#like this isn't even a case of one of those characters who has something stated about them that's just never brought up again

[peaceblank]

Cause I saw several posts about it, and I just re-watched the first spider-man movie. Let’s talk about how canon Peter Parker’s jewishness actually is.

So back in the 60s when Spider-Man was created, you didn’t make your main character jewish if you wanted to get broad appeal and therefore money. Thus a lot of comic creators didn’t make them jewish, despite being jewish themselves. Naturally though your writing is gonna reflect your background due to how that has affected you as a person, so a lot of those characters became coded as jewish. For Spider-Man that came from his co-creator Stan Lee.

Now as more comics are made the comics get handed to new writers. Eventually they have to tackle the issue of exploring the character in different ways, and in doing so have to handle the issue of filling in holes, like what’s their religion. So what do they do, they use generic christianity to fill in the gap because that most closely aligns with what’s seen as a regular guy to the writer, and why would he be jewish. After all, it’s seen as going out of the way to make a character jewish rather than christian narratively speaking in our culture.

So he’s not canonically jewish and never will be because to make him jewish would alienate too many people. You should have seen how flexible a human can be the way I saw fanboys bending over backwards trying to explain why that five second shot in Into the Spider-Verse doesn’t mean Peter B. Parker is jewish.

However that doesn’t and shouldn’t stop people from saying he’s jewish. It was nice to see that clip in Spider-verse, and I’d love even more in the future. In fact ignoring canon you don’t like is a key part of being a comic fan.

But now onto the twist reveal, this was about the Raimiverse the whole time. Yeah that’s right, this is all because I kept seeing posts ragging on the Raimi series for “erasing” his jewishness. Everybody pretending like in the comics Peter is walking around with a tallis when he is the exact same level of jewish as in those movies. You think they’re gonna let the most profitable character Marvel has be jewish? So many posts I see talk about those movies like them not making him jewish was the most horrifying thing and a personal attack. But once again, find no issue with the movies with the actor they like in it because in a few interviews he said the character was jewish, despite being no better about it in the text. I bet if Tom Holland had said in that one interview that yeah, Spider-Man is jewish, instead of being confused about it, everyone would be crawling all over that movie in the exact same way. But he didn’t because as I said, he’s not really jewish in canon or to the broader audience because to do so would detract from that mass appeal in the eyes of Spider-Man’s owners.

[illusioncanthurtme--art]

These are a couple doodles from yesterday, Gideon as a younger teen, before the growth spurt, maybe 14? He's discovered he's a vampire, and has a lot of recovery to do, since he's severely blood deficient.

I'm gonna let myself explode about my vampire gideon ideas, under construction, under the cut: (I don't write fanfiction, I just throw up my ideas on a tumblr post, apparently :'D)

This is what I love about tumblr - it's a place where I can throw the doodles (something that isn't finished *artwork*), and let myself be really delusional about fictional characters. So I'm gonna take a moment to ramble about the ideas I have for Gideon as a vampire.

If you're a fellow Gideon Head, HI THERE... anyway, here's my thought process on a potential vampire-gideon backstory???

I've always liked the idea of gideon being a vampire, and also becoming a much better person when he's older. And that got me thinking, maybe those two things are linked. Maybe the vampire thing is somehow tied into his reformation.

But I tend to lean towards building my ideas off canon (as opposed to making an AU). And if gideon was a vampire, and knew this during the events of the show, it would have come to light at some point. So, either he doesn't know he's a vampire, or he becomes one later. Becoming one later works narratively, but he's already so vampiric, with the white hair, pale skin, sunscreen, evil, etc. So I'm like, let's go with that.

So, gideon has gone his whole life without knowing he's a vampire, and without drinking blood. I'm thinking that being a vampire in this case (my gravity falls fan version of what a vampire would be) wouldn't adhere to typical vampire conventions. You don't NEED to drink blood to survive.

Here's the idea I got yesterday: after the events of weirdmageddon, gideons experience motivated him to become a better person. It was the awakening, basically. But in the subsequent years, he's still a little shit. Maybe he's in juvenile detention, or prison again. But now, he has the self awareness to know that what he's doing is wrong. This is where my ideas get a little fuzzy, so bear with me. Bud has his suspicions, and as a last resort, puts gideon on some sort of mission trip type of cross country trip, when he's in his teens. And along the way, maybe at the end, there's this secret group of vampires that open gideons eyes to what he really is.

Basically??? Without blood, gideon is very evil. He's an evil little shit. This may not be how it is for every vampire. Maybe some grow very sickly without blood, just get hungry, etc. The effects of blood deficiency vary from vampire to vampire. But Gideon becomes very unhinged. And he'd essentially been Blood Hangry for his whole life. That being said, some of it was just his personality that he needed to work through, but drinking some blood helped a LOT. Blood isn't food for him, it's more like his medication.

Once he has that discovery, he spends a long while, I'm thinking maybe even a year, just recovering from the deficiency. He's almost always drinking blood to keep up his levels, and he's very rarely seen in public to keep the vampire thing a secret. That's what these drawings were supposed to be, him in his pseudo bedridden state. This period in his life would be one big blur; mostly spent binge watching soap operas and being all cozy. In contrast to his usual suit + tie, he's dressing for max comfort: sweatpants, sweatshirt, a knit hat over his ridiculously big hair, and always wrapped in a blanket. Not sure if somehow he feels cold when drinking blood?? But for some reason, I feel like he'd always be wearing like 10 layers and laying under a heated blanket or something.

Eventually, he'd only need to drink blood about once a month for maintenance.

Character development wise - even as an adult, Gideon isn't sure if he's truly a good person. Is the blood deficient version of himself the true gideon? Or is this well adjusted man who he truly is? And there's an issue of the chicken and the egg, too. Gideon was born a vampire. Did these genes activate because he was predisposed to being evil? Or did the vampire thing happen by coincidence? Does being a vampire make him evil, or is it the other way around? He doesn't know, and he never will.

The one thing I'm not sure I like about this idea: i'm worried that I'd be writing off his villainous personality as an illness that can be cured with a thing. Obviously, it would be better if he faced that head on, and figured out how to be better. So I'm still grappling with that. But for now, this is an idea I'm entertaining. Of course, I think it would be interesting if there was a plot point where his usual source of ethically sourced human blood was compromised for a time, and he had to grapple with his personality going topsy turvy.

It's actually embarrassing how much I just wrote???? If you've made it this far, wow, I applaud you. I guess this was just my idea of having a good sunday night, writing down my silly thoughts on gideon gosh darn gleeful. Let me know your thoughts too!!!! I'd love to know if you have any ideas, or questions, or ways to strengthen this potential backstory.

[hamliet]

Derry Girls: A Masterclass in Detailed, Thematic Writing

Several years after the end, I finally watched Derry Girls, and it's become one of my favorite shows. Not only for the way it captures the absolutely unhinged aspects of Irish families (askmehowiknow) but for the sheer writing skill.

The vast majority of the episodes are laugh-out-loud hilarious, while also offering insightful commentary on the Troubles and on humanity's foibles as a whole. The characters are allowed to be human and act in unlikable, unsanitized ways, and to still be human and come back from that. (Almost like a metaphor for the Troubles or something.)

The story is also incredibly detailed; for example, when the girls are accused of killing a nun and Erin points out the nun was like, 98 years old and askes "might that shed some light on the situation?" there's an hourglass behind Sister Michael--emphasizing the idea that her time was up. Even more than that... the window is behind the hourglass, literally shining a light on it.

But that's a micro level. On a macro level, I also appreciated the way the story discusses the political backdrop that is part of its premise. Even as Erin, Michelle, James, Clare, and Orla grow up in a place that's been in a state of low-level warfare for decades, they live full lives. In fact, that's kinda the point.

Case in point: episode 4 of the first season, wherein Erin gets an exchange student from Chernobyl. The way the Northern Irish in general treat the Ukrainians is hilariously awful and patronizing, believing that they are giving them a respite from the troubles "over there" while Northern Ireland isn't in a much better state. But, as Sister Michael assures the Ukrainian students, the Irish troubles don't matter because "we're the goodies."

This line gets to the heart of what the episode is saying about political divisions and the way people view an "other." Everyone sees themselves as the "goodies." Because of that, they don't self-examine and wind up hurting the people they see themselves as wanting to help/save with their ignorance. It's a paradoxical egotistical (and frankly teenage) worldview that is also unwilling to look critically at oneself. The focus on their own perceptions over focusing on the actual humanity of the other results in ruining gifts that could come with cross-culture interaction, as seen in how Erin's misunderstandings and petty jealousy of Katya leads to her literally ruining a surprise gift Katya had prepared.

And the end of the episode also comments thematically on the story. One of the Ukrainian boys turns out not to be Ukrainian after all--he's actually Irish and from just down the road. He just didn't know how to say that. The ironic message is clear: despite differences in culture and views, they are actually all human beings, and assumptions make it hard for people to speak. If they could actually talk openly and without presumptions about who is "good" and who is "bad," they could prevent and solve a lot of problems.

This kind of background, symbolic commentary on the Troubles continues in just about every episode of the series. For example, even after the ceasefire, season 3 has an episode where it's discussed how negotiations are stalling, and the entirely of the rest of the episode takes place on a train that stalls between two separate places.

The Troubles are always something affecting their lives, but the only time the Troubles ever become the main story is in the finale episode. Which is also an episode that makes everyone cry. Michelle's brother is finally mentioned for the first time the entire series, yet it doesn't feel like a retcon so much as a recontextualization, and again mirrors how a lot of society (and Michelle's own family) have treated those who murdered others during the conflict.

Erin and James' relationship also works as a metaphor for the Troubles--an Irish Catholic girl and an English boy. Earlier in season 3, after they finally kiss, they're told they can't be together, that it's wrong, and that it'll create problems for everyone around them. Michelle doesn't want things to change. And Erin agrees that it's not good to pursue something.

But, in the final scenes, as Erin prepares to vote in the Good Friday Agreement and talks to James, she directly states she thinks things can't stay the same forever--thereby countering what she said to reject James earlier:

There's a part of me that wishes everything could just stay the same. That we could all just stay like this forever. There's a part of me that doesn't really want to grow up. I'm not sure I'm ready for it. I'm not sure I'm ready for the world. But things can't stay the same, and they shouldn't. No matter how scary it is, we have to move on, and we have to grow up, because things... well, they might just change for the better. So we have to be brave. And if our dreams get broken along the way... we have to make new ones from the pieces.

Symbolically, also, given that we know the outcome of the Good Friday Agreement, I think it's pretty clear Erin and James end up together even if we're not directly shown it.

That the last shot of the episode (besides the funny epilogue) is Grandda Joe, one of the eldest characters, helping his youngest toddler granddaughter Anna leap over a threshold as they leave the voting station, is also incredibly clear in its symbolism.

Erin: People died. Innocent people died, Grandda. They were someone's mother, father, daughter, son. Nothing can ever make that okay. And the people who took those lives, they're just gonna walk free? What if we do it, and it's all for nothing? What if we vote yes and it doesn't even work? Grandda Joe: And what if it does? What if no one else has to die? What if this all becomes a--a ghost story you'll tell your wee-un's some day? A ghost story they'll hardly believe?

I dunno, I think this is a sentiment we need more of in the world. A peaceful future means taking risks and accepting that punitive justice will not be perfectly doled out; however, if you allow more people to be hurt, is that not also injustice? It's a paradox that the story leaves us without a dogmatic answer to (for example, we never find out if Michelle's brother gets released), but it's also hopeful--because we know that the Good Friday Agreement largely worked.

(For further analysis of the final scene, I recommend PillarofGarbage's analysis on YouTube!)

[clownakai]

Hi! Let's talk about: Conan's terribly kept secret, and how come he doesn't seem to mind that Akai has pretty much figured it out (and teases him about it)

I'm not going to lie, I think about this a lot and I've wanted to make a post dissecting the whole thing for a while. It's one of those details within two characters' relationship that says a lot about their overall dynamic, in my opinion.

So, to start off, let's address the secret in question and what it means to Conan. Basic stuff, but it's a useful starting point.

The first and greatest motivation behind Shinichi's efforts to keep his situation a secret from Ran is that he doesn't want to endanger her (good idea in theory, not so easy in practice, but this post isn't about that).

In time, this also becomes valid for everyone who associates with Kudou Shinichi and/or Edogawa Conan, given all the stunts he pulls as the latter. Just to be on the safer side, those two identities should remain separate.

Now, here's the first real "outsider" who figures out Conan is Shinichi.

I'm kind of reading this as Conan attempting to call Hattori's bluff, but as soon as he realizes that the guy is serious about telling Ran everything, he drops all pretenses and comes clean about the APTX.

Now, since this is still pretty early on in the manga, we can argue that Conan's identity hasn't been solidified just yet and Shinichi doesn't know how dangerous the Organization actually is, and combining that with the fact that Hattori is pretty much a stranger, the pros of conceding defeat on the matter and explaining himself to a fellow detective definitely outweigh the cons.

(This also gifts us with the funniest swaggest most whimsical duo ever, but I digress /silly)

And after Heiji, we have the man, the myth, the legend. Hondou Eisuke. His case is kind of particular, in that he doesn't really try to get the secret out of Conan. The truth is presented to him due to something unrelated (asking Ran out), which is apparently reason enough for Shinichi to out himself.

I do believe that Shinichi felt secure enough in doing this for a couple reasons: first and foremost, Eisuke is at least marginally aware of the Organization and the danger it represents, and he knows the importance of keeping secrets given both his sister's situation and his career choice. Secondly, Eisuke is leaving Japan: sure, there's a chance he might stay in contact with his friends via text, but he has no reason to tell Ran about Conan's real identity in the first place.

The real "danger" here was the possibility (very, very small. Basically non-existent, to be honest) that Ran would say yes to Eisuke's proposal to go to the States together (where, in Shinichi's mind, he wouldn't be able to follow, where he wouldn't be able to watch over her, where he felt he would lose her in every way that matters), and that chance, no matter how small, warranted an intervention. Not exactly pure logic, but that's teenagers for you (affectionate).

Alright, so what about people like Masumi? She even has an advantage in that she already knows about the existence of a drug that makes people shrink: her own mom looks like a middle schooler because of that. She's in danger no matter how you look at it, and she's clearly been keeping that secret the same way Agasa, Hattori, and the Kudous have for a good while. So how come she doesn't get to join the club?

The answer is, of course, the risk factor.

Masumi, as we all know, wouldn't know the meaning of subtlety if it hit her in the face with a baseball bat. We love and cherish her regardless, but admittedly, that's not a trait that would inspire trust in a pair of teenagers hiding their continued existence from an evil syndicate.

That's right! We have her timing to keep in mind as well. Masumi is added to the scene well into the main timeline's events, which means multiple things:

Conan's identity is finally well-established and separate from Shinichi's. Ran has had her suspicions in multiple instances, but they've been assuaged every time. Still, that balance is hard to maintain.

Shinichi is now fully aware of just how dangerous the Organization is: he's now much more reluctant to just share his secret willy-nilly with random strangers, even though they might prove to be useful allies in the long run.

Conan isn't the only shrunk teenager running around anymore: Haibara has just as much reason as him, if not more, to want to keep the number of people in the know as low as possible. By revealing his own secret, there would be virtually no way for Shinichi to keep Haibara out of the metaphorical line of fire.

Therefore, a variable that behaves like this...

Or this...

Isn't very likely to garner much favor from either of these two.

Something to take note of, though, is the fact that Conan pretty much only ever panics when Masumi brings up his identity if she's making an active effort to also bring the matter up with people who are firmly on the "Absolutely Cannot Find Out" list (Ran especially).

In multiple other instances, when Masumi alludes to being aware of Conan's ruse but talks to him one-on-one and makes it clear that the comment is a one-off occasion (and that she's not going to push it this time), Shinichi doesn't really lose his cool.

He may stumble over his words a bit, but the moment isn't played as dramatic or high-risk, per se. It's more as if he were being privately teased about his situation— sort of like as inside joke. It's not exactly welcome, but it also doesn't raise any alarm bells since it stays between him and Masumi.

Now, would Conan's problems with Masumi's nosiness be solved if he gave up and admitted the truth she already knows? Of course, but that's not really the point.

The issue is that this wouldn't be happening on his terms. He would be giving in to someone's else's demands, and in addition to that, Masumi has been asking non-stop about the antidote that Shinichi intermittently uses to get back to normal.

That, above all else, is what makes the endless dance of denial necessary, I think: admitting the truth also means outright admitting that prototypes of an antidote exist, and that means exposing Haibara (both her past work and therefore criminal background, and what she's been working on these past few months: letting Masumi have even a single pill would mean the MI6 getting their hands on it in turn, and that's pretty much not something anyone wants), which in turn would probably set off a very unpleasant chain reaction for everyone involved.

When Shinichi conceded defeat with Hattori, it wasn't on his terms either, but at least he knew the guy didn't really have any ulterior motive apart from his one-sided beef with the Detective of the East.

With Masumi there is no such certainty— quite the opposite, in fact, which is why I think this is the reason he's been so insistent on denying the truth even when he now knows full well that Masumi's can be no mere suspicions.

With all that said, let's get to the point of this bad boy! (I did not think this analysis would get so long. Holy shit)

Let's start with the fact that Akai operates on a pretty simple need-to-know basis. If something isn't relevant to what he's trying to do, he tends not to mention it. Still, he's not exactly strict about this: when Conan mentions Akai and Masumi's familial relation, he takes it in stride and gives his own confirmation because he sees no reason not to.

Now, this of course doesn't mean that he can't get curious about things himself, or that he won't conduct his own investigations on said things. His M.O., however, is very different from that of, say, Hattori or Masumi. It can probably be chalked up to maturity and years of experience, along with the simple matter of his personality, but Akai doesn't exactly make a spectacle of things.

He knows when to push and when to let go in a manner that still gives him the answers he seeks. He easily manipulates Conan into giving himself away as Shinichi while still making sure to be the only one witnessing that moment.

And then he decides to be a bastard and give Conan a heart attack... for about a tenth of a second, since as he does that he also carefully words things in order to give the kid an easy out.

All Akai wanted was to figure out the mystery in front of him (he's by admission a curious guy. He likes solving puzzles): now that he has his answers, he's not really going to do anything with them because he has no reason to— Conan is already willing to cooperate with him and the FBI (and has already done so before), after all. They already share intel more or less freely. He's literally living in the kid's house. For free. Why would he jeopardize any of that by falling out of favor with him?

This, I think, is a pretty solid basis upon which I can build my beautiful sandcastle.

Of the couple times in which Akai respectively asks Conan about his identity outright and mildly teases him about his circumstances, the context always plays a huge role.

In the first scenario, the two are speaking in public, yes, but at the same time the conversation is:

Pretty much kept private

Initiated by Conan (he asked for information first!)

Framed as a proposal of a mutual exchange by Akai, who also backs off immediately as soon as Conan turns him down

Of course, Shinichi is already reasonably sure Akai has him figured out anyway, so the point is moot, but it's still nice to get plausible deniability and still be somewhat in control of when he's going to come clean to the guy of his own volition.

In the second scenario, the situation is even more "secure" so to speak, as:

They're sitting in Okiya Subaru's car

They're completely alone

They're in a hurry to do something else (God fucking dammit, Shuukichi)

In this case, Conan doesn't outright react to the jab. Maybe it's because he doesn't really know what to say, or maybe it's just that he doesn't have enough time to come up with a reply before Shuukichi picks up the call. Either way, he does perhaps look a little put on the spot, but there's no real panicked reaction, no telltale change in what Conan's pupils look like in true DetCo fashion, which I'd say confirms he doesn't feel threatened at the moment.

(If we really must give it a critical interpretation, maybe the bit feels a little like a joke falling flat because it was made during an otherwise tense moment and it has nothing to do with the bigger issue.)

It's also worth noting how Akai's dig directly ties into his own circumstances, which possibly helps with lowering the "offensive" charge of the words. It's not a direct accusation, but rather a mildly humorous, harmless observation about their shared status (presumed dead by the enemy).

The biggest thing about both scenes is still, however, the fact that Akai unfailingly frames the subject in a way that leaves the choice of whether to actually talk about it completely up to Conan. He definitely recognizes his position as privileged/advantaged, but actively chooses not to make use of that, and he hasn't treated Conan any differently ever since verifying his suspicions either.

(Sidenote: I do believe that keeping the kid's identity from his own colleagues is also a strategic choice. Like I mentioned before, outing Conan would mean outing Haibara, and I do believe Akai's promise to protect Shiho also includes keeping her far away from any government agency who may be interested in what she knows— and what she's done.)

In conclusion: I am extremely normal about random interactions between these two and also I think that Conan's unshakeable trust in Akai stems from how the guy has been treating him ever since they started collaborating— with genuine respect (and even admiration) and never actually making him feel cornered the way so many others do, whether intentionally or not. This results in occasional sillygoofy privileges because Akai can recognize the time and the place in which it's acceptable to tease the Cone.

[imustbenuts]

theres a few ??? thing going on in trigun stampede that's explicitly japanese/sino-ish in culture but im entirely not sure what to make of it. 3 things.

Knives' birthname being settled as Kni/Nai,

JuLai's emblem symbolism,

and the Buddha Thread??? thing in ep 11 10

Knives' birthname is Kni and hm! ...無い?

this is specifically a stampede thing. nightow didnt give him this Kni name in his work, so i can only chalk this up to the stampede staff's deliberate decision. if you render it into japanese, it'd be Nai, and the immediate word i can think of is... 無い. meaning, Nothing, or Without.

it fits rather well considering stampede has officially placed an emphasis on his obsessive love towards his brother on his bio on their official site:

my TL:

Vash's twin brother. Possesses a cold and merciless personality. Filled with a hatred for humans, he masterminds an organization with a plan to massacre the entire human species. With abilities beyond human understanding, he has the power to destroy entire planets. He greatly loves his only younger twin brother, Vash to an obsessive degree.

interestingly, the word used for the obsessive love here specifically is 執着 shuuchaku, which has roots/association with the word Abhinivesha. from what i understand it is a mental state, a fear of death, and a desperation to cling onto life so much one becomes ignorant and causes their own suffering. and ignorance is another big core of what makes Knives' character tick.

so i feel like this has some pointers towards Knives, or even child Kni being nothing without his younger brother. (or it could just be a simpler play on the word naive lmao)

meanwhile for Vash there's not really anything japanese that jumps out at me, but some have pointed out his name sounds like the french word Vashe, used for female cattle. extremely passive and born for consumption and theres a lot to dissect in that direction but im not going there! his name is Knife and his brother is a cattle there's catholicism may your brain go brr.

theres more to the nothingness concept in buddhism that doesnt put it squarely in a negative category but lets talk about buddhism later. next:

JuLai's emblem

stared at this for a few seconds and yelled fuck me. this represents the twins, AND its the broken yin yang symbol:

:). hey look at that female thing popping up again--

Knives is evidently the light Yang, and Vash is the dark Yin. ngl this daoist thing is somewhat sexist but lets brush that over 2 thousand year old aspect aside for this post. for stampede's case we can clearly see what theming is going on especially for those in the know of the original work.

Knives is hella assertive to the point of echoing fascist eugenics nonsense, and Vash has that nurturing instinct that seems to pop in whenever there's a human child or people who needs help.

interestingly the planet No Man's Land has too much fugging sun and is too hostile for human life. to survive people have to live in the shade and turn to plants for counters to the harsh, hot celestial sun. so here if Knives is being the sun, hes also being hostile to human life, and meanwhile the feminine looking plants and Vash's personality plus actions are the only thing giving these people at chance at life. (also vash has the power of Dark Matter or something)

obviously, just like JuLai's broken symbol, the balance is completely and utterly out of whack. in daoism a broken balance is thought to cause a lot of suffering. in the finale, Vash doesnt have a single speck of white on him, and Knives doesn't have a single speck of black. this means there isn't a balance and they cant come to an agreement at all.

im gonna also point out here that vash's idea of co-existence even if accepted wouldnt be a permanent solution due to the dependents having limited lifespan. so through this lens, stampede seems to be saying that neither twin's ideas are really effective long term solution, tho Knives is completely unacceptable due to obvious genocidal reasons.

Buddha Thread

studio orange whaaat are you guys cooking over there... ok so. in ep 11, Knives drops Vash into the uhhh The Hell Pool, and Vash tries to get out of it with his wire and hangs for a bit. then we get a scene like this:

Knives proceeds to cut Vash's thread and he drops into The Hell Pool. and then the metaphorical SA scene happens.

i call it Buddha Thread but this can also be known as The Spider's Thread. there exists a story of The Spider's Thread that's very Japanese-Buddhist and well known over there.

the gist of this story is that Buddha lowers a single spider thread to a sinner in the deepest hell as a lifeline to get out, bc this heavy sinner had done a singular good deed of saving a spider he was about to crush with his foot. however, the thread is broken as a result of the sinner's selfishness yelling for the other sinners below him to let go, claiming this thread was his and his alone. the sinner having climbed halfway upwards the thread after great effort plunges back into the pits of hell. buddha having watched all of this reacts with sadness, and the days in paradise carry on as per usual.

and. digest that for a second. and then refer back to Knives and The Fall and this scene that plays later, when Vash's mind wipe begins proper:

fuck. me. knives is framed as a self proclaimed god in the loudest ways on multiple levels.

while these 3 aspect i just broke down explaining do not exist at least overtly in the original trigun, i thought it would be interesting to chew on in light of the overwhelming catholicism existing in the story.

there's some themes im also picking up from the original trigun that might be rooted in either buddhsim or japanese culture such as: the undeniable truth that yearning and hunger is part of the human living experience and to deny it is to deny living. but im not sure what to make of it bc A) not explicitly framed or explored as a buddhsim/japanese idea thing and B) catholicsm obv is the overwhelming theme of the entire work

idk what the heck studio orange is cooking exactly but. hm.

[cy-cyborg]

It will never not be frustrating to me that amputees appear in fiction ALL. THE. TIME. and yet they're almost never acknowledged as such. The Cyberpunk genre is especially guilty of this: amputees and prosthetics becoming a normalised part of life are a defining part of the genre/aesthetic and yet no one even consults with any amputees about how we get represented there. Most writers in those genres don't even consider that giving your characters cybernetic arms and legs means they're an amputee.

CW: Ableism, dehumanisation

This makes it REALLY uncomfortable to engage with stories in the genre because another common aspect of cyberpunk is the idea of losing yourself and becoming something distinctly not-human anymore because you have too many cybernetic augmentations/implants. Shadowrun even has mechanics for this, which state if you get too many prosthetics, which is what cybernetics are 9 times out of 10, your character becomes a monster. These mechanics and discussions surrounding "how many robot bits make you not human anymore" are really, really uncomfortable when you remember this isn't something that's unique to a far-off future setting. Those people you're discussing the humanity of already exist. They're called amputees. If you reframe the question as "how many amputations can you have before you stop being a person" I hope you can see why an amputee like myself is not going to feel safe around you or in your fandoms.

And it's a shame, because I REALLY want to like Cyberpunk. I really, honestly do. I love the aesthetics, I love the idea of big corporations being the villains and the anti-capitalism at the heart of the genre, and I love the idea of prosthetics being not only destigmatised, but desirable. When written from a disability-inclusive lense, it honestly has the potential to be an incredibly uplifting and empowering genre. but as the genre stands right now, it's actively hostile to the very folks who are usually the stars of its stories: amputees, all because people just refuse to acknowledge us.

Cyberpunk isn't the only genre guilty of this, it's common all throughout sci-fi as a whole, but Cyberpunk is the only one where it starts becoming a serious issue due to its rampant dehumanisation of a real group of people. In other sci-fi settings, it's just kind of annoying and while it can be a form of erasure, it's not usually harmful, just...frustrating. Fantasy does it on occasion too, think pirates with a hook and a peg leg, but nowhere near as much.

