#like yes its annoying when one parallel or one metaphor or one theme or one angle in a show* gets driven into the ground by everyone

[finalgirljesus]

"the orpheus and eurydice parallels are overdone and annoying" okay sure i see where you're coming from but also I'd be the voice that urged orpheus when her body was found I'd be the choiceless hope in grief that drove him underground I'd be the dreadful need in the devotee that made him turn around I'd be the immediate forgiveness in eurydice imagine being loved by me. take that into consideration

[lunarblazes]

i made a desertduo playlist and then decided to be a nerd and write explanations for all the songs! like a nerd!

playlist link: https://open.spotify.com/playlist/5ZGylutQpyTbgX7MY7Lrzz?si=t8_kBwBHSYG5kxTvZoIrTQ&dl_branch=1

QUICK DISCLAIMER: i am aware that a lot of these songs may have or imply romantic connotation! i would really really like it if these were not read as though those romantic connotations carry over to scar and grian. even if we’re just talking about the third life characters, i would prefer not to ship them or imply romance between them on this post. thank you so much and keep reading if you’d like to see the playlist analysis!

and now that that’s out of the way, PLAYLIST TIME!

•

passerine- the oh hellos

“you were the song that i’d always sing/you were the light that the fire would bring/but i can’t shake this feeling that i/was only pushing the spear into your side again”

this song really just... firstly, it’s one of my favorite songs, and the line i chose there pushes home the sort of terrified devotion i think the desert has. plus there’s a fun line about the cold wind blowing in from the north in the ending bits that i think very much fits their conflict with the red army, and a lot of legally obligated flight imagery that i need to have in every possible song because i’m a fuckin nerd.

•

no children- the mountain goats

“i hope that our few remaining friends/give up on trying to save us/i hope we come up with a failsafe plot to piss off the dumb few that forgave us”

i will admit that no children isn’t a perfect fit, but the general vibe of sort of defiant pessimism and betrayal fits very well with them! it’s very triumphant in its death, and i think that is very desertcore, because what’s more triumphantly dead than being the last duo left alive?

•

skulls- bastille

“when all of our friends are dead and just a memory/it’s always been just you and me/for all to see”

okay like this entire song is SO MUCH DESERT VIBES? LIKE SO MUCH. if i were to ever make an animatic for them i’d do it with this song. “a match is our only light, it’s day of the dead i’m indiana jones, yeah,” “i hope you can make me laugh six feet under when we’re bored of each other,” “i don’t want to rest in peace, i’d rather be the ghost that annoys you,” IT JUST KEEPS GOING. i think this song would work well with any third life duo, honestly, but these two in PARTICULAR just because of how it ended with them literally ‘buried’ next to each other, and again, the chaotic death vibes.

•

freaking out- mystery skulls

“i just keep out of my tongue/til all you want is done/and you just wanna leave me, oh yeah”

this song is a very third life grian song to me in particular! it could be my bias because of my little headcanon of grian burning on his red life, but seriously, this song is very reminiscent of the back and forth of loyalty that grian has with scar. the above line is sort of representative of the betrayal on red, and of course grian’s life debt.

•

night running- shin sakiura

(this song is in japanese! these lyrics are the rough english translation i found on google.) “someday we will stand at this place once again/for sure we will stand up again and again/we will watch it will the end/i want you to live freely”

this song is actually the ending theme for the anime bna, which i adore, and i just added it on a whim before looking at the translated lyrics. but um. holy hell the lyrics hurt me because they’re about running in search of someone, running for no reason, looking for something, and it just really hit, because the desert never really had a goal! they didn’t expect to survive, they were trying to survive, but what was their longterm goals? nothing. so that sort of endless search felt fitting for this. plus the song is a parallel for the two estranged best friends of the show so! perfect.

•

summer nights- siames

“it’s summertime/singing al green in your car/heading to a party/and the night air feels alive”

okay again, i will admit this song is mainly on here because i absolutely love it, but i also do think it fits well. it’s also about healing/estranged friendships, with a very distinct feeling of nostalgia for a happier time. maybe for a time when this was all a game, when there was no blood or betrayals on their hands. little canon divergent, but it’s fun for me, so into the playlist it goes!

allies or enemies- the crane wives

“are we allies or enemies/this will be the death of me, this will be the death of me/all’s fair in love and war but i can’t fight with you anymore”

. i just. points to that lyric. it literally led to both of their deaths. are they allies or enemies? it also fits with scar still wanting grian to be his friend even after he’s no longer indebted with the line “what happens now? do we have another go, do we bow out?” another very good animatic song that i’ve considered heavily. i listen to this playlist a lot

•

burn him down- kitsch club

“you must destroy, oh you must destroy, beyond all recognition/you gotta burn him down, you gotta burn him down, beyond all recognition”

this song just has a lot of fire and arson and high energy vibes. my little war criminals look at them go

•

rose- the oh hellos

“what's true is like a sickle/it'll cut you to the middle/your rose is without a thorn/but no, my mouth don't taste of metal/from the pot here to the kettle/i think we got a lot we gotta learn”

this one is like the exact opposite vibe of burn him down. the oh hellos are so poetic and this song just... feels like the healing potions after a battle. many of the metaphors here fit, i think

•

lone digger- caravan palace

“hey, brother, what you thinking/that good ol' sound is ringing/they don't know what they're missing/(they call it lonely diggin')”

okay this song is straight up just a dance song. i added it because i like it and also for some reason it feels ominous to me? i’ve got no idea why, it’s seriously just a club song, but it’s a banger and it’s in this playlist because i said so

•

feed the machine- poor man’s poison (suggested by my friend argonaughtkeene!)

“somethin’s goin” on, just look around/fear is on the rise, and there’s blood all over the ground/let’s all just blindfold the poor, we all know what’s in store/ we got ‘em now, just break ‘em down a little bit more”

this song is a VIBE for both desertduo members. there’s parts for both of them. it’s ruthless, gritty, very maniacal, perfect. listen to it and you’ll immediately understand why i added it.

•

sweet tooth- scott helman

“i hold hands with cosmic entities/i’ll take this two-ride if i please/i got this sweet tooth baby, yeah i got this sweet tooth baby/i exploit my opportunities/some broken hearts, some cavities”

sweet tooth is super upbeat and bright with these strangely dark lyrics? like i’m pretty sure it’s about addiction. in any case, i thought the “i hold hands with cosmic entities” very funnily fitting for both of the desert boys. it’s a banger!

•

necromancin’ dancin’- bear ghost

“when i’m necromancin’, everyone’s dancin’/nobody can stop me, i dare you to try/the dead are infused with insatiable groove and they’re coming for you, there’s nowhere to hide”

necromancin’ dancin’ just. bastard vibes. there’s not much more to say it’s just huge villain song vibes. i adore it.

•

crazy = genius- panic! at the disco

“if crazy equals genius/then i’m a fucking arsonist/i’m a rocket scientist/if crazy equals genius/you can set yourself on fire/but you’re never gonna burn, burn, burn”

i. yeah. y. yeah. more bastard vibes. also shoutout to an artist i saw (i think it was strifesolution?) who made a desertduo piece to this song because i have not stopped thinking about it ever

•

sweet bod- lemon demon

“i’m diggin’ up your coffin/and pouring out the contents/your sexy, sweet solution/is ripe for distribution”

you know how i said freaking out was a grian song? this one is a scar song. it’s my favorite lemon demon song and also it has the total macabre capitalism vibe that third life scar NAILED. more bastard vibes good for him <3

•

drunk- the living tombstone

“feel so much better than usual/i feel indisputable, oh/but now i’m feeling so beautiful/don’t wake me up from this spell i’m under, if i’m still breathing/i know that i will be ugly when i feel like myself again, oh/but right now i’m feelin’ so beautiful”

the descent of this song, starting off with a polite gathering and ending with a gasping drunk in the parking lot gazing at the stars that he can barely see? yes. yeah. mhm. i used a line from this song for a fic, actually, it fit so well.

