#juxtaposition of good and evil

[sophiemaryjanes]

the magnus archives is the master and margarita but gayer and more aesthetic and the master and margarita is american politics but gayer and more aesthetic

[whoopseydaisy]

I, for one, thought Puff was just right for the tone

[liketwoswansinbalance]

Good versus Evil is a commonplace literary theme beyond the world of SGE, and could be likened to mirror-image symmetry, which is often seen in Soman’s juxtaposed images throughout the series. Yet, I was thinking: is there a literary equivalent for rotational symmetry and what would it look like? I think it would have to involve greater than two elements in play, each a few degrees removed from each other instead of a pair of direct opposites, but I don't have an example of this in practice.

In addition, one of the most prominent instances of juxtaposition in the series to me, by the way, is how the brothers treat their respective Deans, and how Rhian’s reaction is far more passive as he just lets Mayberry go:

And across the bay, there’s this laughable bit:

(I'm sure Rafal is not the only soul who finds it funny. Something about the timing and this being the last line to a section and the well-deserved comeuppance of the moment just read as funny.)

[fell4]

i wonder if it hurts more to have known perfection and love and then lose it all like Lucifer...

or to only have ever known from the moment you existed of how capable of evil mankind can be, and then only ever being allowed to see the worst of humanity for the rest of your afterlife like Lilith

[timeladies]

pale blue eyes is about crowleys unrequited love and admiration of aziraphale. I’ll be your mirror is about crowleys need for aziraphale to show him that he accepts him and loves him and sees him for the kind being that he really is. In this essay I will

[shmreduplication]

what’s an appropriate age to show a child Star Wars?  

What about The Avengers?  

Indiana Jones? 

OK what’s an appropriate age to teach children about the Holocaust? 

[defendglobe]

anyway, this is my favorite line in sisko's monologue

[tpwrtrmnky]

hindsight

[ID: A two-panel comic with crudely drawn stick figures.

Panel 1: The lime green person is talking to the leaf green person and the moss green person.

Lime: "I... have a confession to make."

Leaf: "Go ahead."

Lime: "I want to rewatch the Wizard Child movies."

Leaf: "Didn't the wizard author get incredibly chromophobic?"

Lime: "Yeah I just... It's nostalgia you know? They meant a lot to me when I was a kid."

Panel 2: The three are on the couch.

Lime: "All right, let's go."

Leaf: "It's so weird how the wizard author just turned chromophobic though. Like I remember this series being pretty good for its time. It'll be weird seeing their work contrasting with their views now."

Moss: "I'm just glad we got the movies for free through normal and legal means. Heh."

End ID.]

[ID 2: Scenes from three Wizard Child movies.

Wizard Child and the Simplistic Morality: A slightly round child with a propeller hat is talking to a child with no hat.

Round child: "I am so fucking fat and greedy I am textually shown to be fat because I am greedy and also evil."

Hatless child: "You are to infer my moral purity from juxtaposition with this fat child. Woe is me for our shared parent has deprived me of a propeller hat."

Wizard Child and the Goodness of Wealth: An adult wizard is talking to the child, who now has a wizard hat.

Wizard Adult: "Wizard child you are secretly extremely rich."

Wizard Child: "I will form biases regarding the bankers all being triangular for some reason!"

Wizard Adult: "Your wealth is deserved because your true parent was Good and therefore you are also Good."

Wizard Child: "Now we should acquire consumer goods. Buy consumer goods!"

Wizard Child and the Dark Family History: A blue-grey horse person is talking to the wizard child.

Blue-grey: "No, wizard child. You don't understand. I am one of the good ones, because unlike the bad ones I don't try to spread my curse that makes you a blue-grey horselike creature to others!"

Wizard child: "Wow uncle blue-grey you are one of the good ones! I forgive you for being a horse because I am so good I would even forgive horses. I sure hope you don't conspicuously get killed off later in this movie!"

End ID 2.]

[ID 3: Oh hell no there are even more of these.

Wizard Youth and the Tokenistic Relationship Dynamics: A square headed wizard youth is talking to the former wizard child, now a wizard youth.

