not really to themselves, whose pain and anger have built within them to a breaking point and caused them to take that out on others and become, for a moment, almost the exact kind of person from whom he tries to protect others.

During this part of the season, Mrs. Cheng and Mrs. Sandwich have some dialogue that I think might be the whole rest of the season's plot in a nutshell. It happens here:

Mrs. Sandwich being unaware that "seamstress" is a 19th century-era euphemism for a sex worker means that she doesn't realize that she actually is, on one level, telling Mrs. Cheng what she does for a living. Her frustration is coming from the fact that Mrs. Cheng also doesn't know this euphemism and so thinks Mrs. Sandwich is a literal seamstress-- someone who sews and mends clothes-- and not a figurative/euphemistic one. While that and the rest of this scene is worth a whole deep dive in and of itself, it's not the bit I want to focus on here. That bit is what Mrs. Sandwich says as she gets increasingly upset.

Keep in mind as we look at this that the person who is the literal seamstress in this scene is not Mrs. Sandwich. It's the person whose magic is inhibiting her speech-- so, who is speaking, in a roundabout way, through her-- and who is the one changing everyone's outfits as they come through the door.

The seamstress really of note here is Aziraphale.

In the midst of her frustration, Mrs. Sandwich is trying to curse in 2023 terms but they are coming out in 19th century-era equivalents and this means that she says the following things when cursing:

She insists that she's not a godforsaken (abandoned by God; left to Satan) seamstress, that she's not a benighted (taken by darkness) seamstress, and, finally... while probably trying to say "what the hell"... winds up saying the whole season's plot in response to Mrs. Cheng asking her the also rather meta question of "what, in short" the problem is in that moment.

What, in short, is the plot?, asks Mrs. Cheng, on a meta level.

What the fuck is going on in this story?

To which Mrs. Sandwich replies:

"The Devil take it."

The curse "The Devil take it"-- meaning you give so little about something or someone that Satan can have it-- comes from a religious teaching (that works very well from a secular perspective, too) known as "The Devil Takes the Hindmost". It's this teaching that I think is extremely important to S2 and is arguably around what the story is structured.

This teaching argues that people who are excessively self-sacrificing are putting themselves at risk of being taken by darkness/Satan because of the cumulative effects of the anger, anxiety and depression that comes of denying that they are people with wants and needs of their own for too long.

It's about the people who go beyond kindness. It's about those who don't see themselves as part of the pack of people and think that the world isn't for them. They believe that their needs and wants don't matter as much as the need to prove to themselves that they aren't a horrible person-- which they do, in their minds, by denying themselves a full life of their own.

Sound familiar? It should. It's Aziraphale to a T.

Why are these people in "The Hindmost" for Satan to take when they're not terrible people?

Because they fall to the back of the pack of humanity.

Because they are left open to the darkness because they do not allow themselves to have what they work so hard to help others make for themselves.

The pain of that eventually renders them as bad off emotionally as those they counsel, or worse. The more they deny themselves, the more that pain builds and it can push them down dark paths.

They're in "The Hindmost" not because anyone left them behind, exactly, but because they've shut out the people around them.

They aren't letting people in.

It's about here that we can bring up that Good Omens is built around doors and all of S2 is basically about getting in the bookshop that is Aziraphale. It's here that we can mention Shax-- the darkness-- repeating demands to Aziraphale, to Crowley, to Beez to be let in. It's here we can mention The Final 15 and the world's most depressing kiss-- the literal embodiment of "let me in" as a theme-- and the horribleness that followed.

So, if S2 is The Devil Takes the Hindmost and he's headed Aziraphale's way the whole season with a large oat milk latte with a hefty jigger or dash or whatever of almond syrup and the job (the Job...) offer from Hell to tempt him, then we're watching (for now) the last days of the angel Aziraphale because a fall is a form of death.

It doesn't mean it's the end entirely because, as Gabriel discovered, everything goes down but flies? They go up.

Flies are the product of letting someone in and not shutting out the love and care you need. That can only be done through accepting, at least for a little while, that you are allowed to be a person and deserve to be cared for the way you care for others. If a person does that, they can fall but they'll have what they need to get back up and to help them stave off future falls.

Letting people in and talking to people about how you feel-- figuratively: feeding your fellow ducks your frozen peas and listening to theirs--- is how we all defeat the darkness together and make it so that Satan never shows up at any of our doors.

Yes, it is, Crowley. Would have been helpful if you had mentioned any of your own Hell-and-Book-of-Life frozen peas at all to anyone but the audience all S2 but this meta isn't really directly about you so you get a pass for now 😂 Back to your partner...

So, this The Devil Takes The Hindmost stuff? Almost immediately after Mrs. Sandwich says it, the story begins to have the characters literally act it out.

Shax is The Devil in that she's a devout diabolical minister of Satan so she's representing Satan at the door.

First up? Gabriel.

Gabriel mirrors Aziraphale's excessive self-sacrificing. It doesn't matter to him that he just met most of the people in the bookshop an hour or something ago. If that angry mob outside wants him for who fucking knows what reason as this poor bastard can't remember anything 😂 then Gabriel is happy to throw himself on his sword for them.

In reality, no one in the shop should have let Gabriel go out there alone. The whole point of "The Devil Takes The Hindmost" is that if everyone looks after each other the best that they can?

There won't *be* any hindmost.

There will just a pack of people who are all keeping each other safe from the darkness.

Jim is ultimately fine to tussle with Shax, though, because that is the part of the teaching that he exemplifies.

Gabriel has been protected. He's not completely fine-- who ever is, really?-- and he's still not really over this current bout of depression but he's safe from Satan and the darkness.

He's safe because he has Beez, Aziraphale, Crowley, and his new friends on Whickber Street.

Gabriel has a pack and is allowing himself to be part of it. As such?

The Devil can't touch him. Shax can't recognize him and sends him back inside. Gabriel is not in The Hindmost because he's been hidden, safely, by his group.

Gabriel goes back to the middle of the pack where he spends the rest of the attack, helping Aziraphale fight off his metaphorical inner demons by way of aiding Maggie and Nina to save the bookshop.

It's the next to the door, though, who is not so lucky, and gets to be the first example of The Hindmost.

From the way, way back of the pack that has formed of the humans, Gabriel, Crowley and Aziraphale in the middle of the bookshop pushes forward our beloved Mr. Brown of Brown's World of Carpets.

The President of The Whickber Street Shopkeepers and Traders Association-- the Gabriel of the humans-- feels it's his job to sort out this mess... only he has even less clue as to what's going on than Gabriel did... and he's much, much more vulnerable.

Mr. Brown tells Shax that he doesn't know why she is "interfering" with the people in the shop, unknowingly using the word used in religious circles to talk about The Devil coming after people. Mr. Brown is a guy at real risk here. Going into the circle and getting discorporated if you're not prepared? Facing The Devil at the door without preparation is the same, terrible thing. Mr. Carpet has no idea wtf he's up against here and his motivations for going to the door are the heart of The Devil Takes The Hindmost.

What does our lionhearted Mr. Brown do for a living? What is he, symbolically?

He sells carpets, right? What are carpets?

Well, they're rugs, for one thing. They're found in every business and home in existence. They are necessary for living and also an example of having comfort in your life. (They're also walked on and taken for granted, like our Mr. Brown is quite a bit.) You pick out carpets on your own or with the people with whom you are making a life-- and they tend to symbolize that life.

We see, in 2.06, the shot highlighting the lotus flower carpet that Crowley and Aziraphale have in the bookshop, that they use to cover up the Heavenly circle in the floor-- the one they put Gabriel on to do the protection miracle. It symbolizes the life Crowley and Aziraphale have made together to which they've now let Gabriel in.

What else are carpets? In Good Omens' use of language, they're also cars and pets. Rugs, cars and pets... three of the most common things owned by people living a life on Earth, with the word own itself in Mr. Brown's name.

Brown's *World* of *Carpets*... this dude is, symbolically, everyone.

He's life itself.

That's why it's Mr. Brown who gets taken by the demons and, later, saved by Crowley and left in the care of Mutt, who is human magic-- the character who symbolizes the wonder and mystery and joys of being alive.

Mr. Brown-- an extremely common name for a man whose pain is extremely common. He's lonely. He's overlooked. He's the president of this group of apostrophe and Christmas lights-obsessed, irritating and wonderful, typical, human people because he's unflappable and no one else wants to do it. No one else will do all the boring work and hear all the complaints the way he will and he's made that his role and he hates it. In that way, he's the Beez of Whickber Street-- as desperate for appreciation as Aziraphale. He's Burbage and Shakespeare, wanting an audience that isn't sleeping, drunk, or flirting their way through Hamlet. He's Crowley and Aziraphale:

Mmm, good job... Oh, do you really think so?

Mr. Brown of Brown's World of Carpets is a professional carpet salesman. He spends his days selling everyone what they need to make lives of their own but his own life is far lonelier and smaller than he would like it to be. He doesn't have a partner or true friends, just the people of the group into which he's struggled to really fit, despite running it. He's nerdy and awkward. His over-the-top, affected manner of speaking belies the fact that he feels like he's jiggery pokery, through and through. If I took Mr. Brown's name and profession out of this paragraph, I could be describing Aziraphale just as easily, but for the fact that Aziraphale does have Crowley, if not in the open way he wishes for. Because of that, Mr. Brown being taken by The Devil is also foreshadowing the end of S2 for Aziraphale.

Like most, Mr. Vacuum has got some surprising resolve-- some unexpected moxie-- but, fundamentally, this man has spent S2 showing that he is one more papercut away from a nervous breakdown.

So, when he tries to prove his worth to the group by putting himself at risk, it's excessively self-sacrificing. While there are some titters of alarm and warnings to him not to leave the pack, the one who objects the most is Crowley. Mr. Brown, though, doesn't let Crowley in. He doesn't recognize him because it's partially to look good in front of Aziraphale that Mr. Brown has jumped to the front of the pack. It's his loneliness, his lack of his own life, his need to be part of the group and appreciated. His need to be the hero.

Only, Mr. Vacuum is what happens when you aren't prepared for the darkness and you haven't let anyone in to help you. Shax, realizing that Crowley has been lying to her about the threshold by the way that all the humans have been backed into the living room, tests the theory and Mr. Vacuum gets taken by The Devil.

The Devil Takes The Hindmost.

Mr. Brown went from the literal hindmost of the pack inside of the bookshop up to the front to self-sacrifice excessively, got taken by Satan, and then, in a darkly amusing turn, got tossed back through to the hindmost of the pack of demons outside. He's also near the back of the line for coffee the next morning at Nina's.

If The Devil can come for Mr. Carpet, we see, he can come for anybody. Now this lingering and malignant sense of unease we've been feeling throughout The Meeting Ball tips here into real horror.

Crowley is up next to evacuate the rest of the humans in the shop. He's going to walk them all in a pack past The Devil. They go out in mini-groups within a larger pack. He tells them that they need to all stick together and mind each other, not the demons.

If they do that, they live. If they don't, they won't.

It becomes that simple because it is that simple.

Crowley doesn't just tell The Whickbers how to do this, though-- he leads them out. Because he's one of them, too... but really also because this is all a metaphor for Aziraphale's mental health breakdown getting going and what happens when you are having an anxiety attack or a depression episode?

What goes out the door?

The things that keep you alive, right? The good stuff in life. That is defined differently for everyone but a lot of it overlaps for many of us. Many of those things are what The Whickber Street group characters stand for in the story. Aziraphale owns the land for most of Whickber Street so, in addition to being characters in their own right, all of the members of The Whickber Street group represent Aziraphale.

They're all the things he loves the most-- his reasons for living, and what helps keep the darkness away for him. This is really why, symbolically, neither they nor Crowley (symbolically, love) can be present in the shop when Aziraphale is melting down at his worst.