•

oh no!- marina

“one track mind, one track heart/if i fail, i’ll fall apart/maybe it is all a test/cos i feel like i’m the worst so i always act like i’m the best”

bubbly pop track about false confidence, the ruthlessness of the pop industry, and the influence of the media? you know why this is here. it vibes. it rocks.

•

do it all the time- i don’t know how but they found me

“we’re taking over the world/a little victimless crime/and when i’m taking your innocence/i’ll be corrupting your mind/no need to cry i’m only doing everything i want to do because i do it all the time”

EVEN MORE BASTARD VIBES! SOMEHOW THERE IS MORE! this playlist is half villain songs and half heart-wrenching ballads and that’s the real desert experience i think.

•

the phoenix- fall out boy

“i’m gonna change you/like a remix/then i’ll raise you/like the phoenix”

BATTLE SONG BATTLE SONG! i’ll be honest i partially chose this song because i am a huge sucker for phoenix grian imagery in particular, but it’s also just a very good war song for them. villain song no 18372948 except this one originally had a hero vibe and now it’s changed specifically for them?? wild. their power

•

the other side- the greatest showman

“right here, right now/i’ll put the offer out/i don’t wanna chase you down, i know you see it/you run with me/and i can cut you free/out of the treachery/and all you keep in”

scar and grian’s desert monopoly conversation went exactly like this canonically because i said so fuck you <3

•

icicles- the scary jokes (suggested by my friend demizorua!)

“icicles don’t soften when they die/so why should i, why should i?/oh, icicles don’t soften when they die/they sharpen into sabers and they stab you in the eye”

this song actually has specific parts for both grian and scar! my cool epic friend mx demizorua pointed both of them out to me and i adored it so much. it’s a very spiteful song, just like the desert boys. also it feels vaguely murderous. perfect

•

problems- mother mother (suggested by my friend demizorua!)

“i’m a loser, a disgrace/you’re a beauty, a luminary, in my face”

literally this entire song fits them. particularly their relationship with the flower husbands, to me, honestly— the whole “when we meet at the pearly gates/you’ll get the green light/and i’ll get the boot in the face” reminds me a lot of them hdksjdks

•

tongues and teeth- the crane wives

“i know that you mean so well/but i am not a vessel for your good intent/i will only break your pretty things/i will only wring you dry of everything”

h. yeah. this song is literally gaslight gatekeep girlboss and i attribute it to the desert for that reason alone. songs to commit murder to!

•

you’re nobody til somebody wants you dead- saint motel

“you’re nobody til somebody wants you dead/and the list, it grows, and grows, and grows/it grows, and grows, and grows/and grows, and grows, and grows/until it’s everyone you’ve ever known”

this one is very self-explanatory. enemies pogchamp

•

curses- the crane wives

“there’s a fire in my brain and i’m burning, love/oh my, oh my/keep running to the sink, but the well is dry/oh my, oh my/every word i say is kindling/but the smoke clears when you’re around”

okay again! this one has two very specific parts for both of them. grian’s the first verse, which is above, and scar’s the second verse!! i really do like my fire imagery for these two don’t i? well, i blame them for having a fuck ton of tnt on them at all times and literally burning their enemy’s banners as a final act of defiance.

[summers-pratt]

Okay, ignore if you don't wanna get into it & or don't have time for rambling lol xD That is a very interesting reading regarding season 6 & the parallels between Buffy/Spike Willow/Amy & Anya/D'hoffryn & as many times as I've thought about these parallels & what the writers might have meant & what we can read out of it...I've just never considered that showing the dynamics in themselves as bad & destined to go bad was the problem per se. Sure, it could've been handled better (particularly Willow & magic which occasionally became a rather too muddled metaphor) but also - it is, after all, a drama & the story is at a rather dark part of the arc. As a huge Buffy/Spike fan & someone who hates 'Seeing Red' with a firey passion - I still think it makes perfect sense that Buffy/Spike went bad & that there had to be a turning point for Spike though I wish it were a different one. Same with Willow & magic - her darker need for power was a long time coming arc & season 6 built it up so well starting with her resurrection of Buffy. Anya was handled awkwardly by the writers a lot by trying to make her the comedy relief but she was actually an evil demon who killed people for a long time & turning back to that (to me) seems clearly destined for bad. I read these parallels as ultimately an allegory for bad choices & unhealthy coping mechanisms which fit perfectly with season 6's themes of young adulthood & depression & addiction & self-harm through behaviors. For as many ways as I think BTVS went wrong with how it handled treating female characters' choices, I'm not sure that I think those situations you mentioned should've been treated as like - good & okay choices? It wouldn't have really fit with what the season was doing in my mind. So I'm curious if you have more thoughts on that, I'd love to hear them. & btw I'm not like, trying to argue or be annoying I'm genuinely so curious there's nothing I love more than overanalyzing buffy lol it's so fascinating & fun to me

(Ok after accidentally posting this when I just had some general ideas laid out now I have fleshed out an actual answer lol anyway)

First off, I always have time for rambling and overanalyzing, so jot that down. Now, onto your lovely rambly ask and an equally rambly overanalyzing reply:

Narratively, of course I get the complexities that come from these relationships and dynamics, they themselves weren't inherently bad, but the effects of them were, where they take the characters and the plot is dark, and I love that, it makes sense at this point in the story (though yeah I 100% agree that some of it really did not need to happen the way it did yes i am talking about seeing red fuck that shit and yeah Anya is way more complex than they let her be and the magic-addiction allegory really loses its potency really quickly and yeah a staff of mostly male writers for female characters definitely makes itself evident at times ANYWAY). Yeah, fundamentally, this is a show, so it needs a plot, and it's a good show, so it needs a complex plot that creates conflict and develops the characters and establishes sets of metaphors to enhance the story and characters, and these dynamics do that and set off a good amount of future conflict, which is great! That's how writing is supposed to work! Woo-hoo for cause and effect! I just meant, broadly speaking, zooming way out, we have characters going to people they know who also happen to reside in the supernatural part of their world, and bad stuff happens as a result, and that is an interesting pattern that we can look at through other lenses other than narrative and metaphorical purpose, if we so choose (and I often do bc it's fun lol).

I agree they're all three unhealthy coping mechanisms and it fits really well in the season, and I'm not saying Willow going to get hits of magic was a great call, or Anya going back to killing as a job is a good career move (even tho we love a girlboss), or Buffy pushing everything down and using Spike to work through her depression was an ideal form of therapy. I was just musing on the fact that all of their coping mechanisms were supernatural in some way, and the show tends to be kind of black and white about demons unless they want comic relief out of them or if they're a main character (and then only sometimes do they get the greyscale treatment, and even less often with the appropriate complexity (hello Anya my beloved)). Of course, this absolutism way of dealing with morality fades as the show goes on, but I do think the writers tended to stick to the "demon bad, human good" concept more often than not, and the fact that these three instances have the coping mechanisms be supernatural beings is interesting. As we went over, yes, narratively it makes sense for these relationships to lead to badness, but pulling back, I also see it as a way the writers are saying "See? You turn to a witch or a demon or a vampire, you're gonna go bad too, they'll just corrupt you." It might be a bit of a radical interpretation of the text, but the idea of a human going to a supernatural being and it having a damaging impact is a common thread throughout the show, and while it tends to make narrative sense, it also says something about how we are meant to perceive the supernatural, and I think it's a little close-minded (again, looking way far into this but it is fun); Buffy tries to be with Angel, a vampire, but he fucks up Buffy's perception of romantic love and relationships, Giles' ex lover friend Ethan Rayne, a warlock, is only ever there to cause trouble, Ford goes to Spike to get turned and a bunch of people almost get killed and he dies, Faith throws in with the Mayor and turns bad and kills people, Maggie Walsh studies and frankensteins demons and dies at the hands (skewer?) of her creation that then kills more people and becomes a big bad, Riley gets his blood sucked a la vampire prostitution and ruins (well, speeds up the inevitable ruination of) his and Buffy's relationship. And the of course we have the fuckedupedness that is seeing red, though that is widely because j*ss wh*d*n hated that people liked Spike and wanted to change that. But even in that case, he was saying "oh you like this demon character? Fuck you, he's evil and you better not fucking forget it." And I guess that's what I'm kind of getting at, we're not supposed to like supernatural characters because they are Bad, we see again and again that demons and magic practitioners are Bad and no good comes from associating with them. But like, why? Not all of them are bad, some are downright kittenish (looking at you Clem, my beloved), and generalizing like that leads to the kind of massive confusion and shame Buffy feels about her attraction to Spike, as well as a kind of boring view on massive groups of people (yes I am calling demons people, that's my point).