If you, as an author or creator, use any of these words to describe a character or their tech in a sci-fi setting:

cybernetics/cybernetic enhancements

bionics

robot limbs

cyborgs

augmentations

You are probably writing an amputee. Please, at the very least, acknowledge it, and be mindful that those are real people who actually exist, not just a fantasy group you can speculate about.

edit:

I originally posted this article on my old Tumblr account and lot of people commented/reblogged to tell me that originally in cyberpunk, the "less human the more robot bits you have" only applied to people who opted for their limbs to be replaced by cybernetics, because it was seen as "renting out your body to corporations for money" but people who had to get cybernetics out of necessity weren't impacted. The thing is though, I really don't think that makes it better, for a few reasons. For one, where do you draw the line at "opting" to get a cybernetic prosthetic? This isn't a black and white thing, even in real life. Most amputations are done out of necessity, but there are situations where it's not the only option, just the best one. Talking from personal experience, I lost both my legs below the knee as a baby, that was a pretty clear cut case, I had a blood infection and gangrene and they had to act fast. But the infection caused lasting side effects and impacted my physical body's development and growth. By the time I got to my early 20's it was causing a lot of pain in my right leg, in my knee specifically, and when I got a bone infection in the end of that stump, I chose to have the whole thing amputated up to the knee. They only needed to take a few inches off the end of my stump, but I asked them to go higher, because of the ongoing issues in that knee, issues that would have been made worse by the shortening of the leg. I choose to remove the whole thing, knowing the joint was degrading and I probably would have lost it later in life anyway. Even if it was salvageable, it would mean much more surgery, and I've had enough of those. A boy I played wheelchair basketball with was born with a partially formed leg, it was half the size of his other leg and he wasn't able to use it al all, it was just dead weight, so he opted to get it amputated too for convenience and so he could use a prosthetic on that side. I worked with a girl who's hand didn't form properly in the womb, resulting in a normal palm, but tiny "finger nubs" (her words) with no bones inside. They weren't actively harming her usually, but she opted to get them and the top of her palm amputated after an incident at work where we were tying balloons and one of her nubs got stuck in the knot. She decided to get them amputated because it meant accidents like that would be less likely, and she could use a prosthetic more comfortably. All 3 of these are considered "optional" amputations, so would people like us be penalised in your setting? does it make sense that the technology in your setting can tell the difference, or that corporations would care about the how and why? Even stepping away from medical grey areas, if your character opts for a cybernetic arm because the corporations will financially reward her, and she's struggling to put food on the table without that help, is that really optional?

Don't get me wrong, I do think that idea could work but it would take a lot of work to do well, and most works I've seen don't do the work. Even if they did though, it doesn't change the fact that most modern uses of this trope don't mention that bit or actively ignore it. It doesn't matter in most cyberpunk works I've seen if the amputation was optional or out of necessity, they still are more prone to being seen as "less human" and in most of the sci-fi writing communities I've been part of, the authors are genuinely shocked when I ask them to remember "people with cybernetics are real people already, they're not some far-off-distant future fantasy group, they're just called amputees". Like it didn't even cross their minds. These are the people creating the works in this genre. Even if it wasn't the original intention of the genre, it's still an issue in the modern version of it. Edit 2: Elaborated a little more on why I don't think the "only people who choose it" argument works in the edit. Also, please stop telling me that old cyberpunk doesn't have this issue, I literally address that in the post lol.

[thr0wnawayy]

How Corrupt Is Hero Society?. Part 2

Nomu and Endeavor, a cause for concern

To add to the today's chatter about Endeavor and his excessive force and how that applies to the rest of MHA's "heroics". I'd like to point something out

It has always been this way

Excessive violence against Nomu isn't anything new, ever since Hori downgraded them into punching bags so the audience wouldnt question the morality of it all.

It does, however bring into light just how desensitized Hero Society is, how they view villains and may display some quirk-ism. Allow me to elaborate.

To the publics knowledge this is a PERSON.

The general public, hell most heroes. Had no fucking clue what a Nomu was. To their knowledge this was just someone with a heavy mutation quirk.

And they just, carry on.

Endeavor's gut instinct here was to burn his head off to stop him from regenerating and no one bats an eye.

But don't worry it gets worse.

Gran Torino is someone the community has dug into countless times for his attitudes towards Shigaraki and belief that "killing is another way to save"

So when Torino does this:

it doesn't really help his case, especially when Endeavor tried to kill that Nomu prior to this by incinerating him alive (almost killing 2 civilians. But I'll get to that)

Such a move would at the very least, sever someone's spine rendering them paralyzed for life. While I can see what Torino was trying to do, the ends do not justify the means here.

I'm not saying the Nomu are innocent, but it's blatantly obvious that they should be aiming to detain them rather than resorting to lethal force right away.

The worst part is the public has no reaction to this. No one asks anything and the authorities sure as hell aren't telling them squat.

We see it again during the Hood Fight and what's worse is that Hood can talk, bringing into question of how sapient is Hood.

Again Endeavor incinerates the Villain and no questions are asked.

Alright remember what I said about the two civilians?. well it gets worse, Firstly, they didn't even know if they were alright until near the end of the Hosu Incident, just letting them run off.

After Endeavor recklessly unleashes a wall of flame, the Nomu absorbs it and processed to reflect the same attack.

(on a second note: Torino and Enji even refer to the Nomu as if they were fighting a Human!?)

What does this mean?. Well that Enji ran into that fight without thinking!.

He didn't even so much as think up a strategy (just like a certain blonde we all know and despise) for what would happen if the opponent just, didn't die.

In Vigilantes he opts to bathe an entire city block in fire because he can't find the Villain (6)

He creates a fucking fire tornado with no thought for collateral damage

(The reactions of his sidekicks concern me, though knowing how Burnin' reacted to Dabi's exposé I'm not suprised.)

Given that he's this destructive and openly antagonistic in public, I don't even want to imagine the state Rei was in after every "training session" spent protecting Shoto.

This is why looking back, I can't say I'm suprised how some of the civilians dove back into worshipping heroes, even after Hawks killed a man and Heroes left them to fend for themselves.

Because as the saying goes

A bird stuck in a cage believes flying to be an illness

_______________________________________

Additional Info:

As pointed out by @gecmi09 (thank you for bringing that up), Endeavor did indeed refer to Crawler and Popstep as villains, as seen here:

I'd like to draw attention to the fact that he is drawn in a similar manner to Number Six, who is also often drawn in a silhouetted fashion, especially when his true colors are exposed.

The two characters are ironically very similar. Both are willing to resort to destructive means if it means achieving their goals.

Both willingly hurt those around/close them and use flawed logic in an attempt to justify their actions.

Both pretend to be something/someone they're not

Both of them brought about their own demise through one of their victims (Dabi and Knuckleduster [who took in Koichi] respectively. Though Six's was more indirect.)

Even though Vigilantes is loosely attached to MHA, I find it interesting that these two characters are so similar. Really makes you think.

[squgs]

I've seen people responding to it being pointed out that Daemon is so obviously a worse person than Alicent or Criston by saying that "at least he isn't a hypocrite" or "at least he doesn't pretend he's better than he is." Which is perhaps accurate, but is really just saying "at least Daemon doesn't make any attempt to be a good person or voice any desire to be better."

This leads me to something I've been noticing: none of the team black characters voice or show any regret for their misdeeds while team green characters do so constantly. Daemon never apologizes or show any regret for any of the brutally evil things he does. Alicent on the other hand is constantly looking apologetic and regretful, even when she didn't do anything like in the case of Larys killing his family.

After the eye incident Alicent is extremely regretful and apologetic for her actions while Rhaenyra isn't at all. In fact Rhaenyra's response is to seek out more power through marrying Daemon so that she can more effectively hurt anyone who states an obvious truth. Her children similarly show no regret for escalating that fight, nor seem at all apologetic for having permanently disfigured Aemond.

The comparison is most striking between Criston and Daemon who have semi similar misbehavior that only Criston acknowledges in any way as bad. First in episode 5 they both smash someone's face in. Daemon's is clearly premeditated and his entire reason for being in the vale, while Criston's was planned at most ten minutes before it was carried out and was a response to an assumed attempt to blackmail him. Daemon has absolutely no shame about the murder, even going so far as to try to claim his victim's inheritance. Criston on the other hand is so ashamed that he tries to kill himself. They both also have incidents of misogynistic language. Criston calls Rhaenyra a cunt once and promptly apologizes. Daemon refers to his first wife as a 'bronze bitch' more than he uses her name and calls Alicent a whore. He does not apologize for any of those instances or show any indication that he doesn't think those are appropriate things to call a woman. Finally in episodes 8 and 9 Criston and Daemon each attack a man from behind after he insults their wife. Neither is their best moment, but again Criston is pretty clearly regretful of it, and it seems like he didn't mean to kill Beesbury and that he just forgot how fragile old people are. Daemon on the other hand clearly intended to murder Vaemond and was happy to quip about it and then chuckle when he's mentioned again.

The one sort of exception to this is Rhaenyra's toast to Alicent in episode 8. She does apologize in that scene. However, she isn't apologizing for mistreating Alicent. All she is apologizing for is not helping to take care of Viserys and not acknowledging her care taking previously, which like it definitely means something that she said that, but implicit in what she says is the idea that it's Alicent's role and duty to be taking care of him. There's kind of an implication that Rhaenyra views Alicent as having redeemed herself through serving Viserys when in reality her care taking is just another facet of Viserys's abuse, abuse that is never acknowledged or apologized for. Still I do love that scene and the way it is beautifully, pathetically, sad that Rhaenyra can only connect and forgive Alicent when she's in her subservient role and that Alicent is so desperate for connection with Rhaenyra that she will accept that barest hint of an apology even in the face of all the evidence that it's meaningless.

Now one would think that some characters regretting their misdeeds would be viewed as a sign of them being better people, but I think it actually has the opposite effect. Because the green characters are shown being regretful, their misdeeds are focused on and emphasized. In episode 5 it's possible to forget that Daemon killed his wife at the start of the episode, because it seems like he's forgotten as well. However it's impossible to forget what Criston does because his actions for the rest of the episode are all a reaction to his shame and horror about having just murdered someone. Then in the next episode when Criston has his one instance of misogyny, the entire show pauses to take note of it and wait for him to apologize (which he does!), but on the numerous occasions when Daemon is misogynistic the show breezes right past it, treating it as just a bad boy Daemon moment. Daemon's misdeeds can be enjoyed without an imediate reminder of how evil he is, letting him be a cool fun badass, while Criston's can't. You can't look at him awkwerdly and regretfully standing over Beesbury's body and say 'oh wow, such a badass male wife he really told Beesbury to keep his Wife's name out of his fucking mouth.' Though to be clear I also very much judge anyone who says that about Daemon killing Vaemond.

This is seen again in the eye incident. For most of the audience that goes into the incident not thinking that Rhaenyra is a significantly worse person than Alicent (a reasonable assumption), Alicent being extremely regretful afterwards while Rhaenyra isn't at all, is an indication that Alicent acted far worse than Rhaenyra did. A misreading that is helped by Rhaenyra's call for violence being couched in the 'sharply questioned' euphemism while Alicent's is stated outright. That is perhaps Alicent's most badass scene where she does her best to stand up to her abuser and those who allow that abuse in defense of their children, going so far as to physically fight back (though Rhaenyra perhaps wasn't the best choice of target), but the audience doesn't have any encouragement to see her badassery, instead we're to wallow in her shame at having fought back and watch her shrink back into herself with the implication that that's what she should be doing.

This pattern shows a fascinating tension between the events portrayed in the show and their framing. The show gives us two groups of people who range from very flawed to evil, but they are framed as a group of heroes and a group of villains. The greens are villains and their actions can only confirm that, while the blacks are heroes and their actions no matter how violent can only provide more evidence of heroism. I don't know how much actual meaning can be made from that tension, I wouldn't even be surprised if it was entirely accidental, but it is at the very least interesting enough to note.

[mirroredmemoriez]

John Kramer and The Denlon's

Cracks everything in my body. It's time to yap. I keep going on in many posts about the fact John is just as flawed as those he tries to ''better'', so I want to go over one of my main comparisons in a tad more depth than I have before. John Kramer and Jeff Denlon honestly are very similar when it comes to their backstory and need for revenge due to grief. Even though John always states that he tests people so they become grateful for being alive- It's very obvious in some cases, he's doing it for his own type of gratification too. For example, Cecil Adams who caused Jill Tuck to miscarry and then Cecilia Pederson who scammed John. He didn't put these people in traps just because of his philosophy, but because they were also very ''close to home'' for him.

The loss of a child is very integral to both John and Jeff's character. Both of these men crave justice.... However, the way they want it and how they achieve it isn't exactly the most healthy thing. It leads both of them to neglect their partners, Jill and Lynn. (Just took a break to eat leftover spaghetti I am legit lost in the sauce- I don't plan out these little rants I do, so I just go where rambling takes me.) When it comes to the major differences between them, Jeff is more rage fuelled, at least in how he carries himself. His anger manifests more verbally and physically than John- Which is his downfall, alongside him not listening or acting when needed. This is a bit of a reach, but another thought nonetheless and nothing I say needs to be something I'm 100% on anyway. Danica Scott, the only other witness to Dylan's death didn't cause Jeff's son's demise, however her lack of action and fleeing the scene made her someone Jeff would want to take revenge upon anyway.

Amanda, although she had more involvement with Gideon's death, seeing as she was the one to convince Cecil to rob the clinic, didn't take physical action either. However, outside of her just being a drug addict- It is debated whether or not John always knew about her role in Jill Tuck's miscarriage, another reason for her to be tested.

We've also got basic comparisons such as the fact Jill and Lynn are both in the medical field and having mentioned Lynn again? Her demeanour is more like John than anybody else I have brought up in this post I'd say- I can't really word well why I think that, but it's there anyway. (Another thing to add is how in Saw 3, John in his delirious state starts getting confused and thinking Lynn is Jill.)

Might as well slip some others thoughts in here too whilst I'm fucking rambling this much- I don't have too many complex thoughts on Jeff Denlon I guess, I basically seem him as an example within the Saw universe about a person who cannot let go enough that it results in his trauma and vengeance taking over his life and ending it too. He's not a evil or terrible man, just very flawed. He had some of the physically easiest traps in the franchise to complete, but because he never made an effort to heal and instead remained stagnant within his grief... He takes too long to take action and morally flip flops all over the place when it comes to what decision he'll make- It's that or he doesn't assess the long term consequences of things such as never forgiving. I personally don't think he ever has to forgive someone like Timothy Young- However, I do believe he let's it impact his life and those around him too much. Corbett didn't deserve the neglect she faced and she herself is a child grieving her sibling. Grief and forgiveness are very hard topics to navigate, but I honestly as a viewer felt the most bad for Corbett more so than Jeff or even Lynn. Coming back to Lynn, I believe she ''learnt'' the most or at least came to terms with things faster within her trap than Jeff. She didn't have time to dwell or not be fast paced with her choices, because her life was connected to John's. She was doing her best not only to stay alive, but to get back to her family even if it was dysfunctional. (Me when I come back to this in my drafts weeks later, time to attempt to find the wave length I was on whilst doing this before.) It's an interesting though to picture different people in other traps. For example, if Lynn was going through Jeff's test. Would she have reacted faster than him and made clear cut decisions? Could she forgive? Jeff is no medical professional and his rage wouldn't let him care for John to the best of his ability so we know he'd fumble that, which is why I'm more so focused on Lynn in his test. Lynn's grief is more ''subtle'' compared to Jeff's and as an audience it's hard to pinpoint what her thoughts and opinions of those involved with her sons death would've been. She turned to antidepressants and her fractured marriage led her to having an affair, not to mention the child neglect. But when it comes down to it, we don't see as much as a drive for revenge and justice within Lynn as we do Jeff. This would mainly come down to screen time, setting and general context but it's an interesting thought of how she'd handle someone like Danica or Timothy if they were right in front of her.

This is why I say she learnt the most from her test compared to Jeff in his? After everything she went through with Amanda constantly up her ass and power drilling through a guys skull- All Lynn wanted was to reunite with her family. Like, the only time we see Lynn exert full physical violence is in a deleted scene where she attacks Amanda.... And even then that is because she wants the key for her collar more so than a drive to murder the other woman. On all accounts, she actually won that scuffle as well.

But then for example Jeff when he finally encounters John? He just can't help himself! Lynn literally is on the floor bleeding out, reaching for him not to leave and this man just can't NOT go and fulfil his need for vengeance. He'd literally just acted upon it before too by shooting Amanda, though that is more understandable giving the context of the fact she shot Lynn..... I think overall this is why so many people dislike Jeff but they just can't word it? Like he's been dubbed ''slow ass motherfucking Jeff''- But it's not really the speed of execution, it's either the lack of long term critical thinking and or the fact he's indecisive? Jeff doesn't have the weight of a contraption around his neck and or his life truly on the line like his wife.... However, somehow Lynn is still managing her test better than him with a freaky little lesbian on her ass and doing backhouse brain surgery on some random old dude with a fucking power drill. I'll also bring up the fact that like John and Jeff, Mark Hoffman has a pretty similar drive and motive to the both of these men. Just like how Jeff saw his sons death, Mark saw the aftermath of his sisters murder for example. All three of them feel justified in their actions against those who have wronged them and etc....

And as I always bring up in character studies like these, the perceptions from the audience are so interesting- Especially when you start comparing characters. It will come as no surprise when I say, I am a pretty active Tumblr user... Through this? The interactions with media and popularity of characters from Saw on this platform are decently clear. First I'll get it out the way that screen time plays a big role in making characters fan favourites. Although, Adam is a subversion to this as he's only in one movie (alive) and likely the most popular Saw character- Anyway! Using John, Jeff and Mark as examples here still... As previously stated, these three men can be considered quite alike in some aspects! But our perceptions of them are quite different due to how they're presented and what we know about them. John is an older sickly man, his life being cut short by the fact he has terminal cancer. His wife miscarries and later on then becomes ex-wife and then also somewhere down the line he gets scammed by a fake cancer treatment....All in all? Dude's kinda got fucked over. But what I haven't mentioned yet in this brief is the fact that whilst most of this is going on, peepaw is designing elaborate death traps and testing people in them slash indoctrinating some into his fuckass ideology! He as a character get's quite a neutral response and or a 50/50 split? He's Jigsaw, the face of the franchise.... There is a decent amount to discuss in regards to him. However, when it all comes down to it it I wouldn’t say he’s favoured as much as other characters.

Moving to Jeff, he witnessed his own son get killed in a hit and run and the grief and injustice of that basically made him spiral into neglecting himself but also his family. He cannot move forward from the loss of Dylan and this is why during his test he is so slow to act- I think one thing to mention here too, is this is something John likely accounted for. Jeff’s test is designed for him and the challenge isn’t that of " OH CUT YOU ARM” it’s for him to overcome his grief and to choose whether to forgive or let those involved with Dylan’s passing die. It’s easy for us as viewers behind the screen to think that he could’ve done almost everything faster. But we’re not Jeff. It’s shown time and time again mentally he just cannot move on and the only reason he is making progress though the test is due to its nature, average therapy? Jeff just wouldn’t go because he refuses to confront HIMSELF in regards to his own grief and would rather wallow in fantasies of revenge.

Mark Hoffman? Obviously the case I’ll bring up with him is that of his sister's murder. Angelina is his only close relative, with no other mention of Mark’s family in the franchise really. So, when she is killed in a case of domestic violence and he also sees her dead body? Yeah, that’s certainly the kind of thing to fuck someone up mentally. Which is why Mark then developed a drinking problem to cope and started to display more erratic behaviour such as shooting a man three times who’d actually surrendered beforehand…. By the time Seth Baxter his sister's killer is released from prison via a technicality- Mark has no quarrels with taking his revenge via abducting him and placing him in a Jigsaw like trap. However, as we all know, this trap is by no means escapable and is only being used by Mark as a scapegoat to get away with murdering Seth. This act then kickstarts his life as an apprentice for John when he himself is abducted.

(I legit forgot this was in my drafts- Months later. I’ll post this now even if it’s not really complete…)

[vasito-de-leche]

Do you have any specific queer headcannons of r1999 characters if so which ones and why?

I wrote a bunch of stuff for this post but then tumblr fucked me up and reloaded without saving it so here we are..... rewriting it all over again ... OAUGH. usually I default to seeing everyone as Vaguely Bisexual and Not Cis until stated otherwise, but you asked for specifics so here we go!

6 is aromantic or demiromantic.

On one hand, it's because I love projecting on my faves. On the other hand, it's because he genuinely doesn't feel like the type of person to be interested in relationships. But this isn't something that's tied to any potential disgust, repulsion or even trauma related to his Revelation and struggle against fate -- to me, 6 just doesn't feel romantic attraction. At the very least, nothing strong enough to consider pursuing. It's not in his priorities. I really dislike this specific thing that fandoms do in which every single character who is introverted, or who happens to be alone/isolated (either by chance or by choice) is secretly lonely, touch starved, pining and desperate for attention and romantic love. It feels like such a huge disrespect for their equally important platonic or familial relationships. 6 already holds a lot of love for his own community and his childhood friends, a type of affection that is shown in his subtle and unique ways. I like it when his character focuses on those aspects instead!

Mesmer Jr. is aromantic and asexual.

In her case, she's the opposite of 6. Mesmer Jr.'s trauma and OCD is much too intense for her to even consider the idea of an emotional or physical bond with anyone. She's disgusted at the idea of touching others so casually, and she's afraid at the possibility of allowing a person (someone she logically cannot have any control over) into her life because what if they throw her off her schedule? What if they mess every meticulous thing she's planned for herself and her mental stability? What if she loses her grip? Yes, it's plausible that she may find a partner who works perfectly with the way she needs things to be, and yes, you can headcanon that she heals and her OCD becomes "manageable" enough to have a stable relationship, but personally? I just like it when characters don't get to have stereotypical happy endings in which everything gets better through love and friendship and support -- like, yeah everyone loves to see their faves happy and all but eh... It's a bit of projection on my part! Some people don't get to heal and do all the things their disabilities prevented them from doing, even if we're given all this support and love. Some of us just have to find ways around these things, anything that works for us that makes our lives easier.

Sweetheart is queer but has a complex relationship with love. In a somewhat similar vein, Blonney has gone through every single letter of the LGTBQ+ community.

I tried my best to explain my thoughts on Sweetheart but at this point she deserves her own post because it's honestly a LOT, this single part was just too long so I cut it out entirely. Just trust me when I say she's queer and has a very complex relationship with love. In Blonney's case, we discussed the possibility of her being written as comphet and it got me to think a little about her. I see Blonney as the type of girl who presents as a straight bimbo, following the themes of her character and all, but who has constant crisis after crisis in the privacy of her bedroom, the only place she's allowed to be more than just a blondie. This constant journey questioning her orientations and gender happens entirely in her head and in private. I like to think that she just has these long monologues in her head. Sure, she's identified as straight her whole life, but maybe bisexual works better because there was that one girl she kept meeting under the bleachers. Oh, but maybe she's a lesbian, since all her boyfriends are just huge disappointments and none of them ever make her truly happy. Oh, but maybe that's just because she has bad taste in men, there was that one guy in class who keeps making her laugh after all. Ahh, this would be so much easier if she were a guy, her femininity is mostly performative after all. Ah, but she actually really loves pink and fashion... Nonbinary then? No, she's not the type to pick something so vague, it's one or the other. Oh, how about both? Genderfluid! Etc etc. If you ask her about how she identifies, she'll simply brush you off with a "What's it to you? That's none of your business, creep!" and move on, but this is something very personal to her. So far, she knows she likes being femme presenting and that she likes Jessica!

Eagle is a trans girl.

Have you guys seen those posts going around tumblr about how important it is that trans women exist because they fight for their own womanhood and girlhood in a world that constantly looks down upon feminine things and all women as a whole? Yeah. Yeah. Eagle being a scout that fights so hard to prove herself, the feelings of not belonging into the Boy Scouts and seeing how the Girl Scouts are created eventually, a space for her. The fact that she visits her father's grave so that he can see her grow up.

Kaalaa Baunaa, Oliver Fog, Medicine Pocket and Melania are probably bisexual, but they're super busy with work so they don't have time to address that.

Self-explanatory <3 I do like to think that Kaalaa and Medpoc are more chill about it, Kaalaa because she's a grown ass woman who is very mature, and Medpoc because they genuinely give no fucking shits about dating in general, so who cares about confirming whether they're bisexual or not. Oliver Fog is a little more flustered at the idea of exploring his orientation and whatnot, but it's tolerable. BUT MELANIA? I LOVE to think that she's FULLY aware that the MOMENT she acknowledges her bisexuality, she will have a crisis and then what will she do? She has 3 papers due next week and a heist this weekend, she can't possibly sit there wondering about liking girls! She's got things to do!

And here's the extra round of HCs that don't require that much text to explain or that lean towards being more silly!

Eternity has literally outlived the concept of gender. She/They royalty.

37 has QRPs instead. It Just Works. No one but herself and her partners understand the dynamics, though. As god intended <3

APPLe is a raging bisexual and has been spotted in many gay bars. Regulus is also bisexual.

The world would've been a better place if Bette was a butch lesbian.

Balloon Party and An-An Lee play with gender like its playdough.

Baby Blue is Not Cis and she's Not Straight either because none of that shit matters to her anymore, since she's been disconnected from reality and society for so long. She also doesn't care about labelling herself.

Diggers is trans, but no one can figure out which way exactly. It doesn't help that he refuses to clarify either. The same thing happens with John Titor, except she's very vocal about being a transwoman.

Bunny Bunny is bisexual but she hasn't realized this yet. In similar fashion, Horropedia is bisexual but he just forgets about it sometimes.

Druvis III as a trans woman goes hand in hand with Forget Me Not as a gay man. This is why they're both super divorced.

Leilani is pansexual because she prefers the colors of that specific flag over the bisexual one. Spathodea is pansexual because the personal distinction between pansexuality and bisexuality matters to her.

Tennant is bisexual because she can scam and seduce more people that way.

The Fool is nonbinary. Mf should've been born in the 2020's, I just KNOW he would've loved mirrorgender.

Zima is in the closet not out of shame but out of safety. Just in case.

Sotheby assumes that every girl in the world likes girls. So far no one has been able to prove her wrong because all she does is interact with other sapphic girls.

Pavia is nonbinary out of spite. But I also love transguy Pavia HCs so so so much, give that guy boobs, he would never get top surgery <3

Vertin is nonbinary too but she doesn't care about people knowing about it. She does, however, make the effort to be a little androgynous, as a treat for herself.

Madam Z and Katz absolutely had a Situationship going on during university. Katz was bicurious and Madam Z helped her experiment. Now the Situationship is between Madam Z and Constantine, the latter using Madam Z as a rebound after fumbling her relationship with Vertin's mother <- the machinations in my brain will astonish you.

TTT is genderfluid by virtue of being a picture on a TV, so I like to think she can just shift her appearance. In similar fashion, gender means nothing to Alien T and Voyager because they're aliens.

I specifically love the idea of all of the 1.2 gang joking about how Tooth Fairy is their token straight adult figure -- she's actually bi and asexual, but likes to keep that to herself so the kids can make their little jokes and have fun.

Enigma is gay and homophobic because his self-loathing is just that strong.

Turns out that the push Click needed to explore his own sexuality was getting killed on the battlefield, so now he's free to be gay. perhaps bicurious.