Crowley leads the pack out with Mrs. Sandwich up front. He is allowing himself to be part of the pack here. He might be supernatural and the group human but it doesn't matter. They're all people and there's more to it than miracles. Crowley can't face the darkness on his own-- and neither can Mrs. Sandwich. Neither of them should have to. So, they don't. They choose to be each other's friends and let each other in and they're both better for it and so is the rest of the pack. This is an example of how to deal with darkness in a positive way.

Crowley trusts Mrs. Sandwich in general but for this task, in particular, because who knows best how to deal with the darkness?

Survivors of prior run-ins with darkness, that's who. His fellow "fallen woman", Mrs. Sandwich, has got her hat pin and his back and Crowley has hers.

So, out the door of the bookshop that is Aziraphale goes love, friendship, sex, romance, healthy communication, human magic, community, food, music, and so much more... because not taking care with our mental health issues rob us of what we love.

Left in the shop? Maggie and Gabriel-- Aziraphale's past and his family... and Nina-- the possibility of freedom (her American-themed coffee shop) and what's left of Aziraphale's hope for the future. Nina's decision to stay symbolizes Aziraphale hanging onto some hope.

After Crowley and The Whickbers leave and Maggie accidentally lets in Shax, the demons have gotten in and are advancing. Without those who are no longer in the shop and with Crowley missing, Aziraphale's anxiety ratchets up and the demons-- his inner demons-- gain ground. The goal becomes keeping them from getting into the residence floor upstairs-- to the place to which Aziraphale has let hardly anyone in. The parts of himself that are not public-facing or for acquaintances but only for those he allowed himself to get close to. Maggie and Nina can be on the landing up there. Gabriel can stay in the guest room. They're family. Only Crowley is allowed free reign in the whole of the bookshop.

For the first time, we have an angel not named Aziraphale teaming up with humans to fight for a place on Earth. The start of the 'all of us versus all of them' that Crowley foreshadowed as still to come at the end of S1? It isn't some big battle for the planet. It is a battle for the life of a single person in Aziraphale because every person matters.

It's The Commander of The Heavenly Host rooting around the upstairs rooms of the bookshop collecting all the fire extinguishers bought to help Crowley deal with his trauma that he can find to supply his troops-- the human Maggie and Nina-- on the front lines.

It's Aziraphale's loved ones coming together to fight to save the bookshop that is, symbolically, Aziraphale himself.

Ultimately, though? Crowley, Gabriel, Maggie and Nina can help hold off the demons that are symbolically Aziraphale's inner demons but it's ultimately going to come down to Aziraphale and Aziraphale alone whether or not these demons are going to overrun the bookshop.

We reach the point where Aziraphale has to choose-- is he going to let the demons take him over or is he going to send them back? He decides, in this moment, to blow up his halo.

We learn that Aziraphale's halo isn't divinity floating atop his head-- it's a tight, hard band around his mind. It's mental health issues, in physical form. He is in visible pain and breathing shallowly as he struggles to take it off. If you took away the halo from the picture, it's visually very much like someone having an anxiety attack. He uses it to discorporate the demons-- to send his inner demons packing.

Well, almost all of them...

Shax, the one that voices his darkest inner thoughts, remains. She's unconscious for awhile, lying dormant on Crowley's couch.

Aziraphale tells Maggie and Nina that he thinks blowing up his halo might have "just started a war" and, symbolically, it did.

Because when you blow up your halo, it can work for awhile but if you still aren't able to address the underlying, fundamental issues at the root of why you have a halo in the first place, those dark thoughts will come back.

Those demons are coming back and, sure enough, Aziraphale's bookshop is full of plenty of voices by early the next morning. While he won The Battle of The Bookshop, he loses The Battle of The Bananafish the next morning.

While Aziraphale stopped the attack on the shop-- his anxiety attack-- with the halo, we learn the next morning that then something else happened the prior night that we didn't see that is affecting the rest of 2.06. We hear about it from Aziraphale after Satan shows up in this bit here:

What's this, now? Aziraphale doesn't want to chinwag with The Metatron because they already chatted the night before and our angel doesn't think there's anything left to be said. Our angel says he's made his position quite clear.

So, The Metatron got on the circle thing zoom after Aziraphale discorporated demons with it and blew up his halo and, by that point, Aziraphale had had enough.

Aziraphale told The Metatron, in so many words, to go fuck himself.

This is really what Aziraphale is trying to say when he tells Crowley that he "did the thing with The Halo." Yes, he literally blew up his halo to discorporate the demons and stop the bookshop attack but the halo is his the weight of all of his cumulative trauma from Heaven... which makes it also, symbolically, The Metatron. Aziraphale blew up his ties to Heaven by telling off The Metatron. He told off the floating head hanging over his head as part of blowing up the halo crushing his mind.

So, Aziraphale then spent the whole night assuming correctly that, if you yell at Head Office, he's going to tell Satan that you're fair game.

Aziraphale doesn't want to fall. He doesn't want to be a demon-- not because he thinks of them as lesser beings because he doesn't think of them that way. Because being a demon is a terrible existence and Aziraphale would rather not have his soul be owned for all eternity by his partner's assailant who is also, literally, The Devil. He's a hard pass on that and had a plan to have Crowley help him avoid it.

Satan and other events made sure that he and Crowley couldn't communicate what they were thinking and feeling to one another openly from the time that Crowley left the bookshop with The Whickbers through the end of S2. If they had been able to and if Crowley had any idea what was truly going on, things would have been very different. The story is Aziraphale's fall, though, so it has to be bad for now to improve in S3.

Because it's Satan at the door with the coffee, he uses Crowley to identify him as The Metatron to everyone else and, so, has convinced Crowley that he *is* The Metatron and that Satan is nowhere in sight. Crowley doesn't see Aziraphale's fall coming, as can be the case with many people-- even those who know of the mental health challenges of those close to them.

Crowley thinks that the biggest threat to Aziraphale in The Final 15 is The Book of Life-- and, I suppose, in a symbolic way, it is.

The Book of Life-- in the way that Crowley thinks it exists-- is not real. It's his and Beez's anxieties from when they were angels manifested as a ghost story to tell more impressionable angels. Yet, as a concept? It kind of is sort of exactly what Aziraphale goes through in S2. He feels erased into non-existence by Heaven already and he's fighting for his life.

Right, so, a hundred years ago lol, I mentioned that Muriel is key to this idea. Let's look at how their presence is highlighting Aziraphale's issues and ushering him closer to death/falling.

While two angels with memory issues show up at Aziraphale's door in S2, Gabriel is a tale of hope while Muriel is a cautionary tale.

If your memories are "all your you"-- your sense of self, formed through your history-- then, while Gabriel was preserved in The Fly, the example of what can happen without one?

The horror show of a total and complete, catastrophic loss of a sense of self? So... death?

That's Muriel.

There is an angel named Muriel in some Western Christian traditions who becomes a figure called The Abaddon, which is The Angel of Death. The Abaddon factors into different takes on Revelations and apocryphal Biblical stuff. There are several different ideas on who The Abaddon is, though my understanding is that their role as The Angel of Death who brings souls to their final judgement is pretty universal throughout.

In some traditions, The Abaddon is seen as the antichrist. In others, it's Satan. In S1, Good Omens played around with some characters seeing the role of The Abaddon in these ways during Armageddon: Round One through how the Satanic nuns referred to the antichrist baby and Satan as "The Angel of The Bottomless Pit", which is the descriptive phrase given to The Abaddon in multiple different religious writings.

In other religious traditions, though, The Abaddon is thought to be an angel of Heaven or a trio of angels of Heaven. It's these ideas that I think Good Omens is playing with in S2 with, I feel, the heavier emphasis on the true Abaddon being the one most frequently referred to that way-- Muriel. Also supporting the idea of Muriel as Death is that there is also that a character in Salinger's "A Perfect Day for Bananafish" with that name. Muriel is the one set to inherit the main character's wealth and property after he kills himself at the end of the story.

So, how is our lovebug Muriel The Angel of Death?!

For that, we have to look at what a fall is.

Consider that The Metatron can tell Satan that an angel is fair game but, in order for that angel to actually fall to Hell, they have to fail to resist Satan's temptation. What the show is subtly saying is that every angel who is a demon is not just an angel who got caught out saying or doing something that threatened The Metatron's power but, also, an angel who was also already falling into despair and, so, couldn't resist Satan when he came to claim their soul.

The literal fall that happens-- the "freestyle dive into a pit of boiling sulphur", as Crowley called it-- is a symbolic thing that happens after an angel has been unable to resist Satan and, so, is now considered by Heaven and Hell to be a demon.

If you consider that the way the literal fall has been described-- going off a cliff; the parallels to Gabriel nearly jumping out a window-- all of these are images of ways that people sometimes kill themselves. Heaven and Hell come at angels and demons from a place of abuse that pushes them towards suicide. Even in S1, it wasn't straight out murder that Crowley and Aziraphale faced-- they were both forced into what, to Heaven and Hell, would have seen as committing forms of suicide. Crowley getting into a bath of holy water; Aziraphale stepping into hellfire.

So, we're saying that the physical fall happens after an angel has already fallen, and that, in order to fall to Hell, an angel has to have already first fallen into despair.

If the show wants Aziraphale to fall in the Heaven/Hell sense of it, he has to have a mental health breakdown and I'm reminded that the opening credits of this show are Crowley and Aziraphale walking the Earth with all of their history layering up behind them and following along with them and then they go up and up and up on a track in S2 and stop just prior to?

Falling off the edge. The literal fall is what we've stopped just short of but, all along so far, we've been watching the fall in progress build.

The reason why we've never been "shown a fall" on Good Omens is actually because the whole story to date is Aziraphale's fall. It doesn't even really start with S2-- it started long, long ago. It also, though, really kicked into gear just prior to the start of S2, as is noted a bit in this moment here:

Nina asks if everything being weird started the prior week when the power went out and Aziraphale replies:

Trauma is like that. It can be things that happened in your metaphorical 2500 BC that are coming back to bite you in your 2023 AD. It's cumulative. It builds and pushes. You can go and go and go and then, one day, your power just goes out. Your energy to fight is just gone and a storm is brewing. A series of events can push someone who is in an already vulnerable mental health state towards a full on fall into despair and that is what I think S2 is fundamentally about.

S2 is a suicide narrative. Our Clarence Aziraphale is going a bit George Bailey. Even as, on the one hand, he's taking big steps forward to claim more of the life he wants, it's the underlying trauma that he hasn't yet been able to fully deal with that is making him also, at the same time, begin to quietly wonder if those around him would be better off if he were not in their lives.

This is why the most dangerous character in S2 is not Satan or The Metatron.

It is, quietly, Muriel.

How so?

Because when people begin to have more frequent suicidal thoughts, their reasons for living that usually keep them going begin to change to being more of a list of obstacles that are preventing them from death. As a person falls into depression to a point that they begin to feel like maybe everyone around them would be better off if they weren't there, they begin in their minds to try to "solve" the problems that are keeping them from dying. They try-- not always super-consciously-- to set things up in such a way so as to convince themselves that their ties to the Earth will be neatly resolved with minimal bother for anyone else and, more importantly, that all their loved ones will be set up to be fine without them.

People in despair can-- and will-- come up with what are, objectively, absolutely bonkers rationales because, ultimately, they want coffee but they are in such despair that they thinking about ordering death.

Muriel's arrival means that Aziraphale then basically has a solution to every obstacle in his mind in such a way that he clears a path straight to taking his life. They help solve two of his "obstacles": Crowley and the problem of the bookshop.

Muriel is dangerous because they show up at the door with the same curious, upbeat, enthusiastic personality and sense of wonder at the magic of the world that Crowley both loves in Aziraphale and needs in his life.

Muriel is also who can take the bookshop. They're an angel who needs an escape and who loves books and Earth. They're perfect for it. Aziraphale is also horrified to realize that Muriel doesn't recognize him and what the implications of that are and he feels guilty about not having saved them somehow. They begin to represent his self-determined failures and giving them the shop would be, in his mind, making some of that right.