So, I'm not really saying these dynamics should've been seen as perfect and good, I'm just saying they're part of a larger pattern that delineates supernatural beings as a largely Bad group, I don't think that's fair or fun.

There is also a whole other layer to this where the supernatural is a metaphor for queerness, and saying supernatural beings are Bad and Wrong and their Badness and Wrongness will rub off on you if you hang out with them is akin to parents not wanting their kids to have gay teachers or friends, or people not wanting to introduce their friends to their partner bc fear of rejection.

Ps- anon you did not come across as arguey or annoying at all! I love that my little dot connecting made you want to talk more about the idea! Absolutely no worries, overanalyzing Buffy is endlessly fun and fascinating to me too :D

[animerunner]

Luz’s Not So Great Luck

Fandom: The Owl House

Relationship: Eda Clawthorne & Luz Noceda, Luz Noceda & Willow Park, Luz Noceda & Gus Porter, Luz Noceda & Amity Blight, Eda Clawthorne & Lilith Clawthorne

Characters: Eda Clawthorne, Luc Noceda, Willow Park, Gus Porter, Lilith Clawthorne, Amity Blight

Warnings: Implied Child Abuse,  Summary: Luz and Eda don't talk much about how the magical human stumbled into Eda's life. Literally. But that doesn't stop people from asking. Theme: Unconscious (aka what kick starts this plot)

Notes: Okay got a few things to cover here before we start. Eda's curse. This does get addressed in the next one (since we're still in the same verse) but for now for reassurance sake I'll say this. Yes Eda was still cursed in this verse. However after that things take a turn. I'll explain maybe whenever I get to the standalone for this. But she is still a disability rep. Just how she is a rep is now different.I wouldn't remove the curse without putting something in its place. Eda's curse means far too much on a personal level to erase her representation entirely. I do have a plan. And it will make sense I hope. Also in that same kind of vein yes there is a catch here with Luz doing magic. It is kind of referenced here but we'll get into more details later. Last thing I can't fully go into the details as to why, yet, but Camila is absent from this Luz's life. Not by choice mind you. But that plays a part in how Luz ends up in this situation.

Last note. There ended up being a bit too many parallels for me between this and Campverse as the kick off point. And I decided rather than keep two separate stories, to integrate the Campverse idea into this where I could. Unforunately not everything could. But here we are. With this sort of fusion between campverse and orphanverse with some other stuff thrown in.  No orphanverse isn’t being dropped. Just campverse. Anyways Ao3 link here. Story is under the read more otherwise~

Eda, King, and Luz don’t often talk about the first time they met.

Mainly because Luz doesn’t remember any of it.

Sure she remembers the decision to run away from the camp. She remembers finding the portal door and stumbling through it. The last thing she remembers is a flash of orange that she now knows was Eda’s hair. After that though everything is blank for a few days.

Really to be honest she doesn’t remember much of those first few weeks if she is being completely honest. 

The few times she asked Eda it went nowhere. Eda always gets this distant look when those early weeks come up. King’s answers are worded in a way so Luz is never sure if she can take him seriously.

In the end it doesn’t really matter to Luz.

She found Eda and she’s away from the camp that’s all she really cares about.

                                                  -------------------

Lilith is the first one to ask about it.

It’s a quiet moment between her and Eda. Amity, Luz, and King are elsewhere. They’re talking about some of the after effects of the curse.

Even now years after the curse had been removed. The effects aren’t completely gone.

Eda had paused for a moment to check on some potions she had brewing at the moment. Lilith of course had questioned what seemed like an abnormally large order compared to when she had seen Eda working before. To which Eda had simply said it was for a monthly personal stock. 

“I wasn’t aware you took so many potions.” Lilith said, frowning. Not liking at all the implications at all that the five different cauldrons implied.

Eda shakes her head at that. “I don’t. They’re not mine, they're for Luz.”

“Oh.” Amity had mentioned Luz had said she had some health issues. Lilith had never really thought about the extensiveness of it before now. “I didn’t realize it was such a concern.”

“Yeah well they caused some hiccups when she first came to stay with me so I’ve had to deal with them front and center.”

Hell, part of the reason Luz had ended up with her was because of it.

“You know I never asked. How did you two meet in the first place?”

“There’s not much to tell.”

Really there wasn’t. All it had been was Luz stumbling through the door which she had forgotten to close. Fainting from a high fever. 

Luz had originally ended up staying at The Owl House because Eda had no clue where she had come from. She didn’t know where the local landmarks were. Or where the human healers were. And she wasn’t about to kick out a sick child on her watch. 

The following weeks were where the story really started arguably. 

“There must be some story behind it Edalyn.” Lilith protests.

Eda pauses for a moment there seeming to consider how to best respond to that. “Maybe there is but do I ask you how you and Amity came to live together?”

That does the trick in getting Lilith to stop the questions. 

                                                 -------------------  Amity is next though she’s a lot less direct than her mother figure.

Boscha was being her normal self. Though a comment directed towards Eda had managed to set Luz off in a way Amity wasn’t used to seeing before. 

It had been only through some quick thinking and intervention no one had ended up in a fist fight. 

“Why did you even go after Boscha? You know that’s just going to make things worse right?”

“I know but you don’t get it. She never goes after you and Lilith.”

Now it was Amity’s turn to get annoyed. “Only because of Lilith’s status and you know that.”

Luz realized she had accidentally stepped on some toes in her own anger. “Right sorry. It just hit really close to home this time. Too close.”

Amity frowned not for the first time confused by her friend’s behavior and history. It didn’t make much sense to her if she was being honest. “What part the part about Eda being a-”

“No, no. It's the other part.” Luz admitted with hesitance. “Eda took me in when no one else wanted me. If I didn’t have Eda, I don’t know where I would be right now.”

Dead probably. Eda had saved her in more than one fashion.

“How did she save you anyway?”

Luz didn’t like talking about her time before the Boiling Isles. Something that for the most part Amity respected. Everyone had skeletons in their closet. Sometimes a bit more figuratively then literal in the case of Luz. So Amity was always wondering how in the world a wild witch like Eda had essentially come to adopt a human.

“I wish I could tell you but I honestly don’t remember much after I first started living there. My...issue was uncontrolled back then and at its worst before Eda helped.”

Oh that’s what Luz meant by save.

Amity lets the topic drop from there.

                                                 -------------------  Then Willow.

Willow is more just curious about how they became a family to begin with when she asks Luz the question. 

“Does it really matter?” Luz asks. 

To her at least it doesn’t matter. Eda’s the first person that she feels genuinely cares about her. She never knew her parents and the foster families she had gone through had only tolerated her so much.

“Nah I get it. Family’s family. Regardless if it’s by blood. I was just being a bit nosey that’s all.”

Luz nods, she guessed the question was inevitable at some point. Considering whether to answer before saying. “To be honest I don’t really remember anything about the first few days.”

“Nothing?”

“No. When Eda found me I was sick, extremely so. I was in and out of consciousness for a few days. And even then after that it's all kinds of muddled until she helped me find the right potions to help.”

To be honest Luz doesn’t really remember much about her first month on the Isles.

“I didn’t realize it was flaring at the time.”

“Only because of the camp.” Luz grumbled. 

Her opinion on the whole camp affair is complicated. She hates every memory attached to it. She hates how bad things got. However without it she probably would never have met Eda. Never found the Isles that had slowly become her home in the past year.  