Square Wizard Youth: "Wizard child, as the only person with a square head in this entire series it is my duty to inform you that you are the savior of all people with square heads, too. Let us build a one-sided relationship that only furthers your character development, after which I will immediately lose all plot relevance."

Wizard Youth: "I will do this because I am a maturing wizard youth and need disposable relationships that don't threaten the endgame!"

Wizard Youth and the Escalation of Stakes: The Dark Wizard, a sort of grey-green person with a cloak, is pointing at Wizard Youth.

Dark Wizard: "Wizard Youth, I have returned!"

Wizard Youth: "Dark Wizard! Why are you green now?"

Dark Wizard: "Evil magic made me green! I am green with envy towards all who are good!"

Wizard Youth: "I will not engage with how you are clearly based on fascist ideologies and yet this narrative plays into fascist aesthetic sensibilities!"

Wizard Youth and the Post-Hoc Revelations: The Wizard Youth is leaning over their Wizard Mentor, who is laying in a pool of blood.

Wizard Youth: "Wizard Mentor no! You can't die!"

Wizard Mentor: "It is fine, wizard youth. My death will further your character development into a wizard adult. Also, I was secretly a very very dark purple this entire time. I never brought it up so I could retain narrative approval.

End ID 3.]

[ID 4: Wizard Adult and the Overdue Conclusion. Three panels. I am sorry.

Panel 1: The dark wizard is dueling the Wizard Adult with magic beams.

Dark Wizard: "Evil green beam!"

Wizard Adult: "Good red beam! Despite the enormous variety of magic in this series this is what our final battle looks like!"

Panel 2: Wizard Adult stands victorious over the dark wizard, who is dying on the ground.

Wizard Adult: "In the end, dark wizard, you were defeated because I am morally superior to you."

Dark Wizard: "I was a product of systemic failures. There will be someone like me again someday!"

Panel 3: Zoom in on wizard adult, who says:

"Not if I can help it. Because I am going to be a wizard cop now. The moral of this story is that all systemic issues can be solved by finding a bad guy to beat."

End ID 4.]

[ID 5: Four panels.

Panel 1: Return to the green trio on their couch, watching the TV say "The End." All are are silent.

Panel 2: They are sitting on the couch. Moss is looking at their phone.

Lime: "Yeah so there were maybe a few signs we missed because we were children."

Leaf: "Yeah. A few. Some."

Panel 3: Continue conversation.

Lime: "So what did you think, Moss?"

Panel 4: Zoom in on Moss, who says: "I've been zoned out on my phone since the second movie. They lost me at the magic stuff. Wizards aren't real."

End ID 5.]

Start - Previous - Next

[paperclipninja]

Middle of the night GO thoughts after reflecting on a couple of comments that the 'you're being silly' scene is actually not just the adorable soft exchange I have been caught up in. I mean it is, but it also isn't.

And it got me thinking that the whole of season 2 is like this, almost the entire time we have two truths in play. The whole season is one of duality.

A few examples (there are many more woven throughout but just to illustrate the point):

Right off the bat, the opening scene, it's both ominous and hopeful. Aziraphale is restrained while angel Crowley full of abandon; one angel is aware of the danger of questioning, the other is naïve. Both are experiencing the same moment in rather different ways. It sets the tone of the season immediately and puts in motion this layered truth within the story.

The minisode with wee Morag and Elspeth, the entire graverobbing premise presents us with the dual truth that digging up the dead is bad but the selling of the bodies to the surgeon, thus contributing to saving lives, is good.

Aziraphale grapples with the duality here, justifying the actions of Elspeth by convincing himself that one truth is greater than the other. We also see that Crowley is far more able to recognise the complexity of multiple truths being valid depending on circumstance. This whole minisode feels like Neil showing his hand a little bit, the duality is so explicitly addressed, meanwhile we, the audience, are engaged in a larger unfolding story in which we are observing similar layered truths playing out in different ways.

Now the scene that made this whole thought process unravel, still one of my favourite scenes and will remain so, is the "smitten, I believe...you're being silly" exchange. It is both tender and awful.