To Aziraphale, Muriel is the cheer and hope that Crowley needs in his life and they've taken to each other like ducks to water, which is then also coming after Aziraphale has subtly been pairing up his partner with the also-immortal-and-traumatized archangel with whom Crowley has much in common and whom we are told in S2 that Aziraphale knows that Crowley finds attractive.

Shax pops up throughout to help show some of Aziraphale's dark thoughts about himself.

What are you, Aziraphale? Crowley's emotional support angel? The one who went native? Do you need more big, human meals, Aziraphale?

The comments in Edinburgh that are not really about the car. It's really more like Aziraphale calling himself "an old piece of junk" and thinking Crowley deserves the chance to get an upgrade to someone better. Gabriel's good-looking and has been through much of the same as Crowley. Muriel is upbeat and makes Crowley smile. Crowley having friends who are supernatural is a great thing but, under the surface, it's also leading Aziraphale to create an inner narrative where he's telling himself that he's replaceable in parts by Gabriel and Muriel and that he wouldn't be leaving Crowley alone if he were to take his own life.

Aziraphale is telling himself that maybe the best way to love Crowley is to make it so that Crowley doesn't have to deal with him.

What did Crowley say about his stars once? The first time they met?

Six thousand years-- that's nothing.

Engine won't even have properly warmed up by then.

Crowley's borderline-immortal. He'll live forever. Six thousand years is a blink of the eye to them. He'll get over me, Aziraphale is telling himself, and find someone worth spending eternity with.

Aziraphale didn't see a path towards death until Muriel's arrival because he didn't fully have a solution to the bookshop and Crowley. That's what makes that adorable moppet of an angel the deadliest character in S2.

The reason why Muriel leapfrogs over every other character and makes it down to the last, pivotal minutes of Crowley and Aziraphale's story in The Final 15-- in a part of the story where even Gabriel is gone-- is because Muriel is death.

It's because this is all about whether or not Aziraphale is going to take the freedom of coffee from Mr. Six Shots of Espresso and live or whether he's going to take the false freedom of the lies he's telling himself from Satan and die.

Is he going to try to take his own life or is he going to find a way through this time, as he has before?

"It's just you and me, Aziraphale." What a statement that is.

It's both true and a complete lie.

Crowley and Muriel are both still in the room when Satan says that so, objectively, it's not really just him and Aziraphale... except that he is controlling Muriel and Crowley in different ways. In that way, it really is only Satan and Aziraphale left by this point. It's down, by that point, to just whether or not Aziraphale is going to live and since Satan is here for him, it's not looking great.

Satan is the embodiment of Aziraphale's life or death choice here and that choice, in many ways, is the only two other beings left in the shop at that point.

It's Crowley or Muriel. It's life or death.

Satan also as Aziraphale's darkest thoughts, really... as Aziraphale's internal dialogue playing out.

What about my bookshop? he asks himself.

Really: What about my life?

Muriel, replies Satan... replies the darkness... replies Aziraphale to himself.

You could entrust it to Muriel.

They need an escape. You'd be doing them a great favor. You'd be sacrificing yourself for them and redeeming yourself for failing to save them. It'd make what you're thinking of doing noble, actually. It'd make it okay. It'd make you a good person.

Aziraphale struggles, right? He almost doesn't do this. He almost says he thinks he's making a mistake because he knows he is. It's just that his every conflict has come up all at once and overwhelmed him.

Even still, the darkness has him pretty solidly-- but not completely-- until this moment right here:

Aziraphale is no fool and he's questioned the idea that this is The Metatron; he's actually trying to tell Crowley that he thinks it's Satan for much of That Scene in the bookshop and to get Crowley to see it and help him, in case it is. Aziraphale hopes he's wrong, though, because he wants it to be The Metatron because he thinks that is the way to fix things but it's not and he knows it, deep down. He doubles down because he's embarrassed, because he feels foolish and afraid and like he has nothing to offer Crowley without the power he thinks he lacks.

Satan's temptation, though, ultimately works because of the final of the death by a thousand cuts here in the whole "Second Coming" moment.

After Satan gets Aziraphale to leave the shop with him to head to Heaven, he, as The Metatron, flatters Aziraphale a bit. He says the things that Aziraphale has always wanted someone in Heaven to say to him. He tells Aziraphale he's needed and that they specifically need and appreciate who he is-- an angel who knows how things are done on Earth. It's validating who Aziraphale is and who is he proud of being in the way that Aziraphale has always wished would happen.

Aziraphale is hurting so much that he starts to wonder if maybe he was wrong about all of this. He was pretty sure before but, maybe, just maybe, he was wrong and he wants to be wrong because then it means maybe that he'd know who he is. Maybe it would mean he would no longer have to be an angel who goes along with Heaven as far as he can because Heaven would be finally starting to see the light.

Maybe this isn't Satan. Maybe it really is The Metatron. Maybe all of this is real. Maybe he can go to Heaven and take this job and really have the power to protect Crowley and they won't have to be afraid anymore.

Then, Satan drops the bomb. He fires the killshot.

He lets Aziraphale hear him say "we call it 'The Second Coming'" while pretending he didn't mean for Aziraphale to hear it.

This is the moment that Aziraphale knows it was all a lie.

He knows for sure who that is now. He has gone from being 98% sure to a full 100%. He knows that it's not The Metatron but Satan holding open the elevator.

Satan had to tell him, as it's the only thing Satan has to do in some form at the end-- because it has to be Aziraphale's choice. Satan sure as fuck doesn't have to be fair about it-- and he definitely wasn't-- but it's at this moment that Aziraphale knows with absolute certainty that there isn't a job offer.

How could there be if The Second Coming is on the table? They'll never put Aziraphale in charge of Heaven with Armageddon as the agenda. He's the angel who stopped it the last time. It means that Aziraphale knows for sure that, if he gets into the elevator, he's effectively killing himself, because this is all to entrap and kill him, not to promote him.

Satan sets it up so that the final things Aziraphale is thinking about when he makes the choice are that there is no chance that Heaven will ever improve and that they're going to do Armageddon again and just keep doing it until it happens and it's all hopeless and Aziraphale will never have the power to protect Crowley and they're going to just keep living this nightmare forever and he's been doing this for thousands of years and he can't take it anymore.

People who are suicidal are stuck in cycles of their lives they feel they can't get out of and that's exactly what Aziraphale is reminded of in the moment before he gets into the elevator.

He doesn't want death-- he wants coffee.

He wants Crowley, standing appropriately in front of Give Me Coffee or Give Me Death, with the coffee art and the blues and greens of Earth all around him. The canopy plants in the backseat. This is what Aziraphale wants but he just doesn't know how to get there anymore and the darkness wins out. The villains always win a battle at this part of the story or else there's no plot left going forward and there is a forward because it's Aziraphale. There are ways back from this but that's for S3.

Give Me Coffee or Give Me Death, as we know, is substituting the word coffee for the word liberty in the original quote and that's exactly what happens in Aziraphale's decision to get into the elevator. The truth is revealed-- there is no job, which makes him feel like there is no way to ever be free while living. He's exhausted by fighting the same battles, over and over, with no way to escape in sight, and takes what he thinks is the freedom of not suffering anymore.

He chooses the false freedom of death over the true freedom of living-- Satan's coffee over Mr. Six Shots of Espresso in a Big Cup-- because Aziraphale loves that espresso more than anything but he struggles to love himself. He thinks, in that moment of despair, that the best way to love Crowley is to set him free by leaving life.

It's the Job minisode foreshadowing all of it and going back to the start of his story for the end.

It's nothing important, Aziraphale, don't worry...

Just your kids, your house, your businesses, your money, your neighbors, your street, your car, your books, your friends, your community, your Earth and the love of your life.

Just all the love and magic of the world.

Just all your you. Just your life...

When the first shot of the season was the skies sweeping down towards the front of the shop door... and the final shot of the shop in S2 is The Angel of Death-- Muriel-- entering it alone, claiming it and closing the door? When the light goes off in the bookshop window?

When Aziraphale-- after running around with a paralleling clipboard for half an episode-- leaves a note on the dash for his wife, like International Express Delivery Dude did in S1? When his "I love you, Maud" is the car playing Crowley "A Nightingale Sang in Berkeley Square"? That's when we can see why Death appeared to Aziraphale at the end of S1 and has been headed his way since.

Satan's temptation, yes, but executed with the help of The Angel of Death, who helped push Aziraphale into the lift with The Devil and not towards Crowley and The Bentley, where Aziraphale's love has always been willing to give him a lift, anywhere he wants to go.

In a show where people are symbolically what they profess that it is that they do-- midwifery/cobblering, conjuring, "seamstressing" and so on... all of those things are positive. They're about helping others and loving the world. With that in mind?

Go back and look at Muriel's arrival at the bookshop again...

What is adorable is, also, a fucking horror movie of a declaration:

Muriel is a human police officer.

Friends... that's Death.

Muriel is the only one with a horrible self-declared profession. They're not helping birth ideas and babies and art and mending everyone's pain. They're not a working, professional magician helping to develop the street. They're not a healing seamstress. They don't sell old films and records and books. They don't feed anyone at their restaurant or sell musical instruments to nourish their lives. They aren't the best guy on the block-- Mr. Brown and his World of Carpets, giving people what they need to outfit a life of their own. They're the not a member of The Whickber Street Shopkeepers and Traders Association-- like their paralleling Jim becomes as he begins to regain the will to live.

Crowley is worried about caring for Gabriel being too much for Aziraphale but it's really Muriel that is a walking trigger for him.

Gabriel is a character people think is a villain who is really a lovebug; Muriel is a character people think is a lovebug but who is, symbolically, the worst possible thing to ever show up on your doorstep.

Gabriel is saying books are keen and hot chocolate is amazing and live, live, live, live, Aziraphale...

He's the part of Aziraphale's mind that is trying to save himself while Muriel is the part that is luring him towards death.

Muriel is saying the best part of a cupperty is to look at it, Aziraphale.

It's not for you. You're an angel. You aren't supposed to want to live your own life. You aren't supposed to have wants and needs at all. Even if you go into that back room to be with Crowley alone and try to shut me out, I will break down the door and come after both of you before too long is up.

Muriel is cosplaying Earth's most invasive and violent profession and they're so sweet about it that it tends to bury the eeriness of their arrival. In Muriel, Aziraphale is confronted with his paralyzing perfectionism, his negative self-worth, his rampant imposter syndrome, and his excessive self-sacrificing-- all at once.

All his negative feelings are here at the door in the form of this fun house mirror version of himself-- a cheery and also clinically depressed angel, who is actually cosplaying humanity the way Aziraphale always feels like he is, even if he knows at the core that he's every bit as human as the billions on Earth.

The world is for the professional conjurers, for the humans, for everyone but Aziraphale, in his mind. He is supposed to be above needing any of it. He is supposed to never be angry, anxious, tired, depressed, hungry. He isn't supposed to need the home and books and music and food and sex and magic that he lives for. This angel isn't supposed to be a member of The Whickber Street Shopkeepers and Traders Association but he founded the street, let alone the group, and he'll die trying to host a meeting because nothing makes him feel more himself than when he lets himself be a part of the world.

Muriel's presence worsens his depression spiral, which we've seen is what happens when the negative thoughts get to be too much.

In S2, he goes a sherry-and-stomach-settling-drop diet. He doesn't eat the eccles cakes. He doesn't slow down and enjoy much of anything. Part of the joy of the ox rib scene is that Aziraphale isn't really enjoying himself that much in the present in S2 and it's the only thing like it in S2. Aziraphale, in S2, has put himself and his demon on half-rations and talks about his frozen peas to his fellow duck less. He goes back and forth between trying to self-care (Shostakovich and going to the Gabriel statue and brief moments of flirting with Crowley) and self-neglect (the entire rest of the season lol). Mix in too many additional stressors like what S2 had and it goes from the anxious period of fasting in 1967 to the cause for big time alarm that is S2.