So, yeah it was complicated to say the least.

Willow’s look at first surprises Luz. Then she remembers that she almost never talks about how screwed up the camp was. 

Eda is really the only one who knows outside of her healer. And Luz sometimes just prefers to keep it private. 

The less she reflects on that time the better.

“Hey, I’m fine.” Luz assures. 

“Still that that happened to begin with…”

“It’s messed up. I know that. However, without them I would never have met Eda or you or anyone else. So-” Luz shrugs. “It’s not all horrible.” 

                                                 -------------------  Finally Gus thought of his way of asking if by far the least indirect.

“I just don’t get if there’s so much cool stuff on Earth why you left?”

Luz thinks for a moment picking her words carefully. Gus, of the friend group probably knew the least about her pre-Eda time. Part of Luz didn’t want to break his fascination with the human realm. Just because she didn't have a great history there.

Though that reality breaking moment was probably going to come at some point anyway.

“It’s...complicated. Not everything's sunshine and rainbows on Earth, Gus. I know you see the good side.” Partly because that was mainly what came up when it came to Human Appreciation Club things. “But not everything’s perfect.”

“Sunshine and rainbows?”

“Ah right you guys wouldn’t have that here.” Even after living on the Isles for a year Luz still got tripped up over the different metaphors. “I don’t know what the equivalent here is but basically means not everything is good and happy as it seems.”

“Ah so like there can’t always be moonlight and conjurings. Got it.”

Luz made a note to ask Eda about that later. Though she guessed it sounded similar enough.

Maybe she should ask Eda for a book on witch metaphors.

“So were things really that bad?”

Luz hesitates for a moment trying to think how to best respond to it. Sure not everything was bad. But for years the good had been buried under so much. 

“I’m sorry.”

“Why?”

“It must hurt to think about Earth if you have all those bad memories attached to it.”

“It does sometimes.” Luz admits. “But talking with you about the good times helps me remember that not everything was bad all the time.”

Gus lights up. “I’m glad I can help then.”

                                                 -------------------  It’s only after Gus that Luz finally asks Eda what actually happened.

“Why do you wanna know.”

“I guess I’m just curious. I don’t remember anything after I arrived for several days. And by the time I really started getting better you had pretty much just taken me in.”

Eda seems to debate at first for a moment, finally saying. “Alright. But first let's start with what’s the last thing you remember before waking up here. And the first thing you remember after that.”

“Stumbling through the portal door and then waking up in your room a few days later.”

“Yeah that sounds about right.”  Eda agrees. “Alright then-”

Owlbert had been running behind getting back from his human treasure run. So Eda had left the door open. What she hadn’t expected was for Owlbert to show up with a teenage girl in tow. 

Before Eda gets the chance to question anyone on anything. Like just how did Owlbert acquire a human apparently. The girl passes out on her. 

“What the heck?”

King walks up to her side. “Is she dead?”

“I don’t think so.” Eda kneels besides the teenage girl. Placing a hand in front of the mouth. Still breathing at least. Though what had caused her to turn into a heap is a good question.

Maybe it had something to do with going through the portal. Hand moving she passes by the kids forehead. Which she can now tell is radiating heat.

Fever. The kid was sick.

Which raised a whole bunch of questions that definitely weren’t going to get answered right now with her out for the count.

Probably the best thing to do was to take her to a human healer. But Eda doesn’t know anything about them. Let alone where to find one.

Well she did know how to treat an illness at least. Or at least a high fever. And as long as the kid was sick and out cold she was Eda’s responsibility. Whether she liked it or not.

First things first was to get that fever down. Eda reasoned, scooping the girl up off the floor. And then she could question Owlbert on a few things. 

                                                 -------------------  Eda learns the girl’s name on her second day, Luz.

Admittedly she doesn’t learn much else. Despite her work the fever still has yet to break. And Luz is in and out of sleep most of the time. 

Owlbert has been even less helpful in figuring out where Luz came from. He had said he had thought she was lost in the woods. And getting caught in the rain seemed like a bad idea.

He hadn’t even realized Luz was sick at first. 

Of course naturally the easiest way to find answers would be to send him scouting to see where the kid came from. However right now she wants Owlbert closer to her.

So for now the mystery remains.

At least keeping an eye on Luz is easy enough. The kid is sleeping other than when Eda shakes her awake to make sure she eats or drinks something. 

Day four post arrival throws a hiccup in that Eda had never been expecting.

Eda wakes up to an empty nest.

A quick talk with Owlbert tells her that he hasn’t left but has moved down to the kitchen. Moving down herself causes an eyebrow raise though as Eda finds Luz cooking. Or trying to if the way she’s falling asleep again on her feet is any indication.

“Kid?”

Whatever Eda expects, it's not Luz about jump startling herself back awake. Followed by a string of apologies. 

“Kid-”

“Luz.”

Eda wonders why the correction for a moment before pushing the question out of her mind. “Luz, take a breath for a second I’m not mad. I was just concerned to see you cooking while sick.”

“But if I don’t cook then how can I earn my place.”

“I forgot I said that.” Luz interrupts for a moment. She hadn’t realized she had said anything of that nature. But then again Eda hadn’t really seemed surprised when she had first talked about what life on Earth had been like for her.

“It’s not the only thing you said. But it was the one that started setting off alarm bells. Because-”

“No one should have to earn a spot in a family.” Luz repeats what Eda had said to her so many times now.  “I know you keep reminding me.”

“And I will keep telling you as long as you need it. Since you lived with some messed up people.” 

Well if that didn’t raise a whole bunch of red flags Eda isn’t sure what will. “Luz it's okay you don’t need to do that. You’re sick.”

“But-”

“No but.” Eda cuts in. “Now are you actually hungry or were you just trying to help?”

“More thirsty than hungry.”

“Okay I can work with that.”                                                   -------------------

Honestly part of Eda is starting to wonder if Luz is faking the memory loss.

Okay, not really but she was getting a bit tired of repeating herself to Luz.

The only time Luz doesn’t seem to have known where she was, was during the kitchen incident. And Eda thinks she was more on autopilot than anything else that time.

At least there hadn’t been a repeat of that she supposed.

Regardless Eda is almost at her wits end with trying to get Luz better. When a rather big surprise happens.

Luz casts a light spell.

It’s an accident. Luz still doesn’t have control over her magic. And her being sick only makes the situation worse. She’s trying to put the little ball of light out when Eda comes into the scene. Not having seen Luz casting but not being able to miss the floating ball of yellow light in the room no matter how hard Luz is trying to hide it. “Huh I don’t remember casting a light spell in here.”

Luz freezes in place. One hand still holding the light ball and staring at Eda wide-eyed. And proceeds to start panicking.

Okay, panicking over magic was definitely not something Eda thought she would ever see let alone experience. But at least she knows what to do. Grabbing Luz and pulling her in close so she can she starts taking her through the exercises she was taught. “Breathe with me. In…” Eda internally counts to 7 before talking again. “And out….”

Slowly but surely Luz’s breathing slows to a normal pace. Eda gives her a couple of minutes to collect herself before asking. “Are you feeling better?” A nod. “Alright do you think you can tell me what that was all about?”

There’s a pause before Luz shakes her head no.

Eda’s not sure where to go from there. There was some part of her that was confused. Why would someone panic over using their magic? 

“You know now that-”

“That you were worried I was going to take everything the wrong way? Yeah I’m aware. But at the time kid you gotta remember I had just walked in on you panicking over a light spell. It didn’t make much sense.”

Really she needed some answers on what the heck had just happened. But she didn’t want to force them out of the kid.

“Could you at least tell me why you were panicking over a light spell?” Eda decides to try.

Luz looks up for the first time in the whole conversation. Confusion evident on her face. “A light spell?”

“Yes, a light spell.” Eda’s equally baffled but pushes it aside for a moment. She casts her own light spell as an example. “See? Just like yours.”

Except maybe not. Luz stares at Eda’s own spell with a sense of open mouthed wonder. And now Eda is left wondering if she’s ever seen anyone else use magic before.