Here we have Crowley, expressing his very real fear of JimGabriel, opening up to Aziraphale that he doesn't feel safe in the bookshop because of the constant fear he will wake up, and Aziraphale just looks at him with heart eyes and tells him he's being silly. This flags so loudly that we're watching two characters who are experiencing very different versions of their current reality, due to past experience, yes, but also, Aziraphale and Crowley each have their own idea about the right way to react to the current situation.

It's been pointed out by many before me, but the ball is another example of incredible juxtaposition and an extraordinary display of two truths existing at once. It is both incredibly romantic and an actual nightmare.

It is reflected, once again, in the way Aziraphale and Crowley are experiencing it, we know one character is caught up in the romance, the other in the horror show, but as a viewer, we are being tasked with holding both truths in our mind simultaneously. And both are true.

Aziraphale the entire season is both giddy in love and completely dismissive of Crowley. It is adorable and infuriating at the same time.

And yes, it is a reflection of the very duality the entire premise of Good Omens presents us with - that something can be good and bad at the same time, pure and corrupt, that the entire binary of Heaven and Hell/good and evil is flawed because those concepts can and do co-exist.

But the way it is seen in the interactions on a personal level this season is what has leapt out at me. It's why I think we see people falling into different interpretations of a lot of the scenes and moments, because they are more than that, they are observations. We are often observing two sides of the same coin, and both are true. The sheer genius of it and the way it is a mirror to the characters and the entire concept of the show we are observing is, quite frankly, mind boggling.

And it all comes to a head in the final fifteen™. There is so much duality in play here that it is no wonder there are hundreds of posts untangling bits of it and trying to extract the meaning from within the many layers. It's because we are given two truths in this final scene that are both heartbreaking.

Crowley loves Aziraphale and wants them to be together, free at last. Aziraphale loves Crowley and wants them to be together, free at last.

BUT

Aziraphale wants to use the system to keep them both safe. Crowley wants to escape the system to keep them both safe.

And then all the moments of duality between them throughout the season reach a critical juncture: Aziraphale in love but dismissive, Crowley understanding that Heaven = good is too simplistic and trying to compel Aziraphale to remember the lesson from Edinburgh ("when Heaven ends life here on Earth, it'll be just as dead as if Hell ended it"), Crowley trying to use the notion of romance to counter the nightmare with a desperate kiss.

It's a complete inversion of those two truths in the opening scene of the season, the entire scene is at the same time ominous and hopeful, but it is Aziraphale who largely being naïve and Crowley who is aware of the danger.

I mean, it was all spelled out for us really, this duality and the fact that those multiple truths in play were always going to come to a head. It was all there, wrapped up in this quote:

"What does your exactly mean, exactly? I feel like your exactly and my exactly are different exactlies".

[liittleemiixeer]

I know this theory has already been thought but I wanna delve deeper into it. I think the man who appears at the end of s2 ep1 is Abel. I know there have been theories about him being a demon hunter, but some of the reasons I'm not that sure he is one are tied to the circumstances of his appearance and the context provided by the narrative.

[long rant ahead hehehe]

Both look unusually pale and have a similar face structure, and the contrast of white hair vs. black hair makes me believe he might be the abel to his cain lmao. The contrast suggests an obvious juxtaposition, as if they were meant to be two sides of the same coin.

We know Cain hasn’t visited Heaven in a long time, and his strained relationships with the other immortals hint at a larger, unresolved conflict (they basically gossip about him going against his own family). AND let's not forget the deeper context here. In the biblical narrative, they're the first children of Adam and Eve. Then, Cain kills Abel out of jealousy after God favors Abel's offering over his own. But what if in HSR Abel never truly died? What if he survived and is now on a mission to confront his brother, perhaps to stop him from causing further destruction or to seek vengeance for what he did to him?

If Abel somehow endured, it would make sense for him to appear now, especially after we’ve just learned about Cain’s alternative, more destructive form. Besides, the fact that Pileon, a demon, is the one who finds him is rather telling. If this character were a demon hunter, it seems unlikely that a demon would be the one to discover him in such a vulnerable state—bloodied, weakened, and seemingly at the end of a fierce battle. The timing of this man’s arrival—just as we uncover Cain's darker nature—is too precise to be coincidental.