[jerryterry]

There was one inevitable downside (/upside for Tumblr Drama fans?) to all of these poll tournaments coming to Tumblr, and that's "fandom polls being run by people with a massive bias/opinion that they can't help from plastering all over the posts". Like, there's this one New Vegas poll currently running where the OP has a seething hatred for Cass, among others - badmouthing characters in their poll posts, getting into ranting arguments about it. It's inconsequential and funny, and situations like this are a dime a dozen on this site, but seeing this made me want to take a look at this one a lil closer. Because it brushes into something small I've always found interesting about New Vegas: the rumor of homosexuality in the Legion, as well as a wider factor about the writing of companions in general (Under a read-more for length).

OP literally says "If you tell her you're a gay man, she calls you a nazi", so lets take a look at the line they cite for this:

There's multiple points where characters joke about the Legion having similar prominent homosexuality to the actual Romans (which was notable enough that there's straight-up a "Homosexuality in ancient Rome" Wikipedia page). For example:

- Veronica

- Major Knight

What's interesting is that the one character who talks about his direct experience with this subject, Jimmy (a former Legion slave), actually says something that contradicts that last quote:

This opens up the likely possibility that it's NCR propaganda - a homophobic lie to emasculate the enemy. Even if maybe it IS something common in the Legion, it's something frowned upon and is at best a rampant open secret. Either case makes Major Knight's quote provably false.

Regardless, it's a wide non-Legion belief that homosexuality is common and accepted in the Legion. If the source of that rumor IS cooked-up homophobic propaganda, it's interesting that it hasn't worked on the only characters who talk about it. All three of those quotes not only have no ill will toward the idea (Cass immediately states it's not an issue AND notes how common it is behind closed doors), but two of them are mentioned in a context of longing: Veronica's quote is immediately followed by her being angry that only men are allowed to be gay, wishing the same for lesbians. Major Knight's quote is in the context of him having to hide his homosexuality at work -- which sadly makes it clear that the propaganda was likely more effective in general than on the one straight character who mentions it.

I'd say it's funny that OP has a hatred of Cass for being homophobic despite being one of the few characters in-game who makes an explicit statement of not having a problem with homosexuality (I for one would've loved to see Boone - the biggest NCR bootlicker around - make his stance clear on the matter). But admittedly it IS tactless and clumsy to make a backhanded comparison of gayness to the Legion (that statement's obvious expository purpose aside). They also read "there's a lot more of that in the Mojave" to mean "ew, it's not this bad where I come from!", but Major Knight makes it clear that where she comes from is actually MORE supportive. As well as another comment she makes about having slept with women while drunk, which OP construes as likening homosexuality to a drunken mistake.

Like, relax. Yes, "I have no problem with it" isn't the most heartfelt statement of support. But the most Cass' words betray about her is ignorance. I think it's clear she's well-meaning but ignorant, and for the most part intentionally written that way. Most of the companions have intentional personality flaws - Cass is crass, tactless, and stubborn. Arcade is an idealist to a fault (in the game's opinion). Boone is blinded by loyalty to a flawed system despite enacting the worst parts of it. Veronica talks like every line was written by Joss Whedon. The others' flaws are a little more external, but ALL of the companions are intended to be flawed and have pros and cons (while not entirely equal), and all are still intended to be well-meaning people despite this.

It reflects a realism in the nuance of human beings. In general, the writing often tends to rely on this "no black or white, ALWAYS nuance" approach to an almost frustrating degree - like I WISH you could get a better ending for the Followers in a "did everything right" Yes Man ending, even though I know the phrase "did everything right" itself goes against the core philosophy of NV. The poll thing was intended as more of a jumping-off point to talk about some stuff in New Vegas I find interesting rather than a response to that post, but honestly - I know Tumblr has a bit of a problem with seeing nuance, but have a little faith in the writers, will you?

Oh. They... think the game itself pushes the idea that "all fascists are gay"??? How can you be a fan of this game yet have such a low opinion of its writing? Such a lack of critical understanding? This person says "According to my academically trained eye..." and then goes on a series of reaches that critically misunderstand the text in a really unfavorable way, just because they were (understandably) offended by a clumsy offhand statement a character makes and immediately clarifies. And they chose to run a poll despite their open hatred for some of the characters involved (they also seem to hate Boone, for obviously more understandable reasons). Interesting choice.

What's funnier is that OP's open disdain for this character makes it more likely for Cass to win the poll on account of spite votes. Cass would've absolutely been buried by Arcade and Veronica in any other scenario.

Anyway, here's a YouTube comment I found while grabbing these quotes that I found funny:

[Transcripts of screenshotted quotes are available in the alt text]

[starseneyes]

Garashir - Julian Bashir / Elim Garak - Deep Space 9

Yes, I'm doing it. After weeks of my poor husband listening to me rant and rave about these two, I decided it was time to start a Meta following their relationship and what wasn't and could have been if TPTB had let these two experience a fully formed romantic relationship rather than one told in between furtive glances and flitting flirtations.

I was quite young when Deep Space 9 aired, but I remember gravitating very heavily toward Julian Bashir. His character underwent such growth, and Siddig El Fadil (as I memorized his name when I was a child, now billed as Alexander Siddig) was mezmerizing.

Little Rachel didn't catch every episode, so I missed a lot of Andrew Robinson as Garak, but watching as an adult I am in awe of the charismatic performance that birthed out of one heckuva interestingly written first scene.

Where will this go? Oh, everywhere! And I'm ever so glad to go there with you.

I wouldn't think a 30-year-old show would need a spoiler warning, but just in case: Spoilers abound for those who dare to dive in. Everything. In totality. Even a bit about Star Trek: Lower Decks.

Shall we?

Before we begin with the meeting of two spectacular characters, I want to preface that I am well-aware that Siddig and Robinson were onboard from moment one and that they acted the hell out of it.

I think it's absolutely beautiful that these two have been the champions of this relationship, and it makes it all the more fun to write a meta like this—knowing that a lot of the microexpressions I tend to latch onto naturally were intentional. Oh, that makes this even more fun!

"It's Doctor Bashir, isn't it? Of course it is. May I introduce myself?" "Uhhhh, yes. Yes. Of course."

From moment one, Bashir is flustered. Yes, we could say he has a degree of excitement about meeting a supposed spy, but there's something in the way these two hold one another's gazes before Garak even opens his mouth that's intriguing.

Thanks to Robinson's openess about his character, we know that Garak was DTF. But Bashir is on the receiving end of this attention and affection, and unsure how to respond to it.

Now, I don't think this is is because our dear doctor is not open to attraction between himself and a being who is not female-presenting, but more because he truly believes this being to be a spy.

Can you trust the flirtations of someone skilled in the art of espionage? This is something Bashir will have to chew on for some time. He just doesn't know it, yet.

"My name is Garak. A Cardassian by birth, obviously."

And there's the moment Bashir looks the man up and down. But, why? It's such a minor thing, but it catches my attention every time, mostly because I know it was a choice on Siddig's part. Bashir looked this alien up and down while trying to figure him out.

Garak invites himself to sit across from the handsome doctor, stating much of the obvious while attempting to draw Bashir out.

"You are new to this station, I believe." "I-I-I am, yes."

Bashir is stammering. And it reminds me of my Middle child. Middle is Autistic, and stammering often happens when he's worked up about something, or really excited.

Bashir then places his elbows on the table... and immediately encounters the plant. He tries to bat it away, but becomes so embarassed he puts his hands back down on the table.

"Though, though I understand you've been here for quite a while." "Ah! You know of me, then."

Garak is noticeably delighted. No doubt, he thinks this awareness smooths the way for him to be even more forward with the object of his desire.

Bashir defers to tea and tries to order Garak some, while Garak basks in the attentive nature of this human he's spied. No doubt, he's wondering just how attentive the good doctor is in other areas of his life.

"As you may also know, I have a clothing shop nearby, so if you should require any apparel, or simply wish as I do, for a bit of enjoyable company now and then, I'm at your disposal, doctor."

Translation: I want to drape you in the sexiest clothes, then disrobe you, and I'll do it anytime you like, just let me know. What, that wasn't what you heard?!

"You're very kind, Mr. Garak."

Kind. It's a word that will come back (though not for another season or so) between these two.

"Oh, it's just Garak. Plain simple, Garak."

Plain and Simple will come back, too. I have to give the writers so much credit for bringing both these things back around later on in the series.

"I'm so glad to have made such an interesting new friend."

He places his hands on Bashir's shoulders, that right hand taking its time as the fingers settle and the human watches them, wondering precisely what he's feeling as it rushes through him in waves. Excitement? Attraction? Danger? All three?!

Hopeful he's gotten his meaning across, Garak leaves the nice doctor be. But the impression of the conversation stays with Bashir as a series of emotions and reactions flash across his features.

Yes, there's the excitement of a young man with flights of fancy thinking he's met a spy. But there's also a "What the hell was that!?" that flits across his face as he tries to process all the things he simultaneously felt.

Amongst the other emotions, there was a definite attraction and desire for this Cardassian he's never met. There was something about him that was intriguing from moment one.

The human has always liked aliens, as we recall from his experiences when his parents first took him away to be "reconditioned as a child. He was excited to see so many different aliens, then, and his work as a Doctor allows him to encounter many different species.

But this Cardassian showered him in compliments that disarmed him and left this seemingly smooth ladies' man stammering and grasping for composure. That he could be so easily stripped bare of the arrogance that encapsulated early Bashir characterization is no accident.

The actors gave us this gift in their very first scene together with no idea if they would ever meet, again. At this point, Robinson was a one-episode guest star on the show. It doesn't matter. Both he and Siddig performed the hell out of this.

Later, Julian spies Garak out for a drink. And the way the camera finds him alone in a corner lends a sense of loneliness and isolation to the Cardassian. Even the separation of us from him by the bars in the establishing shot seem to block him out, somewhat.

"And how are you this evening, Mr Garak?"

Dear sweet Julian is on the hunt for a spy, but Garak is simply happy to spot the spry, young Doctor, again. The way "enhance my evening" drips off his tongue tastes of that carnal want in the gentlest of ways.

"Ah, plain simple Garak. How are you today?" "Being observant, Doctor." "I'm sure of it."

That giggle Siddig puts into the performance is just delicious. It feels lived in and earnest.

And then these two have the first of many standing conversations—where the meaning of personal space does not exist. Yes, they were dealing with a 4:3 ratio, but there's a difference between tight quarters and kissing range.

"Come in quickly, Doctor, you're late."

Garak is man-handling his human, but there's a reason for it. And poor, dear Julian actually holds up the suit jacket to see if he likes it. I don't know if that was the actor choice or the script, but it genuinely made me laugh.

This episode aired January 1993, which means it was likely shot in late 1992. The next time the two would work together would be on Season 2's "Cardassians", which aired in October of the same year.

This time, it's Julian who notices Garak sitting alone, drinking from a matching mug begging for its pairing to join it.

"Ah, Tarkalean Tea, again, doctor?"

Nicely done, DS9 writers. Calling back to that first meeting where Bashir offered Garak some tea, saying it was good.

Also, this casual acknowledgement suggests there've been some more interactions that have gone unseen by us in the meantime. It's been 9 months in the real world since last they saw one another, so it isn't unrealistic to imagine.

But the writer of this scene quickly roots us in some kind of a casual relationship that has developed since last Garak set his sights on the doctor. It's expertly done, and while it's not related entirely to the performance, I have to call it out because it's so well done.

Bashir starts fishing, again, about the spy he believes Garak to be. And while Garak plays along a little (because he clocks it immediately), he does tire of it.

"Really, Doctor? Must we always play this game?"

Again, I wanna smooch the screenwriter. This is the 90's, y'all. This is just coming off an era where Riker and Troi were seemingly a couple one episode and the next they were making eyes at other people as if they didn't know one another.

This was an era where episodes were essentially still written in a bottle without continuous storylines because the goal was to establish television that allowed Drop In viewers to join the show at any point without needing previous knowledge to understand every nuance.

Deep Space 9 was famous for bringing continuous story-telling to the forefront of Star Trek with the Dominion War, among other things.

But even here in Season 2, someone on that writing team understood the importance of the relationship between these characters so intimately that they sneaked in lines to establish a history unseen by the audience. That's mind-blowingly masterful and deserves attention.

"I'm no more a spy than you are-" "A doctor."

Ooh, is that a little bitchiness coming off of Bashir here? Me gusta! It's so much more attractive here when aimed at the charismatic Cardassian than when employed in attempted seductions of Daxes.

"What else can I do to convince you I'm just-" "Plain, simple Garak?"

Again, calling back to 9 months earlier at a time when most of us were still recording episodes on VHS and mailing them cross-country in tape exchanges coordinated by a burgeoning internet that consisted of IRC, ICQ, and AOL's Buddy Chat. This is artfully done.

"And a bite on the hand is certainly worth saving a boy's life, wouldn't you say?" "I suppose it depends on whose hand. Just joking, Doctor."

Bashir huffs out the slightest laugh at that. But as they speak, the topic turns to Gul Dukat, and Garak gives the good Doctor an education. One that Bashir attempts to use in a verbal confrontation with Gul Dukat that goes nowhere.

"He's lying." "Is that an opinion, or do you have evidence to support it?" "I have Garak."

This is intriguing to me. Because, in the first scene of the episode, as Garak and Bashir sipped drinks and chatted, Bashir brought up the issue of "trust".

On nothing but the word of a Cardassian he casually knows, Bashir inserted himself into a conversation to which he was no part and got himself duly told off by his superior officer.

One could say that he was foolhardy to so readily believe the man he has correctly deduced to be involved in espionage. But, there's something at a chemical level about these two that cannot be denied. And the next scene shows it all the more.

Bashir tosses and turns in bed, something interfering with his peaceful slumber. He starts himself awake and sits up to see Garak sitting patiently, watching him sleep, waiting for him to wake.

"Come, Doctor."

Woah, there, Nelly. I know you like to be forward, Garak, but did you really need to be that obvious?! There'll be plenty of time for that later.

"Get dressed."

I'm sorry. Are we implying that Garak is just gonna... chill in Bashir's quarters while he unbuttons that non-regulation looking night shirt and nothing's gonna happen between the two of them?

I mean, I suppose there's a reality where Garak is too worried about this Cardassian War Orphan to take advantage of the moment, but I'm certain he is not going to waste the opportunity to enjoy the view.

"We need to be going." "Going? Going where?" "To Bajor."

And on nothing more than that, the good Doctor suits up, wakes his superior officer (who just told him off) and requests a Runabout.

"It's Garak, sir. He wants to go to Bajor." "Bajor. For what?" "He wouldn't tell me."

Listen, honey. I know you're down bad for the Cardassian bad boy, but your Commander's getting a little tired of you interrupting him (first his meeting, then his sleep) on his behalf. Just bang him and be done with it, won't you? But, of course, a timely message saves the day.

"It can't be just a coincidence, sir... What could he be looking for on Bajor?" "There's only one way to find out."

And thus, a Cardassian and his human boy toy took off for answers.

"Perhaps, I can be of service." "You can fix computers?" "Oh, I dabble in isolinear subprocessors. It's a hobby of mine." *jaw clench*

I have to call out the jaw clench. There are few actors who can make a motion that minute and have it read well on camera.

"I continue to underestimate you, Garak."

I've never understood this line. Perhaps, Bashir could not fathom all of Garak's capabilities, but one would automatically assum a spy possessed hidden talents.

Perhaps this line speaks to the 90's, an era when we still pretty-much stuck to the labels provided by John Hughe's Breakfast Club of Brain, Athlete, Basket Case, Princess, and Criminal. Folks weren't easily more than one thing in that compartmentalized view of society and media.

If anything, Garak is an incredible Grey character when it comes to morality and motivation. So, perhaps his inclusion in the show is a delineator between the old and the new—where more complex characters were accepted on television.

But, no, Julian, I don't think you've underestimated him. Perhaps your imagination didn't stretch so far to encompass all of Garak's talents. But, if anything, you've put more stock in him and what he says than anyone else. Otherwise, you wouldn't be on this planet right now.

Garak removes his eyeglass and hands it instinctively to Julian, who receives it. It's a very intimate moment, honestly. They don't discuss this in any way. Garak knows Julian would want to see it, and he hopes to diffuse his questions by tying it all back to his tailor cover.

"Computer, disregard that request and shut down all engines."

Watch Garak, here. Robinson is taking us through an entire thought journey masterfully in seconds through microexpressions. There's surprise. Confusion. Concern. And then a realization where he thinks he's landed on what prompted this.

"I'm sorry you're upset about the orphans... I don't make the rules." "But you do play the game, don't you, Garak? And there is a game being played right now as we speak, isn't there?"

Holy fuck, yes, Julian! Finally, you are pushing back! Look, I love how much Julian can trust Garak sometimes, but it's also a bit foolish, and it's about damn time he held Garak's feet to the fire on this one.

"There are always games, Doctor." "The trouble is I don't have the slightest idea what this game is all about. So you're gonna tell me what's going on inside that plain and simple head of yours, my Cardassian friend, or we're going to sit here until we rot."

Garak looks like he wants to pin him right there. Rather than explain it all to him, Garak feeds him the information he needs to put together the pieces.

See, Garak knows that Bashir has a keen intellect. He doesn't need to tell him everything. He can simply allow Bashir to deduce it.

And perhaps this is a sneak peek of our dear Cardassian's talent for spinning tales and avoiding speaking absolute truth, but it also shows a level of trust in Bashir's intelligence.

It's the furthest Garak is willing to trust Bashir, right now, but it's still a huge leap in terms of any other relationships in Garak's life. I mean, what other friends does he have?

Sure, he initally approached Bashir hoping for a quickie or a nice man he could bootie call every so often. It seems Bashir hasn't quite taken the leap Garak had hoped in that department, but they have spent enough time together to forge some kind of bond.

And that's rare for a spy. Connections are weaknesses, you know. Which makes what these two share throughout the series all the more important for them both.

"Very good, Doctor. I'm glad to see our little get-togethers haven't gone for naught."

Again, this isn't their second time meeting, even if it is only our second time seeing them together. Gosh, I love this writing team for getting it.

"Another coincidence?" "I believe in coincidences. Coincidences happen every day. But I don't trust coincidences."

Gosh, this man can deliver a line. Also, I love the "coincidences" coming back around.

"Do you really think he purged the file on Rugal?" "I would have."

It's not an admission of his role as a spy, but it is a clue. And, if Bashir is paying attention, as much admission as he'll get at this point.

"Are you sure his name was Rugal?" "That's what we were told." *Garak perks up* "Somebody told you his name?" *Garak smiles*

I love this bit. Garak is smart, so he immediately clocks the "told" bit. And then he gets to have pride in his pet human clocking it nearly as quickly.

"Is there anything else, Doctor?"

Julian looks to Garak, who is hovering out-of-view of the Bajoran. He smiles as he shakes his head. "You did well," his smile says.

"Commander, can I ask a few questions?"

Julian walks in with Garak by his side—equals in this moment. And while Sisko earlier told Bashir off for interrupting, he knows well enough, now, that the Doctor must have something constructive to offer.

"Alright. Let's talk about children."

Look. At. The. FRAMING. Yes, we're watching Bashir square off with the menacing Gul Dukat, but framed behind them is a barely contained Garak, watching Bashir with pride.

This isn't the pride of a parental figure, but the pride one feels when their Partner gets to show everyone else what we already see in them. While Bashir has flubbed a bit through this episode, he gets to shine in this scene.

Garak always knew he had it in him, which is why he perked when Bashir stood up to him in the Runabout. Now, he gets to watch as Bashir triumphs in front of his Commanding officer and others against Garak's old nemesis—Gul Dukat.

After Julian moves away to take his place at the front of the room, the frame holds on Gul Dukat with Garak in the background. And, oh, the theater girl in me is fangirling!

Look, there are actors and then there are actors. I will never forget the first time I saw my husband on stage. We wouldn't meet for months later, but I was very bored during the second act of a University performance of St. Joan.

Every actor on that stage was talking, but nobody was listening. You can be a fine actor and get by, but those who also know how to listen and react will always have my heart.

And as the secon act droned on, I noticed one of the 12 people sitting at the front of the stage slowly remove their blindfold, turn their head, and listen.

He had maybe 8 minutes of speaking time on stage, but when I went home that night, I raved to my father about him. "The second act was dragging and then this man took off his blindfold and I thought, 'finally, there's an actor on this stage!'"

Watching Robinson, here, you can tell just how amazing he is. The director chose to keep him in-frame, likely because he recognized the brilliance. And all these years later, that remains a gift to us all.

Julian delivers the final blow, and his forceful presentation gives way to an honest smile directed at Garak, who smiles back, glowing with spousal pride as he nods.

"Truth, Doctor, is in the eye of the beholder. I never tell the truth because I do not believe there is such a thing. That's why I prefer the straight line simplicity of cutting cloth." "So, you're not gonna tell me." "But you don't need me to tell you, my friend. Just notice the details. They're scattered like crumbs all over this table we regularly share."

They have a table. They have a table! I love all these little details. Also, you can tell they've really honed in on Garak's character, here.

While his first, flirty appearance wasn't intended for a recurrence, I think they had a better idea of it, here, and thus a better handle on him. Being illusive is just part of who he is and how he operates.

"Until next time."

And he nods his head toward Bashir, and Bashir nods back. I point this out because it will come back, and I think it's just so incredible that Robinson put this in so early. Trust me, I'll point it out when it comes back, again!

It would be five months before these two shared the screen, again. I point this out only because the spaces between them working together are getting smaller and smaller.

Someone amongst TPTB realized they had a winner with this Garak character and brought him back—expanding his interactions to more of the crew.

"It all comes down to a question of loyalty. My dear doctor, Yuri had to choose between protecting his brother and protecting the state. He chose the state. As would I, every time."

Oh, this is one of those conversations that says so much about Garak for anyone paying attention (or for those of us with knowledge of the future). Watching this the first time, nobody would have known about Tain, about Garak's past, about so many things.

But from this conversation we know he's a man of the state, first. That is where his loyalty lies. Not with people. It's very revealing.

"Fishing, again, Doctor?" "Assuming you're not a spy-" "Assuming." "Then, maybe you're an outcast." "Or, maybe, I'm an outcast spy." "How could you be both?" "I never said I was either."

He's telling you, Julian! You just have to listen instead of looking for what you want to hear. In this episode, Julian may not realize how much of what Garak said in that short span was true. But, we, the audience, do.

"Before I became a tailor I went by a simple motto—never let sentiment get in the way of your work. A bit of a cliché, but true, nonetheless."

Unsurprising to any of us paying attention. But, this is a television show, so one has to wonder how this next bit is going to play out, right?

In this one episode, we've gotten to see how Garak can play both sides, how much we wants to go home, how much he hates exile. They've set it up for us to believe that Garak is going to do the wrong thing, here.

For goodness sake, Robinson was probaby peeking at the end of the script to see if this would be the one where they killed him off. It would've made narrative sense!

"I can't believe that you were once considered clever."

Oh, you Cardassian bloviator. How you've underestimated the simple tailor.

"I love Cardassia. Which is why I had to do what I did."

He said at the start of the episode that he will always choose Cardassia. And once he realized that the old frenemie ruined his Central Command-approved plan, he chose what was best for his homeworld and not what was best for him. And that, my friends, is a true act of love.

Why go into all of this when this is supposed to be a Garashir Meta? Well, because everything that happened plays into a simple, short scene between the two at the beginning of the episode.

Garak had to choose between a frenemie and the State. Like he said, he'd always choose the State. So, for once, Garak was not lying to the dear Doctor at all.

Now we get to one of my favorite Garashir episodes—The Wire. Because, let's face it, there's a lot of these two in this episode and Robinson is just... oh, chef's kiss.

PAUSE: Why was Julian Bashir my favorite character on DS9? Well, much as he was and is a gorgeous human who should be immortalized in marble, it wasn't looks. I was a child when I first watched the show, and I'm pretty damn Ace, so it's not about looks. No, it's about talent.

I long ago realized that I choose favorites based on talent. When The Backstreet Boys were big (and I learned a couple songs so I could sing along as school dances while cringing over the music videos), friends asked who my favorite was. "Brian!" I said without hesitation. "But he's not cute," my friends responded.

I hadn't even considered if he was cute. I chose him because he was the most talented.

My favorites of each Star Trek series tended to be the performers that I thought were the most talented. Siddig was unmatched, to me, amongst the main cast. It was only opposite Robinson where I saw two evenly matched performers feeding off of one another and elevating each other.

So, yes, I am gushing right now over Robinson, but accompanied by that is a baseline of being gobsmacked by Siddig.

Now, let's take that appreciation of these two giants into The Wire, which aired only two months after the previous episode featuring Garak.

"I hope I'm not boring you, Doctor." "Oh, not at all, no."

Bashir places a hand amicably on Garak's back, patting once and taking almost a full two seconds before letting his hand drop away.

"I just up late last night." "Entertaining one of your lady friend?"

C'mon, Garak. Just say it. You'd rather he be up late entertaining you. We all know it!

Also, glaring intensely at whichever higher up said, "Oooh, we need the pansexual lizard to reference the Julian is definitely all about the ladies!" Like, y'all, we can clock the queer from here. It's okay. You can totally let them be in love.

"Unfortunately, not."

Covering. This has to be covering. It's not like the good doctor can't ensnare some cutie with that boyish smile of his. But he has to play along for anyone listening along so they don't suspect his attraction to the Cardassian Spy. That's the reason, right?

"No, I was reading the last few chapters of The Neverending Sacrifice." "Isn't it superb? Without a doubt the finest Cardassian novel ever written."

Hold up. Hold up. This is boyfriend behavior. You're telling me he stayed up late last night reading a Cardassian novel? Like, he purposefully didn't go out or see anyone because he wanted to do something that connects him to Garak!?

Oh, honey. Now I see why you had to cover with that "unfortunately no ladies" thing. You're down bad for lizard boy.

"There's always Quark's." "True. But I'm really not in the mood for noisy, crowded, and vulgar today." "I suppose the Klingon restaurant is out of the question."

Is this flirty? My dear Siddig, you really played this line as flirty! And I adore it!

"Maybe if you lent me another book by a different writer-"

Again, DS9 writers doing the most with limited space. We know, now, that Garak lent Bashir the book. Some part of him wanted Julian to connect with this, one of his favorite books.

This is not Spy behavior, my dear Cardassian. This is boyfriend behavior. You crave genuine connection with Julian. This isn't fuck-town anymore where you simply want him carnally. No, you're developing feelings for the man.

In the immortal words of Whoopi, "You in danger, girl".

"It would only be a waste of time. When it comes to art, you're obviously a prisoner of Federation dogma and human prejudice." "I'm sorry you feel that way."

Do you hear how softly Julian says this? He's genuinely hurt that he hurt Garak's feelings. He wants to smooth it over by trying, again. Pain seizes Garak before they can continue.

"Are you alright?" "I'm fine." "You don't look fine. Your skin is clammy and your pupils have contracted."

The wounded boyfriend voice has lifted to the concerned boyfriend voice. Garak smiles a bit, touched by the consideration, but also trying to put up a brave front.

"I assure you, I'm in perfect health. Now, you were asking about other Cardassian books, something, maybe a little more acces-"

He's trying to divert, to change the subject. But his pain is too much for him to carry out his usual subterfuge and obfuscation.

"Perfect health? Then Cardassian standards must be a little lower than mine."

Ouch, Julian. Did you really have to take that jab at the man when he's already down!? Julian places his arm around Garak to escort him to the Infirmary, but there's no way our dear Cardassian is going to let that happen.

And then we get to the moment I had to pause the video and search Social Media. See, a name popped up that I immediately recognized. "Robert Hewitt Wolfe"

He wrote this episode. And, as I opened a tab to Bluesky, I realized that of course, I follow him... and he follows me. Me!? Why me!?

Look, loves, I'm a former VO artist and actress from Virginia who grew up in North Carolina. Yes, I grew up on film sets, but that was a whole other part of my life. I have some incredible folks who follow me on Social Media, and I've never fathomed why.