Intellectually, Aziraphale knows that mindful human living is prescriptive. He saves Gabriel by starting to teach him what he knows about it. There's always been a little voice whispering at Aziraphale, though, that it might be right for others but that doesn't mean he's supposed to feel or need those things. He should be above it because that, apparently, would make him the good person that he doesn't often believe he is. His feelings aren't even about being an angel in the Heaven sense so much as in the human anxious perfectionist sense, in that he's excessively self-sacrificing because he doesn't fundamentally believe he's a good person.

There's nothing wrong with being as kind and generous to people as you can. It's when you're doing that while also not acknowledging that you are a person with wants and needs at the same time that you can self-sacrifice yourself right off a cliff as a way of trying to convince yourself that you're not a bad person.

You can deny yourself the life you want out of the excuse that it's your purpose only to care for everyone else but it's not really virtuous. It's a form of self-harm.

What hurts so much about S2 is 1941 because the minisode then gives us Crowley and Aziraphale slaying demons left and right. It gives us what a good day looks like in a whole season that is, otherwise, a series of bad days mixed with things that are also not within their control that then lead to the worst, possible ending.

We see, really, how good they are at caring for one another. The kiss scene is made infinitely more painful by us having seen in the 1941 minisode another conversation in the same spot in bookshop when Aziraphale was struggling with these same issues that went so very differently.

Crowley is very good at gently reminding Aziraphale that, not only is he wonderful, but that he's a person, too, and that everyone feels like they are jiggery-pokery sometimes. Everyone struggles with the voices of others and themselves trying to judge them and how that impacts a sense of self. That fighting through that to be able to live and love is, unfortunately, a pretty common experience of being a person.

This is not new for Aziraphale. It's so very old, stirred up hardcore in S2, now that it's been four years since Heaven contacted him. Aziraphale doesn't know that it's because Gabriel is trying to protect him. He thinks he's so inconsequential that Heaven couldn't even be assed to send someone to formally fire him and take the bookshop embassy that, despite being something of an albatross around Aziraphale's neck, he's also really proud of having built.

Aziraphale wants Heaven to fuck off but he also feels embarrassed by the fact that Heaven could fuck off so easily and that he feels like he doesn't have a friend there to speak of after thousands of years. He is ashamed of it needing to be Crowley who gets them a contact for info in Shax because he sees it as more dangerous for Crowley to need to be in contract with the demons and as a failure to protect him-- the thing that's at the core of Satan's temptation at the end of the season. (Also why Crowley is trying not to tell him about Shax taking his job and his conversation with Beez, which is a huge mistake but it's coming from a good place.)

Surely, Aziraphale thinks, if he hasn't fallen and he's still an angel... if he still is one, he's not really sure, as what is a non-working angel?... then, if he were good, there'd be some angel up there who would still be talking to him. He knows Heaven isn't good, exactly, but not all of the angels are terrible. As anyone who has ever had to go no contact with an abusive family knows, the illogical doubts that creep up can make a person think that maybe they're the wrong ones. At your worst, you can wonder: if the whole family thinks you're wrong, are you really right? Aziraphale knows he is right but it gets complicated.

Add to that the stress of worrying that something will happen to Crowley every time he goes out the door (part of Aziraphale's own trauma for millennia, made worse by 1827), and Crowley's PTSD exacerbated by the fire in S1, and Aziraphale's negative self-thoughts are being triggered even worse than usual. He's blaming himself for them not being safe, when that's not fully within his control... which, in Aziraphale's mind, is the whole problem and an example of how he is failing Crowley.

This is all long before Gabriel shows up at the door and the season gets started with a series of events that then worsen Aziraphale's state of mind. By the time Muriel shows up at the door, these negative kinds of thoughts out in full force in Aziraphale and Muriel represents them.

Muriel might be cute as a button and, as a character in their own right, being used left and right by Heaven, but it doesn't change the fact that Muriel is, symbolically, a mashup of the human and supernatural cops trying to kill them that Crowley and Aziraphale have been outrunning their whole lives.

The Angel of Death is a cop because of course they are, right? What other group of people has been existing to entrap, imprison, torture and kill people for eons?

From the book: If you want to imagine the future, imagine a boy and his dog and his friends. And a summer that never ends.

S1 was summer. It was the nightingales.

S2 is the lingering doom of preparations for Christmas lights. It's the days getting shorter and colder. The nightingales have flown to warmer climates. Because this is Good Omens so the season of Aziraphale's fall is set in the season of... well, the fall.

The good news is that, both literally and metaphorically?

Summer is always just around the corner.

[p1utofairy]

★ your next glow up?

note — i wasn't gonna post this now but i figured fuck it why not?! enjoy, my loves! this is for entertainment purposes only <3 take what resonates and leave what doesn’t. p.s. come in my ask box and tell me what you think!

PILE ONE.

pile mf ONE, you are really stepping into a new era! when i tell you this new you is gonna turn HEADS. tuh, you’re gonna be looking like new money. nicki minaj’s ‘new body’ verse is coming to mind lol “you ain’t fuck me, you fucked the old body. you ain’t fuck nicki, you fucked nicole body! ain’t no miles on this here new body, off with they heads these bitches is nobody’s.” OH YEAH OKAYYY, PILE 1. maybe you’ll be hitting the gym more, switching up your diet or possibly getting some cosmetic work done?

whatever you’re doing differently, it’s gonna be noticeable. people are gonna feel like something changed with you overnight like “um when did pile 1 get so bad?” and this isn’t to say you aren’t already attractive…there’s just something about your energy and confidence that just amplified x1000 and people are really gonna feel and see this change in you. you might start experimenting with your outfits a little more, giving off a more seductive vibe. it’s like you're breaking out of your comfort zone especially if you usually opt for baggier clothes or a more conservative look. wait cause why am i thinking of ‘pretty little liars’ when emily is talking to aria about hanna and she’s like “haven’t you heard? she’s the it girl now.” PERIOD, PILE ONE. giving serena page vibes from love island.

there will be a lot of talk about you and even if you don’t hear it directly, trust me, people are gonna try to keep tabs on you. i’m seeing people re-watch your instagram stories tryna figure out who took you that place and who you’re doing it with — oh these people are spiralingggg. this could very well be potential suitors tryna scope out the scenery, but they’re not sure if you’ll be interested in them. they might fear rejection because you just look so damn good and it looks like you’re in such a better space in life and got your shit together; whereas they feel like they lack the resources/finances to be with you. these potential love interests see you as high value, pile 1. they’re intimidated by your beauty and aura. you’ll be more so focused on attracting a partner that can actually make shit happen.

you don’t have time for the cat and mouse games. you want the real deal and i do see you getting the person that you want. you manifested this person into your life and i sense them feeling like they won the lottery with you! i’m hearing that you are sooo mesmerizing on the outside and your heart & personality makes you so much more beautiful. there’s layers to you and i think this next glow up will allow you to really shine and be yourself unapologetically – you’re leaning into the different aspects of yourself that makes you unique. if there’s anything you’ve got your mind set on or something specific you want to do, go for it! whatever you do, you’ll stand out effortlessly and be successful. ‘say yes’ by floetry is coming to mind. “see, i’ve been watching you for awhile…your smile and style. wanna know if i can be with you for the night, alright.” i meannnnn need i say more?!

how to tap into this energy?

listen closely to your intuition! work on your third eye because i’m hearing that you’re a powerful manifester and you don’t even truly know it. even if you do know this, you start doubting yourself and limiting your own thoughts. always think big and bigger because it’s in your reach. don’t get so caught up in the “how?” because your manifestations can appear in many different ways, not just one. you have a clear vision into the future – you just gotta adjust your lens and focus on what it is that YOU want. who cares if it doesn’t make sense to anyone else, as along as you see the vision then it’s a go! listen to ‘i want it all’ by sharpay evans lol you need to embody that song and its energy.

PILE TWO.

hey, pile 2! i’m hearing you’ve been putting up with the bullshit for wayyyy too long and this next glow up is gonna be a proper FUCK YOU to all your haters! i feel like people take your kindness for weakness and you feel like you don’t get the respect you deserve. you can deal with a lot of passive aggression in your relationships or friendships and people expect for you to suck it up and be okay with it. what i’m mainly picking up is that you like to keep the peace. you don’t want to ruffle anyone’s feather, but it just makes it worse for you because you’re not truly expressing yourself and your emotions. this keeps you up at night like “ugh! i should’ve said this or I should’ve stuck up for myself and finally cussed so and so tf out.” but you don’t because you know why, pile 2? you’re better than them, simple as that.

you wouldn’t treat anybody how some people treat you, and the reality is that it’s so much harder to be nice than it is to be mean. anybody can be mean and say hurtful shit if they really wanted to, but to always be graceful and kind in the face of adversity and ignorance? rare af. +10000 aura points! don’t let anybody make you feel less than or like you can’t speak up for yourself. this next glow up you’re going to use your voice and really make it known that you are not to be fucked with, okay?! you will be standing your ground and really popping your shit in the most calm and collected way possible & people are gonna be like “wait…did [y/n] really just clock me like that?!” and you’re gonna be standing 10 toes down on it as you should. they’ll have no choice but to respect you lol. you will start to realize what is worth your time & energy and what isn’t.

you might start cutting off people that don’t mean you any good and really start to focus on yourself and your energy. no more walking on egg shells and sparing peoples feelings, this is YOUR life and you have a voice just as much as they do – so use it! i think you’ll also be meeting new friends & a potential love interest during this next glow up. i’m hearing ‘how stella got her groove back’ lol so yeah some of you might be playing the field a little bit.

some of you might just want something casual and nothing more because you just want to focus on your own healing journey. you’ll start to understand why things had to happen the way that they did & why certain relationships didn’t work out the way that you thought they would. you’ll be able to decipher what you are and aren’t willing to put up with and honestly i just see you bossing tf up and advocating for yourself no matter who doesn’t like it. that tiktok “nobody loves you baby! you should only love yourself – ON MY SOUL!” just randomly came to me lmfaooo this is your ‘i’m focusing on what really matters aka me’ era and i think it’s exactly what you need pile 2.

how to tap into this energy?

i think you need to transmute the negative energy that people try to project on you into something positive. 12:12 on the clock, yeah. like look at this way, if people doubt you, don’t respect you or don’t feel like your capable of achieving great things then use that to your advantage. let them underestimate you all they want, and then BAM boss up on them and show them who tf you are. what they don’t know only makes you stronger. you have the power to make some powerful ass connections and make a name for yourself so be calculated & strategic with your moves. people will be eating their words when it comes to you, pile 2.

PILE THREE.

pile 3 your next glow up is gonna be a bit of an emotional rollercoaster ngl, but very rewarding nonetheless. i’m hearing that one tiktok sound “you gotta take the good with the bad, smile with the sad. love what you got and remember what you had.” so yeah i think you’re really gonna be figuring out how to transmute your energy and create something from it – whether that be a job opportunity, a love offer, a trip, etc. there’s something that you really want and you’re doing the work to make it happen. you have the plan, you just need the platform lol.

for some of you, i see a major relationship coming to an end. this could be a lover or a best friend, but this person will be exposed because they’re not who you thought they were. this person has very sneaky/deceptive energy and you’ve been in the dark about this for way too long. this person/connection means a lot to you, so you will feel like this is a tough situation to completely walk away from; but my sweet pile 3’s you will be more than okay! you will be spectacular! 10:10 was just on the clock.

allow yourself to sort through your emotions and learn from the situation, don’t let it weigh you down. sometimes we get too caught up in how long we’ve been with somebody and all of the good memories we made with them, that makes us hesitant to move on. sometimes things just run its course and you’re no longer in alignment with that person. you can’t force anything or anyone in your life that doesn’t align with your highest self and that can be very hard to process when emotions are involved but i’m happy to let you know there’s light at the end of the tunnel.

i see some of you traveling to a place you’ve always wanted to go and possibly meeting a potential love interest. in this next glow up, you’ll be doing things that you’ve always wanted to do cause there’s no one holding you back. you’re stepping out of your comfort zone and just taking a leap of faith – high risk, high reward. you’re gonna be making time for yourself and also prioritizing your hobbies/interests. this is beautiful, pile 3. i see you really getting in touch with who you are at the core. be kind and gentle with yourself, because you are a precious gem that a lot of people value and care about.

how to tap into this energy?

stop giving your power away. work on your throat chakra, my loves. your voice is your power and it’s one of the major keys to your success. a closed mouth doesn’t get fed, so you need to speak up and communicate what it is that YOU want and not just say what people want to hear. this next glow up will really have you standing in your power. release is needed especially verbally cause you know that tight feeling you get in your throat when you’re tryna stop yourself from crying? yeah no more of that. no more walking on egg shells, pile 3. say what you feel and stand on it & watch how the tides turn in your favor. mwah!