As a philologist, plotwise, him being Abel would certainly make sense in the context of the story's themes—of survival, moral conflict, and the struggles between heavenly and demonic forces in a world devastated by apocalyptic events. His return could add a layer of depth to the ongoing narrative, representing a force of justice or redemption against Cain's darker tendencies.

Moreover, if this mysterious character were simply a demon hunter, his appearance might lack the same emotional and thematic weight. However, as Abel, his presence would be deeply significant and would make great storytelling. He would embody not just a force of opposition against Cain, but a figure who brings moral complexity and personal stakes to the narrative. He could even represent vengeance, adding layers to the conflict between good and evil in a world ravaged by apocalyptic forces.

With all that being said, if he ends up being a demon hunter or something completely different, I'd really like to see a compelling reason for it. Something that works as a plot device that deepens it even more. Since Alexandra is doing an amazing job with HSR, I don't doubt her, she'll excel at it!!!

[sepublic]

            Given the underlying theme of “Kids shouldn’t be handling serious conflicts, it should be the adults”, it’s neat that the show manages to accomplish this ideal with Vee in Season 3. Her trauma is respected and Vee isn’t obligated by anyone to go on an adventure to save the day, she helps if she wants to and feels comfortable. Vee has to reassure the others that she’s willing to potentially confront Jacob, and later that night, when Belos attacks? Vee steps in to help, and… is immediately almost killed for it, until Amity saves her. And remains out of the fight until it’s resolved.

         So when it’s time for our heroes to head to the Boiling Isles and stop Belos, Vee decides Nope she’s not cut out for this, she’s no fighter; She wants to skip out, and is allowed to! It isn’t framed as some sort of moral responsibility that Vee is running from, it’s a legitimately dangerous burden involving the man who abused, hunted down, and almost murdered Vee; It’s a lot to ask of anyone, much less a child. Vee says she isn’t ready, and there’s no dilemma, it’s purely viewed as a decision she makes for her own sake, and the story doesn’t bother trying to interrogate her ‘morality’, doesn’t even consider Vee is being ‘selfish’, and of course Camila will encourage and support that!

         Sure, Vee does try to justify how she can still be of use keeping up appearances back home, but the first question is if Vee is comfortable, and then if there’s anything else she can help with. It’s also fulfilling how an adult, Vee’s own mother Camila, is the one to ask her about this, accept her answer, and show love and appreciation to Vee for what she chooses before leaving. Obviously kids are going to be fighting evil because of meta reasons, stories are driven by conflict and the messages they espouse are often an ideal they must struggle towards, but it’s nice to see that for Vee, a side character, she’s managed to win this for herself. After plenty of trauma and the harrowing experiences of Yesterday’s Lie, Vee’s just living her life in S3.

        Vee’s allowed to prioritize her comfort and pursue what she wants, instead of being held up to the ‘greater good’. I think that contributes to TOH’s juxtaposition of self-care being good actually, especially in opposition to the self-punishing Puritan ideology that insists people live in a default, guilty state of sin, and must constantly atone for that by devoting themselves to a higher purpose, often the collective. Philip refers to it as the ‘greater good’, but we also know it by another name, with just one O.

[cowardz]

𝙔𝙖𝙣𝙙𝙚𝙧𝙚! 𝙑𝙞𝙘𝙩𝙞𝙢 𝙭 𝘽𝙪𝙡𝙡𝙮! 𝙍𝙚𝙖𝙙𝙚𝙧,

✧ You at least had the conscience to feel guilt. It didn't make your actions justified, and your victims did not care for a second how you felt, but it gave you the peace of mind to know that you don't take pleasure from cruelty like the others.

✧You were a selfish person to the core. The second you were given the opportunity to climb the social ladder you grasped that opportunity with both hands, even if it meant joining the friend group of the cruelest bullies in the school. To remain with the group you had to show that you fit in, so you began to participate in the torment.