So, honored as I am to find Wolfe following me... I have no idea why!

"I only wish my humanoid patients were as easy to treat." "Did Chief O'Brian dislocate his shoulder, again?"

This is so telling. See, Jadzia can tell from Julian's tone that he's not just talking about any patient. He is pointedly talking about a patient with whom he shares genuine connection. This isn't ordinary annoyance. This is frustration.

"It's Garak. Today, at lunch, he seemed as though he was gonna have some sort of seizure. He was having trouble breathing and appeared to be in a great deal of pain. When I tried to get him to come to the infirmary, he outright refused."

All he needed was someone to open the door. In seconds, he ascertained a lot about his Cardassian friend's condition. And now he's worried. He can't let it go.

I've seen folks talk about Bashir being Autistic-coded, and as the mother of an incredible Autistic-child, I can really see it. And one thing my boy has a really hard time doing is letting go when he is invested in something or someone.

"It's that damn Cardassian evasiveness of his. I mean, keeping me guessing about his past is one thing, but when it comes to his health, I don't know. Why can't he just tell me what's going on?" "It sounds like you're taking this personally." "I suppose I am."

Oh, honey, we know you are. The game of who Garak is and what Garak's done is part of your foreplay. But knowing that he is in pain and worrying that it's going to escalate is not fun.

"It's just that Garak and I have been having lunch together once a week for more than a year, now, you would think he'd come to trust me a little."

Honey, he roped you into a midnight trip to Bajor and trusted you with the truth about that Cardassian child. Did you forget about that? Or, maybe you don't yet understand just how much trust that actually took.

He does trust you. More than he trusts anyone else on this spacestation. But your soon-to-be-beloved has a lot of trust issues, and a problem with sentiment.

And I just realized I've written "Honey" four times in this Meta so far. And, no, it isn't common in my Metas. It seems reserved, right now, for Julian Bashir. So, in case you thought I'd missed that little quirk, no, I didn't, and I have no explanation. Anyway...

"Why should he? It's not like the two of you are really friends." "Well, no. Of course not."

And Julian bluffs. He tries to brush it off. Because what they are will never fall into a simple label. It'd be convenient if it did, especially for the members of TPTB who were against this unlikely love affair.

But these two have a special bond that goes beyond any either of them has ever had. And while we only see Julian banging women on the series, this is supposed to be a more evolved time where we don't judge one another based on who they love.

So, it's unreasonable to label any character in the Star Trek universe as "straight" simply because of what we see on-screen.

Garashir hasn't been a phenomenon for thirty years because these two were friends. What they were and are is so much more complicated than that. But in this moment with Jadzia, Julian doesn't have those words and wouldn't even know where to start. So, he deflects.

"I suppose when it comes right down to it, I don't trust him, either. I mean, for all I know the man is a Cardassian spy."

Julian... honey... did you forget when you woke Sisko in the middle of the night to procure a Runabout just because Garak asked you to!? You trust him. And you're upset he doesn't seem to trust you back.

That's what this really is. He does trust Garak. And he wants desperately for Garak to trust him back. I mean, can you love someone you don't trust? Maybe. Can you love someone who doesn't trust you? Sure.

But trust is an important part of any relationship. And this episode really highlights that for Garak and Bashir.

"And if he doesn't want my help, that's his perogative."

Besides the obvious angry stab that Jadzia totally clocks, the emphasis on "my" is fascinating. Julian isn't upset that Garak isn't seeking medical assistance. It's about him. He's upset that Garak isn't seeking his assistance.

So, of course, Bashir leaves Jadzia and spies... his boyfriend asking somebody else for help. And, oh, that burns.

"You and Garak going into business?"

Busted! Nice spy work, Bashir. Looks like you have been paying attention.

"Really? I thought Garak sounded a bit upset." "Upset? I hadn't noticed. Now, is there anything I can do for you?"

Ohhhh, the jaw clench is working overtime. Julian looks like he might punch Quark right then and there. I mean, you can feel the heat coming off of Bashir, and that is all Siddig pouring it into the performance. So delicious.

"I was hoping you could give me a hand. I've been trying to access the old Cardassian medical files, but I haven't been having much luck."

Look at boyfriend Bashir using his free time to try to help his favorite Cardassian. Of course, he finds out it will take too long to get the files he needs, and you can see the frustration flash through him as he takes it in. Another dead end.

"Quark to Bashir." "This is Bashir." "Doctor, I need you in my bar, right away."

Let's talk about this, right quick. So, we all know that Bashir and Garak have been having lunch together at least once a week for a year, now, right?

So, when Garak is getting a bit out of hand and needs someone to take him home, who does Quark call? He calls Bashir. Because Bashir is Garak's person, and everyone who's paying attention knows it.

Again, this isn't a simple "friend" label. But Quark didn't call Bashir for his medical experience here. He called him for his Garak experience. And Bashir clocks the very drunk Garak as soon as he enters. He passes off his medical kit to Quark and sets his sights on Garak.

"Doctor. What a pleasant surprise. I apologize for my outburst at lunch, but I promise I'll make it up to you. Please, join me." "I think I will. May I?" "By all means... What are you doing!?"

Note the different responses to the different people. Quark and Garak have a "friendly" association, but they aren't friends. Bashir is the closest thing to a friend Garak has.

"I think it's a little noisy in here. I'd prefer to drink somewhere quieter."

As Bashir clutches the long-necked bottle, he uses Garak's own words from earlier against him.

"Why, an excellent idea. We'll go to my quarters."

Well, it's about damn time. I mean, yes, Garak did break into Bashir's quarters that one time, but this is the first time he's inviting him back to his place that we've seen.

And, Bashir, what are you doing with your face?! That open mouth. Those wandering eyes as Garak places the cork in the bottle.

"Whatever you want."

Um.... do you mean that, Doctor? Because, I'm certain the handsome Cardassian would love to take you up on that!

But, alas, nobody gets what they want (except Quark who snatches that bottle from behind Bashir's back as quickly as he can). Bashir tries to bamboozle his boyfriend into a trip to the Infirmary, but even blundering drunk Garak is still an astute Garak.

"I am not going to the Infirmary, and I refuse to play this ridiculous game."

Ah, yes, the games. A lot of their foreplay is in games. But, also, a lot of the way Garak's been forced to live all these years.

"Make it stop. Make it stop."

Because Garak really does want it to stop. The pain. The embarassment. The humiliation. The loneliness. The isolation. He wants it all to stop.

But that requires letting someone in. That requires trust. And, for obvious reasons, he's not one who naturally trusts with ease.

"Is that legal?" "It's in the best interest of Station Security. Doctor, do you want to know what Quark knows or not?" "I see your point."

Because he needs to know how to help Garak.

"Patient Garak is no longer in the Infirmary." "What!?"

I love the reading on that. It's exasperated more than surprised. Because of course that frustrating Cardassian was gonna slip out the second his back was turned. He stalks off to his boyfriend's Quarters to give him a piece of his mind... and find that he of course stole medicine.

"Ah, Doctor, what a pleasant surprise."

He meant it at Quark's. He's lying, here. He'd much rather be alone.

"What the hell do you think you're doing?!"

Oh, I love pissed off Julian. All he wants to do is help Garak, and from his point of view, Garak keeps making it worse by keeping him at arm's length.

His "What the hell do you think you're doing" screams, "Why won't you just let me help you, you foolish lizard man!?"

"Listen to me, Garak, I've had just about enough of your nonesense. Now, you're coming back to the Infirmary with me." "Oh, I don't think so. Believe me when I tell you, there's nothing you can do for me." "Oh, and Quark can, is that it?!"

Ooooh, there it is. I was right! Julian is jealous and hurt and he desperately wants Garak to trust him. Garak's eyes widen in surprise. Upon learning Quark couldn't get the item, though, Garak accepts his fate.

"Ah, well. Maybe it's for the best. My hypospray, if you please." "Another dose of tryptocederine might kill you." "Thank you for your concern, Doctor, but I'd rather have the hypospray." "I'm not gonna let you commit suicide. I'm here to help you."

But you can't force help on someone who doesn't want it. Not like this. Sure, Bashir could knock Garak out and get him back to the Infirmary, but that won't give him answers. That won't give him a path to healing. He needs Garak to open up and let him help.

"We've got to get you to the Infirmary." "My dear doctor, I have no intention of putting myself on display for the amusement of the Bajoran inhabitants of this statin." "It's not your pride I'm worried about. It's that implant you're carrying around inside your head." "You know about that, do you?"

Again, he's impressed. Julian has put in the work on this one. But this also illuminates why Garak has been so resistant to being in the Infirmary all along—he's a Cardassian. And he knows beyond a shadow of a doubt that this is his exit.

He truly believes that Bashir cannot help him. So, why tell him anything? But the more he pushes and pushes, the more little truths slip out.

"Garak! I need to know what we're up against. If you tell me what it's for, maybe I could find some way to remove it."

There it is. We. Us. In the immortal words of Pacey Whitaker, "There's an us here, now."

Somewhere in there... Garak decides to tell the truth. At least, some of it. He leaves out his parentage, of course, but he tells Bashir about the implant, about his true torture in exile.

"Living on this station is torture for me, Doctor. The temperature is always too cold. The lights always too bright. Every Bajoran on this station looks at me with loathing and contempt."

He turned it on continuously a year before he met Bashir. So, we have never seen him at a time when he was without it. We don't have any clue what baseline Garak looks like without his happy pills. A terrifying and intriguing thought.

"So... that's it, then. You're just going to give up and let them win." "Them, Doctor?" "The Central Command. The Obsidian Order. Whoever it was who exiled you here. You're just going to roll over and die, let them destroy you, give up any hope of ever seeing Cardassia, again." "Doctor, did anyone ever tell you that you are an infuriating pest?" "Chief O'Brian, all the time, and I don't pay any attention to him, either."

I know this is not the best time, but is anyone else just waiting for these two to kiss? This is lover-level arguing, folks.

"Has it ever occurred to you that I might be getting exactly what I deserve?" "No one deserves this."

There's that soft voice, again. The one he had when he apologized for Garak thinking he had no taste when it came to literature.

"Oh, please, Doctor. I'm suffering enough without having to listen to your smug, Federation sympathy. You think that because we have lunch together once a week you know me? You couldn't even begin to fathom what I'm capable of."

He's pushing Julian away. He's trying to drive Julian off because sentiment is a weakness that Garak can't afford. Right?

"I am a Doctor. You're my Patient. That's all I need to know."

And this is one of those moments where Julian really shines. Yes, he's been a bit emotional about Garak this episode... stabbing plans and all. But, when it's time to be the cool and calm one, he does it expertly.

I can be an emotional human. Heck, I'm human, so emotion is part of the whole shebang, right? But, when there's an emergency, I'm the coolest head in the room. I don't know if it's my Disaster Relief background, my News background, or just lots of childhood trauma that taught me how to be cool-headed, but I excel at it.

And, here, Bashir has shifted into his professionalism.

See, the personal side has been settled for him, in a way. Garak let him in. Garak told him what the problem was. He now has a starting point because Garak gave him something to work with. Now, he is back to being a Doctor trying to help his Patient.

"Wrong, again. You need to know who you're trying to save."

Watch Garak's face as he turns away. He doesn't want to do this. But he feels he has to.

What good is a spy with real friends? He needs to be ready to leave at any moment, ready to kill anyone for the sake of Cardassia, ready to face his end if that is the best outcome.

Garak puts distance between them, putting the actual desk between them, even though the framing obscures it.

He tells half-truths to Bashir—enough to hopefully drive him away, to destroy his compassion, to let him die alone and tortured by his past.

Bashir feels the full weight of the words and leans against the desk for support. Garak crosses back around the desk to stand alongside him, ready for his punishment. Ready for the rejection. Ready for the inevitable loss.

And the camera moves with him. At this point, we've spent nearly 15 seconds on this shot, already. There is no switch in perspective.

We are with Garrack as he rounds the table to Bashir, as he settles in next to him, as we transition from Garak standing alone and defiant, to him leaning, defeated, and worn... but not alone.

"I hope I haven't shattered too many of your illusions."

Garak lowers his head, closing his eyes, ready for his heart to shatter as his work is done. Yes, a lot of what he said is probably true, and he thinks it will be enough to drive his one friend away.

The shot is stunning. He leans down so that their heads are almost on the same level. Bashir is heavy with possible truths. Garak is heavy with fear and trauma.

"Listen to me, Garak-"

Cutting him off, because this is the second time he's said it this scene, but the tone is completely different. Before, he was angry. He was incensed! He demanded that Garak return to the Infirmary.

This time is different. And the writer gave Siddig the space to do this so beautifully—to show the difference between Bashir at the beginning of the scene and the end.

Garak looks up to meet his eyes, unsure of what he's going to say. There's openness on his side, more so than usual. And on Bashir's, a choice has been made—one that Garak didn't anticipate for all his possible scenarios plotted in the miliseconds used to gather his story.

"Right now I'm not concerned with what you did in the past. I'm simply not gonna walk out of here and let you die. You need to turn that implant off, and whatever withdrawal symptoms or side effects you may experience, I promise,I"ll help you through them."

Garak looks away from Bashir, his eyes darting back to the compassionate man before him. His plan failed. He didn't scare away his only friend. He looks away, unable to meet Julian's eyes.

"I need to know where that triggering device is. Where is it?"

And Garak tells him. At this point, I don't know if Garak realized that he would continue to deteriorate even after it was turned off. Maybe he did. Maybe he didn't.

But I think he also realized he finally had someone in his life who wouldn't push him away, wouldn't give up on him, wouldn't denounce him when it got scary.

And the camera moves with Bashir. We've been on that same shot for an entire minute at this point. We started with Garak defiantly finishing his story, to the two of them meeting in the middle, to Bashir taking over as the man of action, going for the device.

As Bashir grasps the device, the camera pans up, Bashir in the background and a bent Garak in the foreground. Again, there's an us here, and the camerawork is helping tell that tale.

Also—over a minute of these two on-camera? That's sensational. Camera cuts can cover up a multitude of sins. From someone flubbing a line, to a case of the giggles, to bad blocking.

But Siddig and Anderson are skilled enough to handle the long take with ease. Both practiced performers who are accustomed to the unforgiving nature of the live audience on the stage, they take their characters through this journey together masterfully.

And, again, it's Anderson's reactions that really gut you. But Siddig gives him the space for those reactions to breathe. For example, when Bashir says, "Listen to me, Garak," he takes a breath, there. It gives Garak the time to gather himself, to take a breath himself, to meet his friend's eyes.

You can see Garak gathering the courage for his heart to break. Yes, he spun the tale that was intended to do just that. But, he honestly wishes it weren't so.

"Right now, I'm not concerned with what you did in the past." Garak's mouth opens. It's slight, but it's there. He's surprised.

"I'm simply not gonna walk out of here and let you die." Garak's eyes start searching Bashir's—he means it. This isn't a trick. This isn't subterfuge. He gives a damn.

"...I promise I'll help you through them." That's when Garak looks away. He doesn't feel like he deserves Bashir's kindness. If anything, he deserves to be abandoned and have his heart break before he dies alone, right?

It's such a gorgeous scene. The writing. The directing. The framing. The performing. The vulnerability Robinson lends Garak in that last minute, and the compassion Siddig pours into Bashir.

Some actors simply can't carry a scene like that, but these two meet one another, feeding off of one another, giving to one another instead of trying to dominate the space as the focal point.

And, look, for all I know these long shots are simply the result of the production schedule adjusting so there would be fewer set-ups and Robinson could get out of the Cardassian wet-suit faster. But, even if they are, they're still a wonder to behold.

"Well, that'll be all, for now. If you need to reach me, I'll be here for at least the next 26 hours."

Think about the nuance of all of this. He didn't bring Garak back to the Infirmary. He set up in Garak's Quarters to be sure Garak would be as comfortable as possible, but gave no thought to his own comfort as he's tending his patient.

Garak will be able to detox with dignity in private—save Julian. And Julian will fulfill his promise to help him through. The door chimes, and it's Odo.

"Come on, we can talk outside."

Yes, you could say that Julian is only doing this because he is in Doctor mode looking out for his Patient. But, earlier he was willing to do something illegal in monitoring Quark's private communications for the sake of information, right?

"I'm afraid your questions will have to wait."

And René Auberjonois' reaction is what makes this fascinating. He was not expecting the good Doctor to say that.

"Doctor, these are murder cases and Garak may be a suspect."

Maybe the human doesn't understand, right? Maybe if he speaks to the brilliant doctor like he's a toddler, he'll get through.

"That may be so, but he's still my patient and I'll not have him disturbed, so until further notice his Quarters are off-limits to everyone except Emergency Medical Personnel. So, if you'll excuse me, I have a patient to attend to."

Odo acknowledges it, but he looks back several times in consternation to the door as he goes. He's wondering about the good Doctor's motives, here. He is. And he's not wrong to wonder.

Yes, Julian is a Doctor tending to his Patient. But he's also a friend who made a promise that he intends to keep.

At first, Garak sleeps. There are fitful moments. And Julian watches over him. He hovers. And then, finally, he curls up in the chair and drifts off to sleep. He's exhausted. He's worn. But he wakes to the soft sobs of a Cardassian.

Can you imagine how unnerving it is for a hardened Cardassian spy to find himself crying in the presence of a weak human? A human he has trusted to get him to this point. A weakness he can't afford?

And, yes, he is under the extreme stress of detox. He has gone from reliance on this implant for two years to turning it off, cold turkey, and his system is in shock. He's going to lash out. And Julian knows it.

"Garak?" "Leave me alone." "I don't think that would be a good idea right now. Your blood chemistry is severely unbalanced. You need to rest."

Julian perches on the bed next to Garak, but they are facing opposite directions. Julian has one perspective, and Garak the other. He places a hand on the Cardassian's shoulder, and Garak lurches from it.

Ordinarily, Garak would welcome Julian's touch. Already this episode, this is the fourth time Julian has reached out to touch Garak, once as a friendly pat, and twice with the hopes of escorting him to the Infirmary.

But in his detox, Garak doesn't want touch. He doesn't want affection. He's hurting and angry and confused. But he's still Garak—weaver of tales and master of half-truths masquerading as full lies.

"Don't touch me." "Calm down."

Julian, honey, no. And, Garak runs with it. He starts destroying things—the lamp, overturning his desk with barely any effort.

"Do you have any idea what that means?" "I'm afraid I don't." "No, you don't, do you. You don't know much of anything."

Again, he's pushing Julian away. But when Julian brings up the shuttle story... the story shifts.

And we begin another long shot following Garak as he rants and raves, possessed by memory and haunted by the horrors he'd rather bury in the forced endorphines of his mind.

Robinson is monologuing. As a theatrical actor, this is not something that would be new to him. But a lot of science fiction simply didn't possess performers of this caliber at that time.

In this version, Garak is the one who made the unthinkable choice and Elim is the angry Statesman.

And this shot was 1:15 long. Yes, Robinson has the heavy work in this scene and is teaching us a masterclass on performing. But Siddig has to support without ever drawing focus. And that is tougher than it looks. Again, masters.

"And so they exiled you." "That's right! And left me to live out my day with nothing to look forward to but having lunch with you."

This sounds biting, and Julian takes it as such. But, underneath that is a truth—for an entire year, Garak had nothing to look forward to on this station. At first, he spied the spry Startfleet Doctor and though, "ooh, a bit of fun!"

But, now... time with Julian is something he looks forward to. For any of us who have ever been in a tough spot, felt like the walls were closing in, were struggling through life—we understand the power of having something to look forward to.

"I'm sorry you feel that way. I thought you enjoyed my company." "Oh, I did! And that's the worst part."

Now, Julian knows that Garak is lashing out because of the detoxification. Likely, this isn't the first time he's helped a patient through this.

But they have the added layer of a friendship. Yes, it's one they both deny, at this point. Garak needs to fool himself into thinking he'd still kill Julian at a moment's notice, and Julian needs to underplay how much Garak means to him because he isn't yet ready to face it.

So, Julian averts his eyes as Garak continues, because he needs to try to keep this in Doctor mode and not take it personally.

"I can't believe that I actually enjoyed eating mediocre food and staring into your smug sanctimonious face."

Staring, you say? Yeah, I know, not the best time to swoon. But, y'all, he enjoys staring at the good Doctor and just admitted it. It's cute!

"I hate this place and I hate you." "Okay, Garak. That's your prerogative. Now, I really think you should lie down."

He's barely holding onto the professionalism, here. He cognitively knows well enough that this isn't as personal as it might seem. Garak is coming off of two years of dependency on a drug to maintain his happiness that is now just... gone.

The two tussle, and another seizure strikes. It's too much for Bashir to handle in Garak's quarters, and so they end up in the Infirmary, again, where Julian tries to solve the issues of Garak's continued degradation.

And after all that... Bashir still wants to help. Garak, now calmer, listens in on the conversation. He decides to share yet another version of the story, sprinkling in some crumbs that Bashir can choose to follow—or not.

"You've done enough, doctor. More than I deserve."

But what I find incredible about this conversation, is how Garak emphasizes that he deserved his exile for what he did to his best friend. Now, anyone who's seen the whole series knows Elim and Garak are one.

But who is Garak's best friend now? Has Garak ever had a best friend? Someone he could count on?

"Why are you telling me this, Garak?" "So that you can forgive me. Why else? I need to know that someone forgives me."

The weight of this. Yes, yes. I know they're about to hold hands and be all sweet about it. But that last line is important. Because in Season 5's "In Purgatory's Shadow" Garak tells Bashir how he'd hoped Tain—the most important relationship in his life—could forgive him.

There is only one other person whose forgiveness holds weight with Garak—and that's Julian. Julian places his hand in Garak's, and Garak holds on, holding the human's gaze.

"I forgive you... for whatever it is you did."

This. Is. Art. The pause. The shrug! There's so much going on here. Because Julian is intimating he doesn't believe he knows the whole truth, even now, while still offering the absolution Garak seeks.

"Thank you, Doctor. That's most kind."

Bashir used this word at their first meeting. Kind. Not a special word, in any fashion, but it struck me hearing it again, here, said by the other party.

Garak has been pushing Julian away throughout the day, but here he invites him in, a little. We went from "Don't touch me" to an outstretched hand. We went from him deflecting Julian to offering him the breadcrumbs needed (where to find Tain, information on just how dangerous Tain is) just in case Julian can pull this off.

Julian smiles at Garak as he fades off, exhausted, tired. And then Bashir shifts into "get shit done" mode.

"Still, what you did was very brave. I'm impressed... Are all the Starfleet Lieutenants as brash as you are?"

Tain, your son chose a good man—brave and true.

"Tell me, Doctor. How sick is Garak?" "He's dying." "And you're trying to save him." "That's right." "Strange. I thought you were his friend." "I suppose I am."

Now, we can speculate that Bashir is saying what he needs to say to get what he needs from Tain. But, we could also conclude that Garak is dying, so what's the harm in admitting they're friends at this point?

"Then you should let him die. After all, for Garak a life in exile is no life at all." "Say what you will. My job is to keep him alive. And I need your help."

And we're back in Doctor mode. It worked on Odo, so it might work here, right?

"Doctor... Elim is Garak's first name."

Bashir had been holding is own against Tain rather well until this point, but that reveal rocked him a bit. Even what he thought he understood from Garak's stories is now meaningless. "Just plain Garak", eh?

But, I think it's Garak's way of separating the parts of himself and who he is. Yes, he did terrible things. Yes, he also did good things. The Cardassian is as morally grey as they get on this show. Compartmentalization is logical for one forced to endure exile while pondering past predicaments that sealed one's fate.

At lunch, a pondering Bashir twirls his fork.

"So, how's the Idanian Spiced Pudding?" "How's the spiced pudding?! Is that all you have to say for yourself!?"

Love Siddig's read on that first bit. It makes me laugh every time. He's so indignant! So frustrated.

"I, for one, Doctor, am perfectly satisfied with the way things turned out. And I see no need to dwell on what was doubtlessly a difficult time for both of us."

Say it with me, folks: "There's an us here, now".

"Here. I brought you something." "What is it? ... More Cardassian literature." "I think you'll find this one more to your tastes."

This time, he isn't using it as a divergence. This is a thank you. This is him inviting Bashir in even closer than before. No, he still won't speak in full-truths. To be honest, he probably doesn't know how.

But while Bashir didn't enjoy the first book, he realizes that Bashir's openness to trying more isn't out of some weird ideology, but because he is invested in Garak and wants to understand him better.

The trauma of what they just weathered will endure—but so will the bond they strengthened in the flames.

"You know, I still have a lot of questions to ask you about your past." "I have given you all the answers I am capable of."

And, you can almost believe him, there.

"You've given me answers, alright, but they were all different. What I want to know is of all the stories you told me, which ones were true and which ones weren't."

Did you note Bashir's hands? This is how he tried to place his hands the first time he met Garak, when he got caught up in the plant, when he was completely flustered.

But Julian's tone is different from any other time they've had this conversation. Partially because he is now privy to information (Garak's first name) that Garak doesn't know he's learned.

I love the detail that now that he is on a closer-to-equal footing with the Cardassian, he can place his hands like this and pull it off without effort. It says something about his character coming along, I think.

"My dear Doctor, they're all true." "Even the lies?" "Especially the lies."

Julian smiles at his friend, shaking his head as he does.

It's one of my favorite Garashir episodes, not just for the incredible writing, directing, and performances—but for how it pushes their relationship forward.

Though Julian still has questions, he has a little more to go on—and while that little may not seem significant, it is for Garak. And I think some part of Bashir knows it.

They won't see each other again until Season 3. Now, the Garak seen in "The Search" doesn't even technically exist. He's not a part of the team whose minds are hooked up to a Matrix-like simulation. But that leads me to wonder—whose version of Garak is he?

Was this version of Garak programmed in for their enjoyment? Or is he an amalgamation of their perceptions? Also, since Bashir was one of those under sedation, his reactions to Garak were real, regardless of if Garak himself was.

So, let's talk a little about how this plays out for our beloved Garashir with the understanding that Garak's characterization is coming from somewhere, but we know not where. What we do know is that Bashir's responses are 100% real.

"Doctor! Welcome back!"

Alright, maybe this should've been the first clue that something was off—what the hell is Garak doing!? He's just puttering around at some weird computer for no apparent reason, pining and waiting for his beloved to return.

"Business keeping you busy?" "The tailoring business? Or the spy business? Joking, of course." "Of course."

Bashir is beaming like he's having the time of his life. 'And he is flirting. While we don't know who dreamt up this version of Garak, we know he's got the attention of the Doctor!

"I've missed you. I've been genuinely concerned for your safety. Lunch hasn't been the same without you."

Alright. Now I'm going for Bashir-influenced headcannon because dude, that is boyfriend-level dialogue I wouldn't expect from the usually close-vested Cardassian.

Is this what Julian wants from Garak? Is this what the Changelings think Garak would say to Bashir? Whichever it is, it's revealing of either how Julian sees his relationship with Garak or how the outside world views them. Neither is particularly straight. Just sayin'.

"That's very kind of you to say so, Garak."

Because he wouldn't say it, honey. But I definitely think you want him to. And don't think I missed you slipping the "kind" in there, again.

"I'm afraid you have a loose thread right here." ... "If I didn't know better, I'd say you were enjoying yourself, Garak." "Oh, not at all, Doctor, but after years of hemming women's dresses, a little action is a welcome change of pace."

Again, this is a simulation. But, clearly someone thinks Garak will take the side of the Federation in all this, and that he will very often be by the side of his favorite Doctor.

But, also, damn, Julian is flirty today! Like, "Having fun, darling?" Tell me I'm not the only one hearing it!