It would maybe explain the panic attack depending on how other humans viewed magic.

“Can I touch it?”

Eda cocks her head slightly wondering why but decides it doesn’t matter. “Sure. It shouldn’t hurt you.” 

The way Luz holds the ball gently in her hands cements Eda’s suspicions. “You’ve never seen anyone else cast magic before have you?”

Luz shakes her head no slowly. Some part of Eda’s heart breaks when Luz speaks her voice cracking slightly. “Everyone back on Earth just calls me a menace." If she's lucky as Eda later learns. Sometimes that's the kinder thing to be called. "I’ve tried so hard to control this but everything I do just makes it worse.”

“Magic can be difficult to control if you don’t know what you’re doing.”

“I know.” Luz has a distant look in her eyes for a moment. And Eda wonders what she’s remembering. 

Eda’s not sure who's more surprised by her next suggestion. Her or Luz. “Would you like me to teach you how to control your magic?”

Luz stares at her for a moment. “You would be willing to do that?”

“Of course. No one should have to live in fear of something that is a part of them.”

Eda will take it to the grave that part of this is self motivated. Yes she wants to help Luz to learn to control her magic. No one should have to live in that much fear of their own self. She would know herself how hard and trying that could be.

However, a human doing actual magic is such a curiosity. She’s hoping that maybe having Luz around some more might solve how this was even possible. 

Though part of her wonders if she is going to like what she finds out.

However, despite the self motivation there is some sincerity. She remembers what it was like when was freshly cursed. Being worried about turning into The Owl Beast on a moment’s notice. 

That was part of the past now. However that didn’t mean she couldn’t sympathize with Luz. 

“You know what that’s like?”

“Yeah but that’s a story for another time.”

No way was Eda going to explain just yet her troubled teenage years. Or her own magic based issues. That could come later. If ever.

On the bright side this does make things a bit easier. If Luz can do magic then she must have some sort of demon or witch blood in her. So a healer would be able to properly treat her. She just has to find a healer.

“And there’s not much else to say there really. You started getting better after Althea came out. And the rest is history.”

“So I basically wore you down into taking me in?”

“In a way I guess you could say that. I mean there was no one real moment I knew I was taking you in permanently. Though I guess learning you can cast magic was the catalyst. It just kind of happened. Whatever resistance I might have had left after nursing you back from a fever went away pretty quickly.”

What had started out as a strange want to help driven by a degree of curiosity. Had evolved as Luz had gotten closer to her. As Luz had gotten better and slowly started opening up to her and King. After Eda had found out the actual chain of events that had set up the two of them meeting in the first place…

Yeah, Eda had been more than willing to let Luz move in permanently rather than return to the human realm.

Sure the family thing wouldn’t come for a few more weeks. As Luz had wormed her way into her heart. But at first it was nice to have some other constant company besides King. 

The continuing mystery of Luz’s ability was just part of the equation. At this point Luz was as much family as Lilith and King were.

“Thank you.”

Luz isn’t entirely sure if she’s thanking Eda or Owlbert. Since they both had a role in her finding a life and family on the Isles. 

“Your welcome kid.”

[mittensmorgul]

Season 13 and the Big Bad

A defining characteristic of Supernatural in seasons past was the early identification and buildup of the Big Bad character of the season, to the degree that the cosmic escalation of big bads became a running joke. And then the show itself transcended the running joke with the whole “God’s SISTER!” thing, and honestly, where the heck do you even go from there.

Demons, Bigger and Scarier Demons, More Demons, Apocalypse-starting Demons with a side of Dick Angels, Lucifer and Michael, Raphael and Monsters, Leviathan, Demons and basically the Winchesters screwing with the natural order, Angels and Bigger and Badder Demons, MoC!Dean, God’s Sister the Darkness…

I mean who else was waiting for Fuckhands McMike to show up?

Once you hit that level, the whole IDEA of a single season Big Bad just… loses the power to engage. Almost everything after that point is gonna have a Been There Done That element to it.

That’s why the whole point of s12 wasn’t about a Big Bad Character, it was about the Winchesters finally having moved out beyond the plot far enough to look back at their legacy in a critical way. The BMoL weren’t there to act as the Big Bads, despite filling in part of that role. Same with Lucifer. Same with Mary. The real Big Bad of s12 was the Winchesters’ past, their legacy, their “destiny.” And finally beginning to find some sort of resolution and a fuller understanding of themselves. And that theme is continuing full-steam ahead in s13.

The real Big Bad is the friends we made along the way.

Nah, just kidding. The real Big Bad of s13 so far is Dramatic Irony. But let’s back up and examine the players on the board so far:

(under a cut because it’s like 3.6k words and this just seems practical, if annoying) :P

--There was much speculation that Wee Lil Nephilim Jack could “grow into his power” and become the season’s Big Bad, and 13.01 certainly tried hard to make us believe it… for about 15 minutes. He’s certainly got a terrifying amount of power at his disposal, but he’s such a lil marshmallow and just wants to be GOOD so badly. Just give him some nougat and watch him struggle to understand human morality with his Beyond God-like Abilities. So while he’s definitely a source of Major Cosmic Disruption, he can’t really fit the Big Bad bill.

--In 13.02 we met the Kentucky Fried Demon, the last yellow-eyed Prince of Hell, Asmodeus. Thanks to later retconning, we’ve tied yellow-eyed demons right back to the opening scene of the entire series, and the Inciting Incident of all the drama we’ve watched unfold over the last 12+ seasons. And the last one standing has now also been referred to by Lucifer as the “least” of his creations, yet Asmodeus has had a few surprises up his sleeve-- including his shapeshifting. But for all his inexplicable raw power to even confidently best Lucifer in a head to head fight, what are his actual goals? We know he’s long wanted to release the Shedim from Hell, but to what end? What does he even want? He talks a big game, but does he even have a Big Plan? Halfway through the season, we just don’t know, and as a result Asmodeus reads more like a cartoon than an actual threat, despite his “weirdly strong” powers.

--The Empty Entity, which after 13.04 I saw numerous posts speculating that maybe the Entity would grow weary of sleeping (or of being woken up by other angels and demons who somehow began awakening as a result of Cas’s disturbance to the force). But really, the essential nature of that force is… the opposite of interfering in reality. Much as God’s powers of creation held no power in the Empty, the Empty’s eternal stasis can’t hold power within Creation. Obviously Jack’s powers are somehow capable of bridging the gap between them, the same way he’s able to bridge the gap between alternate realities, but so far, the Empty Entity seems like a one-off.

--Billie as the New Death. I, for one, am SO GLAD she’s back, and that the mantle of Death has finally passed on to her. I’d been screaming about her being the New Death since 11.02, and she’s finally come full circle and stepped into that role. As such, she’s in a position to see the full scope of the Cosmic Circumstance, and her previous insistence on what amounts to a tiny cosmic imbalance of the Winchesters’ continued existence is more like a tiny grain of sand out of place while the problems the Winchesters’ continued existence SOLVES is like an entire beach crumbling away. As the linchpins holding the multiverse together, she’s counting on the Winchesters being ALIVE now. Hardly seems Big Bad-ish to have thrown her lot in with the protagonists of the piece, yes? She still has cards to play, especially after warning Dean about the cosmic house of cards and its current precarious state due to Jack’s interference with multidimensional affairs. Rather than having an agenda to do harm, like the Old Death, Billie serves more of a bellwether role. She’s a neutral force that’s acting within her powers to at least drop hints and warnings to the Winchesters.

--Lucifer has incredibly found his way back to the story AGAIN. Like, why won’t he just DIE already? *sighs heavily* At least now he’s been officially de-powered by AU Michael to the point where he’s become rather… ineffective. Poor thing and his little stick. So far, since he’s returned to the regular universe, his function has been running around Chicken Littling at everyone. Ironic since his main stumbling block so far has been his own personal Colonel Sanders impersonator. *cue all the chicken/egg metaphors* *something something chickens coming home to roost* *finger lickin’ good* It’s hard to take those sorts of parallels too seriously.