✧It started with just a few cruel words, then pouring a drink on someone, and then eventually you were expected to help the leader of the group brutalize his victims. You felt guilt, but never enough to consider stopping, you were given an opportunity you couldn't afford to squander after all.

✧Your desire for popularity did not come from nowhere. At your old school you were just like the students you harass now, an outcast. Transferring schools was your opportunity to make something of yourself, even if it meant hurting people the same way you were hurt.

✧Your "friend" seemed to have a favorite victim with the way he was always picking on one particular boy, and it wasn't hard to see why. His appearance was unkempt with untrimmed messy hair and deep bags that brought attention to his vacant eyes. Everything about him was unsettling, more akin to a ghost than a human being. Even the kinder souls (not that there were many) of the school avoided him like the plague. The general consensus was that something was very wrong with this boy, and nobody was stupid enough to stick around and find out what. Everyone except your little group leader, and grudgingly yourself.

✧ One day after a particularly brutal bout of bullying you hang back from the group. Stepping back into the bathroom you cant help but feel remorse at the site of the crying boy sat on the floor. Maybe it wouldn't hurt to show your guilt this one time. Its not like he could ruin your reputation, somebody would have to be willing to talk to him for that.

✧So you crouch down and wipe the blood from his forehead as you whisper, frankly inadequate, apologies. The juxtaposition of his current situation compared to the one he was in just five minutes ago has his head reeling and his heart pounds inexplicably. Nobody had ever treated him with such care, most wouldn't even make eye contact with him. Your confusing behavior, and maybe also his blood loss, leads him to a slightly delusional conclusion.

✧Nobody so kind could ever choose to be a bully. You must have been forced! Yes that's it, your sweet angelic soul was taken captive by those heathens and forced to participate in his torture. Maybe the lead bully had blackmail on you, or perhaps you were tormented in the same way he was behind closed doors.

✧That thought had him biting his nail in anxiety as he thought about you, the only person who was ever kind to him, being hurt. You were like a lamb among wolves, but don't worry he would make a pretty good guard dog :)

✧soon he was dead set on maintaining his delusions, if anyone tried to say you chose of your own volition to hurt people he would react with violent outbursts. To him you needed to be saved from the evil that's been hurting the both of you, and he wasn't opposed to getting revenge while he's at it.

You might have been better off avoiding him like everyone else...

[raven-at-the-writing-desk]

Related to the previous ask, it kind of makes me think of my semi-headcanon. In the source material of the Disney movies, some of the villains aren't really evil (Hades is the most decent Greek god, the sorcerer and the advisor from Aladdin are two different people, etc). What if in TWST, the stories are similar to that?

[Referencing this post!]

TWST has certainly teased or suggested the idea of real happenings being manipulated or changed depending on who tells it + the passage of time. It also happens in the real world, both with historical events, anecdotes, and pieces of fiction (fairy tales, fables, etc.). This probably is what results in the juxtaposition between Yuu's understanding of the Great Seven in their dreams versus how the Great Seven are depicted and revered in Twisted Wonderland.

Right now, it's still unclear as to whether Yuu's perspective or the perspectives of those in their new world is the "true" version. One could be right, both could be right, or neither could be right. I like all of these possibilities!!

It's entirely possible that multiple people and their achievements were merged over time into a single entity credited with all of their achievements. It's also possible that the Great Seven of Twisted Wonderland are actually nothing like the classically evil villains we know of in the original Disney films. The films themselves aren't even "accurate" themselves, as they often pull from fairy tales with many different variations, some of which are quite dark. Disney made their own interpretation, and then TWST made its own interpretation of that interpretation.

That doesn't mean the Great Seven are necessarily infallible heroes (much as the characters and their textbooks often extol them and their accomplishments). I feel like a more realistic real-world parallel would be historical figures that are often painted in a good light due to all the stories circulated about them. Think of like how your own textbooks and how prominent people get praised and credited for various discoveries and inventions!! But as people who have actually existed in their world, surely there must also be instances of the G7’s flaws, failures, or even personal lives beyond their achievements, and it's odd that we so rarely hear about these (particularly the negatives).