"I have them! I have them. By all means, Commander, do as they say." "Garak." "Now, you heard me Doctor." ... "You see, I pretend to be their friend and then I shoot you."

Again, whoever's idea of Garak this is, it's very revealing. Yes, he appears to turn on the Federation crew... before choosing their side.

"It's just something I read once in a book." "I'm sure."

But Garak here is far too foolish, engaging in flirtation with Julian when he should have been paying attention.

Real Garak wouldn't have gotten shot, here. He would've been too focused on the mission. Real Garak always saves his quips for after the danger has passed. But Julian thinks this is real Garak... and Garak goes down.

"Garak! Garak."

Julian rushes to his side, grabbing ahold of him.

"Doctor, I'm afraid I won't be able to have lunch with you today."

As Garak slumps, so, too, does Julian. Sisko grabs ahold of Julian, pulling him away, but it takes a few seconds for Bashir to be able to look away. Is Garak dead? Are they leaving him to die?

Remember, this is all a simulation. But for Julian, this is real. He held his friend as he died. His last words were to him—a sad farewell to their future.

Sisko's tugging him, but Jadzia pushes him, too. A part of Julian is trapped there, on that floor, fused to Garak in a way that Julian hadn't considered. But there's no time for mourning.

Yes, it's all just a simulation. Julian will lunch with Garak, again. And he does on-screen, only a few weeks later.

"There you are, Garak!" "Ah!" "I went past your shop, but it was closed."

And there Garak sits, at their table. Yes, they eat other places, but this is their spot.

"How was your trip to Klaestron IV?"

Aw! They know about each other's trips and movements. They care about one another.

"Garak, you're being paranoid. Are you saying the Cardassian government would have you killed if you left this station?" "My dear doctor, you do have a vivid imagination."

And Bashir is frustrated with Garak, again, but merely noneplussed, not upset. Also, in comparison to last episode this sounds like Garak, again. Weaving half-truths, not answering a straight question with a straight answer. Welcome back, buddy!

"Oh, good evening, Doctor. If you're finished here, I was wondering if you'd like to join me for a late snack."

Ah, yes, the classic excuse of using food as an excuse to be together. Food is necessary to life, yet? Even snacks can be life-sustaining at times. Hell, as a breast-feeding mother, I felt like I had to eat 24/7.

He wants to tell only Julian, but ends up having to talk to Sisko. Sorry, Garak. I know it's a lot more fun to talk to the human you want to sleep with than the one you don't.

But then he learns—higher ups want him off the station. Not only would that kill him because of Tain's orders, but it would also mean no more snacking with (and dreaming of snacking on) the handsome human Doctor.

"The Quarters on this vessel are rather claustrophobic."

Now, this might be a deflection, but I bring it up because back in "The Wire" he mentioned how cramped the Infirmary felt. Are these breadcrumbs of his claustrophobia? Happy accidents? We'd have to ask one of the writers to know for sure!

"Garak, do you know a way we can stop this neurocine gas?" "The only way to do that is to destroy the life support system."

I love this. Because Julian is the one to ask, he offers the answer, and Bashir's the only one to truly get it the first time through.

Is this because of his superior intellect? Because he understands Garak better than any of the others do? Hard to know, but our dear would-be lovers are definitely shown as being in sync.

"Well, tell me, Doctor, what it is exactly about this situation that's making you smile." "You, Garak."

Garak felt his darling's stare and looked to meet his eyes. In another situation, he might've flirted instead of demonstrated confusion. And while the Cardassian doesn't really fluster, it's one time where I feel like the Doctor has caught him off-guard.

I mean, we all love to see our crush smiling at us for no reason... but Julian's timing really sucks ass.

"Hmm?" "Just wondering how many other tailors can rewrite Cardassian security protocols." "I wouldn't even venture a guess. Which reminds me, those pants you wante altered are ready to be picked up."

Julian chuckles at Garak's change of subject—well aware, by this point, that his Cardassian friend thinks he's slick. But, ooph, there's a flirty tone to Julian in this exchange.

And don't think Garak misses it. Oh, no! It's just his hands are a bit full of Cardassian security protocols, at the moment, so the handsome Doctor will have to wait.

Also, the Yank-who-lived-in-England in me is dying laughing. While to us Americans, Garak is talking about two-legged garments that typically reach from hip to ankle, that's the American definition of "pants".

For Brits, pants refer to "underpants". So, while the writer most likely meant the former, my brain goes to the latter and has to chuckle along with Julian.

Of course Garak would like to see Julian's underpants, again (c'mon... no way he waited outside Bashir's quarters in "Cardassians" while he dressed!). But the fact that Julian is taking advantage of Garak's services is also intriguing—does he pay in Latinum? Or does he pay... in other ways?

Alright, fine. I'll stop imagining and get back to the task at hand.

"Garak groveling in a corner. That alone makes my trip worthwhile." *Garak straightens* "Garak!" "Easy, Doctor."

In real-world time, it's only been a few weeks since Julian thought he lost Garak in the simulation. He doesn't want to lose him, again.

"I should have executed you years ago." "Oh, you tried, remember?" "Garak. This isn't helping."

Julian holds Garak's gaze, though we don't know Garak's response. But this is such a lover thing to do—hold one another accountable in a moment of high-stress.

It feels like there's some exchange we miss between them based on how long it takes Julian to look to Jadzia, but I don't mind that. I don't mind that we miss it. What matters is that we knew it happened.

It will be months before we see these two together on-screen again, and Garak must not hold that last exchange against Julian because he comes bearing gifts. That's right! It's Julian's 30th birthday episode.

"Well, if you like, I can help you set up an exercise program in one of the holosuites."

Escalating the relationship, again, I see. But, truly, we've gone from lunch once a week to trusting one another in tight places, to Julian frequenting the tailor's for alterations of trousers (seriously, Jules, just ask the replicator for shorter legs! We all know it's pretense to see your favorite Cardassian between nibbles).

Now, they're considering holosuite dates. Yup. That's how I'm going to look at it through my delusional glasses! Holosuite dates.

"Speaking of holosuites..."

I want to ravish you on Risa. Not what he said? Okay, fine, I'll get back to proper transcription.

"Happy birthday."

Is there a ribbon on that!? Elim Garak, you wrapped your pet human's present!?

"I know it's a few days off, but I wanted to give you your present early."

Y'all, the former spy and ruthless mind whose morals vascilate between dark grey and light great is a sweetie! And, frankly, Julian is a bit of an ass.

Did your parents never teach you to politely say, "Thank you"? Not, "I'm not into this because it's not my thing and it's not any fun" but a simple fucking thank you when the love of your life attempts to be thoughtful.

He even knew you liked mystery novels and tried to find something he thought you'd enjoy! Sure, it was a swing and a miss, but you didn't have to be that dismissive of the lizard!

At the same time... my reaction to the time my husband gave me a dolphin kite for my birthday (no, I have no idea how he got there, either) wasn't the best. So, I'll forgive you, Julian... for now.

"Is Lieutenant Dax throwing one of her surprise parties for you this year?" "Oh, so I'm told." "Well, you don't sound enthusiastic about that, either."

You freakin' cunning lizard. You accurately deduced that your darling Doctor's reaction wasn't entirely directed at the subject matter of the holosuite program, but something else entirely.

But rather than ask outright, the old spy pokes and prods to get to the point. Wow, who ever thought I'd write that sentence about this two and not mean it in inuendo!? Not me!

"I wasn't aware that humans saw growing old as a negative experience. On Cardassia, advanced age is seen as a sign of power, dignity."

There's some heat to this statement. Like, "Darling, I'm right here and you're not jumping on this powerful, dignified Cardassian?! What's wrong with you!?"

"And, look, Garak, in two days I turn 30. If I choose to be grumpy about it, that's my prerogative."

Garak supports however Julian wants to feel about it, and it feels very much spousal, this whole conversation. Like, "Whatever you say, darling". So, when Quark comes into the middle of the conversation, Julian has to shift out of spouse mode and back to Doctor mode.

"I hope you'll forgive the interruption." "Of course."

That was to Garak... why the hell was that to Garak? And why did Garak automatically respond as if this was the most normal thing in the world?

Is this still because of what Garak did to help Quark's old flame? Is this because Quark failed to obtain the merchandise when Garak's implant degraded? Or is it because Quark"s smart enough to notice when Garak is out with his boyfriend and doesn't wish to be disturbed?

"Goodbye, Quark." "Don't take it personally. He's turning 30."

Get. A. Room. You. Two. Julian glares at his husband, and I try to contain my giggles.

Look, I've heard they were told to tone down the Garashir at some point in the show. I don't know when that occurred, but I can tell you that these two are still steaming with chemistry and attraction.

"Garak!" "Doctor! What are you doing here?"

And just like the first time around with Garak not really being here, it's someone else's idea of who Garak is to Bashir. And this version of Garak is very handsy. So, once again, someone saw these two and thought, "Yup. Banging."

"I'll meet you back on the Promenade in half an hour. Be careful." "You, too."

Look, this probably wasn't intentional—or maybe it was, who the hell knows!?—but the way their hands linger as they pass off the equipment has me going feral. Because this is all in Julian's head.

It could just be that Siddig's fingers got stuck passing it off to Robinson and they're both so damn professional that they just kept going. But, shipper-girl likes to imagine there was some feeling in those fingers.

"I'm a part of you, remember? I know what you know. Well, maybe a little more." "Still the man of mystery?" "Oh, you wouldn't have me any other way."

Look, we will find out that this isn't a part of Julian, but an extension of the attack. But Julian is still flirting hard. Even in his mind, he wants to flirt with the Cardassian!

"I did some checking on Letheans. Their telepathic attacks are almost always fatal. I guess I was lucky." "Cardassians don't believe in luck, Doctor. You survived because you're strong."

And we can get into the debate about Julian's genetic enhancements and whether that played a part. But at this moment, Garak is simply impressed and Julian is grateful.

"One thing's for sure, you know, after experiencing life at a hundred plus, turning 30 doesn't seem that bad anymore." "In that case, happy birthday."

Bashir gratefully inclines his head to Garak, no longer grumpy about the big day.

"You know, Doctor, what I find most fascinating about this entire incident is how your unconscious mind chose people you know to represent the various parts of your personality... And what I find interesting is how your mind ended up casting me as the villain."

Julian searches for words. I don't think even he knew if it was truly him or the Lethean who cast Garak in the role.

"Oh, I wouldn't read too much into that, Garak." "Oh, how can I not?"

And Garak seems to assume that Julian's mind painted him as the villain, but I really think it was the Lethean who made that choice.

He needed it to be someone who Bashir would keep close through the whole ordeal, and they definitely came off couple-y in that opening scene!

"To think, after all this time, after all our lunches together, you still don't trust me... There's hope for you yet, Doctor."

Garak leans forward, grabbing onto Julian's forearm. And a coy smile spreads across Julian's face. That's the Garak he knows.

Only a few short weeks later, we've transitioned from Julian's complaints about Cardassian literature and mysteries to Garak's issues with Shakespeare.

I can hear my English and Drama teaching husband cringing from here. He is still amazed by my ability to perform iambic pentameter while still struggling to understand why it exists in the first place.

"But I'm sorry, Doctor. I just don't see the value of this man's work." "But, Garak, Shakespeare is one of the giants of human literature."

Oh, how the table has turned (well, Garak didn't know this one over, yet, but you know what I mean). For so long, Julian simply hasn't connected with Cardassian literature—despite his tries! And now Garak is having the same issue in reverse.

And, of course, the Garashir conversation is set up for what is yet to come. They talk about a great military man who couldn't see what was going on right under his own nose... hmmm.

And I'm worried Siddig is going to barf. If you pay attention to most scenes where actors eat, then tend to take small bites/sips if any at all. That's because this scene that takes minutes to watch takes hours and hours to shoot.

I'm uncertain if Deep Space 9 ran an A Camera and B Camera simultaneously, but even then, there are so many takes to get what will satisfy a director, most times.

So, every time Julian had to stuff his face. And that means poor Siddig had to scarf down that food over and over and over, again.

"Oh, you're fortunate. I have more time on my hands than I know what to do with." "Maybe you could finish those trousers I dropped off last week."

Hah! I am cackling with glee. A little while back I mentioned the whole US/UK pants/trousers thing without any remembrance that Bashir says "trousers" here. Yup!

Unless there was a special case... don't think Julian would need Garak to alter his Starfleet-regulation underwear. Now, is there was something special he wanted only for Garak's eyes, that's another thing entirely.

"You're going to give yourself indigestion."

Garak, you and I are on the same page!

"If you hadn't been so late, I could have enjoyed my lunch."

Awww. He waited until his boyfriend arrived to get his food! That's so sweet of him. Even if he's throwing it in Garak's face now.

"I have to go, and I'm sorry to leave you while you're still eating." "No, no. I'm done as well." "But you've hardly touched your plate!" "If you must know, I've been nibbling on Delavian chocolates all morning."

Babe, why are you standing so close to your human companion? This is one of those things I tried to point out to my husband early about Garashir—they tend to stand like personal space doesn't exist.

Of course, he pulled out the "It's 4:3 framing" argument because Deep Space 9 aired at a time when televisions were still literal boxes that you tried desperately not to knock over while adjusting the bunny ears to get the channel to clear up.

But then I showed him a couple scenes where the aspect ratio should have zero bearing on that kind of blocking that puts them in kissing distance, and he had to admit... they like to get up close and personal!

"Where did you get Delavian chocolates?"

And the tone completely shifts. We can infer that these are a delicacy, and something that Bashir likes, as well. For all their disagreements on literature, it seems that chocolates are their shared interest.

Julian, a moment ago quite peturbed, is now all smiles and intrigued at the idea of sharing in a chocolate or two with the Cardassian.

"Well, I promised my supplier I wouldn't tell, but since I deprived you of your dessert, I'd be more than happy to bring some by the Infirmary later this afternoon." "Why, thank you, I'd like that." "Until then, Doctor."

Garak inclines his head toward Julian, which we've seen him do before. And while Bashir has answered in kind, it has never been as enthusiastic as this time. Every ounce of annoyance he possessed seconds earlier is gone.

There's something so domestic about that. Matthew and I can have a disagreement, and then one of us makes the other laugh so loud it melts away.

"Are you alright?"

Garak lies on the ground, and while I suspect some of his reaction is well-practiced and conceived for the purpose of his mission, Julian doesn't know that. He leans across the Cardassian, then starts a quick check of essential points.

"But I'm afraid your pants won't be ready tomorrow after all."

Ah, yes, the reminder that he's a simple tailor. But why would someone blow up a simple tailor's shop?

"Could this attempt on your life have anything to do with the reason you were exiled from Cardassia?"

There's something so perfect about this question directed to Garak as Julian is out-of-frame, only his hands working on Garak to remind us he's there. Sure, Julian doesn't know the full truth, but he knows more than they do.

And that means Julian never told anyone what Garak told him. Oh, you two are just building and building your trust, aren't you?

Julian waits until the others leave to hand Garak a mirror to inspect himself, to open his mouth, to say anything at all.

"Someone should do a study." "A study?" "To try and figure out why some people can't bring themselves to trust anyone even if it's in their own best interest."

I like the way Garak looks up when Bashir says "anyone". Because, he does trust Julian far more than he should, far more than he thought he would allow himself to.

But a lifetime of lies is difficult to abandon. No, it's his security blanket wound so tight around him he struggles for breath, but will never admit it.

"Why is it no one ever believes me even when I'm telling the truth?"

And Julian launches into more American literature... a children's story. He hopes it will get through, but the secondary interpretation of the classic Boy Who Cried Wolf only supports their entirely different views on literature.

Julian hopes Garak will learn to trust people instead of lying so much they don't believe him. But the practiced spy has already demonstrated his viewpoint during "The Wire" when the story kept changing—never tell the same lie twice.

"I am not Doctor Bashir and we are not sparring amiably over lunch-"

Well, everyone seems to know about these lunches, don't they? Now, of course Odo would keep an eye on everyone, but I still rather love this call-out.

"I hope you know what you're doing, Garak." "So do I." "Is there anything you need me to do while you're gone?" "Like what?"

Water your plants. Walk the dog. Plan our wedding.

"If you go into my quarters and examine the bulkhead next to the replicator, you'll notice there's a false panel. Behind that panel, there's a compartment containing an isolinear rod. If I'm not back within 78 hours, I want you to take that rod and eat it."

Woah. I mean, I thought I was going a little too far with the wedding planning, but apparently not. I mean, if Garak's gonna be out here in public telling Bashir to eat his rod, the wedding bells might be a-ringin' soon after all!

"Eat it?" "Mmm." "You're joking." "Yes, Doctor. I am." "Very funny." "I thought so."

Gosh, the staging of this is so interesting. Julian is usually a hair taller than Garak, but with Garak up a step, he's towering over Julian. It somehow doesn't make Julian look small, but it does cast a different light over his face as he's forced to look up at the Cardassian.

"Then these are for you." "Dalavian chocolates. But these were meant for you." "I know. I thought you might need them more than I do."

And, finally, they've found a gentle love language between them—chocolate. Literature exchanges lead to rigorous debate, sure. And fun as that foreplay has always been, there's something so soft about this moment.

"Thank you."

Garak says it as softly as he's ever said anything. Julian came here to see him off, to give him a parting gift, to be the closest friend he's probably ever had. What started out as a hopeful hookup has become a relationship that will transcend the borders of convention the more it grows.

"Good luck." "Hmm."

And while Garak doesn't believe in luck, he doesn't take the moment to remind him. Instead, he carries that bit of sweetness with him as he walks the rest of the way through the threshold.

I tend to think Julian is the one thing he misses when he leaves the station behind. The shop is his cover, and he happens to be well-skilled at it, like he is a great many things. But we already know that living on that station is torture.

Julian is the one thing that makes him truly smile, truly feel. When he's with Julian, they debate, they banter, they argue, they laugh, they go through the range of emotions and form new connections and bonds.

But, still, his heart is forever Cardassia's. We'll get to that more later...

"He hides his true feeling almost as well as you do, Elim."

A rare compliment.

"Like I used to say, 'Always burn your bridges behind you. You never know who might be trying to follow."

Hmmm. And Garak decidedly does not burn his bridges when he says goodbye at the end of the series. So, might a certain Doctor follow? Eh, getting ahead of myself, again!

"Well, I suppose Garak has taught me to think of lunch as a sort of arena for philosophical debate."

Julian and Miles are best friends, no doubt! But Julian and Garak are friends, too, just different.

I have friends I can get into deep philosophical debates with. Hell, my husband is the one who gets the bulk of it! And it seems that it's dawning on Julian that he has a different type of friendship with Garak than he does with anyone else in his life.

It's not a grand acknowledgement of romance, but it's a start. Too bad his future partner is busy abandoning him for his fucked up father. And, yes, wanting to go home is a powerful thing.

But home is often more than a place. Garak hasn't gotten there, yet. And maybe he never will fully grasp that concept. After all, it's different when you're forced from your home than when you leave of your own volition.

Back to Julian, his looks whistfully to the table. Ugh, he misses Garak. He has come to expect and enjoy their banter.

"I take it there's still no word about Garak and Odo?"

Julian doesn't know that the word is bad. Honey, your BFF is off in the stars with his manipulative, narcissistic father and choosing his true home over you.

Poor Bashir just wants to know his friend—oy, we are stretching the meaning of that word, here—is okay.

The word from Miles isn't helpful, and the Chief departs without another word to his friend. Julian looks to the table, dejected and concerned.

But he doesn't know how much Garak longs for the approval of Tain—his father. And as someone who grew up with a co-dependent, narcissistic parent... I get it. I was in my 30's before I fully broke free. I don't think Garak ever did.

"The Founders? You want to go home to the Founders? But I thought you turned your back on them!" "I did. But they're still my people. I tried to deny it. I tried to forget."

And Garak cradles his head in his hand as the Changeling returns to his true form. He did his duty to torture Odo to extract information—but that glee that Tain described earlier simply isn't there.

Yes, Garak is good at what he does. He's clever. But there's a difference between doing what you think you must do and wanting to do it.

For the first time, we really have to wonder what Garak truly wants. He has always sworn allegiance to Cardassia and to the State. He has repeatedly chosen what he thought best for Cardassia, even if it wasn't what was best for him.

But is he the same Cardassian he was? Was he ever who Tain wanted him to be? And you might think, "What the fuck does this have to do with Garashir!?" But, for Garak, his heart and allegiances will always tear him from Julian.

"What could have happened?!" "I'm afraid the fault, dear Tain, is not in our stars but in ourselves." "What!?" "Something I learned from Doctor Bashir."

And there he is, quoting the Shakespeare he so recently quarreled over with Julian.

"Welcome back." "Oh, that looks painful."

I was just thinking we weren't going to see Julian's reaction to them coming aboard, and there he is, ready and waiting. Just as he saw Garak off, he's the one who is there to receive him.

Garak stumbles a little as he walks, holding onto the railing on the wall. Then, he stumbles right into Julian as the Defiant takes fire.

Later, Garak returns to the wreckage of his shop. When he blew it up, he didn't know if he would return. Now, he has nothing on Cardassia, and he also has nothing here.

And in an absolutely stunning shot, we see Odo standing in the doorway, in the reflection, almost a reflection of Garak himself in that they both wish they could go home, but both find themselves, again, on this station—though for different reasons.

"Garak, I was thinking that you and I should have breakfast together sometime."

I include this because everyone knows Julian is Garak's lunch date. Even in this moment, Julian's somehow a part of it.

And that stunning shot is nearly two minutes long. Two minutes of continuous camera on Robinson, displaying, yet again, what a tremendous performer he is. And it's simply too beautiful a shot not to mention. Brava/Bravo to whoever conceived and executed it.

That's the end of Garak in Season 3. Though they waste no time in bringing him into Season 4! We meet him, again, in the first episode of Season 4.

"What I can't understand is their inexplicable hostility toward me... Perhaps they decided they just didn't like me." "Not like you. Impossible." "You're right. As always, Doctor."

Is it bad that my first thought watching this scene was, "Well, Julian certainly knows how to get Garak on his back anytime he wants"? Probably. But, this blatant flirting is the fun bit. And the only bit we get of the two of them, though Garak has some delicious stuff this episode.

It would be eight aired episodes later before Garak and Bashir see one another, again, but, oh, what a fun one that is!

"Who's that?" "An uninvited guest. Excuse me."

The applause has me rolling. Like, "Very good, Doctor. Excellent performance. This for sure will convince them you're straight!"

Julian crosses over the body on the floor, past the shattered glass to where Garak watches, wearing his own smart tuxedo.

"Nice tux." "Thank you." "Now, get out!"

I love that even though he is pissed at Garak, right now, he still can't miss the opportunity to compliment him.

"Ever since you received this new program you spend virtually every free hour in the holosuite. But you haven't told anyone what the program is."

His delivery on that last bit is so delicious. There's a point to every word, like a sharp edge as he takes in the ridiculous, over-the-top nature of this supposed spy tale.

"Am I supposed to?" "No, no. No. But you're such a, forgive me, a talkative man and it's so unusual for you to have secrets."

I love how he reaches out to clutch Julian's forearm and doesn't let go until he finishes speaking. And, we will later find out that Julian does have a secret, though I don't know if at this point either actor knew it.

Sometimes the actor knows the big twist or big secret, like Kristen Bell and The Good Place. But other times, they don't, like Amanda Abbington in Sherlock.

It can change up how you play something as a performer. Sometimes it's for the better, and sometimes not. It's another two seasons before Siddig beautifully monologues about Julian's childhood.

But did the writers know? Like in Sherlock, there are plenty of cases where the Writers know something and haven't yet told the actors. Happens more often than you can think! It's one of those cases I truly wonder and wish I had an answer.

"I must have picked up that habit from you."

Flirting, again, Julian!? Are you hoping it'll appease him and he'll leave you be?

"Now, if you'll excuse me-"

Julian steps over the body, but Garak steps with him.

"Is this fantasy of yours truly revealing of your inner psyche?"

Did I fall in love with a total dork, Bond-wannabe? Seriously, there's a touch of disbelief in his tone.

"What?" "Is that why you're so protective?"

Garak steps closer to Julian—far closer than needed. My husband has brought up the "It was 4:3, they had to stand close together!" argument before, but when I showed him this one, he just laughed and shook his head.

This is boyfriend space. This is, "I'm gonna kiss you if you let me" space.

"Are you afraid that I'll find out some humiliating secrets of the real Julian Bashir?" "This is a fantasy. I'm not hiding anything." "Well, if you've nothing to hide, why not let me stay?"

Somehow, Garak still finds a way to talk with his hands without brushing Julian's chest—which, let's be real, is totally on his mind at all times—and Julian keeps his eyes locked on Garak's.

Garak notes Julian's lack of quick response and quirks his head to the site, a smile crossing his features. He knows he's got him where he wants him.

He once interrogated a man by staring at him for hours. Now, those same eyes turn puppy-dog as he entices his human bae to let him get his way. And Garak gets his way.

"All right." "Ah."

And the Bond girl wannabe is pissed. Not only is she not getting laid, now she has to compete for the sexy man's attention with a dashing Cardassian.

"Now, I have to be at work in two hours, and I'd like to enjoy myself, so keep quiet and don't rain on my parade."

That last bit is pointed. This is like when I have to remind Matthew not to make fun of me for watching super cheesy Christmas movies at Christmastime. I'm so stressed with work and family drama that I need something that just makes me smile.

Julian needs his would-be hubby to be chill so he can have some much-needed fun that doesn't require him to be everything he is. For a little while, he wants to be something he isn't just to unwind.

Gosh, I feel that. So, c'mon, Garak, let your boytoy have his fun.

"Parade?" "Nevermind." "Don't worry, Doctor. I can be very discreet. You'll barely know I'm here."

Are you thinking you're going to watch him have sex? Like, just how discreet do you need to be right now!? But, even though the Earth-ian reference went over Garak's head, he has committed to this, now. The Cardassian is along for the ride.

"She seemed so interested in your advances just a moment ago. I wonder what scared her away."

Julian and I have the same thought: Really Garak!? As if you don't know what scared her off?

"Oh, no. I do apologize."

Now, in another version of this show, Julian would realize that the reason that things just keep not working out with him with other people—virtual or otherwise—is that he's got it bad for a certain lizard man.

"You must be incensed! In fact, if I were in your shoes, I'd grab a bottle of champagne, and shoot me." "I can see I'm going to regret this."

First off, Garak's interpretation of Bond films isn't too far off my own circa 1990's era Bond. Also, way to be transparent about your kinks, Garak!

Now, Julian could just rescind the permission to hang out, but he doesn't. Why not? I don't think he's worried about being rude to the Cardassian. Perhaps, though, he wants to prove to himself that he has nothing to hide.

Garak claps a hand on Julian's shoulder as they walk.

"Don't worry, Doctor. We're going to have a wonderful time. After all, what could possibly go wrong?"

Classic line, here. Famous last words. If ever you're watching a movie or television show and someone utters a "what's the worst that can happen?" or "what could possibly go wrong?" just know—the worst is about to happen and everything is going to go wrong.

"You live here?" "That's right." "Decorate it yourself?" "The decor is appropriate for the period—1964."

I love how much fun Garak is having with this. He's taking it all in and soaking it all up. This place is far more cluttered than Bashir's quarters in real life, which Garak broke into and probably memorized in case he ever needed to plant something on the unsuspecting Doctor.

"I think I joined the wrong intelligence services."

It's so nice to be so far beyond Garak having to hide his past allegiances. Yes, there's intrigue left with the ole Cardassian, but I like how casual these two are conversing.

And I love how Julian is lounging. Maybe it's his character. Maybe it's simply the way he sits on a couch like this. Who knows!? But, is suggests an openness and swagger that isn't forced like his earlier characterizations, but simply an extension of who he is.

"Yes, this should do nicely. Though I'm not too sure about the collar." "It's perfect."