PILE FOUR.

alright, pile 4! for this next glow up i see you moving. some of you might actually be moving into a new home or apartment and it’s gonna grant you so much peace and comfort. for others of you, this could be you moving on emotionally from a relationship and/or familial bond and finally getting the clarity and peace you need to cut all ties and move onto something better. whatever the situation may be, it was weighing heavy on you and making you feel very down.

you’re gonna feel so free when you leave this situation behind, it’s not even funny. i’m hearing that you were a gilded bird in a cage. some of you could’ve been moving from place to place, not feeling quite settled or financially stable. if you feel lost right now and like you don’t know what to do with your life/where it’s taking you, i just wanna say keep going – W.A.Y.S. by jhené aiko is coming to mind. “if there's one thing that i learned while in those county lines, is that everything takes time. you have gotta lose your pride, you have gotta lose your mind just to find your peace of mind.” awww yeah that’s your theme song for this next glow up. things might not make sense right now, but please trust me when i say that everything is going to work out in your favor & things will be better than you could ever imagine.

you will be blessed with the tools you need to get to this next phase of your life. you are the source, pile 4. whatever you put your mind to, you can surely achieve! don’t let 3D circumstances throw you off, you are so abundant and prosperous you will see in this next glow up just how much of a powerful manifester you really are. you’re still trying to find yourself and figure out where you fit in in the world, but you don’t have to put yourself in a box, pile 4. pave your own way and once you do others will want to follow suit. no one can see your future the way that you do, so keep doing your thing because i’m seeing that you will come across people/friends that share similar interests and niches as you. awww pile 4 you’re going to find your soul tribe.

you have this flighty energy about you (air sign energy/esp gemini) like you’re from one thing to the next and you can’t figure out what you truly want to do. some of you might be in college or almost about to graduate and when people ask you “do you know what you want to do?” you’re like uhhhh….]>|>]^>.]€]€]£ like you truly don’t know but like that’s okay cause actually you do know! on a soul level, you know. what’s understood doesn’t have to be explained pile 4 lol people might not get it now but when you pop out living the life you’ve always dreamed of, TUH. they’ll understand then.

how to tap into this energy?

get out of your head so much and just vibe, pile 4. you can plan plan plan all you want but the reality is: shit happens! it might annoy you or make you feel incredibly frustrated when another problem or inconvenience pops up in your life, but there’s nothing you can’t overcome. it’s life. you will be greatful for these experiences in the long run because it will be another bridge that you’ve already crossed and dealt with, so you won’t fold under pressure – you’ll just already know what to do. you got this, pile 4. shit is about to get really good for you.

[terukotime]

thinking about Ace and Eden again and how i really don't want either of them to be the culprit lol. i just feel like either one being the blackened would be a waste of their potential. i know in Danganronpa that's bound to happen with some characters, but Ace and Eden both have traits and arcs that could run through the whole series, or at the very least, to the next chapter. while a big part of any killing game story is losing characters quickly and having their arcs and growth cut short (we've already seen as much with Arei, rest in peace queen), Eden and Ace have a lot of prominence in the Trust vs. Distrust theme of drdt, on either side respectively. and they both have a lot of potential for their views to change. i can totally see Eden's optimism finally starting to crack, and she begins to lose hope in trusting others and thinking they're good-intentioned, especially since she was put in virtually the same place that Teruko was in in the last trial, with everyone distrusting her and thinking she's the culprit. though Ace hasn't had much of a catalyst to alter his beliefs yet, there's still hope for his views to change. he's a lot like how Teruko began to behave after the first trial, thinking he can't trust or rely on anybody and pushing everyone away as much as possible.

[giant-ass analysis under the cut. i didn't expect myself to go on such a huge rant, but i realized i have quite a lot of thoughts on the matter lmao. there are probably a lot of hot takes in here and i know there will be people who won't agree with me, so take this all with a grain of salt, pls & thx]

while Ace's role in the trials is mostly confined to causing conflict and being a comedic relief, he's expressed being committed to investigating the scene of Arei's death. while sure, if Ace is the culprit, his desire to investigate could very well be a ruse. but for the sake of his potential, it'd be far more interesting if him being innocent results in him going on to investigate more thoroughly and contribute substantially to the trials. Arei did have potential for a full redemption arc, but her death doesn't feel narratively unfulfilled. its tragedy not only allows the audience to further sympathize with Arei and see just how nuanced she was, but it's also meaningful to the members of the cast, and will serve as a point of motivation for them, whether that be to maintain hope in escaping or giving into despair.

at least, that's how it's set up to be. i feel that if either Eden or Ace are the culprit, Arei's death loses a good deal of its weight and meaning. especially if the culprit is Eden; even if she had "well-intentioned" motivations for killing her (as well-intentioned as murder motivations can be, anyway), Arei's breakdown, desire to change, and tragically short path to redemption is rendered pointless. her want to be a good person will have affected virtually no one. her death will have only held significance to David, as most of the cast didn't care for Arei or hated her, much like Ace.

while Culprit Ace won't render Arei's death *as* meaningless as Culprit Eden, it sure would make Ace's own death feel pretty meaningless. he'd be dying in a trial where he fully believes everyone is cruel, everyone hates him, and no one cares about him at all. his shift in his belief can't really be considered much of an arc or even a regression; he just descends further into his hatred and paranoia until he dies doing exactly what the killing game expects of him. Ace, a character who has prioritized his self-preservation all throughout the series, will have thrown that away for...what? revenge against Nico? would he really place his hatred for them over his fear and will to live? Ace is impulsive and narrow-minded, but he's not without *some* sense. if Ace were to be the culprit of this chapter, what would he have contributed to the story? what would his existence have meant? what would he have provided that the story can't progress without? he'd have zero growth, zero stakes, and zero relevance to the ongoing plot, aside from unrevealed backstory (most of which will likely go unsaid in the main story if he were to die now). do i think Ace is going to play a significant role in the overarching story? no. not as much as characters like Xander and David, anyway. but he still has so much to offer as either a survivor or later victim/culprit, as we'll have spent more time with him, gotten a better understanding of him, and possibly be able to sympathize with him, like we do with Arei.

and here's another thing i've been thinking about, too: all the deceased so far have a point of significance to the story. Xander has a connection to the larger-scale mystery surrounding the killing game and a complex relationship with David. he continues to be relevant in the story even after his death and will likely always be.

Min is not only a cautionary tale to the rest of the cast, but her story follows a very cohesive path:

she's a girl committed to her academics and has been led to believe it's the only thing about her that matters ->

while not a social butterfly, she still enjoys spending time with others and making the most of the situation she's in ->

she forms a bond with Teruko, someone who has shown to value both her intelligence and her personality ->

she finds Teruko being murdered by Xander, and instead of being a bystander, she takes action to save her friend ->

she realizes that what she did has jeopardized her own life, a life that she does not center around herself. her family depends on her having a successful future, a future she has been groomed to achieve since she was little and has made several sacrifices for ->

though Teruko is her friend, Min prioritizes her self-preservation. there are too many things that are objectively more important to her than the life of a girl she's known for a couple days ->

still, she cannot shake her guilt and chooses to remain at Teruko's side throughout the investigation ->

she's desperate to maintain her lie, even if it means framing the friend she tried to save and getting everyone else killed. she fights and fights until she can no longer ->

she loses everything. her life, her future, the trust of her friends, the trust and bond she had with Teruko. Min always had good intentions. but even good-intentioned people can do terrible things.

Min's story throughout Chapter 1 alone is very digestible and easy to follow. even without knowing the greater contexts of her life, like her family's financial situation or her groomed future of being a Hope's Peak student, her motives and actions make complete sense. you don't come away from it feeling like she acted out of character or that her death was hasty or sloppily written. her death has a lot of meaning and impact on the other characters.

and that alone makes Culprit Eden or Culprit Ace unsatisfying. Culprit Eden would not only undermine Arei's death and potentially lead her into character derailment, it'd also just be Min's story regurgitated in a much less compelling manner. Teruko has already had her trust broken, and while it seems like she's slowly starting to see the value in relying on others again in the Chapter 2 trial, what good would Eden's death do for her? even if it causes Teruko to regress, what will change? wouldn't Teruko go back to being the way she was acting at the start of the chapter, undoing whatever growth was already beginning to happen? will she be unaffected by Eden's death, or at least act like it? will it somehow strengthen her desire to trust and rely on others again? (it won't.) Eden's role as the chapter 2 culprit really won't do much good for the story, regardless of what her reasons are. everything we've learned about Eden and Arei, both together and individually, will be irrelevant. the significance of Arei wanting to be Eden's friend unconditionally, something that we learn is so significant for her because of her secret, will turn out to actually be pointless because Eden will have killed the one person who expressed they'd be her friend her regardless of who she is.

Ace simply hasn't done enough in the story to establish his deeper character. with Xander, Min, and Arei, we already got glimpses into their core beliefs, their true selves, their moral standings. if those aspects of a character are only revealed after they're confirmed to be the culprit, then honestly...that's just bad writing. i don't like saying that, but i firmly believe it. not only do we hardly know anything about Ace's backstory, we just don't know a whole lot about him other than surface-level things the show outright tells us: he's fearful and paranoid, he doesn't like being a jockey, he's hotheaded and unsociable, he developed an eating disorder due to the strict requirements of his talent, he's hardly ever had any friends, he doesn't think anyone cares about him. and while a lot of inferences can be made from that information, it's still very speculative, and even a bonus episode after his execution wouldn't be able to cover enough of his backstory and personal life for it to feel justified narratively. you simply can't kill him off without letting us see another side of his character and have it better the story.

if either of them do, unfortunately, turn out to be the true culprit of the case...i will be very disappointed. i won't drop drdt or criticize drdtdev for their decisions, but i will still personally believe it to be a bad choice. nevertheless, it's not my story, and i will continue to support and enjoy the show regardless. i have a lot of faith in drdtdev's skills as a storyteller, but no story can be completely perfect. Ace or Eden being the true culprit won't destroy the show as a whole, and i'm not trying to imply that it's a fundamentally bad choice, i just think it'd be very difficult to pull off and have it feel natural, organic, and satisfying for the ongoing story. i will neither be optimistic nor pessimistic about what happens in the next coming episodes, i will simply wait and see. i just wanted to get all my thoughts out here, and hopefully i didn’t come across as aggressive or snobbish or anything. this is a free to watch series, after all, and i enjoy and appreciate all the hard work that has gone into it and made it possible.

[raven-at-the-writing-desk]

Good evening (or morning, afternoon, wherever u r) to you, Miss Raven, *tips hat* How do you do?

First of all, I was reading through the your canon Malleus romance analysis and i’ve just gotta say I love how you give a realistic approach to these characters and their world! 🙌🏻

But that also got me thinking, how would Leona prioritize his romantic vs royal life?

As second born prince, I wanna say Leona actually has more breathing room to pick whoever he wants as a partner (if the royal family doesn’t arrange a marriage before he gets that chance), plus, the Sunset Savanna’s next heir apparent is already born, so really there’s nothing worry about succession unless something happens to Cheka and or Falena. But at the same time Leona is still ridiculed by his people, so will that have any affect on who he wants to be with if he happens to choose someone other than another beast(wo)man or someone in a class lower than a noble?