There's still a great number of mysteries we have to unravel about the nature of all the Disney lore in our world versus the twisted world!! Lots of wiggle room ripe for speculation ✨

[onesidedradiostatic]

Honestly a part of me thinks that Alastor and Vox WERE really good friends and Alastor is in denial about how important Vox had been to him. Maybe that partially factors into him playing down how much Vox irritates him. And a part of me feels like his love of attention outweighs his annoyance at Vox, even now, since Vox is ALWAYS willing to give Alastor his undivided attention.

(prev post)

ACTUALLY ACTUALLY this connects back to this rb. like about alastor's need to sever emotional attachments, "Ah, an enjoyable collective to be around. I admit one could get accustomed." to ""Great Alastor, altruist, died for his friends"? Sorry to disappoint... That is not where this ends!" pipeline.

the juxtaposition of the vees' verse and alastor's verse being back to back. they're both villain verses, but one is a secure team (maybe a bit messy toxic and unhinged but. they're tight okay) whose members have one another to rely on, the other is a solo mental breakdown about having attachments, yet they both end about the need to eventually be in control and with evil laughter.

like I've seen this mentioned before but also alastor's part in stayed gone where he says "he'd be powerless without the other vees", he's making fun of vox for relying on others but at the same time it does speak volumes about his own view on seeing attachments as "relying on others", because in THIS department, vox has the fact that he's fine and secure having allies he can trust compared to alastor seeing it as a weakness.

we have like sooooo little information right now that anything goes, but I like the idea of alastor having thought of vox as a legitimate friend at least a little. made a post on that once even.

I also kind of like comparing it to like how alastor currently is with charlie/the hotel, like he started out spending time with him for entertainment but then he saw a semblance of sentiment and had to cut that out.

but at the same time I also like alastor stepping away because he started noticing things about vox he disliked (because like I've mentioned before, his insults in stayed gone seem to be legitimate jabs at vox's character/practices).

OR we could have it so that the initial falling out happened because alastor felt the need to cut out any risk of emotional attachments (and I want to STRESS that I see both of them being at fault in this situation, regardless of alastor's motives, vox couldn't take no for an answer and got pissy), but later on after they were split, he started to see parts of vox's attitude that he disliked, how much of a sellout he'd become and he thought in his mind that this only proved him right to cut him off, and so he learnt nothing, after all he was right to cut vox off so surely his idea of attachments being a weakness is completely and utterly correct right?

anyways idk if I got a bit off track here, but about alastor being in denial, I think to some level he would be simply because of him seeing attachments as a weakness. but at the same time he's the one who called vox "old pal" (albeit condescendingly) and vox was the one who got ultra super embarrassed about "he asked me to join his team" (of course this is framed in a mocking way, similarly to "he'd be powerless without the other vees", like "can you BELIEVE he wanted me to join him and start RELYING on him like how he relies on the other vees? HA! as if." but he's also not hiding the fact that they were at least on good enough terms for vox to want to ask him that, but then again he doesn't speak of sentiment on his own side, so it could easily just not count as a point against him downplaying it). but yeah um. I do think him downplaying shit is related to him hiding weaknesses, similarly to how he's always smiling. he downplays how much vox bothers him because showing so would be a weakness. which could also go into how he let that mask slip with lucifer but this post is getting LONG and others have pointed that out before.

and the other part, about alastor's love for attention outweighing his annoyance at vox? I mean I think both can be true, I do think he enjoys the attention he gets from vox's obsession but I do also think he does legitimately hate vox.

anyways this post got LONG sorry I ended up rambling about shit. tried to address contradictions with my past posts (which can happen a bit, cause sometimes my opinions change or there's multiple possibilities of something and I can see multiple of those possibilities even if they contradict one another). this is a long post so my brain is too lazy to read it over and proofread so sorry if it ends up being a mess ✌️

[gooeyslime]