Just as Asmodeus is the “weakest” incarnation of a Yellow-Eyed Demon who has become “weirdly strong” mostly through the emotional significance that Yellow-Eyed Demons have held for the length of the entire series, Lucifer has become “weirdly weak” himself despite the effect his mere presence has just looming over the entire narrative since he was first mentioned way back in s3. His power is now largely symbolic through the psychological trauma he inflicted on Sam (and now as of 13.12, on Rowena). His Big Bad status seems far more weighty on a personal level for the Winchesters (and particularly on Sam), in finally confronting how their cosmic destiny has truly fucked with their lives.

Lucifer himself, meanwhile, has spent most of the season impotently locked in the AU, physically locked in AU Michael’s Iron Maiden, physically depowered by AU Michael’s rift-opening spell, and then tossed around by his “weakest” creation and locked in a cell for the last six episodes. Granted this gives him motivation for taking action, but his obsession with destroying Michael still seems to be his underlying motivation. Sure, he’s still interested in saving “the last perfect handiwork of God,” i.e. the natural world, but he still doesn’t give a damn about humanity. As of 13.12, the most danger he represents is the fact that the Winchesters have no idea he’s back in this world, and that he’s not the one holding Mary captive in the AU and torturing her. Which brings us tidily to…

--AU Michael. The Ultimate Big Bad of s5, at the end of the day, was Michael. He was the one who insisted on sticking inflexibly to his “destiny.” The “good and obedient son” who was prepared to carry out what he believed he had to, despite every opportunity to resolve the apocalypse peacefully and just choose not to fight. Even LUCIFER tried to make peace with him when they finally met at Stull Cemetery, and yet Michael regarded it as yet one more act of “disobedience” from his disobedient brother. And in the AU, their version of Michael actually won the big throwdown, and as a result left the entire planet a wasteland. Lucifer may have wanted humanity wiped off the planet, but witnessing the destruction of all of God’s creation was a shocking reminder that he never wanted to destroy nature… Michael didn’t even care, as long as he’d fulfilled his destiny. How… righteous (in the worst possible sense of that term, bordering on self-righteous). That has some Big Bad makings, no?

The problem with Michael so far this season is that he’s already succeeded in destroying his version of Lucifer, and destroying his own Earth in the process. It’s a fait accompli in his world, but as soon as he stumbled across the rift and learned of another world where he’d failed in the past, he’s been rejuvenated with fresh purpose. It seems almost compulsive for him-- Find World, Destroy World. It’s like his Prime Objective, and he’s incapable of NOT living up to that destiny. It doesn’t make him a Big Bad, just based on that alone, but it does give viewers the ol’ raised eyebrow of suspicion, just based on Michael’s past history.

Not to mention, Lucifer’s pointed out several times that like Asmodeus who seems “weirdly strong” (and yes I keep harping on that phrase because the Plum Sisters were also “weirdly strong” in 13.12, and for Yockey to write such terribly awkward dialogue there HAS to be a purpose, aside from gently mocking standard Bucklemming dialogue), AU Michael is more powerful than the version that the Winchesters (including Cas) helped defeat in 5.22.

The fact that Lucifer keeps insisting that Michael is so powerful, that Michael always gets his way, for those of us actually WATCHING the show, that’s just… blatantly false. The one thing Michael wanted most back in s5 was for Dean Winchester to say yes to him. It’s the one thing he never got. Because Dean’s will proved stronger than Michael’s sense of destiny and obedience. Back in 5.22, Michael rendered himself irrelevant when TFW “ripped up the ending.” The AU where this version of Michael is from never had the Winchesters to contend with, and so has never had to confront the true power of Free Will. Honestly? With TFW 2.0 resurrected from the ashes, how big of a threat does AU Michael truly pose? Because from OUTSIDE the story? No matter how “weirdly strong” that Michael is, it looks more like he and Lucifer are playing out the same pantomime they did back in s5, with just as much chance of actual success as they’d had back then.

What Michael and Lucifer DO bring to the story right now isn’t so much their power to be New Big Bads, but their power to bring the PERSONAL trauma that Sam and Dean (and Cas, by extension) went through as a result of the original setup and downfall of the Apocalypse, and an outlet for them to finally examine the emotional and psychological fallout of what they’ve suffered through and sacrificed to keep the universe from derailing itself over and over again. Which brings me to…

--The interdimensional rifts themselves. Billie had warned Dean about the cosmic house of cards that was dangerously close to toppling as the characters become more self-aware, and realize there are actually ways to cut through to other universes where they might find a way to give themselves a mulligan… where they might be able to “start all over again,” where they made different choices that led to different results. But the stability of the multiverse relies on individual realities maintaining internal continuity, and not bleeding over into one another at random. Which brings me back around to what Chuck told Dean when he left Dean in charge of the universe back in 11.23, and which Dean referenced in his anguished plea for help in 13.01, namely…

--Dean’s not only the “firewall between light and darkness,” but he’s been set in place as the figurehead for balance in the universe. He’s been appointed the guardian of creation by proxy, and hell he really doesn’t want the job. And yet who else is even going to try? Is that what Lucifer is trying to do, at least on the surface? Is that what Cas is attempting in trying to find Jack? Is that what Sam’s attempting in trying to help Jack learn what it means to be human versus a monster?

--Heaven and their Endangered Species Repopulation Project. It seems the angels are growing more desperate as their numbers dwindle. They’ve mostly ceased their interference on the mortal plane, aside from their desperate quest to find and use Jack’s powers to replenish their numbers. But considering Jack’s power level, it doesn’t really seem like much of a real threat to Jack himself. Considering the burst of power that came from Jack’s “power up” of Kaia, that seemed to make BOTH of them “weirdly powerful” enough to tear open another rift and simultaneously nuke six angels. Something tells me that if Jack wanted it enough, he’d have the power to snuff out pretty much any threat to himself. Sure, he’s trapped in the AU right now, but even that’s effectively removed him from the angels’ grasp anyway. It’s been a non-issue for the most part, and in the overall scheme of things, doesn’t seem like a top priority concern for anyone right this second...

--and finally, after 13.12, Rowena’s true nature and full powers have finally been unbound. What is she? What will she do with her powers? What are her goals now that she’s finally been restored to her full power? Will she retain reluctant Frenemy status with the Winchesters? Will she actively seek revenge against those who wronged her, primarily Lucifer? Will she make a play for power in revenge for Crowley’s demise? What does she even want now that she’s attained the personal freedom and safety she’d been seeking since her first introduction back in s10? Right now, she’s a wild card, but we do love her dearly, and I’m glad she’s back. :)

So… who’s really the big bad?

Between the season’s major themes of “things that look like other things,” and things not being what they seem on the surface, as Lizbob’s been saying all season, the Big Bad seems to be Dramatic Irony. The story ITSELF is its own worst enemy.

It’s the narrative structure screaming, “What you don’t know absolutely can and WILL hurt you.”

And all of this is being delivered through the resurfacing of old friends in slightly “off” ways. How many characters and cases and circumstances have directly pinged circumstances from the Winchesters’ past? Going right back to the opening scenes of 13.01, and the “vision” Dean had after Jack knocked him and Sam out-- the flashback to Mary burning on the ceiling overlaid against her being dragged through the rift by Lucifer in 12.23. The entire setup of that scene was rife with flashbacks to Sam losing Jess in the pilot episode, the woman in white played by Kelly Kline, the yellow-eyed monster in the nursery played by Jack, and Cas playing the role of the loved one who was burned and therefore was supposed to “stay dead.” But Mary had already defied that assumption, because she didn’t stay dead. Cas didn’t stay dead either. And now Rowena has also defied that particular truism...

Right from the start of the season we’ve been confronted with things from the past, but which only hint at the past because they’ve now either been applied to different things, or they’ve been transformed into something different, or encountered under entirely different context.

--The “Black Spur Bar,” which had previously been Demon!Dean’s hangout during his summer of love with Crowley was transformed into an entirely different bar where Dean mourned Crowley’s death and was unwittingly confronted by a new demonic adversary (dramatic irony!).