I have so many questions. Look, Holodeck stuff has always been a little fuzzy to me. Like, did they replicate some clothing? Or did they ask the system to assign them new clothing? Can they wear these clothes off the holodeck?!

And if these are completely new clothes, would this mark the first time Julian's seen the Cardassian in a state of undress? We know Garak woke Julian in his jammies, once, and that he's fitted him for trouser alterations at least twice. But there's been no opportunity for Julian to see Garak in a state of undress until now.

Also, this is such a spousal exchange. Garak is the one fussing over his attire and aching for perfection, while Julian is the assuring one, telling him that he looks fine.

"Very funny."

Aw, nice to see the return of this phrase from Julian. But, no, honey, this isn't a joke. Garak really isn't trying to rain on your parade.

"You're bleeding." "The Holosuite safeties must be off."

Ever the Doctor, Julian's concerned about his favorite patient before he has to save another life.

"Try to stay cool, Mr. Bashir."

I love how as soon as not-Sisko leaves, Julian looks to Garak, who is definitely concerned about this situation.

"I'd give you both some privacy, if I could."

Garak, my love, you know you can at least turn around. No, you want Julian to know you are watching him.

"Kiss the girl, get the key. They never taught me that in the Obsidian Order."

I love how impressed Garak is with Julian. He just picked a freakin' 20th century lock! Like, that isn't an essential course at Starfleet Academy!

"Yes, they might be killed, and that is unfortunate, but there comes a time when the odds are against you and the only reasonable course of action is to quit." "Quit?" "Yes!" "Is that what they taught you in the Obsidian Order? To give up when things get tough?" "As a matter of fact, they did."

It's a real argument. And I'm one of those that things disagreements are healthy in relationships. Now, this exact scenario is a bit specific, but it still stands. These two were due for their first real fight.

"Don't." "Or what? You'll kill me?"

He really doesn't believe Julian will pull that trigger. Much as Garak recommended shooting him earlier, that was before the security protocols went down.

"You'll be fine. It's just a flesh wound."

And here, Garak sees that Julian can make that call. Garak told him earlier that he might have to make a hard choice, that he might not be able to save everyone. And while I don't think Garak thought he'd be the one going down, he's impressed. And all the fire of their argument has died.

"That was awfully close. What if you'd killed me?" "What makes you think I wasn't trying?" "Doctor, I do believe there's hope for you, yet." "I'm so relieved."

Garak's impressed. Garak's surprised. Garak's really turned on.

I mean, Julian's dropped his voice into this husky range he hardly ever uses, and it is working its magic on the Cardassian. If they weren't in mortal danger, he might've asked the Doctor to take him right then, right there, against the wall.

"Now, we have to get to the control room. Are you coming or not?"

And like quarrelling lovers, they don't have to discuss or announce the end of the fight. Both of them know it's over, and Garak won't be calling for the door, again.

"Well, who am I to question Julian Bashir, secret agent? Lead on!"

The way that Cardassian is looking at that Human... he wants to lick him up with a spoon. He wants him in every way and none of them clothed. He's too horny to protest the mission.

Shoot me? Oh, darling, I'm yours! Look, everyone has their kinks. No shaming Garak's!

"I'm an intelligence agent,a nd if there's any one thing I've learned it is that there comes a point when the odds are against you, and there is no reasonable course of action but to quit."

Oh, darling, you were listening! Seriously. That's Garak's look as he watches with pride.

"How do you think I've managed to stay alive so long when all of my compatriots are dead? It is because I have known when to walk away."

I have a somewhat photographic memory...but it isn't that good. Yes, I'm aware this is a television program, Julian has a genetically altered brain, and it's all a flight of fancy. But, it's still dang impressive.

I mean, if Garak wasn't already horny for honey, he's positively bursting with desire, now!

"I suppose the only thing left to do, now, is to kill you."

Watch how Garak responds to that, ready to leap, surprised by how steady Julian is standing, waiting for the shot. It's only a simulation, sure, but one with the safeties turned off. The good Doctor could die. And he's not running from it.

"You can leave the Holosuite, now." "Thank you."

It's another long Garashir shot. But these two seasoned pros can handle it, and they carry each beat of the scene through—from returning to the banter of who's teaching who, to their next lunch.

"Lunch tomorrow?" "Of course."

Julian's the one to broach it, signaling he'll forgo a lunch on the holodeck if it means time with Garak. Then, Garak turns it on his head, offering to return to the Holosuite with him.

This is so fucking couple-y. How many times do we go back and forth with our partner, both trying to make the other happy? Both trying to make the other feel seen, and heard, and valued?

"Oh, I think it's safe to say Julian Bashir, secret agent will return." "Mmm."

And while it's not a full minute on this shot, it's still another delightful one where these two nail blocking with no markers I can see, and remind us just how good they are.

I think this episode was important for them both. The first time Julian stood up to Garak in "Cardassians" was important. He needed to demonstrate he wasn't subservient to the Cardassian, that he was a critical thinker.

This, too, was important. Because from the moment they relaized the safety protocols were disengaged, the game changed from harmless to extremely dangerous. And Garak didn't know if he could trust Julian to make the tough call.

Nothing in their relationship has ever put them in this place—where they are actually facing down death side-by-side.

When Garak chooses to save himself, it is a bit selfish, sure. He has made these choices, before, to stay alive. But once he knows that Julian is solid, he's solid.

Yes, he's horny as fuck when Julian grazes him with a projective object. But he is also impressed. If Julian was willing to shoot him, who he knows considers him a friend, then he's ready for whatever they are going to face.

Garak needed that assurance. And then when Julian was willing to let Sisko kill him if it meant saving everyone else, he got to see what a hero truly looks like. Like he said, he's no hero. But Julian just might be, at least in Garak's eyes.

The next time these two get to share a scene it's been months and... it's weird. Look, I never got the whole "Let's pair Garak with a probably-teenage girl" plan. It's creepy. It's weird. It's a fucked up plan to try to convince anyone he's straight.

Like, would he get with a woman? Sure. But that lizard wants to be with adults, please. And he's been pretty fixated on Bashir for a bit, hoping the good Doctor realizes his horizons have already widened and when he does, spreads his legs in kind.

As a girl who was 13 when this aired and who was assaulted by her grandmother's friend the year before, this just didn't play. So, maybe my perceptions are a bit colored on this one, but I just couldn't get behind it. It creeped me out.

Let's get back to flirty Garashir, shall we?

Now, we are setting up the above-mentioned quesitonable relationship. Now, my husband and father both said they always saw it as Garak wanting to take care of her in a parternal way. But as a girl, I saw it as something far seedier. Let's see what I think on this watch, shall we?

Y'know what, screw it, I'm just focusing on the Garashir. Because these two are being adorably married right now!

Garak and Bashir are doing something social besides lunch. They're attending a sporting event together! And this definitely feels like one of those things that one attends for the sake of one's spouse.

Matthew and I are blessed to have a lot of overlap in our interests, but there are times one of us is in a sitution—usually Matt—where there are definitely other things he could be doing, but his want to be with me overrides his desire to be elsewhere.

In short—Garak tagged along for his boytoy's choice of entertainment.

"Stop watching her."

Oooh, someone's jealous! Julian, darling, Garak had to watch you make out with half the senior staff. You can simmer down about him glancing at someone.

"What does she expect? She's the only Cardassian woman on the station. She's must know she's bound to attract some attention." "Some, yes. Yours, no."

Wow, Julian! Getting a bit possessive of your favorite Cardassian, are we? Or do you worry Garak's just trying to stir shit up with his favorite rival, Gul Dukat?

And that pointed look Bashir offers Garak reminds me of the last time he had to be firm with Garak (that time in front of Gul Dukat) about something. This is partner-level shit.

"I simply thought it would be polite to say hello, but clearly you don't think I'm capable of conducting any kind of pleasant discourse without some kind of nafarious ulterior motive."

Garak is getting a bit defensive and worked up about this. But, I'm focused on Julian, who is giving the, "really, now!?" look that any spouse knows well. Like, we're arguing about this now!?

And Julian gets so into Garak and giving him his full attention that he misses the big finish.

"What happened?" "A brilliant move on the part of the Major. You should have been paying attention."

Yeah, you cannot tell me Garak suddenly developed a love of the game. He did that to be bitchy because he's annoyed with his human boytoy.

Garak is used to having the upper hand in most situations. There are a few who he treats on a more equal footing—most notably Odo, Quark, and Bashir—and I find it interesting that those are the only three actors I truly think can match Robinson in skill and performance.

This is not to speak ill of any of the other performers. Not at all! But there are always standouts in any production. As mentioned before, that's how I first noticed my husband on the stage—he was mezmerizing.

Andrew Robinson is exceptional. The layers to his performance are what makes Garak really pop off the page and onto the screen. Garak was my father's favorite character of the series and he was not even a series regular, but a guest star whose impact on the show is unmistakeable.

Julian was my favorite character of the show, as mentioned before, but part of what made him thus was Siddig's performance. We'll get to some more meaty episodes for him later, but he has that defining trait of every great actor—we believe him.

So, when you put these two on-screen together, it's exciting. Even in this scene where we're setting up Garak and Gul Dukat's daughter, I can immerse myself in the relationship between these two characters because they never lose sight of all the moving pieces in the scene.

Yes, there's a sports match. Yes, we are reminding a 90's audience of who the fetching young Cardassian woman is. But there's also the interpersonal relationship between Garak and Bashir that is at play. How they relate to one another as characters informs how they react to the outside stimuli. As I said—masters.

"Garak to Doctor Bashir, I need a medical emergency team sent to my shop immediately."

There's so much at play, here. This is just expertly written. Someone who really understood Garak's character.

Annnnd, I just checked and it's Robert Hewitt Wolfe, again. Of course! But, honestly, this just encapsulates so much about Garak in about three seconds.

Yes, he is calling his darling directly and not the Infirmary. But that's not just because he thinks Bashir is cute. Let's break this down.

First off, Garak immediately reaches for Odo's combadge instead of leaving the shop to get help. That's quick thinking. Second, he called Julian directly and then asked him to send an emergency medical team to his shop.

Garak is thus reaching out to someone he knows will take him seriously, who won't ask questions, and by being vague, the Cardassian has protected Odo's privacy.

Think about it—he doesn't know where Bashir is when he calls. What if he is with a criminal who might want to take advantage of Odo being out of commission?

This is all of Garak's skills at play, here. And it's all done in about three seconds. Fucking masterful.

"As I recall, Proconsul Merrock was poisoned." "Funny, I don't remember that. But, then again, so many Romulan dignataries died unexpectedly that year." "Must be hard to keep them all straight."

Wait... is Bashir in on this? I mean, I imagine he must have some idea of why the Cardassian was allowed on the trip, right?

"Maybe we should let the Constable get some rest."

Oooh, he's got his "honey, not now" voice on! So, Julian's not in on the game. Which means a moment ago he really was getting caught up in the story, true or not.

But with that glare, he is clearly trying to silence the Cardassian. And it drips with the sexual tension between two people who are banging and look forward to some makeup sex after the argument, or two people who probably should be banging to cut through some of that sexual tension.

And after Odo dismisses him, you can hear Julian hiss out an annoyed sigh. It's not at Odo—it's at Garak. Because he's blaming Garak for winding up his patient.

So why does Bashir think Sisko allowed Garak on this mission? Out of the goodness of his heart?

"How do I look, Doctor?" "Does it matter?"

Honey, your Cardassian lover is asking you if he looks cute and you respond with does it matter?! What is wrong with you!? Tell the man he looks fashonable and kiss him full on the mouth, already.

"Then, I'll be right outside... it can wait, Garak." "Of course."

It's another case of Julian getting the upper hand with Garak—and he lets him. Oh, we all know that Garak doesn't willingly give up the upper hand unless he wants to. And he likes when Julian is the dominant one between them.

Yes, there are times when Garak likes to be the authority—always trying to teach Julian things. But theres a shift in Our Man Bashir where Garak realizes he may have a thing or two to learn from the handsome Doctor.

I think it's the one relationship in his life where he enjoys someone else being on top. *ahem* And, no, I didn't write that sentence intending the inuendo. But once it was written, it was right there!

It takes until episode 8 of Season 5 for us to see Garak, again. Julian beams onto the Runabout and does a cursory glance over the crew. His eyes hang noticeably on Garak.

No, I'm not making this up, folks. He really does linger on looking at Garak before shifting to the crew member nearest him to start scans, which is what he should do.

"Could these stimuli cause more serious injuries?" "I don't think he could spontaneously break a bone, but he could certainly stop his heart or break a key blood vessel in his brain."

What the fuck was that, Siddig!? I mean, rewatch that last bit. I know I did several times. Yes, Bashir is listing off factual information, but at the very end there is a tinge of sadness.

Because while only Garak has demonstrated this so far, it could happen to any of the four. But he's still talking solely about Garak. And he's looking right at him.

That has to be actor choice, right? That he played it with such softness and sadness while looking in the direction Garak would be.

Fun Fact: Andrew Robinson likely wasn't even in the room. The way film and television is staged, the best way to do it is to shoot out the actors you don't need. Start with the angles that need the most people and then whittle down to the shots with the fewest cast members.

So, those eyelines are often an actor looking at nothing. Even looking at nothing Siddig lends a weight to that fraction of a moment that has me kicking my feet, giddy as a schoolgirl.

Another few episodes, and we get to the episode where we have the Changeling playing Bashir.

Now, the last episode Julian was wearing the uniform the real Julian is wearing later, so I like to think that the Bashir who was so concerned about Garak was our Bashir, and that he was replaced shortly after.

Timeline-wise, that about lines up. And while we will come to know that the Bashir that Garak addresses on the Runabout isn't our man, Garak doesn't know that at the time.

"I really must remember to stop underestimating you, Doctor... You've come a long way from the naive young man I met five years ago."

A compliment. Trying to smooth things over with his darling.

"They're releasing him from isolation." "Good." "Who?" "A friend."

And as they shove him into a wall, who should look up but the real Bashir. And who does he see? Garak. I mean, look at the laser focus here. Julian's eyes don't shift once they find Garak's.

And as Julian pricks his finger for blood, it's Garak who watches with the most interest. He needs confirmation that this is his dear Doctor.

And as soon as they are reunited... they can't stay apart.

"I should never have come here. I should have let that monster die forgotten and alone." "Frankly, I'm glad you came. Misery loves company."

And Julian truly is miserable in a way he's probably never known before. But now he has one of his best friends, at least, in this darkness.

"All my life I've done nothing but try to please that man. I let him mold me, let him turn me into a mirror image of himself. And how did he repay me? With exile."

I know this doesn't seem like it's Garashir coded, but it is. And I will explain why... in two episode's time.

Look, you don't have to wait two weeks and watch a thirty second clip looking for clues! It's just a scroll or two down and I'll explain why I transcribed Garak's rant about his father.

Yes, this is a spoiler-sprinkled Meta, so if you didn't know: Tain, you are the father!

"But I forgave him. And here in the end I thought maybe, just maybne he could forgive me."

This takes me right back to The Wire and a dying Garak saying he needed to know that someone forgave him. So, we can infer that if anyone's opinion matters anywhere close to his father's to him... it's Julian's.

"I've been a fool. Let this be a lesson to you, Doctor. Perhaps the most valuable one I can ever teach you. Sentiment is the greatest weakness of all." "If that's true, it's a lesson I'd rather not learn."

Listen to the softness of Bashir's voice. Look at how he looks over Garak in that moment, clearly pitying whatever drove him to say such a thing.

And the director gives them a beat, here, where they regard one another before the moment is broken. Look how Garak pulls his head back ever so slightly and his eyes widen as he takes in Bashir's words.

There's a charge here between the actors. A moment. A beat. A breath where something is given that others might have taken.

A lesser director might have broken the moment too earlier. A lesser actor might have missed what was there. This is about so many factors coming together to deliver a beat that means something.

Great television isn't about awards and acclaim—it's about something undeniable on the screen that is the culmination of hundreds of folks working together to produce something that steals our breath.

You don't see the gaffers, electricians, camera folks, Production Assistants, Craft Services people, writers, directors, makeup artists, hair stylists, costumers, Directors of Photography and more that bring every second of screen to life. But you see their work without realizing how much went into it.

That beat between Bashir's line and the door opening is important. It tells us who Julian is and the lines he isn't willing to cross. This is a lesson he refuses to learn. And Garak doesn't hate him for it. No, he envies him.

Julian's optimism and can-do attitude sometimes drive Garak nuts. Garak tends to think he lives closer to reality than those who drank the Starfleet Kool-Aid (or Root Beer, as the case may be). But there are times he must think, wouldn't it be nice?

"I thought you might want to know... if you wish to speak to Tain, do it now before it's too late."

There are no words exchanged between Julian and Garak. The Cardassian looks briefly to him before taking off for the door, the human close behind.

"Everything's gone dark. I can't see you. Are you alone?"

Garak could ask Julian to leave. But he doesn't. He doesn't know what type of conversation is about to come... and yet he trusts Julian completely.

We've talked about trust and Garashir before, back on the Holodeck. Of course, Garak hasn't had many people he could trust in his life. But much as he wishes he was as hardened as his old man—he's a bit sentimental.

Sentimenal about Mila. Sentimental about Tain. And sentimental about Julian. He's even started to care for other members of the crew... but not like this. No, this is intimate. This is trust.

Garak looks back to Bashir, making it clear that he wants him there, that he needs to be silent, that he's not asking him to leave. Julian widens his eyes briefly to let Garak know the message was received.

"Yes. There's no one else but you and me."

Tain goes down his list of grievances, and Garak tells him everything's in order.

"All your enemies are dead."

He says this, again, to Julian. It feels like part of the show. Are they really all dead? Who's to say. But Garak tells Tain they are.

"Then you can die happy... unless you still consider me your enemy."

He's fishing for that apology he so desperately wants. And the view shifts to a three-shot. It's the first time we get a really good look at just how intimate this is, Julian looking on as these two men share a private conversation.

It's an interesting choice to pull out right then, right before it gets incredibly personal. The staging reminds us of just how close Bashir is to the action.

"I'll do as you ask... on one condition. That you don't ask me this favor as a mentor or a superior officer, but as a father asking his son." "You're not my son!" "Father! Father, you're dying. For once in your life, speak the truth."

Julian leans forward, taking in the new information, looking between the two of them. He's absorbing what Garak's just done—and he's realizing it's intentional. Garak purposefully let him in on one of his greatest secrets.

For all the times Julian asked for truth and found it wanting... here Garak offers it wholeheartedly.

For goodness sake, we never even saw Julian comment on Garak's first name. But Tain calls him "Elim" repeatedly, here. So, if Garak hadn't figured Julian already sussed out that little nugget, he was willingly offering that Elim wasn't a friend at all... but him.

Death beds are often a place of truth, right? But for Garak, the truths told weren't the ones he needed to hear, but the ones he wanted to tell.

"I should have killed your mother before you were born. You have always been a weakness I can't afford." "So you've told me. Many times."

And now the impact of Julian's words hit the viewers anew—Garak learned the lesson of sentimentality as weakness from his Father. He tried to pass that lesson on to the person whose opinion matters most next to Tain's—and Julian rejected it.

Bashir stopped the cycle. And I think that caught Garak off-guard. Like on the Holodeck when he admitted there were some things the Obsidian Order never taught him... he's learned something, today, from the good Doctor.

And, look, I know this is a Garashir meta, but I have to call out Andrew Robinson for this scene. It's fucking gorgeous.

We already know he is just one of the finest actors to ever grace Star Trek with his presence. But the weight of this whole scene hits so hard. The emotions. The breaths. The emphasis. The line reads. Oh, it all hits the mark.

My mother never said, "I'm proud of you" when I was growing up. I rarely saw pride on her face, even. There was always some problem, some critique, some improvement. She wanted me to be like her, and lamented when I wasn't.

She's not the same person, now, but that doesn't change the past. And in this moment with Elim and Enabran where the son hears his father utter the words that he was proud of him. Oh, it aches in a way that only those of us who grew up craving that approval and always falling short despite our best efforts can grasp.

And Robinson nails it.

Julian hears this whole exchange. He hears every word. And he only speaks after Tain has fully faded. It's a single word:

"Garak."

It's wise of the production team to keep Bashir out of this intimate exchange until after Tain dies. We don't need the distraction of seeing Julian there.

Yes, yes. I love Julian, too! But that wasn't his moment. And the way it was edited and shot was brilliant storytelling that allowed us to invest in that intimate moment before pulling back out to the continuing plot of the episode.

I seem to remember something about non-Cardassians seeing a dead Cardassian body, so it's appropriate that Garak covers Tain up before anyone else comes in—but Julian saw.

This. Is. Trust. This is family. This is an intimacy that transcends, "I wanna fuck this guy" from Episode 1. Garak wanted Julian to know him in a way that probably only his mother and father ever did.

Tain is now gone. Mila is on a planet he cannot visit. But he still has Julian. And now Julian knows one of his greatest truths. Beyond things he's done and places he's been, the truth of being known for who he is... that is truly dangerous. But Garak trusts Julian.

And though the two Klingons don't know exactly what has transpired, they do know that Julian was present as Tain died. They do knot that whatever Garak had to say to Tain, Julian was present.

As much as Odo knew better than to invite Garak for lunch, I think Worf knows better than to ask why Garak would allow Julian to be present for such a thing. Really exemplifying the "Don't Ask, Don't Tell" of the era.

And if you're too young to remember that particular Military Policy, I'd recommend checking out the Wikipedia entry on it, because it's pretty thorough.

By the next episode, we're all ready to learn how they get out of this one. And while the gang explains to the newcomers what needs to be done, we get treated to this adorable two-shot of Garak and Bashir.

Look, there is no reason for them to be in this cute two-shot besides the fact that they look adorable together. We trade Garak out for Worf, which isn't as cute (no offense, Michael Dorn! You're amazing!).

"You, on the other hand, my dear Mr. Garak are a man of many hidden talents." "Mmm."

Look, I know we're all on a hurtling asteroid waiting to die, but did anyone else's brain get broken by that statement?

We've had at least four "My Dear Doctor"s, but this is our first "My Dear Mr. Garak". Also, the return of "Mr. Garak" for the first time since the first episode. And my brain totally added the classic fortune cookie add-on of "in bed" to Julian's statement.

Especially with Garak's reaction? C'mon! That's a total, "you would know, dear" look!

"As of today, Cardassia has joined the Dominion."

For the brief second that Garak thinks he's going to be released, he looks back to Bashir. And the two have an entire conversation with glances.

There's the, "Is this okay? Should I go?" and the "Yes, dear, go!" and the "Alright. I'm going". And I can't help wondering if this was in the script.

This one owes its existence to Ira Steven Behr and (of course) Robert Hewitt Wolfe. So, one of them could tell us, of course! But it's one of those moments that is so amazing, but really could have come from anywhere.

An actor making a choice. A director spotting an opportunity. A writer making a point.

Wherever it came from, I love it. We don't see what Worf thinks about this possibility because we don't need to. Garak and Bashir have the conversation without words and say all that needs to be said and heard.

Side Note: Before we get into the first "Garak in the wall" scene, I have to call out Alexander Siddig (again) for how fucking dead-eyed he is as the Changeling. Like, one shot and I'm reminded that this is not our Julian and that fucker needs to die. Oy vey!

"Garak? How's it coming along?"

I love that Julian is the one who opens the door. Julian is the one who keeps the path out open. Julian is the one who sits there, calling in to Garak. And I love that he's playing with his fingernails when the scene opens.

It's those bloody details that have always stood out to me about performers. When they do something so human in the midst of all the posturing of performance. When the character becomes as real as the actor. It could just be that Siddig was annoyed by a hangnail and I'm reading too much into it, but I love it, nonetheless.

Also, the establishing shot of Garak is so gorgeous. That pan up? The full body shot so we can see that there's no room to sit, no room to rest, no room to shift into a more comfortable position.

We can visually connect with the claustrophobic nature of the setting even before we know Garak has an issue with tight spaces.

And that lighting. They found a way to make that read as a single light source in such a beautiful, believable, and stark way. We see the darkness threatening to envelop Garak if not for that blossom of lights at his face.

Yes, I know this isn't necessarily Garashir. But we need to know what this space looks like for later.

"Oh, come on!"

Julian is anxious to get Garak out of the wall, and this is before he knows about the Cardassian's claustrophobia.

They already said that Garak was taking too long because they don't want him to be caught in the wall. The guards are already asking questions, so they need to get him out.

As soon as they can get him out, Julian is there to help him stand up, holding onto him, being there for him.

"That was thoroughly unpleasant." "Are you alright?"

Until Garak takes a step back with his patented "I'm fine" lie, Julian still has hold of him with both his hands.

"It's just much hotter in there than I thought. I go ta little light-headed."

Elim [No Middle Name] Garak! That didn't work before Julian had a better understanding of Cardassian biology and physiology. Do you really think you can fool him, now?

Before Garak can finish the sentence, Julian has his hands on him, again, this time checking his pulse. And I cannot recall him ever doing so this way before. Really putting his new knowledge to work!

But theres also the steadying hand on Garak's shoulder. It reminds me of him trying to put a hand on that same shoulder in The Wire and Garak shying away in his withdrawal state. Here, he doesn't move away.

"Maybe you should wait until tomorrow."

Julian's hands trail off of Garak, but they don't fall away. They glide down him before Garak allows his fear to turn to anger.

"Do you want to get off this hell hole?" "You know I do." "Then let me get back to work."

The couple-y bickering is back. And they are standing way closer than needed for this shot, 4:3 framing, indeed! But Julian is in protective mode—both the doctor in him, and the lover friend.

"Rest. For five minutes. And from here on in, you can take a 15 minute break every hour. Doctor's orders."

Garak nods. He's relenting. He's giving in. He'll take whatever break he can get and he knows Julian well enough now to know that he won't give up on him.

But look at the concern in Julian's eyes. He knows Garak isn't telling him everything. He doesn't know what Garak is concealing this time. But it's incredible how this mirrors The Wire.

In both cases, Garak is trying to conceal something about himself and lashes out at Julian when the Doctor tries to push the issue.

But this time when Julian tries to help, Garak lets him. He doesn't fully let him in. But he doesn't push him away, either.

"I'm sorry, but that's absolutely unacceptable. I'm under enough strain as it is. I can't have you quitting on me!"

There are already tears in my eyes. For anyone who has ever had a panic attack and wishes desperately their rational mind could circumvent it, this is familiar.

I've struggled with panic and anxiety attacks my entire life. But growing up, I wasn't allowed to show negative emotion. I had to learn to contain it as best I can.

But no matter how much your rational mind protests, that suffocation comes and you find yourself trapped in its grip, unable to escape. And this is another case where you can trust your actor with the material, and he's going to fucking deliver.

Robinson is talking to a dying light. He has no one to feed him anything, to offer him anything, to draw focus in case he should flub it. No, the seasoned and practiced actor monologues on a Star Trek show to a dying light and to himself.

"Your friends are nearby."

Truth. Garak speaks truth. And even if some part of him isn't willing to trust it, he closes his eyes as he internalizes it. His friends are nearby.

Because in this tight, enclosed space... there's no one to overhear. There's nobody listening. There's nobody for whom he has to perform. These words are for him and him alone. And in them he speaks of Julian and Worf as friends.

I won't transcribe the whole thing, but even from the outside, the others know something is wrong. Of course, it's Bashir who shimmies into the wall to join Garak.

"Garak, you have to stop. You're making too much noise. Garak!" "The light. The light went out."

And that's when Julian starts to put together the pieces. He sees the vacant look in Garak's eyes. He notes the sweat and strain.

"I know. Come on. I think you can take your break a little early."