I will die on this hill but William Afton being a good dad would have worked so much better at making him feel realistic instead of becoming a cartoonishly evil man and honestly the juxtaposition of like, witnessing him kill a kid, dropping his cheerful Springbonnie act as he locks them in a room, just a cold glare as he kills them, making the player go "what a heartless monster... I feel so bad for his kids, having to deal with such a piece of shit" as we see him get out of the suit, cleaning up the blood and head home, as he opens the door once again we see his attitude change as he tells his kids "Dad's back home!" And we see them run up to him, Michael playing it cool bc he's an angsty teen but you see him smile as he points out he's late, you can tell they all care for him and got worried, after all there's a murderer on the loose and while they seem to target kids who knows? They could kill adults too... William smiles at them, genuinely, not like the smile he gave his victim whith his Springbonnie act, they all eat dinner together and if you hadn't just seen him kill a kid in cold blood you'd think this was a normal family, just a single dad eating and chatting with his kids... As he makes sure they are all sound asleep you see him walk into his bedroom, looking at a picture, it's a picture of all of them, smiling together, next to William is a woman and it dawns on you that she's nowhere to be seen and that she might be dead and he's trying to figure out how to bring her back by killing a bunch of random kids bc nothing can stand between William Afton and the only people he cares about, not even death itself... that stuff would make me way more scared of him than any "oh I am so smart I planned for you to try and set me on fire again so now if anyone scans my parts into a computer I can brainwash a random person and get them to rebuild myself ooooh I always come back!"

Like even showing him before he completely loses it would be terrifying, how he's just a normal guy who has his own troubles sure, but still isn't going around killing kids to study weird ghost stuff... Not yet anyway... And the the last straw happens and he falls to the deep end and you wonder, if you were in his shoes... If you lost the love of your life... And everyone just tells you life goes on and you just gotta get over it... What would you do? Would you also break? Would you go as far as killing someone in the hopes to bring her back? To put your family back together? And as you do that how would you handle your family breaking apart even further? Your daughter killed by YOUR machine, the machine you built to kill kids, the machine you desperately tried to keep her away from? Your older son acting out, angry because he couldn't handle his own sorrow at losing his sister shortly after his mom, he's falling apart just like you and in a moment of anger he ends up killing his younger brother, your other son killed because you couldn't see that your older son couldn't handle his own grief too? What would do then?

Stuff like that is utterly terrifying to think about... At least for me... Shame they made him so evil he's basically a Saturday morning cartoon villain now, he could have been so terrifying in so many ways but instead they made him an annoyance... Like even him coming back post Pizza Sim could have been terrifying if he wasn't such a joke by then, like we thought we finally defeated him but he's back, because he still hasn't done what he set out to do, put his family back together, and absolutely nothing can stop him from doing just that... Instead we get him showing up in 1 (one) ending and he's just... Walking around... Then he stares at a monitor and eventually he hacks Freddy by... Holding out his hand like he's using the force?? He doesn't even have a jumpscare either... I really hope the DLC at least gives him that bc him being threatening again is almost impossible after all the peepaw jokes people made...

Anyway I'm sure you can tell I have very strong feelings about this and so many thoughts for plot points that could be added to the lore if this was canon but I'll shut up for now before I write a whole essay lol

[extremefrogrefrigerator]

"the stede mermaid scene was so stupid" "the stede mermaid scene was so dumb" no no please hear me out on this one

there's something so poetic / symbolic / beautiful about the man who once believed he was an evil sea beast / kraken being saved by a sea creature symbolizing beauty / hope / good things and love. i know it's kind of cheese but please - it's so beautiful as well. it means so much. it was an incredible writing choice.

as in, it symbolizes that ed IS worthy of good things and love and isn't the irredeemable monster he believes he is. as in, in shows that, in the end, he chooses Hope , he chooses life. it's the juxtaposition between the life he once thought he couldn't escape (being a kraken) to the life that he can have , to the life that he is deserving of (a mermaid) - and it's a life that he can have with stede.

it shows how important his love for stede is, even if he can't show it. it shows that he can, one day, finally love *himself* as well - one day he can believe the truth - that he really is worthy of fine things. as in, he is worthy of Life. it's okay for ed teach to be alive. it's okay for ed teach to be alive and not want to die anymore.

this show is saying something Quite beautiful about what it means to want to live (and how hard it can be to do so) and what it means to love. and no matter how cheesy, i think that we should all take a look.