--Donatello the prophet, now purposeless in this post-prophecy, post-God world, left to live on without his soul, and yet still doing the best he could in the circumstances he was left with.

--Literal Alternate Universe versions of lost friends-- from Bobby to Kevin, to mentions of John and Mary and their existence in that other world. There’s no bigger metaphor for “Things that look like other things” than literal alternate versions of loved ones…

--Missouri Moseley, absent from the narrative for thirteen years, returned to pass on her legacy to her granddaughter, who’d been raised to doubt her own psychic powers and has now been forced to face what having those powers means for her.

--Not to mention Patience Turner’s last name dredges up questions about who the “Turner” who gave his name to James and Patience may have been, and as I sit here watching 11.16 I’m again reminded of the speculation that maybe it was actually Rufus Turner… we may never know, but heck, it’s definitely not wild to believe it might be true.

--Buddy the shapeshifter, in the sense that nobody is GIVEN the name “buddy.” It’s a nickname, and one that Dean has used many times in the past for Cas. But “Buddy” by his very nature… wasn’t. He impersonated Dean and attempted to shoot Sam. He wasn’t their “buddy” either.

--I mentioned her above, but Billie is no longer what she was before. She’s not a reaper, nor a dead reaper, but has been returned to the story as Death.

--The reaper who comes to collect Dean (and who Dean defies) in 13.05 is named JESSICA. That name is never spoken lightly in Supernatural. It’s a name nearly as loaded with personal baggage for the Winchesters as Mary or John, and again resonates straight back to the pilot episode of the series.

--Themes of monsters and the old west and cowboys and time travel (it was an antique pocket watch that even tipped Jack off to the case in Dodge City in the first place), with Cas now fully reintegrated with TFW, all call back to 6.18, even with the same musical cues, but the themes have all been twisted around sideways and reframed to new purpose. The fight’s no longer about external monsters and stopping the apocalypse, but internal monstrousness.

--We all thought Arthur Ketch was dead until he showed back up pretending to be his own “good twin.”

--We all also thought Rowena was dead.

--Nick’s Bar, where Lucifer chose as a convenient spot to have a chat with Cas about the potential Apocalyptic Situation they may be facing… while Lucifer’s now perma-trapped in the vessel formerly known as Nick…

--The new King of the Crossroads who survived less than the run of a single episode before being dethroned… He thought he could be the next Crowley, and Dean slapped him down with the truth, calling him “Some random demon.”

--Smash, aka Alice; the human dragged against her will into matters Supernatural, who pretty much everyone saw and immediately yelled OMG CHARLIE.

--The return of the Wayward crew, Jody, Donna, Claire, Alex… but now they’re no longer victims of the narrative. They’ve got their own entire spinoff. :P

--The Bad Place. Aka Purgatory Redux.

--Darth Kaia

--A monster auction that put the Winchesters on the chopping block, run by an FBI agent who literally served the monster population, in contrast to Human Authority Figures of the past, up to and including the BMoL who’ve fairly unilaterally wanted to destroy monsters in favor of protecting humanity.

--In that same episode, we finally see a bit of Donna’s personal life-- from her care for her niece to her relationship with Doug 2.0, and Doug’s ultimate rejection of the hunting life when he’s finally introduced to it.

--Jamie, aka Dean’s temporary “soul mate” in 13.12, was also the name of the bartender in 4.05 that was symbolically Dean’s “new first time” after having been “rehymenated” after his resurrection from Hell.

Not to mention Various and Sundry Villains, the theme this season being “Not what it appears to be,” as demonstrated at its most basic visual level with physical masks and hoods obscuring identity, monsters that take on different faces like shapeshifters and ghouls, or force their victims to PERCEIVE an altered version of reality such as the wraith.

Things are not what they seem on the surface, and the entire plot, the monsters of the week, and even ALL the potential “Big Bads,” and the narrative structure itself-- which is turning around and around this central point of Dramatic Irony-- is the fact that even us as the audience to this entire spectacle, with our added insight into SOME of the dramatic irony playing out week to week, even WE still do not see the bigger picture.

I'm cautiously optimistic that a lot of the Winchesters' problems regarding what they Don't Know will resolve when Cas joins up with them again. Cas holds a lot of Important Information that Sam and Dean need. They’ve been kept as much in the dark as a result of Cas’s imprisonment as Cas himself has. But even through the early part of the season, the validity of information they’ve worked off of has been suspect at best. The info they got from Jack's Vision Download in 13.09 wasn't the WHOLE truth about Mary’s imprisonment in the AU. They’ve made several rather large inaccurate assumptions based off that quick glimpse, though. Just like Patience's vision of Claire's death wasn't the WHOLE truth either, but it let to making several Big Choices that ended up having Massive Consequences.

Even when they think they're seeing the Big Picture Truth, there's still critical info missing from that picture.

The entire SEASON is the big bad wolf in sheep’s clothing.

That’s the entire POINT.

[helenus-secondsight]

(This got long, sorry!)

The thing that bugs me about that Kurt stuff in S6 is that... I actually quite like S6 as a whole, outside of that.

It feels like the most focussed the show has been since Season 1. They refocussed on McKinley. Yes, Dalton and Carmel appear too, but they're handled okay in my book...

The overall narrative theme of the season is about rebuilding and about finding a new path when your old options suddenly close to you, and they explore that with all of the main characters... Will having to move on from McKinley; Rachel having to find herself again after her show bombed; Blaine going back to his roots to re-find his passion and reset after the breakup and subsequent drop-out; Beiste finding himself again after coming out...

The ones they REALLY dropped the ball on, for me, are Sam and Kurt.

Sam could have had a GREAT arc in Season 6. We see him make the decision to leave modelling in 5x20, and then suddenly in 6x01 he's assistant coach... and in 6x13 he takes over New Directions. Like, there could have been a good STORY there. That's the story I'm currently writing a fic about, because Glee treated Sam as a prop in S6.

But Kurt... I don't necessarily disagree with the choice to bring him back to Lima. I think he'd have thrived better in New York (finding new queer friends, reconnecting with Adam, having fun with Elliott and Dani...) but there are reasons to put him in Lima to refocus on himself that make sense to me... There's a story you could tell there around him going back to his roots, to refind his passion outside of a relationship, or at least helping his friends find their next steps... But Kurt was instead a prop for the Klaine storyline. Kurt and Sam were BOTH props for the Rachel storyline.

And it irks me, because there is some LEGITIMATELY good writing in Season 6. Not necessarily in the dialogue, but so many moments and entire episodes where Glee recaptured the heart of S1, in terms of its narrative parallels and theming:

- The "Everything falls down, but it's about how you rebuild" theme in 6x01 that's explored mostly through Rachel, but is paralleled in Blaine, Will, Sam, and LeRoy... and eventually Kurt and Karofsky at the end of the episode...

- The "transitioning" metaphor in 6x07 is a LITTLE stretched, but I think it still works. If it weren't for the fact it was SO focussed on Rachel, at the expense of everyone else, that theming could easily have been applied to everyone too.

Even the overall plot. Outside of the personal stuff with Rachel or Blaine or Kurt or Sam or Will or Sheldon... the actual New Directions and Warblers plots parallel this "how do we rebuild" plot, and it's a pretty clear knock-off of the 1a "We need more members for Sectionals" stuff, but I think it works.

Homecoming isn't a great episode on the whole, but I LIKE it still. I like how 6x01-2 make a decent two-part première and the way 6x02 ends with that intercut between the alumni and the New New Directions... I like the symbolic handing of the baton and celebration of community that it has. The "Glee club brought us all together" stuff is a bit trite and stretches disbelief a little... but it's also just the core thesis of the show, and I can forgive it a little of that.

I think its because everything seemed to trail back to Rachel's success somehow, which made kurt and Sam into props, which was pretty awful.