And even tho he isn’t first in line for the throne, Leona is still royalty. I think he could pick a partner who is more private and less sociable with their life, but I also think they still might need to be prepared for the royal life, lack of privacy, speaking with the public, and other royal duties (even if Leona himself won’t do them).

TL;DR Do you think Leona’s status as second prince actually gives him a benefit for who he can pick as a romantic partner and how would the people’s view on him affect this, and what do you think would expected of Leona’s partner in the royal life even tho he’s not first in line for the throne?

What’s your take on this?

Related posts: Malleus / Kalim

Greetings 🎵 Life’s been a bit stressful lately, but I’m getting by! Busy planning something big for the blog too, so excited for that.

I think you must be talking about that post where I discussed what the expectations would probably be for Malleus’s future spouse? Thank you for the praise though! While anyone can ship themselves or their OC with Malleus in the latter, there’s certain in-universe logic that must be followed in the former. It feels very different to be a character in that world versus an outsider looking in. Being able to switch and see from those perspectives is important, I feel.

My thoughts on this topic aren't as concrete as what I laid out for my Malleus post, mostly because we don't know as much about Sunset Savanna's politics and since Leona isn't burdened by the same expectations as the crown prince or first in line to the throne. I feel like this post will be a lot of speculation, so just be cognizant of that.

As Leona is right now, I don't think he has much of an interest or an obligation to find someone. His focus seems to be on tending to himself and his own goals to help those around him, be it his juniors (Epel, Jack, Ruggie, etc.) or his country (due to his internship at a energy and mining lab). I definitely feel like that's where his priorities lie, and anyone he might take on as a life partner would also have to have a passion and dedication for this kind of service, whether they also engage in it or they at least support Leona's endeavors.

I also think that Leona would personally want an intelligent partner that's able to hold their own in a discussion, but only to a certain extent. Like, they have to be able to coherently express their own thoughts but I don't think he wants to deal with someone so stubborn that they constantly put up a fight with him if they happen to disagree. Leona has demonstrated multiple times that he finds it a hassle when people don't listen to him, so he tries to put himself in situations where he doesn't have to face that in the first place. For example, Leona states that he dislikes Silver and Rook, as they constantly act on their own and seem to disregard anything that others around them say. Additionally, he lacks a vice dorm leader because he made the conscious decision to not pick one, as he doesn't want someone challenging his decisions. Leona also strategically caves to his sister-in-law's demands to avoid wasting time and energy in an argument, since he knows that beastwomen tend to be strong-willed. His partner would have to know when to step back and give him space or when is not a good time to keep pressing a point. That means there'd be a certain element of emotional intelligence involved too, not just general wisdom or knowledge.

In these circumstances, I don't think there would be as much of an importance placed on the social status of Leona's spouse since he's like... what? Fourth in line to rule? His father is still alive, Falena/Farena is still fine, and Cheka's there too. The chances of Leona actually having to step up to that plate are low. There's no pressing need for Leona to find a partner or to produce an heir of his own. I don't recall there being lore about his older brother and sister-in-law having an arranged marriage or what social class his sister-in-law is from, so... there's not a lot to go off of there. I think, at the very least, we can assume there's not as much pressure for Leona to be in an arranged marriage since he isn't the crown prince. I don't get the sense that Sunset Savanna is as conservative with its social expectations as Briar Valley is, so it's doubtful whether or not the public would care about a royal marrying a commoner or a beastman marrying a non-beastman. To my latter point, there doesn't seem to be as strong of a racial divide between beastmen and humans (unlike fae and humans), so I don't think this would pose a major concern. But hey, maybe they do care a lot about status since Leona's flashback keeps harping on the importance of birth order--but that ultimately has no baring on the commoner versus royal thing. Maybe this is me being too much of an idealist, but I do think it would be possible for Leona's partner to come in and prove themselves, since their reputation (unlike Leona's) isn't already marred by being second in line to the throne and having a golden child to be compared to. If anything, I feel like the people would fear for the safety of Leona's spouse rather than what their "marrying outside of the norm" means for the country. Since there's a negative public view of Leona, I feel that this would translate into worry for the spouse rather than assuming they are "just as bad" as Leona. They're an outsider with a completely separate background from Leona's, and that I doubt that most people have the magic to rival his strength. Where would their fear of the spouse be reasonably coming from? I think the more likely situation would be the public feeling sympathy for the spouse (like, what if Leona's magic harms them) and wondering what they must see in the second-born prince. There might be a lot of gossip or concerns swirling around their courtship, little judgmental whispers and passing glances that are hard to avoid, maybe some hissed warnings to be careful around Leona, etc. The spouse should be careful how they react to public opinion though, as lashing out could make them be perceived as ill-tempered and crude, a poor reflection of both their own attitude as well as confirming preconceived notions of Leona. They should be equipped to handle socially complicated situations with grace and tact. When it comes to Leona, they should also be ready to provide him with some emotional support—not as a therapist he trauma dumps to or anything like that, but as a trusted and nonjudgmental confidant.

I think the spouse would receive the harshest scrutiny should they step into a more public-facing role… like if they started to enact or push for policies that go against the country’s reverence for nature and living in harmony with it. They would most certainly get pushback for it, maybe earn ire for not being “attuned” with its people. Leona’s spouse would, at the bare minimum, be expected to represent the values of Sunset Savanna and to engage in its ceremonies and traditions. For example, Leona—the second prince—is meant to train the winners of the Bead Brawl. Whatever royal duties are set for the spouses of the royal family… well, they should be prepared to fulfill them.

On the subject of privacy and sociability, it might actually be a drawback if Leona’s spouse were private and not sociable. Not being seen or interacting in public very often means people are left to their own devices and assumptions—and if Leona is the first person they associate with his spouse, it could lead to the public forming negative thoughts. "Oh, they're withdrawn because they don't care about us. Oh, they must be moody and hard to get along with." There’s a lot of earning trust that has to be done, especially if Leona intends to enact social reform, so I think it would make for better optics if his spouse really put themselves out there and was proactive in the community. Instead of framing themselves as a shut-away or some rando that married into the royal family, they have to be willing to step outside of their comfort zone and act like a leader if push comes to shove, show how outgoing and determined they can be.

Last thought I have on this matter I guess is related to how Leona’s loved ones would react. I don’t think the named characters would care about the details all too much?? Farena appears to respect his brother and treats him warmly, even when Leona brushes him off. He’d want Leona to be happy and at his best mentally and emotionally when and if he decides to help govern the country. And Cheka, well… maybe he’s a little too young to fully understand what’s going on, but I think he’d want his uncle to be happy too. I’d say even Kifaji would be on board with it, though perhaps not as openly as Farena or Cheka. He’s a stern older man, so I can absolutely see him scolding Leona and nagging him about his choice of partner—but in the way that a concerned grandparent would, you know? Not in an outright malicious way like the Briar Valley senators might. Unlike them, Kifaji can see the good in his prince and wants the best for him, even if he comes off as too overbearing at times. Kifaji doesn't unnecessarily act vitriolic or belittling to Leona, he states truths (that Leona acts improperly at times) and earnestly expresses his wish that Leona recognizes his own potential. He'll probably pull up to interrogate the spouse (because he cares that Leona marries someone who loves and values him), but ultimately give his blessings along with a plea for them to take good care of his second prince.

[honeycreammilkshake]

If that leak is real Gege may really want a sequel that has Sukuna but NOT yuji lmao, sorry Gege, I LOVE Sukuna but Sukuna without Yuji doesn't sound good, he is a good character but the rest of the cast is.....I still don't get why it was so hard to understand the huge appeal Sukuna/Yuji duo had.

Same with Yuji without Sukuna, standard safe ending with a trio safe ending, sorry I don't like those anymore

100% with you, anon. even if you don't ship sukuita, you can't deny sukuna and yuuji had one of the most fascinating relationships between a protagonist and an antagonist.

they both hate each other so deeply, but everything between them has always been much more personal than when they're fighting others. and sukuna definitely gives yuuji special treatment. he uses kozou almost exclusively for yuuji (and the one time i believe he doesn't, he's still referring to megumi as the "other" brat) to the point where it's almost like a pet name.

and what is so interesting about this is that sukuna so dismissively calls megumi "brat," in a way that i feel is trying to disassociate yuuji from the word.

there's a reason why i think of this as the sukuita divorce era and that is mostly because of how sukuna keeps claiming to not need yuuji any more, always trying to sideline yuuji in favor of others, but he also can't seem to stop obsessing over yuuji and making everything about the guy he supposedly finds boring and worthless. sukuna goes out of his way to praise/compliment others during their fights, so that everyone but yuuji (who he only ever admires in his private thoughts) seems to get some kind of in-depth commentary on their abilities, while sukuna merely insults yuuji (rather weakly, too). it's even funnier when sukuna unironically can't stop making everything about the brat even when yuuji isn't there, because when sukuna's fighting maki he still manages to frame his admiration of her skill in a way that insults yuuji, despite the fact the boy isn't even there so why does it have any relevance at all??

not only that, but sukuna loves to torment yuuji, dragging his cruel taunting out in a way he doesn't do with others. he deliberately changes back to let yuuji see the devastation of shibuya, because sukuna understands how much the needless death of strangers and innocents impacts yuuji.

and he also makes a big deal of how little he thinks of yuuji, how unthreatening and boring the brat supposedly is to him shortly after possessing megumi's body.

what's really interesting here is how, despite a chance to kill yuuji, sukuna still doesn't. in fact, he's had multiple chances to get rid of yuuji but still he keeps the brat around. maybe he finds yuuji a more worthwhile opponent after all. maybe he even wants yuuji to remain alive till the end of it all, if only to see the brat suffer through the breaking of all his ideals.

there's also the matter of how sukuna can't keep his hands off of yuuji, almost as if he misses the closeness he had when yuuji was his vessel. it's far more intimate and physical than it needs to be.

this panel in particular really showcases sukuna's overall feelings toward yuuji. he's cradling the back of yuuji's neck, almost tenderly, as he pounds his fists relentlessly on the side of yuuji's head.

yuuji drives sukuna to such violent reactions because sukuna's on the defensive with him. they both get under each other's skin and ignite a hate far more consuming than others bring out in them.

and the way yuuji also fights sukuna is so unnecessarily up-close and physical as well.

the raw emotion of yuuji beating into sukuna, his crazy side really showing in how rough and unmerciful he is right now.

sukuna draws out the worst in yuuji just as much as sukuna arguably drew out the best in him, too. if it wasn't for swallowing that cursed finger and becoming the vessel of the king of curses, yuuji wouldn't have started down this path of working so hard to save other people's lives. as he himself said, he'd never before considered putting his own strength and talents to use helping others, and never before had he considered he might be the only person capable of doing so, but seeing how sukuna caused so much devastation and death drove yuuji into becoming a fighting force for good.

and just like sukuna brings out so many overwhelmingly strong feelings in yuuji, the boy does the same to him as well. sukuna is at turns extremely aggravated and enraged because of yuuji, and surprisingly pleased because of him as well.

sukuna can keep talking big about how uninteresting and inferior yuuji is yet the moment yuuji comes into view, sukuna is all psyched up for their fight....

he even looks excited and pleased to fight with yuuji again even though he claims to have no interest in the brat .... not fooling anyone sukuna ( -. -)

sukuna also can't seem to stand yuuji looking down on him with "pity" which sparks a much more violent reaction than he had with other people when they suggested sukuna was lonely and unfulfilled with his life, or even tried to "force" sukuna into thinking like them.

i think my biggest disappointment with this series overall is how gege chose to focus so much less on these two and their dynamic. i hated it when yuuji kept getting relegated to the sides over and over, and i also didn't like it when sukuna kept having rather pointless fights with everyone but yuuji.

the fact that yuuji suddenly wanted to offer sukuna mercy and even connect with him despite hating and despising his very being before was also such an unexpected twist that i would have loved gege to expand on and give a little more context and feeling behind.

i think, with a relationship as fascinating and complex as theirs, focusing more on it would have only made jjk even greater. but sadly, gege chose not to do that. and i feel like that why a lot of the recent chapters have been rather disappointing.

thank you so much for your ask, anon! sorry for the rant i came back with.