Julian puts an arm around Garak, clasping his hand on the Cardassian's shoulder. And as they shimmy, Bashir's thumb grazes in a comforting manner over it.

Garak doesn't fight him. In The Wire, when Bashir tried to comfort him and touch his shoulder, he jerked away. But here, even as he is not fully himself, he allows the Doctor to care for him.

Growth. Character development. Trust.

"We have to come up with a new escape plan." "That won't be necessary."

Julian's eyes shift to Garak with immediate concern as the Cardassian stands up. He doesn't move the blanket, but allows it to slough off his body like old skin.

A similar blanket covered his father's dead body. But as Garak sits up, he rejects that fate. It isn't the defiant move of throwing the blanket away, because that's not what Garak is doing, here.

He isn't trying to be the hero. He's trying to overcome his fear long enough to save them.

Where before he might have tried to save himself, he's trying to save all of them. He could program the runabout transporter code just to get him out of there. Garak of Season 1 or 2 might've done that. But this Garak has friends—friends he wants to save.

It isn't about being the hero. It's about each of them doing what they can to help each other get out of there alive.

"I just have to finish what I started. After all, a verse about the Cardassian who panicked in the face of danger would ruin General Martok's song." "That would be unfortunate."

And while Julian is further back in the shot, I cannot help but notice the way he looks at Garak—with a touch of awe and pride.

"Now, if you'll excuse me... my dungeon awaits."

Julian and Garak exchange the briefest of glances as the former moves to open the hatch, again. They're past the point of needing words. Over and over, this episode demonstrates how far they've come on that front.

They know one another. They trust one another. They've learned when to push and when to pull back. It's an incredible foundation for a romantic relationship, right?

Season One Garak was looking for a good fuck and a little less loneliness. Season Five Garak knows the value of friends—especially his friendship with the good Doctor.

As Worf fights, likely to the death, Julian is rocking and wringing his hands on the cot as Garak works in the wall.

"Can we get him out?" "No time."

And Julian knocks twice on the wall to prepare Garak. Garak closes his eyes and steadies himself. No words needed.

"Take it to maximum warp, Garak. We've got to get a message to the station."

And he leans over Garak's shoulder as the Cardassian gets them the hell outta Dodge. What they've just endured was terrible. They may never speak of it, again. But the trust they've forged over the last five years is only deepening.

Which makes it mildly infuriating we never get the full response from Garak to Julian's big secret. Yes, he gets to tell Miles. But I want to talk about that scene a bit.

And, yes, this is what I mentioned about fathers and pride coming back around from literally two episodes earlier. Tain was a man who was rarely proud of his son, who practically disowned him to protect himself from a "weakness" that he couldn't afford.

As we mentioned, I grew up not really hearing "I'm proud of you". I never felt like I was good enough. I tried to mold myself into who I was supposed to be.

And it was my darling husband who helped me learn to stand up for myself in my 20's so by the time the children came around in my 30's I was strong enough to protect them properly from those who hurt me.

Now, we get a glimpse into what it was like to be little Julian.

"The word you're looking for is 'unnatural' meaning 'not from nature'."

Yes, we're going to get into it. Partially because it's such a fucking beautiful scene, practically a monologue, delivered by a skilled actor who didn't need a thousand cuts to get it right.

And, let me say this—sometimes a thousand cuts is just what a scene needs. But the Director deftly understood that there was strength in the stillness, here. Without a series of cuts, we can really focus on Julian (and Colm Meaney doing brilliant reaction-without-drawing-focus in the background).

"'Freak' or 'Monster' would also be acceptable. I was six. Small for my age, a bit awkward physically, not very bright. In the first grade when the other children were learning how to read and write and use the computer, I was still trying to tell a dog from a cat, and a tree from a house. I didn't really understand what was happening. I knew that I wasn't doing as well as my classmates. There were so many concepts that they took for granted that I couldn't begin to master and I didn't know why. All I knew was that I was a great disappointment to my parents."

My Middle child is Autistic, ADHD, Auditory Processing Disorder, suspected Reading Processing Disorder, with Anxiety Disorder. In second grade, he was reading at a Kindergarten level. His twin excelled and he struggled.

And I, as mother, repeatedly told them (and their little sister) how proud I was of them, not for a grade on a paper but for who they were. And I meant it.

Little Julian never had that acceptance.

The Flowers for Algernon part of my brain wonders how jarring it must have been for Julian at nearly 7 to know how he'd understood the world before, and then to go through the process of seeing it anew. He transitioned from grasping for concepts others easily understood to moving beyond them.

But he never had a choice. He couldn't understand what was being done until it had been done.

By the way, that shot of Julian? Where Siddig acted his ass off? Nearly two whole minutes of performance. It's Masterful.

Garak and Julian both grew up with parents who were impossible to please, who wanted their sons to do what they would have chosen for their lives. Neither man had a good relationship with his father. So, though Bashir and Garak are set up as very different—and in some ways they truly are—there are other places where they can relate to one another that are special, intimate.

"What's the matter?" "Well, it's just that lately I've noticed everyone seems to trust me. It's quite unnerving. I'm still trying to get used to it. Next thing I know people are going to be inviting me to their homes for dinner."

Because everyone knows better than to invite you anywhere for lunch. Right, Garak? That's Bashir time! Okay, fine. I know it's a bit of a reach. But that was my first thought when he said, "Dinner". So, into the Meta it goes.

"It's hard to believe he's the same man who attacked us." "In a way... he's not. The drug brought out the worst parts of him and allows them to take over. He wasn't in control of his actions."

This is a very... interesting way of attacking this issue. I mean, accountability is a very important thing, and I feel like we're kinda skirting that, here. And there is going to be an inquest. I'm just not a fan of the framing, I suppose.

But, if I pull out of the part of my brain that tries to analyze societal impact of Star Trek and its eras (I gave an entire persuasive speech about Star Trek at University, so I come by this honestly), I see a man trying to protect Garak.

Yes, we set up the "trust" others have for Garak in the beginning of the episode and showed how swiftly it could be broken. There was a throughline, here.

That's it for Garak and Julian in Season 5. Season 6 gives them the bitchiest of bitchy moments and I love the writers for it! Let's see, that would be... Ira Steven Behr and Hams Beimler. Thank you both for your service.

"Ah, there you are. I was beginning to give up hope, Doctor."

Oh. My. Gosh. Look, I'm bloody asexual, but even I can see that this is the most snack-a-licious Julian has ever looked, and he's sauntering right up to Garak with a lot of skin exposed. Oy vey!

And he walks right by because he is having none of this shit while he's out there trying to save lives.

"I would think that all those lunches we've shared would have entitled me to preferential treatment."

Are you two gonna kiss? You're standing like you're gonna kiss. Just sayin'... it might be good for you... for your morale? If you... y'know... kissed. I mean, come on this blocking is not to account for the 4:3 format.

"Look, I have 12 wounded officers and crewmen out there, all of whom are in a lot worse shape than you, Garak." "Well, if you're trying to cheer me up, it's working."

I had to add that comma between "up" and "it's" and I wish I knew if that was Robinson or the script because it's just so bloody... Garak. Taking those breaths and breaks where nobody else would.

Also, can we talk about this shot!? This is a continuous shot that follows the two of them to multiple blocking points in the room while changing their positioning, the dominance of one over the other, the framing of one closer to the camera, etc.

It's bloody masterful. You have to have lighting in all those areas so they aren't in weird shadow. You have to have the blocking marked out so they aren't out of focus. You have the have actors who can carry that long a shot without needing to reference a line or struggling with the giggles.

"I'll admit the odds are not good, but they coudl be worse." "Ah, let me guess. You've used your genetically enhanced brain to calculate our chances for survival... I'm really not interested Doctor. Ever since it's become public knowledge that you're genetically engineered, you've used every opportunity to show off."

First off, this reminds me that we never got Garak's reaction to that whole revelation, and I ache for it. It would have been interesting to see if Garak suspected all along, or if he was truly proud Julian hid something, even from him.

Also, damn this bitch is salty. Honey, it's okay that you're not always the smartest in the room. Your human boytoy can one-up you sometimes. It's not a bad thing.

And I love how Julian keeps working, even adjusting Garak's head gently with his fingers as he tries to repair the damage to his head. There's a "darling, just do what I need you to do" feeling to it.

Seriously, this is a couple bickering. And if Cardassians flirt by bickering, Garak is waving pheremones thick enough to nosh on as aphrodesiac appetizers to an adventurous night.

And after an entire minute of a single shot, we change angles. Damn, I love these long Garashir shots!

"You're certain about that figure?" "Do you want me to take you through the entire set of calculations?" "Not really."

Bashir smirks as he shifts past Garak, and you can feel just how much they are enjoying this. Their time for rigorous debate at lunch has long since passed. Hell, we haven't seen them share a dining table in years, now.

Yes, the Changeling and Garak sat together, but that doesn't count. It was Season 4 when last these two sat and ate together, and now we're at the top of Season 6.

So, it's not surprising Garak has found a new topic for spirited conversation.

"'Genetically Engineered' indeed." "Excuse me?"

Okay, the way Julian pops into frame there cracks me up. Like, he had to answer that and Garak knew he would. Garak is baiting him into debat and Julian is falling for it. And at 4:06 we started another long shot of these two.

"Well, look at you. You act as if you haven't a care in the world. It's exactly that kind of smug, superior attitude that makes people like you so... unpopular." "Are you trying to insult me?

Yes, darling. Flirting with you helps distract him from all y'all's impending doom.

"A 32.7 percent chance of survival, I call that insulting." "Don't take it so personally, Garak. It's strictly a matter of mathematics." "No, it's strictly a matter of our lives. You're not genetically engineered. You're a Vulcan."

I love how Julian appears to rest his arm on Garak as he scans him, likely making sure that the treatment he did a moment earlier took, despite Garak's inability to stay still.

"If I'm a Vulcan, then how do you explain my boyish smile?"

Damn, Julian! You are finally catching up to the flirting, here. And I love that the smile he offers him definitely has the edge of flirtation to it. This isn't his dopey grin when he watches Garak rewrite Cardassian security code, or his big smile when Garak joins a mission.

Look at the way Julian's eyes seek out Garak's.

"Not so boyish anymore."

And, oh, you can hear the way he rocks back on those boots before sauntering off... a few feet away. Like, seriously, where the fuck is he going?

It's not about the destination. He really just did that to be petty to Julian, who is left definitely feeling that. Because, he wants Garak to think he's handsome, damnit.

Julian shakes his head to shake it off. But this remains one of my favorite scenes of the two of them.

And while that shot was roughly 40 seconds, and not as long as the last, it still constantly amazes me how little cutting they often do with these two.

I've done both stage and film/tv. They often take completely different skillsets, but there are times where they overlap, or where a strength in theater really comes in handy.

Remembering dialogue is part of the game with theater. Remembering blocking is integral. Remembering to listen and not just speak is essential.

Both of these two actors have experience in both, and that's why scenes like these sing. They know how to feed one another without drawing attention. They know how to react and not only act.

Yes, they have insane chemistry on-camera. But they also know how to use that along with their other skills. They deliver on every level, and it's a fucking shame they're used together so little after this episode.

Also, it's such a fascinating choice to see Julian debating so dispassionately with Garak while losing his cool with Sisko. This has to do with the different relationships at play, sure. But I find it fascinating.

One could consider it a coping mechanism—that Julian needs that rigorous debate as much as Garak does in that moment. And Julian knows Garak has no trouble making the tough decisions. Maybe that's what he hopes Sisko will do... but it's not his place.

"Garak? Come to see us off?" "Not quite."

And as the two turn to face Sisko... this could really be their wedding. I mean, yeah, not the best venue. The food's nonexistant and the music sucks. But, Sisko does have the power to perform the ceremony if they're so inclined.

"I invited Mr. Garak to join us considering we're heading into Cardassian territory I thought he might prove useful."

Julian is beaming. He's beaming. Earlier these two were verbally sparring, and now he couldn't be happier that Garak is onboard for this dangerous mission.

"Well, it's been known to happen."

Julian grasps Garak's shoulder and pats it several time before moving on, still smiling. Just moments ago each of them was lamenting what they didn't have on the ship. But now he has Garak.

"Captain, may I make a suggestion?" "Only if you talk softly." "We saw Dukat-" "Shh." "Wearing one of these headsets during the attack on Deep Space 9-"

This is so married. I have a friend who is Autistic who has a lot of trouble with self-monitoring when it comes to volume, so she and her husband developed a hand signal so he could help hold her accountable in spaces where she needs to be more aware.

I thought of that as soon as I watched this. God bless Garak, but he missed the memo entirely when Sisko said to speak softly. But, one glance at Julian's finger raise to his lips and he gets the message.

"Perhaps Cardassian physiology is more... compatible."

Julian's head swivels to Garak as he processes what the Cardassian is offering. It's a good suggestion. And, honestly, what was Garak adding to the mission besides eye candy for Bashir?

Of course, when the episode was written, this was all planned out. I'm not coming for the writers! No, I'm looking at it purely from the point of view of the characters, who got to enjoy Garak's personality while waiting for him to be useful.

He's a good little Swiss Army Knife of a character, where you never quite know how he's going to be useful. But Sisko's seen enough of him by now to know it's better to bring him along than not.

"Are you volunteering?" "I suppose I am. This ship is equipped with two of them. If I wore one, then you wouldn't have to. At least, not all the time."

Julian puts it together quicker than Sisko, and he likes this idea. Sisko is his patient, at the moment, and as the Captain, he needs to keep him physically fit.

"I agree with Garak, Captain."

And Sisko hands over the headset. But watch how Julian follows the headset to Garak, then waits to be sure he's okay. Yes, of course, he's a bloody Doctor. But, I still love the choice as a performer.

"We have to go to full impulse 1.3 seconds before the bomb detonates."

Bet you're not complaining about his super brain now are you, Garak!?

"Dax?" "The computer agrees with Julian." "Of course it does. They think alike."

Damnit, Garak, I was giving you some credit on that one! Nevermind. And the look Julian gives Garak! Gosh, these two are reading old married couple so much in this episode.

"How long?" "17 Years, 2 months, and 3 days, give or take an hour."

This time, Garak looks to Julian for the answer. This time, he knows that genetically engineered mind will have the answer he needs, even if it's not the one he wants.

And Julian delivers the whole thing directly to Garak. His eyes don't move from him. Theirs is such a fascinating connection, and I wish more of Season 6 between them had been like this.

There's a heat and energy that's obviously couply, but so electric and different from what they had before. It's grown and shifted and they're on a more equal footing, by this point, and they see each other on a more even playing field.

"Garak! I need a hand."

Julian calls out for him as help to carry Jadzia. He trusts him to help him with this. A few years ago, all of them considered Garak a spy and wouldn't trust him with anything. Oh, how far they have come.

Also, are they actually outside!? I love when they let the Star Trek characters bust outside the sound stages and breathe fresh air and have actual sunlight for a bit!

And I'm not going to comment much on the whole Nog/Garak adventure of this episode because, honestly, hearing Garak say words to Nog that hold such meaning for Garashir does irk me.

Now, Robinson is a pro enough to deliver them in completely different ways. "There may be hope for you, yet" to Bashir was sultry and horny. To Nog, it's upbeat and slick.

But it's not my favorite choice when it comes to resuscitating previous dialogue in a new setting. I will admit that much.

"That's the eleventh ship to fall out of formation." "Nice of you to keep track, Garak." "He can't help being negative. It's in his nature." "On the contrary, I always hope for the best. Experience unfortunately has taught me to expect the worst."

Garak turns fully to face Julian to deliver this one. Wow, these two are in a catty phase!

"They outnumber us two to one." "Now who's being negative?"

Julian doesn't acknowledge him, but I love Garak trying to get that little jab in there. Seriously, Season Six is all about the snark. Would've been nice to watch that tension build to some sort of release, eh? But, yeah, nope! Because that's it for Season 6 for these two.

"Thank you for your company, gentlemen."

His first scene with Julian of Season 7, and it's a group get-together where he starts to tap into his claustrophobia. Of the three men across from him, only one has seen that in action before.

"He checks out fine." "Well, I don't feel fine."

There's an intersting turn. Garak used to put up a front, but this time he isn't. But Julian won't be the one to help him. To endear one of my least-favorite characters to the audience, we pair her with one of the most beloved.

And, nothing against the actress. I've seen her in other things and loved her. But young Rachel abhored the character, and grown Rachel's opinion has not wavered.

Oh my gosh. Season 7 Episode 16. Finally a complete scene between these two! It's been since the beginning of Season 6! And they are so in sync they tap the table at the same time, order their drinks simultaneously, and sit down while chatting with some animation we haven't seen in some time.

Bitchy, old couple Garashir has given way to an old, familiar rhythm. And I think part of that is because Julian is back to pursuing what is expected of him—a Dax. But that's a subject for someone else's Meta.

"The eternal optimist." "Guilty as charged." "How sad."

Alright, there's a little bitchiness still in there.

"But, I live in hope that one day you'll come to see this universe for what it truly is rather than what you'd wish it to be." "Well, I shall endavor to become more cynical with each passing day—look gift horses squarely in the mouth, and find clouds in every silver lining." "If only you meant it."

Anyone else feel a little lighter? I feel a little lighter. Because this? This is fucking gorgeous! I ache that it's been since the first episodes of Season 6 since we've seen these two interacting and sparking and reminding us why we love them together. Such different people who challenge one another, excite one another, and make each other smile like no one else can.

But, yeah, sure. Let's give Julian to the bloody Dax. Look, Little Rachel didn't clock Garashir and I was still anti Ezri/Julian. No hatred to those who loved them! But I never understood it.

And thank goodness someone somewhere realized who Garak had to share his last scene with—Julian. It wouldn't have been right if it had been anyone else, despite their distinct lack of screentime together in Seasons 6 and 7.

"Well, aren't you going to congratulate me, Doctor? My exile is now officially over. I've returned home... or rather, to what's left of it." ... "You and I both know the Cardassians are a strong people. They will survive. Cardassia will survive." "Oh, please, Doctor, spare me your insufferable Federation optimism. Of course it'll survive... but not as the Cardassia I knew."

Garak is right. And if he wasn't so (rightfully) upset, he would see that Julian's heart isn't in what he's saying. He just doesn't know what to say.

"We had a rich and ancient culture. Our literature, music, art was second to none. And now... so much of it is... lost. So many of our best people, our most gifted minds."

Robinson is pulling us apart, here. The anguish is palpable, and Siddig is feeding off of it. We can see Julian's plastered on optimism peeling away as the tears fill his eyes. He knows his words hold no meaning, here. So, he finally reaches out.

It's the shoulder touch. It's their thing. But Garak's not in the right place to receive it.

"You've been such a good friend. I'm going to miss our lunches together." "I'm sure we'll see each other, again." "I'd like to think so. But one can never say. We live in uncertain times."

Garak places his hand on Julian's shoulder, now. Their thing. But while Julian's was offered as comfort, Garak's is a goodbye. Garak lets his hand slide off Julian's shoulder, and the human can do nothing but stand there.

In the end, Garak was always going to choose Cardassia. In my mind, the only way he and Julian end up is if the Doctor follows him there. But, Bashir just began a relationship with Ezri, a comfortable relationship in an uncomfortable time.

Love comes in many forms, and sometimes when you find it, you don't even know it's found. That's Garashir. That's the story of missed opportunities and all the things that held them back from finally crossing that final line to becoming the lovers they might have been.

I've heard the rumors, of course, for why that was so. But, since I don't know what's true, I won't repeat them here. Instead, I'll lament what wasn't, and be grateful for a relationship that was so beloved and enduring that Robinson and Siddig themselves championed it, fed it, fostered it, developed it, and supported it so long that it found itself canon in another Star Trek show.

I like to imagine that someday Julian followed Garak to Cardassia, that they realized what they had and couldn't do without. Imagine them both separated so long that their missed lunches grow from an ache to an agony—that the walls of expectation and convention break down enough that they find themselves in one another's arms.

Sometimes we aren't ready for something in life—a career, a move, a great love. And at the end of Star Trek: Deep Space 9, these two aren't in the right place to start something. There are too many other factors at play.

But love at last is often sweeter than the right love at the wrong time. Maybe that's where Garak found Julian—the moment they were both finally ready.

Thanks for reading, loves. I know it's long and likely riddled with typos. But, it's late and I have a Strike Book to resume. This little obsessive ride was a blast, but with my OCD once it's written, it's done. I feel released, and I'm thankful.

And, remember, you are beautiful inside and out. Don't let anyone tell you otherwise.

[logo-comics]

Hi! What do you think about that moment in LN 9 of My Next Life as a Villainess where Catarina considers staying in Ocean Harbor Town if Maria did?

This one:

As a Marikata shipper I was really happy at first because it meant that Catarina wanted to stay at Maria's side as much as Maria wanted to stay at hers. However I also think it was a mistake. Both in the sense that the author accidentally added something that implies Catarina values being close to Maria more than the rest of her loved ones, which clearly isn't his intention considering the rest of his writing, and in the sense that it makes Catarina have a very glaring case of favoritism that doesn't really suit her.

She has known the rest of her friends plus Anne and Keith for a decade (and her parents for all her life considering she's the OG Catarina who got extra memories at 8 and diverged paths) while she's only known Maria for 3 years at that point. Even with romantic feelings it seems a little unbelievable that there wouldn't be a "but my family and other friends".

Part of me wonders if it's meant to represent the usual part of graduating and being an adult? (which would be kinda sad but that's something I could get behind) Like, she already sees her early friend group way less since she got her job so she's used to them not being there as much and leaving the parents' house is seen as the norm in many cultures too. Also there's the fact of finding something she could do instead of being a noble which, aside from the great quantity sweets, doesn't appeal to her. Besides she'd be following someone she really likes, which, also something people usually do.

So uh, what do you think?

I think that while you can chalk some of it up to her blatant infatuation with Maria and the general idea of moving out when one grows up that she'd get more of from her past life than her current life, it can be chalked up a bit more to the fact that Katarina has spent the ten years she's known everyone else wondering which of them is going to be the one that leads to her death/banishment.

While we don't know how much, there is a part of Katarina that definitely hasn't fully let go of the thought that those she loves could one day wish to be rid of her. Even with the confessions of certain members of the harem, Katarina doesn't have that full faith in them.

Maria, in contrast, aside from being her "waifu," is someone who she knows likes her, even if she doesn't understand the nature of that manner of care. Maria in the game is also not the one directly responsible for what happens to Katarina in the original game's endings. Maria is safe to her eyes. Sophia and Mary are tied to Nicol and Alan, and we can safely assume that the characters are tied to the trial scene, given that she didn't seem surprised to see them at the trial. Maria refusing to condemn her there, even more than the others standing up for her, probably had way more pull to her than the others.

Now, let's consider the testimonies in the trial, themselves. There are exactly two members of the original game cast harem that don't call her an idiot in that scene. To his credit, Geordo is one of them. Even Sophia, with whom Katarina regularly holds book clubs, and Mary, who Katarina discusses gardening tips with, both directly state that she is not smart enough to bully Maria. In a move that makes me think he actually could be a good king, Geordo, however, legitimately reviews the "evidence" the other girls had and notes that it's circumstantial at best. He does not, however, say anything about Katarina as a person.

In contrast, Maria is the only person to note upon Katarina as a person being too kind to do such a thing.

Despite her inability to notice people are in love with her, Katarina is, in point of fact, extraordinarily observant of people. The author does seem to have lessened her ability to plot to an extent, but that particular aspect is very much still a part of her, as shown by the fact that she knew that Larna Smith and Suzanna Randall were the same person despite how masterful Suzanna is at disguise. Notably, however, she can misinterpret things if she's looking at it through her lens of "I am a villainess." For example, the aforementioned obliviousness when it comes to her romantic prospects.

Katarina also has a significantly better memory than the most tend to give her credit for.

From all of this, while she can accept that her friends care for her, to her eyes, she is still The Villainess Katarina Claes, and they clearly don't think that highly of her if they think she's just too stupid to bully Maria. Combine that with how her mother will chastise her for not being ladylike and critiquing her actions, something born from love but something that clearly distresses Katarina and makes her feel that she's less than worthy of her lot in life.

In essence, Katarina sees everyone who has been around her for ten years as viewing her as stupid and her mother as loving her, but not particularly liking her. She might have experienced the confessions of Keith and Geordo, but those are simply things that happened (the Keith confession is a completely different, disgusting can of worms), and there's almost definitely a part of her that still hasn't accepted that they won't discard her. Contrast that with how she immediately starts listing people that she feels would be sad if Maria was gone.

Simply put, Katarina views herself as someone who could pull up her stakes and go with next to no fuss from most of the people in her life. With that in mind, of course she'd be willing to uproot her whole life to be with Maria, whose first thought about her in that defining moment of their lives was to call her kind, who is willing to fight dark mages for Katarina's sake despite her fear, who was willing to tutor her and wanted to join the Ministry to be by her side.

Why wouldn't Katarina be willing to run away with the girl who unequivocally told her that she wants her in her life forever?

[hopeful-puffin]

Been doing some rereading sporadically through the series again. And I noticed something interesting while perusing Season 3 in particular. Now this probably isn't anything groundbreaking or earth shattering. From what I can gather, I wouldn't be surprised it was entirely intentional as well.

Siren and Fizz are polar opposites.

I know, I know. Swallow your gasps of surprise and stow away those eye rolls. I realized it initially in the obvious differences between how they both view and treat Kappa. Where Siren is gentle, respectful, and worried about, Fizz is possessive, disrespectful, and invasive. Where Siren views Kappa as Kappa, an individual with his own wants, needs, and goals that is not defined by his undesirable title, Fizz only sees said title and what it means for his own benefit.

I could go on and on and on about this until I pass out from exhaustion, but it got me thinking. That can't be their only major difference, right?

Right?

The more I thought about it, the more I realized these two characters are on the opposite end of various spectrums. Case in point; being told "no," particularly from Kappa. When Siren is presented with even a hint of hesitation or discomfort, he immediately backs off with sincere apologies.

He doesn't raise his voice. He even pulls his hands away until Kappa assures him it's okay. Siren maintains this show of respect by asking if he can hold Kappa rather than assuming the confirmation included stronger physical contact.

Fizz, on the other hand, repeatedly gets into Kappa’s bubble, only backing off when someone either makes him (Siren and Fean) or when Kappa flusters him. Despite being repeatedly told "no" to varying degrees, Fizz keeps doing it.

Originally, I chalked this up to being socially unaware or just plain ignorant to social cues that aren't being screamed in his face. That he's just that dense. But then it kept happening.

Don't think Kappa could be clearer short of stating he and Siren are dating. Oh wait. Didn't he already?

Fizz kind of goes quiet at this and avoids it ever coming up again. Going so far as to look and sound disingenuously surprised and perhaps even disappointed when Kappa brings Siren with him to meet with the Flyfin in episode 146.

Which, as we all know, eventually culminates into Kappa telling Fizz off in a much more polite way than I would have been able to handle in this situation. Kudos to Kappa for that.

Oh look. It's the consequences of my own actions. Weird how those keep cropping up at inopportune moments.

And it all came to a head in 165-167. In a display of violence I'm sure I'm not the only one who was surprised by.

Brutality aside, this next panel in particular I feel makes it clear how Fizz truly views Kappa.

Where I had my doubts and concerns were quickly thrown out and confirmed respectively at this very moment. Fizz doesn't see Kappa as an individual. He sees the Beacon as a means to an end; something he can take his anger out on behind closed doors. Where Siren has respect and care, Fizz has possession and hostility.

But this isn't even the first blatant time:

Kappa's value lies only in his title to Fizz. Nothing else should matter, in Fizz's mind, to the coveted Beacon. Honestly, I'm surprised Fizz even calls Kappa by his preferred name. He strikes me as the sort who would deadname a person repeatedly because that's not how he views that individual.