[greenconverses]

I’m big time upset about annabeth’s characterization in these new books. She looked for Percy for a year or something, did everything she did in HOO, she’s so amazing that she caught up on all of her school work (in fact she’s back on track to go to an ivy if she wants after everything that happened to her), she has all this extra time for Percy (having a boyfriend is time consuming enough without his quests), and then she’s so good at socializing with mortals and so popular…. Just to go to New Rome University (wtf is new rome university) and live in new rome. It makes me sad for her because I feel like RR won’t let her be bad at anything or awkward anymore and she just has to be this hyper competent angel gf all the time…

Oh also the way Percy is contrasted against annabeth in this new series makes me nauseous. I feel in some ways she only exists as this hyper-competent angel gf so that percy has something to "aspire to"… as though he hasn't proven himself a million times and deserves to constantly measure himself up against annabeth. It really just robs them both of their depth and motivation and mutual respect for each other that was so painstakingly built up in the original books.

I was telling @perseannabeth last night that while Annabeth had a lot of pagetime in Wrath, she felt like an utter non-presence other than the last couple of action scenes. And yes, it's because he keeps writing Percy as the only one with all the problems and Annabeth is the perfectest, smartest angel who is always right and can do no wrong, unlike stupid idiot Percy. Ha. Ha.

I do think a lot of the character issues in these books come from him avoiding or only introducing easily resolvable conflict with the main trio. Part of what makes Percy and Annabeth, well, Percy and Annabeth is that they have conflict. Conflict doesn't mean they have to be mean to each other or something terrible has to happen to them, but having them at odds with each other over something (anything) allows for interesting character development and growth.

Grover and Annabeth each get moments of "aw I kinda fucked up" in Wrath that are resolved with basically no effort because Percy shrugs it off or blames himself for their actions. I couldn't even begin to tell you how Annabeth's hubris played a part in the third act ghost fight, but apparently it did, so that's a thing he can brush off because teamwork is all that matters in the end, kids!

And the thing is, Rick is actually setting up a really good conflict with Percy constantly bottling up his rage and messy feelings, but he's too much of a coward to pull the trigger on it. Grover destroying the house and releasing the animals was the perfect spot to actually pursue that conflict and give everyone something to do other than mini quests. Percy could've yelled at Grover and Annabeth for failing to do what they had promised him, and then everyone could deal with the consequences (both of the initial mistake and the fallout of his anger) and make amends in a meaningful way. Instead, Percy has to grit his teeth and fucking apologize to Grover instead. (I'm gonna do a separate post about this because boy howdy do I have THOUGHTS on that.)

By making Annabeth the perfectest, smartest girlfriend ever for dumb dumb Percy, RR is basically removing the conflict that makes them interesting together. There's also the matter of conflict being one of Annabeth's main drivers. Conflict happens to Percy ("I didn't want to be a half-blood."); Annabeth looks for it. And now she's just along for the ride... as long as it doesn't mess up her studying schedule! Her job is school now. Don't get your hopes up.

Also, super controversial opinion ahead, but I think the show casting has contributed to how he's writing Annabeth now. He's deliberately avoided describing her in these books. It's all very vague impressions of her, to the point of Percy describing her having a "human face, human hair" when she turns back after the animal transfiguration in Wrath. No blonde hair. No gray eyes. It's weird.

(Note: I'm not saying the TV cast is wrong or weird, I'm saying it's fucking insane that this man is trying to retcon 15 books worth of character descriptions so his dumbass "actually we never SAID annabeth was white, you just perceived her as it!!!!" defense holds some water.)

[alittlebitofloveliness]

Parry but thwh fell out aftee darry and him had a fight because he laughed at some kids, KID Greasers jumping, (he laugher out of awkwardness) and darry took it as a sign he though it was ok and processed it as a threat ti the gang ESPECIALLY Ponyboy.

They fought alot. It was scary because Both Soda and Pony where homd, and classes and plates got broke, shattered, and lots if door slammimg and threats where thrown at each other. Things where said to a point

darry cried.

Hm, ok, so this isn't EXACTLY this but I saw this ask and my brain was like minific! so...minific. Hope you like it!

***************

“I’m telling you man,” Paul is saying, “the giants have got it in the bag this year, have you seen their defense?”

“No way,” Darry shakes his head, “the Bears are consistent and they’ve got Wade as QB, no way they aren’t taking the superbowl.”

“Wade is fine but he’s not better than-”

He’s cut off by the door slamming open. Normally Darry would have half a mind to yell at whoever slammed it because mom always blamed him and Two for it when Steve and Pony were the biggest culprits, but any thoughts of teasing are forgotten as Steve sprints down the hall without even a hello, Soda right on his heels. Darry’s used to the gang bursting in at all hours of the day and night, it’s how their house works, but something about this feels off. His suspicions are confirmed when Steve hurtles back out again a second later holding the first aid kit. 

“Whoa!” Darry grabs Soda’s shoulder before he can follow, pulling him to a stop, “what’s going’ on?”

“Joey Dubois got jumped,” Soda gasps out, chest heaving, “it’s pretty bad.”

“Aaron’s kid brother?” Darry’s heart drops, “But…but he’s ten!”

“Yeah,” Soda’s grim, “I know.”

“You need any help?”

“Nah. Pony’s sittin’ with him right now, and between Dally and Tim Shepard we got enough muscle keepin’ Aaron from doin’ something he’ll regret. ‘Sides,” Soda shoots a cold glare at Paul, “your buddy here shows his face and he’ll probably lose some teeth. Aaron’s gang is out for blood.”

He claps Darry on the shoulder and then he’s gone, jumping off the porch steps and running after Steve.

“Shit,” Darry sinks into a chair, previous conversation forgotten, and buries his head in his hands. Joey Dubois. He can see the kid in his head, a little guy with a mop of dark curls and a grin that spelled trouble. Him and Pony buddied it around sometimes, and Darry had always thought it was funny when his own kid brother would complain about having to put up with Joey always following him around. Lord knew Pony followed him and Johnny and Soda around the same way. The thought of the bright eyed kid being jumped nearly made Darry sick. He was hardly the first real little kid to ever be jumped in their neighbourhood, and wouldn’t be the last, but it didn’t make it any easier to stomach.

“So anyway,” Paul says, like Soda hadn’t just interrupted and told them about a literal child being jumped, “Wade isn’t as good a kicker as Tittle–”

“--Paul” Darry grits through clenched teeth, “I don’t want to talk about football right now.”

“What?” Paul scoffs a little, “why?”

“Did you not hear what Soda just said?”

“Some kid got jumped. So what? Happens all the time."

“He’s ten.”

“Dar,” Paul laughs a little, “it’s not a big deal. Yeah he’s ten but so what? He was probably asking for it.”

Darry's jaw tightens..

Usually, his friendship with Paul is easy. They get along better than Darry gets along with just about anyone, they have the same interests, share the same sense of humour and the same desperation to get out of Tulsa Oklahoma no matter what it takes. Sometimes their friendship is so easy that Darry forgets what Paul is, forgets where he comes from. 

Paul Holden is a west side elite, as soc as it gets. And sometimes, like right now, he’s so fucking patronizing Darry could smack him. 

Say what you want about him, but Darry Curtis is not stupid, nor is he naive. He’s seen things on the east side that Paul could only dream of, for all he pretends to be normal, comes to their house and bums around the east side like an actor in a movie, looks at Darry’s world,  his friends and his family like they’re an intriguing thought experiment instead of Darry’s very real life. And people can think what they want about him but Darry Curtis is not ashamed of where he comes from. There’s a lot of shitty things about the east side, but there’s a lot of good people here too, and Paul doesn’t get to sit there in his letterman jacket with his madras shirt and act like Darry reacting to a ten year old kid getting jumped is some crazy, childish thing. 

“You do realize,” he can hear his voice rising, “that my own baby brother is only twelve, right? And that the only difference between him and Joey is luck? I know you have no skin in this game so you don’t give a flying fuck about anything, but you could at least pretend to care.”

“C’mon, don’t be like that.”

“Like what?” Darry demands, “Like someone who cares about little kids getting hurt in my own fucking neighbourhood?”

“Like you’re a fucking greaser!” Pauls bursts out, and then suddenly it’s so quiet you could hear a pin drop.

Darry recovers first.

“Get out.”

“Darry-”

“I said get out.” 

“Darry I’m sorry I-”

“No,” Darry advances on him, trying so hard to control his temper he’s literally shaking, “no you don’t get to do this. You don’t get to come here, to my house, in my neighbourhood, meet all my friends and my family, and then look down on me for it like I’m some sort of trash.”

“I didn’t mean it,” Paul begs, “I-”

“Yes you did,” Darry cuts him off. He can feel hot tears welling, the way they always do when he’s so furious it’s hard to think, but he forces them back, “you meant it, and I’m fucking glad you did because guess what? I am a greaser, and I wear that title like a badge of honour ‘cause at least it means I ain’t nothin’ like you!”

“You didn’t seem to want that title when I gave you that shirt did you?” Paul spits back, moved to anger himself. Good. Darry can face Paul's anger a lot easier than his repentance. “Or when you started hanging out with me and the rest of the guys from the football team, or when Tammy Crenshaw asked you to Sadie Hawkins!”

“Whatever,” Darry sneers, “I thought you were better than this but once an asshole always an asshole, huh? I can’t believe I thought you changed. You’re the same shallow, entitled, socy asshole you were back in ninth grade.”

“Fuck you!”

“Get outta my house,” Darry shoves him, hard, “and don’t ever fucking come back. I never wanna see you again.”

“Go to hell!” Paul storms down the steps, “and hey, tell that kid brother of yours to watch his back. Since you apparently think I’m such a piece of shit, I might as well prove it.”

The words hang heavy in the air. For a second, Darry almost can’t understand them strung together like that, the threat almost ludicrous coming from someone he’d considered one of his best friends, the only guy from his circle of west side football buddies he’s ever allowed into his house, ever introduced his family to. For all they’re arguing in this second, for all Darry doesn’t know if he could ever forgive him for his words and his cavalier attitude, he’d never believe Paul capable of doing something like that, of hurting his brother.

But Paul just said it. And Paul Holden never says anything he doesn’t completely mean.

Darry sees red.

The next thing he knows the skin of his knuckles is splitting against Paul’s nose and he’s screaming louder than he can remember screaming in a long time.

“You touch either one of them and I’ll kill you! You hear me? I’ll fucking kill you!”

He doesn’t realize he’s got Paul by the collar of his shirt until he feels multiple pairs of hands yanking him back, someone else tearing Paul away from him.

“That’s enough,” Soda’s back. He shoves Paul, lighter than Darry had but enough that it’s clear he means it, “you better get outta here Holden. Looks like you’ve overstayed your welcome.”

Paul spits at his feet. 

“You better watch your back Curtis.”

Soda’s eyes flash. He’s only fourteen but he’s grown half a foot this summer alone, and right now he looks nothing but tough, cold and fierce.

“Unlike you I’ve got six buddies to watch it for me, so I think you’d better watch your back pal.”

The hands holding Darry release him, Steve moving to flank Soda, Dally and Ponyboy on either side of him, all of them- even twelve year old Pony- just a little in front of Darry.

“Beat it Holden,” Steve tells Paul in that low, deadly voice he only uses when he’s real mad, the one that’s ten times scarier than any of his hollering, “if we have to ask again we won’t be so polite.”

Paul's last glare is cutting but he leaves, eyes like quicksilver as he turns away, and Darry finds himself hoping he’ll run into Aaron Dubois or his gang on his way back to the west side. 

When he's out of sight Dally spits on the ground and lights a cigarette, eyes cold and dangerous.

“C’mon, Dar,” Soda claps him on the shoulder, his smile only a little dimmer than usual, “Johnny and Two went to go see if they could russell up a car for the drag race tonight, and you know mom won’t let Pony watch unless you come with us.”