This brings up several more note-worthy differences between Siren and Fizz. Siren handles being told "no" with dignity and consideration for both himself and Kappa. Fizz, on the other hand, resorts to violence and self-righteousness. Hell, even being told "no" by Siren on defense of Kappa not being there to fulfill his dream sets the bastard off into a malicious tirade, all but telling Siren to off himself outright.

At first I thought there was no way Fizz was that damm dense. But, after 166-168, I've come to the conclusion that he really isn't. He's delusional, likely seeing himself as the hero in this story. That Kappa is merely a tool granted to him by God and Siren is just another antagonist getting in his way.

The fact that Fizz resorts to violence like that makes me worried and morbidly curious if he's that way with the other Flyfin, in particular his siblings. Is that why they stay back and let Fizz do whatever he wants? Like disassociating zombies before he unleashes on Kappa? Because he'll lash out on them if they say or do something? Finley, I believe. He is submissive on reflex, even with Siren. He even helps Kappa explain away his illiteracy. It's Fean where I'm unsure. She acts like she has some semblance of control over Fizz (smacking him in my previous example). Still, there is some love between the siblings. Otherwise they wouldn't have gotten so distraught when Siren nearly killed their brother.

But enough about that side-tangent.

Going back a little bit to comment I made earlier, Fizz likely sees himself as a hero trying to save both the Flynfin and the whales (I'm choosing to ignore that last panel in 169 until we get further details). A hero who is met with irritating barriers in the form of the Sluggi baring him from the archive/not wanting to wake the whales and Siren shielding Kappa from Fizz's delusions of grandeur both physically and verbally. Hence Kappa’s accusation that Fizz was trying to get him to push Siren away when he confronts the trio alone.

By contrast, Siren feels immeasurable guilt for not saving his people when he already knows the "cure" to their curse. He doesn't look at his reflection and see a hero worthy of praise and affection. Siren sees someone who is selfish simply for wanting to live despite his people and boyfriend encouraging him to stay alive. Someone who is surrounded by love and support he does not deserve.

I don't think Siren sees himself as a villan, but he certainly could stand to be less harsh himself. Easier said than done, I know. And I love that realism about him.

Both Siren and Fizz want to save their respective people. I don't doubt that. It's one of the only things they have in common. It's a difference of what they are willing to sacrifice in order to reach that lofty goal. Personally? I don't see Fizz as being willing to lay down his life for his own people either, which is rather ironic given his moral high ground shpeal with Siren I touched on earlier.

Last but not least is there willingness to actually be violent. Fizz clearly has zero qualms with it when nobody is around. Siren, on the other hand, seems almost averse to it, outright feeling awkward about using his knife (and even his teeth) initially.

He seems to get over the aversion to use his teeth, but his feelings about his knife linger on.

He is willing to cripple himself (in a way) in order to not make Kappa uncomfortable anymore. Despite it more or less being a heirloom of his father. Siren doesn't even reach for it when he knows Kappa is in danger. You could call this a slip of the mind due to his panic or being in a rush. I like to think knowing Kappa is afraid of it played into this decision as well. And Siren proves once and for all he's not above using his teeth anymore either!

Despite his protective rage, Siren is still shocked to realize how violent he's become.

I didn't sign up for this psychological warfare, but damn if I'm not staying here for it!

Fizz, but contrast, while he has no weapons so to speak, is not above using his fists. Consciously battering someone weaker than him. All too happy to resort to torture even.

This guy is sadistic enough to see that look on Kappa's face and be excited about the mental and physical pain he's about to inflict on his perceived prey. Thank the surface Kappa was able to draw his own blood, which is not a sentence I thought I would ever say.

Compare that to Siren as soon as he realized what Kappa was afraid of:

There is no joy in Siren's eyes as he takes in Kappa’s look of fear. He wants to make things right, going so far as to stow his weapon out of sight before trying to approach Kappa again. When Kappa eventually flees, Siren respects the decision and does not follow despite everything in him screaming to give chase.

Long winded story short, I love the intentional differences between these two.

One last unrelated comparison before I hit the road (because I absolutely love finding these sprinkled throughout this amazing story):

That despite being "imprisoned" by the other, they're both happy. That first panel, by the way, is still one of the most heartbreaking ones to me in the entire comic. Just the implications behind it all, fortified by the later treatment at the hands of Fizz, is just chef's kiss.

Also damn this 30 image limit! I had to remove a few panels, but I hope my point(s) still comes across.

[nyc3]

hello I recently and after going through it I would like to ask some questions if that’s ok of course and sorry if you perhaps got one of theses questions before

1.what is your general opinion on Shigaraki cause I’m curious as a shiggy fan and just curious in general what other people who don’t like him as much or just in general don’t like him think of him

2. How would you write/rewrite shigaraki just in general or if nine was the main villian and Shigaraki was like a secondary villian and or maybe him joining up with nine

3. What do you think would have happened if nine found tenko

sorry if this ask comes off as annoying or rude I’m just general curious hope you having a good/night

Hello!

It's ok, I would try to answer the question the best I can as english isn't my first lenguage so sorry if you find errors here and there. So let's go:

1_ This may sound strange as my constant comments and critiques about Shigaraki may make look like I hate him, but isn't really the case.

I think is more he's a frustrating character to me because while on paper his concept is fine, I feel his presence ends up being detrimental to the quality of the story because the mangaka didn't know how kept Shigaraki relevant and his solution was artificially increase his status sacrificing other more interesting characters with potential just to elevate Shigaraki, especially Nine and Overhaul.

2_ Honestly I never thought on an in deep rewrite of Shigaraki overall character.

But If I have to say something he did works as a early antagonist considering the initial states of MHA and while I'm not fan of having a singular main villain (because in my ideal story multiple major villains should fight for the power) I think Shigaraki and Nine surely can coexist in the same story. They can even influence each other in fact.

After all an important part of Shigaraki as a character is how he develops a sense camaraderie and tries to became a better leader (even if there's a lot of problems with the execution if that idea in canon).

But Nine already had those qualities since the beginning, he's a good leader who always cared about his teamates and tried his best to protect them. He was a hero for them basically.

So why not make Nine a figure which inspires Shigaraki rather than his rival and Tomura attemps to became a better version of himself while looking what makes Nine a beloved leader, while at the same it time creates a contrast with AFO who was the only prominent figure on his life before.

It would also be funny if AFO didn't see coming how his two attempts of "successors" would became closer allies rather than rivals and join forces, eventually opposing him. Nine would never follow AFO selfish ideals, and he probably will fight to free Shigaraki from his control.

3_ This one is interesting, because I don't think Nine and Shigaraki have a big age difference in the first place.

Despite Nine got a more adult vibe he probably is at best middle 20s, which would make him 4-5 years older than Shigaraki in terms of canon age.

So in a scenario where Nine found Tenko after what happened to his family that day they both will still be kids.

But despite Nine seem to only care about people with stronger quirks and you can think "why he would care about a random kid in the streets?" I actually think Nine has this unconsious instict to protect others in a vulnerable situation regardless of their actual power. After all how he could guess people like Slice and Mummy were strong but he helped them anyway?

That being said I think Nine would do exactly the same for Tenko if he found him that day, extending a hand to him (metaphorically at least lol) and both would escape together while trying to survive on the cruel world of the streets as two orphans without any place to go.

Think about it as Nine being the big bro who tries to protect Tenko the best he can, because he knows Tenko can be a really strong person and both could take on the world someday. Of course Nine won't try to fuel Tenko's trauma unlike AFO, perhaps he will attempt to heal him and Tenko will recover a bit of his own selfless and sweet self with time.

While they grown together as a found family they eventually will meet Chimera, Slice and Mummy like Nine did in canon.

Idk how their lives should continue from there, but pretty sure all them will still fight for create the ideal world Nine always wanted for all of them.

So that's it, I tried my best to answer each question but probably I could've added a lot more but didn't want to make this too long either.

Perhaps one day I will do more post with ideas about how I would like the story to be. It's very fun write about Nine and Shigaraki actually.

Thank you for ask and read!

[sophieinwonderland]

The Plurality of... The Exorcist

Trigger Warning: Discussions of real life torture and child murder.

I'm going to tell you something horrifying.

Something to fill you with dread.

Someone you love isn't who you think they are. They have others hiding inside them. There is something else there who takes over their body. An other.

And this other could be dangerous. They can look like the person you know, they can control them, they can lie and pretend to be them.

This is the horror of The Exorcist. This is the horror of... plurality!

The Exorcist

For those who don't know what The Exorcist is, let me first welcome you out of the fallout shelter you've been hiding in for the past 50 years. Turns out, the world wasn't destroyed by nuclear war and everything is okay! 👍

The Exorcist is one of the most iconic and influential horror movies in history. Even if you haven't seen it, you've probably picked up the general idea of what it's about from pop culture.

This classic horror movie centers around a girl named Regan who becomes possessed by a demonic entity.

She communicates with this entity first through a Ouija board. It's later implied that she might have some sort of internal communication with it as well but this isn't elaborated on much at all.

Regan isn't the main character of the story. This isn't a story about the horror of being possessed by a demon. It's a story about the horror of having your daughter possessed by a demon, and of being the exorcist whose faith is tested by the demonic spirit.

A good example of this is an infamous scene where the possessed Regan is seen... let's say "impaling" herself with a cross, saying "let Jesus fuck you," while covered in blood. This is most iconic for the way she twists her head 180. This scene is shown from the perspective of the mother, depicting how horrifying of a sight it is to walk in on.

The movie doesn't much care about what it's like for Regan to be possessed or the pain being caused to her.

We don't know much about what was going on in Regan's head while possessed because the movies doesn't care about Regan. It cares about how her personality changes affect those around her. She's almost more of a plot device than an actual character.

By the end of the movie, the demon is exorcized and Regan is saved, successfully being returned to a single person in one body as God intended.

There are plenty of analyses of why this movie is problematic from a feminist perspective, such as the personality changes and the "let Jesus fuck you" scene being metaphors for female sexuality and puberty, but I don't know that it's ever been approached from a plural perspective before.

That's what I'm here to change today!

The Horror of Plurality

Plurality, is an umbrella term for multiple self-conscious agents sharing a body. These can be psychological in origin like alters in dissociative identity disorders or tulpas in modern tulpamancy. Or it can be spiritual in nature, as seen in many cultures with non-pathological possession states. A spiritual medium who regularly communicates with the same spirit, and allows that spirit to possess them, could be considered plural for example.

This umbrella term didn't exist when The Exorcist was made. And it wouldn't for another 20 years after.

However, plurality as a concept has existed for a long time in different forms. Spiritual possession states have existed for centuries as a form of plurality across the globe, and Multiple Personality was well-known even if it wouldn't be put into the DSM as a diagnosis of its own until 7 years after The Exorcist was released.

In fact, in the film, there's even a scene where Regan's mother says her daughter is acting like she might have a "split personality." This is quickly dismissed in the film, stating that there have been less than 100 cases in history. And the doctor acts as if it doesn't really exist.

Regan's mom: Did you see or not? She's acting like she's fucking out of her mind. Psychotic or split-personality or...

Doctor: There haven't been more than 100 cases of so-called split-personality Mrs. MacNeil.

(I kind of want to smack him...)

This was the early 70s when this was actually true. Not because dissociative identity disorder is actually a super rare disorder, but because DID was often misdiagnosed as other disorders. We now know much better, and DID is estimated to affect 1%-1.5% of the global population.

The idea of "split personality" isn't really explored much more in the film beyond it just being stated that it's rare and she shouldn't look further into it.

And yet... the movie does use language that seems to be based on multiplicity, with one character even describing how there appears to be at least 3 "personalities." (Only to be rebutted and told that it's only one demon. I could go on a side tangent about how that's a pretty weird conclusion when the only biblical example of demonic possession is Legion who were thousands of demons possessing one person... but that's a rant for another day.)

To what extent this possession relates to multiplicity as it was understood at the time isn't clear, but one thing can't be denied. And that's the fact that the horror in the movie is based on this innocent girl having someone else inside her and no longer being recognized by her mother.

Regan's mom: You show me Regan's double, same face, same voice, everything. And I'd know it wasn't Regan. I'd know in my gut. And I'm telling you that 'thing' upstairs isn't my daughter.

The horror of The Exorcist and similar possession stories, even if the word wasn't used at the time, was coming from the idea of the girl being plural. The fear that maybe hiding beneath the skin of this cloistered youth...

Is an unholy fiend...

(Art by Igor Kieryluk)

Why Possession Stories are Problematic.

Like I mentioned above, this is a story focused not on Regan, but on her mom and the exorcists. Regan doesn't really matter besides being the healthy girl who develops a condition and needs to be cured through ritual torture.

Okay... maybe that's not totally fair. The most they really do to Regan is chant at her and throw some water on her. Even if the demon is screaming in agony, that wouldn't really be considered torture, would it?

I mean, unless you're a young neurodivergent child with sensitivity issues who would be traumatized by having people shout at you and douse you in water. And if they do scream in agony because you shouted at them and threw water on them, then I guess that proves that they were a demon all along?

Look, I am not saying that the characters within the fictional movie did not have legitimate reason to know that this girl was possessed by a demon. I mean, she flew!

Of course, within the fictional context of the exorcist, Regan is possessed by a literal demonic entity who has not only hurt Regan but has murdered other people.

What I do want to get across though is that a lot of horror is built on the fear of the other. And the other in The Exorcist are people who are plural and people displaying symptoms of mental illnesses.

A popular topic is coding in fiction. This was originally used to point out how many characters, especially villains, are queer-coded. Meaning they commonly incorporate queer stereotypes without being explicitly queer. But this also happens with mental illnesses. For example, it's been pointed out how a lot of robots and aliens in fiction end up being autistic coded. The very tropes that are used to define robots in fiction are also tropes that are associated with autism and other neurodivergences. And they very often play into a narrative of wanting to be more "human," which really translates to "more like a neurotypical."

Likewise, the tropes of the demonic possession in the exorcist are associated with plurality and mental illness. The similarities aren't lost on the movie either. Much of the film is trying to figure out if this is a brain issue or psychosis, and again, the possibility of multiple personalities is brought up.

The comparison was made by the movie.

If we can acknowledge how often robots in fiction are autistic coded, then I think that we also need to acknowledge that the possession in the movie is plural-coded, and more generally, neurodivergent-coded.

While you can argue that the movie was not explicitly about dissociative identity disorder or plurality, the fear it encouraged and played off of was a fear of anybody with multiple selves.

And this is a fear that has endured for generations.

Pluralphobia: The cultural impact of the exorcist

The exorcist redefined what horror was. In media, it created an entire subgenre unto itself of these exorcism movies. Even if a movie isn't really about the exorcisms, many horror movies and shows about spirits will include at least one exorcism scene.

We can also see this in television, such as CBS's Evil, which follows a group of assessors for the Catholic Church, some of which end up involving exorcisms of possessed people.

On that note, when you watch The Exorcist, you might notice that exorcism is spoken of as this very hidden practice that's barely talked about within the Catholic Church. And from what I've gleaned of historical sources, this seems to be pretty true. The Catholic Church didn't talk a lot openly about performing exorcisms prior to the movie's release.

They were trying to move away from the more mystical aspects of their religion in the public eye, to appear as a more rational religion for a more rational age.

The movie popularized the real practice of exorcisms. It increased demand for these rituals. It caused parents to start legitimately believing that their children were possessed by demonic entities.

And while you might think that people would move on from exorcisms in the age of the internet, this hasn't been the case. It's actually only been increasing.

In 2005, the Catholic Church had 12 people who specialized in performing exorcisms in the United States. That number was 175 as of 2023.

And this culture has already affected actual plural systems. I have spoken to plenty of plural systems who have described having people believe that they were possessed whenever they describe their headmates and being plural, and some who have even been told they needed an exorcism or had exorcism pushed on them.

Countless more plural systems hide their plurality out of fear that this might be how they would be perceived if they were out as plural publicly.

And a lot of this modern religious pluralphobia can be traced directly to this movie. When somebody writes a book called "The Exorcist Legacy, 50 Years of Fear," this isn't an exaggeration.

The Exorcist created a fear of the demonically possessed, and its impact still reverberates through our culture more than 50 years later.

And sometimes, the results of the fear of the demonically possessed can have disastrous results.

The exorcism of Anneliese Michell

The year is 1975. The exorcist was released two years ago in 1973. The German dub was released in 1974.

A German woman by the name of Annelise Mitchell has just been approved by the local bishops to undergo an exorcism.

She has been diagnosed with epilepsy and psychosis but past medical treatments haven't worked for her. She has started hearing voices and has become convinced that she is possessed by demons.

Over the course of the next year, Anneliese underwent 67 exorcisms.

In audio recordings, Anneliese speaks in a "demonic" voice that is very reminiscent of the voices used during the possession in The Exorcist, and claims to be possessed by such figures as Hitler, Judas, Cain, and Nero.

During this time period, not a lot was known about dissociative identity disorder, how to recognize it, or how to treat it.

Perhaps, if given another decade, when it was more well-known and more doctors were willing to diagnose it though, Anneliese could have been diagnosed with DID and successfully treated for it.

DID often can present as demonic possession. There's even a whole section in the DSM section on DID that discusses this.

What happened instead is that she starved herself during the exorcisms, saying she wasn't permitted to eat. She died of malnutrition, and her body was found with its knees broken.

Unlike the exorcism in the movie, the exorcism of Anneliese was a long and brutal affair which saw her condition worsen to the point where she died.

To be perfectly fair, I have never seen anyone confirm that Anneliese or her family saw The Exorcist before this incident. The fact that she started being exorcized two years after the movie's release and a year after the movie's German dub could be a total coincidence that didn't play into it at all.

And if there was a connection, that's not to blame the filmmakers for their movie. There isn't any way that they could have predicted the type of cultural impact it would have. But the truth is that fiction can affect reality, and sometimes in ways that we don't intend it to.

Anneliese was a real human being who died because she and her family and priests became convinced that she was possessed by demonic spirits in a post-Exorcist world, and they responded by trying to get rid of those spirits.

This exorcism later inspired more movies in the same exorcism genre like The Exorcism of Emily Rose...

Which sensationalizes the story and plays into the ambiguity in a way that leaves the door open to people thinking that maybe both the fictional Emily Rose and the real woman she was based on actually were possessed by a literal demon.

What happens when plurals come out to a world where Exorcisms are becoming more prevalent? Is the real horror yet to come?

I believe that we stand on the edge of a major change in the world in terms of the visibility of plurality.

But with increased visibility, comes increased dangers as well.

History hasn't been kind to marginalized communities that step out of the shadows.

What happens when the plural community comes out? When it can't be ignored any longer by mainstream society. What type of opposition will we face? Obviously, I have no doubt that many of the attacks will be ableist in nature. They will call plurals crazy, they will use associations with mental illnesses to discredit us and deny us rights.

I have no doubt that we are going to see Fox News and other far right media outlets attacking plural systems for our plurality in various ways, much as they have done to queer people. There's even a pretty large overlap between the plural and queer communities, so they can use much of the same attacks against us. Already, we see pluralphobic rhetoric adopting queerphobic talking points, such as people accusing systems of "grooming" people into believing they're a system, which was popularized by the Right in recent years to use against trans people.

But there's another concern I have that I want to give voice to here.

That we might see religious fundamentalists begin attacking us on the basis of demonic possession.

This has already started happening.

Earlier this year, there was an incident where a right-winger infiltrated a panel at a gender conference that was focused on plurality. While the panel discussed plurality, the conservative claimed she felt a dark energy come over her, and had to leave the building. She later claimed that she felt the presence of a demonic spirit there.

I won't link to that because the panel was never intended to be recorded, and the speaker was not out as plural and did not want to see the video get promoted further with their face revealed, potentially outing them if it gets back to people who might recognize them. You can find my past discussion of this incident here.

But this isn't the only such incident we've seen recently. In a similar vein, conservative pundit Rod Dreher also wrote an article on tulpamancy, where he suggested that tulpas could be demonic spirits.

This could be the beginning of conservatives ratcheting up fear of plurality. This could be the beginning of a new wave of pluralphobia.

Especially with conservatives increasingly seeing their support of conservative candidates as spiritual warfare in a battle against literal demonic forces.

What if the legacy of The Exorcist is creating a culture of fear around those who are multiple? A culture that is still in full force over 50 years later and gaining ground?

The Nightmare Scenario: A Reign of Christian Nationalism

Let me tell a story. A story of one possible future, a worst case scenario for plurals.

The plural community grows ever larger online as more people realize they're plural. More studies are conducted into plural systems leading to more support from psychiatric institutions. Plural awareness continues to spread through college campuses and institutions and educated Left-leaning spaces.

This is something I believe is going to happen within the next decade. It's also something that conservative pundit Rod Dreher fear-mongered about in his blog post.

And for far-right Christian nationalists, this is an opening. Because the acceptance is primarily coming from left-wing spaces, this becomes a divisive partisan issue. Christian nationalists will jump at the chance to craft a narrative of plurality being used to open children up to possession by demonic forces.

Conservative pastors play TikTok videos of plural systems switching as examples of possession. This makes its way into right-wing media outlets to boost it 100 fold.

In the minds of Christians who have grown up on horror movies like The Exorcist and all that it spawned, who have been fed a myth in their churches of demons waging spiritual warfare against them, they will all too happily buy into the lie that plural systems are an extension of this. That we are the demons they have been warned about. The evils they have been taught to fear are no longer hiding but are now openly encouraging their children to embrace demonic possession.

This might sound farfetched to the nonbelievers and sceptics who think it would be silly to convince a large portion of Americans something like this, but belief in demonic possession is already pretty high, with 51% of people saying they believe in demonic possession according to one YouGov poll, with 20% undecided.

Less than a third of Americans were hard non-believers in demonic possession.

So how difficult would it be to convince a large portion of the other 71% that the people saying they are multiple people in one body are actually demonically possessed?

During the resulting hysteria, we see a massive surge in demand for exorcisms. The number of Catholic exorcists in America ends up increasing from its current 175 to over 500 and they still can't keep up with the demand caused by this right-wing hysteria.

And this is where the real danger comes in. Because I actually believe that the Catholic Church learned from what happened with Anneliese Michell. I think that their own trained exorcists are going to be heavily regulated and will be far more responsible to avoid causing another massive scandal that will blow back on a church already marred on controversy.

No, the real threat is going to come from unsanctioned exorcists. People who haven't gone through the proper training and don't care as much about safety.

In 2020, a 3-year-old girl named Arely Proctor was believed by her family to be possessed. They carried out an exorcism on this girl for over 20 hours that ended with her strangled to death.

Was Arely's murder an isolated incident? Or is it a canary in the coal mine?

For the purpose of the scenario, let's assume it's the latter. That this is the result of our culture's growing obsession with exorcism, an obsession that started with The Exorcist 50 years ago.

And as the plural community and Christian nationalists clash, the result is a wave of incidents of child abuse through unsanctioned exorcisms. The happier cases end with kids being removed from their parents' custody after suffering abusive rituals. The more tragic cases end like Arely and Anneliese.

Keep in mind that the victims won't necessarily be plural. Other neurodivergents will be affected. As will those who stray into the heretical by the Christian nationalist standards. Anyone even perceived as being possessed will be at risk. But it will be the hysteria around plurality that pushes this into overdrive. This will be the inciting incident for this dark future.

If this comes to pass... How can we, as plural systems, even hope to fight back against that?

If one horror story can change the world... Then maybe we need to tell better horror stories...

Luckily, this hasn't happened yet. It remains a story. Purely fictional, much like The Exorcist itself is.

But the thing about stories, which I hope to have shown here, is that they have power. There is power in stories to change the world. For better or for worse. Every new horror story about possession by evil entities further builds onto The Exorcist's legacy, encouraging fear of people who are more than one.

But positive plural representation like Moon Knight helps normalize plurality, and stories like IF can normalize imaginary friends and, by extension, tulpamancy.

And horror can be used the same way.

Horror has always been built on the fear of the other.

This is why the tropes are so often ableist or racist or xenophobic. Throughout history, horror has unfortunately been used to cause harm to marginalized communities. Because often what people are afraid of are the people who don't think like them or have a different culture than they do.

But it doesn't have to be that way.

You could subvert the classic possession and exorcism conventions. Tell a story of someone sharing a body with friendly spirits where the horror comes not from the other headmates but how the culture around them reacts to them. Position the exorcists and those pushing for exorcism as the monsters trying to banish the good helpful spirits or headmates.

Or maybe the protagonist isn't the "possessed", but the headmate who is being locked in their mind, only getting fleeting moments of freedom as the host becomes convinced by those around them that the headmate is a demonic entity that needs to be eliminated.

Tell horror stories that build sympathy for the possessed or those who share a body with them. Sympathy for the discrimination they endure. Sympathy for being treated as if there's something wrong with them. Sympathy for being othered. Because there is a horror in that too. A horror in being the other, being the outcast.

If you are plural, you can pour your own experiences into the stories you tell. If you're not plural, you can learn about plurality from plurals and how to tell more inclusive stories about plurality.

Ultimately, what you need to remember is that in this world, there is no power greater than the power to tell stories. Stories shape who we are. They shape our cultures. They shape our fears. And they shape our future.

I don't think anything demonstrates this better than The Exorcist, with the way it managed to change the world, for better or for worse.

So let's tell a better story.

Even if your story won't be the next Exorcist, maybe it can be a story that inspires it.

One more thing you can do...

Vote.

I'm sorry to ask this of you. I know that politics can be exhausting and you probably didn't click on this for politics. But Christian nationalism is increasingly on the ballot. It's a threat to plural systems. It's a threat to queer people. It's a threat to women's rights. It's a threat to religious minorities.

And because they also know the power of stories and try to restrict access to stories they don't like, it's a threat to our very ability to tell stories.

If you are reading this post when it was made, the 2024 election is in a week. You can still make a difference. And if you're reading this in the future, hopefully we defeated Trump and Christian Nationalism in the battle for President. But the war is far from over. Winning one fight isn't enough. Maintaining freedom requires constant vigilance. There will be more elections coming up, and we'll need your help with those too. And even if we did win the Presidency, there will be other fights we didn't win. There will be states that have elected Christian Nationalist governors, judges, and state legislatures. States that are pushing laws actively restricting the rights of queer people. States that are placing hard restrictions on abortions and birth control, banning books with LGBTQ themes while mandating the Bible be put into schools.

So please vote. Not just in this election, but the next election too, and the one after that and so on. Because as the saying goes, the only thing necessary for the triumph of evil is for good people to do nothing.

And to those that have voted or will, thank you for standing up for our Democracy and our futures!

Conclusion

When I do these Plurality of... posts, I generally like to talk about the story itself and the plurality featured in it. With The Exorcist, I don't think there was a lot to say about that.

It is a sort of plurality. And it's an extremely problematic portrayal. But what's more important about the Exorcist wasn't its story or its characters, but its cultural impact.

While that cultural impact has actually been pretty bad for plural systems, IMO, it proves something that I think is all too easy to forget.

We all have the ability to change the world through the stories we tell in ways both large and small.

If there's one takeaway I want people to have from all of this, it's this:

Your stories matter. Your vote matters. You matter.

And if we want to make the world a better place for all plurals, and for all people in general, then we're going to need people like you to tell your stories and share them so that the stories that spread aren't just the most harmful ones.

By telling your stories, you can make sure that the stories people hear about plurality aren't just the ones that demonize plurals.

Oh, and...

Happy Halloween!

For more of my discussions of plurality in creepy media, be sure to check out The Plurality of… Bill Cipher. Alternatively, for a plural story that does deal with discrimination for being plural, see The Plurality of… The Hybrid Chronicles: What’s Left of Me, where I discuss a novel set in a world where people are born with two souls. As always, thanks for reading.