Darry follows his friends- his real friends- down the street, ruffles his brothers’ hair, and quietly mourns a person he thought he knew.

None of the gang ask what happened, not even Ponyboy. Darry doesn’t tell them, and if he sniffles a bit on the walk to the old rodeo grounds where the race is taking place, well, at least he's quiet enough that no one could possibly notice.

[mesetacadre]

you mentioned discussing student unionism with a comrade a while back, any thoughts on that that you’d be willing to share on tumblr

—a student who is very depressed about the current state of student organizing

I think this is pretty obvious but on this site it always feels necessary to say explicitly: All my knowledge, experience and opinion are almost exclusively regarding the student movement in Spain. The student movements across the imperial core are somewhat similar, and the dynamics as far as I've seen and heard are essentially also similar to those in the imperial periphery, except it's modified by a general bigger will to actually be combative and a more conflictive social climate. For example, last academic year we had a Chilean at our uni and it wasn't too dissimilar to what he knew in Chile, with the considerations I said earlier. But still, specifities between countries are many, even between different universities in the same country or region, since they tend to have a certain culture, and aspects like the way a campus is designed have more influence than most people think.

The first problem or obstacle I identify with student unionism is the lack or seriousness. Actual student unions, unions in the sense of the word, are few and far between. What's far more common is to have leftist horizontalist etc types of orgs acting as a poor proxy or the exact same types of orgs as the previous ones but while calling themselves a "union". In my opinion the main thing these orgs lack is placing the worker's movement at the center of their activity. Students are workers as well, and worker and student issues are very often more connected than those solipsistic orgs like to pretend. Universities and lower education have lots of workers in their respective environments, often also unionized, and if a student union can find common ground with these workers, their demands can go so much further. Of course, that comes with a drawback, that these are all worker aristocratic unions and consequently also tend heavily towards minimizing combativity and place too much faith in institutional bureaucracy.

The second big obstacle is external to the unions themselves, which is that legally and socially they don't have anywhere near the same respect and rights as the regular worker unions. In terms of legality, student unions in universities often have to be registered as a normal student association, such as a tabletop games club. And most people don't really register that difference which does (or is supposed to) exist. I've had to explain the concept of a student union to people much more often than the concept of a worker union.

The student movement as a whole has a lot of particularities that are as interesting to discuss as they are annoying to deal with, and those of course interact a lot with student unionism. For example, the widespread tendency towards localisms and horizontalisms means that, because most students don't generally look out that much outside their faculty, university or high school, unionization is either very hard to achieve or materializes in more of a loose assembly of students from different places unable to coordinate anything. Being in an actual student union with a proper structure really does make you realize how baffling and inefficient it is to have these localisms and individualism. It's a trade-off between how much you want to do as you please and achieve actual results, a trade-off that most people don't even recognize as real. This time the 17th anti-hierarchichal horizontalist and anti-patriarchal assembly will really save us

[saline-coelacanth]

I had a dream last night about Jay and his arc so now I wanna talk about Jay (Spoilers under the cut)

So in my dream, my one major worries ended up happening which was Jay's whole amnesia/villain arc was resolved super quickly. I don't even remember how it went down exactly in my dream, but I remember feeling dread watching the episode and knowing that they were going the quick route with this. And I really hope that doesn't end up happening in the actual show.

Since Jay is my favorite character, I have a lot of thoughts about him and his arc in DR. Personally, I hope that either his amnesia lasts for a while and doesn't get resolved super quickly, OR if he does get his memories back relatively quickly, then he still has to deal with the lasting impact of Shatterspin. I think I made a post about this before about how it would be interesting if Jay got his memories back but still had his personality altered from the Shatterspin due to not being able to fix that yet, but yeah my point still stands.

I want Jay to have at least one season where he gets to be an antagonist for the WHOLE SEASON, not just one episode, but an actual threat for a substantial amount of screen time. Because if the ninja get him back super quickly, then it's gonna feel like all this build up was for nothing. And one more thing that I wanted to talk about, but there's two characters that I think would be interesting if they were included in Jay's arc somehow.

Starting off with what I think is least likely to be a major player, but it's Frak. Just like Jay, Frak was tricked by Ras and was on his side during the tournament. Except Frak realized Ras was evil and never used Shatterspin unlike Jay who did. And Frak is also established to be a huge fan of the ninja, so he'd know who Jay really is. I think it would be interesting if either Frak has more info about the lies Ras told Jay that he can then tell the other ninja about, or if he actually tries to reason with Jay and get him on their side since he was in a similar scenario. But in all honesty, I think Frak is probably gonna be sticking close to Cole's side like how Wyldfyre was basically always with Kai when she first joined the team.

Going into the second character, this was something I only realized after other people had made posts about it, but bringing Arrakore into Jay's arc would be a really cool idea. For one, he's a djinn and Jay has history with a certain djinn. He doesn't remember it, but still, thematically it would make sense. Arrakore has also already met Nya so we also have a link there. And ultimately, if it comes down to it, I think Arrakore might actually end up being the solution to the Jay problem. They can probably just wish for Jay to get his memories back and to undo the Shatterspin. And as long as they don't come to that conclusion super fast and we build up to it, I think I'd be ok with that.

So yeah, those are my Jay thoughts for now. I crave more of him from DR and I hope he gets more attention next season. I truly believe and hope that the writers are building up to something big with him, but we just have to wait and see.

[cookie-fox]

Ace Attorney's Gaping Plot-Hole that Flew Right Over my Head

I'm not one to nitpick every microscopic aspect of a piece of media, scrutinizing every plot convenience or plot hole but this is something I realized recently and it's so ridiculous that I had to talk about it.

SPOILERS FOR ACE ATTORNEY: SPIRIT OF JUSTICE AHEAD

(Also, this post is pretty long)

Spirit of Justice has a solid set of cases and an interesting gimmick with the Divination Séances. While during the few times it's used in-game the seances are a fun twist on the Cross-Examinations by viewing the last moments of the victim and cross-referencing them with the court's interpretation of the events. Spirit Channeling has been part of the series' mythos since game one and after being looked over in the previous two installments, Apollo Justice and Dual Destinies, Spirit of Justice not only makes it relevant again but implements an entire mechanic based around it.

The problems start when combined with another major aspect of Spirit of Justice's story. Divination Séances are a major aspect of the country of Khura'in's justice system. The final moments of the victim are used as key evidence against the accused. However, this isn't the only thing that makes Khura'in unique. In Khura'in, lawyers who represent clients are found guilty receive the same punishment at the defendant. Meaning, if someone is found guilty of murder that means their lawyer would be executed alongside their client. This risk has led to there being no lawyers to defend potential clients. This also means the stakes are at the highest they've been. Considering Ace Attorney is based around murder cases, it all checks out so far.

Problem is: There are more crimes than just murder. Nothing is established saying that the punishment for every crime in Khura'in is death, at least to my memory. Even then, if nobody is dead then the Divination Séances in which the country's legal system relies on so heavily are useless. Not to mention misdemeanor offenses where the punishment is not very severe. Surely there would be lawyers willing to defend clients for crimes not punishable by death, right? They would be fewer in number but they'd still exist. Especially in the Ace Attorney universe which presents a very idealized version of defense lawyers. This isn't even considering civil cases where nobody is being prosecuted. Does the defendant and plaintiff represent themselves? It's easy to look over this while playing the game because you're focused on the story and trying to progress. However, once the entire legal system, not just murder trials, are considered it all falls apart. Don't get me wrong, the conflict these plot points set up is really interesting the problem is how flimsy everything is.

Another thing: How high is the murder rate in Khura'in? We see the justice minister, Inga, approve tons of death warrants during conversations with him. Plus, it is shown that after setting up shop Apollo Justice is flooded with work and the wording during this scene implies that all of them are murders. Why are there so many murders in such a small country?

I'm gonna leave it off here.

[crowcrash]

The Prophet Morrowseer

[better-questionable]

Do not know if that trailer was real or not(I frankly don’t care at the moment) but if it is

Look at my guys! All three of the monkeys.

[shalom-iamcominghome]

I tried out a new challah recipe! It's a very soft bread and, if it makes sense, has a thin bite to it (as in, it's a very light bread). The dough was also surprisingly pleasant to work with! I didn't have to alter much of it at all in order to get to work

There's honey in it (I hate honey), but it's baked out pretty well, though it hasn't been baked out well enough that it can be a savory bread. If you added cinnamon or chocolate chips or something to sweeten it, I think the flavors would make even more sense. I think next time, I'll try to make it sweeter because the honey notes are confusing me a bit.

Good shabbos, everyone!

Recipe and credits below!

Ingredients (U.S.):

2 eggs

1 cup of water

1.2 teaspoons of yeast

1/3 cup honey

4.5 cups bread flour

1.2 teaspoons salt

1/4 cup oil

Optional: Everything bagel seasoning, sesame seed, cinnamon

In a bowl:

Break and combine both eggs. Set aside a small portion to serve as the egg wash. Stir well, add water, and stir until combined.

Before mixing well, add yeast, honey, and flour to the bowl

Add salt then oil. Mix.

Knead the dough for ten minutes

Cover the dough in a bowl until it doubles in size (approximately 45 minutes)

Deflate the dough, then separate into six equal parts

Roll out each ball, then braid the dough together

Use the eggs as an egg wash for each challah, then add any additional toppings

Bake at 350°F/176°C for 25 minutes

Here is the recipe in video format, by @jennmysterion on Instagram:

[spitblaze]

You ever see something that is meant to be like...an overgeneralized statement for the sake of entertainment or comedy and not at all serious but it's about YOUR special interest and you are just sitting there trying not to explode with an entire explanation of why it's such an overgeneralized statement and the depth of the topic

[tumblweeds-omegaverse]

random omegaverse thought:

There must be people who experience specific instinct things with indifference or boredom.

Procreative cycle coming up? "Crap, I've got plans this weekend...stupid skip weeks."

Caught an intriguing scent while walking? "But I need to get to work! Shut up brain."

Had a snap response to a distressed sound? "Who was it?! ...right, it's my day off, I can go back to sleep."

Somebody growled at them? "Kid, I'm not a rival, that's my sibling."

Super cozy cuddle session happening nearby? "I'm gonna pass tonight guys, no social battery left, maybe next time."

Group of friends heading out to flirt and check out other singles? "I'm coming with you but only to make sure you all get home safe."

Setting where fated mates or soul bonds or permanent marks are a thing? "Meh. I don't really want one or care if I ever get one."

People in the actual omegaverse would get as bored of their stuff, as we do of ours, you know? It could be interesting to see that kind of vibe in fics. Biological demands faced with all the excitement of paying bills or doing laundry or tying your shoes.

Even if that kind of energy might not drive a plot, it could be interesting to have as a contrast to the people who do have big feelings about them - good or bad.

There's the friends who can't wait til they have a pack of their own, and the one friend who isn't against it but couldn't care less. There's the group in the office who are all about scent compatibility tests and figuring out one's best match and what sprays most highlight it, and the coworker who has no intentions on putting that much effort in. There are parents who hover and protect their offspring by scenting them multiple times a day, and others who don't see what the fuss is as long as it's done in the morning.

...also: packs with introverts who show care by giving each other space. So often, closeness is depicted through physical touch and tactile affection, but comfortable silence is meaningful too. Knowing people are near, but not having to interact until you're ready. Sitting in the same room doing different things, knowing that all it takes is a "hey, look at this" to share what you're up to. People understanding and accepting each other's differing or fluctuating needs for how and when to recharge. Seeing somebody reaching out or sharing space, beyond what's their norm, as a signal of the fact that they care.

[verflares]

nothing more frustrating than playing New Video Game and/or digesting new media in general and you're like "mmmm this is kinda bad/boring. honestly." so out of curiosity you look up to see if anybody else feels this way but you are instead greeted with if you think anything about this is bad or boring you need to be put in front of a firing squad