Kurt seemed to be doing well at nyada, and didn't have much to benefit from returning home and starting again, of course other than reuniting with blaine. but that didn't quite fit in with the rest of the characters plotlines, with Rachel's busted tv show, and Blaine's dropping out of nyada. perhaps thats why he was almost treated expendably, by rachel.

Sam, who had dropped his modelling career basically wasn't given anything new to work with, it was literally just Finn's s4 job but *make it sports* they didn't give him a storyline at all basically. he had no purpose other than to be an accessory to rachel. he's a lovely character, who has a good personality and deserved something to happen to him, in terms of plot.

the overall story point of the season used a good message, but once again ruined the continuity of the show and most characters developement in favour of rachel having everything handed to her. the writers gave themselves an opportunity to have her learn from her mistakes and try to become a better person, reflecting on those times where she could've done better, but no.

the parralles between nnd and nd make for it to be entertaining, but I don't think that the new characters filled the hole that was the 'usual' dynamic,not that season 5 was a great example of it.

I think season 6 was a decent TV season, just not in the way that people expected it to go. also the actual plot lines of the characters weren't consequential l, besides Rachel's, which makes me annoyed. it had a rushed pace, which isn't unlike earlier glee, but was still entertaining in the first sense.

[whentheynameyoujoy]

Kylo Ren Is Getting a Zuko Redemption Arc, and This Reylo Shipper Is Anything but Thrilled by It - Part 2

So here’s my chief problem with the idea of a potential Kylo Ren redemption arc:

On the whole, the Star Wars sequels are overstuffed, impressively underwritten, and the story they tell greatly suffers from being presented in a movie form.

I’m not joking: when it comes to worldbuilding and character development, the sequels – by necessity of their allotted time and creative choices made in TFA – gloss over many things that should have been addressed by now; things that are vital to Kylo Ren’s character and the degree to which he can be perceived as sympathetic at all, now and in the future.

Coming back to the Prince Zuko comparison, we know what Zuko’s deal is from the start – and yes, that includes the eleven episodes before The Storm which reveals why exactly he’s so obsessed with capturing Aang. From the very beginning of the show, there are clues hinting at the fact that Zuko’s not what he originally seems to be, i.e. a clear-cut fearsome baddie: Sokka humiliates him during the raid on the Southern Water Tribe; Zhao openly insults him, the crown prince, to his face; he’s humanized by his jolly good-natured uncle from moment one; he’s still a Firebending rookie who hasn’t mastered the basics at the age of 17. Throughout the show, we are privy to Zuko’s thoughts, we see him in different situations that challenge him and his sense of morality; we see him talk to people, and people talk about him, subtly revealing pertinent facts; we learn about his past in no uncertain terms and about his relationships; we learn what he’s fighting for and why.

All of this information creates a full nuanced image of a complex character who’s experiencing a constant inner tug-of-war between his good and bad impulses, and as a result frequently makes the wrong choice. And although we may not agree with his decisions and may even denounce them, we always know precisely why he made them, what they’re based in, and where Zuko’s coming from.

The Star Wars sequels, on the other hand, frequently leave us guessing and filling in the gaps to explain how the most basic things are set up and what the exact nature of characters’ defining moments is, if they’re even mentioned at all.

Let’s try an experiment: take everything you think you know about the story, themes, and characters of TFA and TLJ. Now, remove everything that comes from the cast and crew interviews, from the comparisons with the Star Wars expanded universe, from your headcanons or the wikis or other people’s metas and fanfic, so that only the movies themselves remain.

There’s not much left, is there?

So here’s what we know about Kylo Ren with absolute certainty:

He’s the son of Princess Leia and Han Solo, the famous rebel fighters, and the nephew of the last living Jedi;

He’s very powerful and apparently felt the calling of the dark from early on;

He greatly admires his grandfather and wants to finish what he started;

At some point, Snoke turned him to the dark side;

Leia sent him to train with Luke in order to temper his dark inclinations;

Luke briefly considered killing him; Ben interpreted this as an ongoning attempt on his life, attacked Luke, and killed all the other padawans;

He’s invested enough in the First Order to immediately notice Finn’s hesitation on Jakku. He later pursues Finn, screams at him that he’s a traitor, and takes delight in hurting him;

He still feels the calling of the light and suffers because of it.

And here’s what we don’t, yet should know by the end of the second act of Kylo Ren’s story:

What does he think Vader started, why does he want to finish it, and what’s his Vader worship a reaction to?

What’s his relationship with Snoke? What did Snoke offer him besides raw power that made him turn to the dark side as a (presumably) young man?

What is it about the First Order that would appeal to a kid surrounded by rebel heroes, enough for him to actively fight against what they built, even killing scores of people along the way?

What’s his stance on the New Republic?

What was his family life like? What was the chink that allowed Snoke to crawl in?

What were his feelings about being sent to train with his uncle? Did he consider it to be a rejection by his parents, a complication to his conversion to the dark side, or an honor which was then sullied by Luke?

A lot of these complaints stem from the fact that we know virtually nothing about how the galaxy is set up politically. Now, far be it from me to defend the prequels, but if they did one thing correctly, it’s that they tied Anakin’s fall to his open disgust with the failings of democracy. Sure, it was stupid, wooden, and gave us “From my point of view the Jedi are evil”; but at least you could follow Anakin’s seduction from point A to point B, and understand what it was that appealed to him about Palpatine.

The virtually non-existent political content of the sequels, on the other hand, directly parallels the original trilogy: a simple tale of good guys vs. bad guys which can get away with not going into details. The sequels, however, are not a simple tale of good vs. evil; they’re a continuation and elaboration of the original stories which openly makes a claim at complexity and shows that the good guys have failed. Knowing how and more importantly why it all went to hell is important. Yet despite the fact that we should be getting swamped with prequels-levels of exposition dumping, we still have no idea about:

Who’s Snoke? Where did he come from? Where was he holed up when Palpatine was in charge? What does he want to achieve besides “power for power’s sake?”

What’s the ideology of the First Order? What is their goal beside “world domination”? Are they a leftover from the times of the Empire? Are they trying to re-establish the Empire?

What was it that made the Republic start crumbling immediately after Luke left?

And unfortunately, this lack of information affects characterization.

I see a lot of people make the argument that the politics of the sequels aren’t important because they’re (presumably) not important to Kylo – so why should we dwell on something that’s (presumably) not important to our chief antagonist?

First of all, I would strongly disagree with this interpretation. To a degree, Kylo clearly does care as evidenced by the fact that he obviously has some kind of an ideological reason not to join Rey at the end of TLJ, and utterly loses his mind when confronted with Finn at the end of TFA (and no, I refuse to believe that he would perceive a defection of an unimportant floor-sweeping foot soldier as some kind of a great personal betrayal that would warrant him screaming like a mad man because his – presumed – abandonment issues were – presumably – triggered).

And secondly, political and ideological motivation is rather important when we’re talking about a character who actively fights for the unsubtle in-universe equivalent of the Nazis. The generally accepted metaphor of “an immature boy going through a rebellious phase” doesn’t work if it involves mass killings, goose-step marching, and installing a fascist regime. What we have in Kylo Ren is a motivation based partly in ideological persuasion that’s mostly undefined, and partly in immature emotions which have a very vaguely explained origin. The creators obviously want Kylo Ren to appear sympathetic, but since almost nothing about his beliefs and only a little bit from his personal past has been revealed, his speeches about being “torn apart” come across as annoying whining of a murderous man-child.

The end result is less a Jaime Lannister, and more a “Hm, I wonder if Ratko Mladic still has good inside him?”

Now, you absolutely can make a redemption arc out of this. The problem is, you need LOTS of time to do it properly, and Episode IX – with its 3 hour running time at best and a large cast of characters that all need closure – simply won’t have it. Kylo’s deeds are too monstrous and numerous to be rectified by a simple gesture; a major atonement, accompanied by a belated explanation of his personal beliefs, would be necessary. Plus, there are other factors that further complicate a neat turn to the “grey side”: unlike Zuko, Kylo Ren wasn’t born on the dark side, is a grown adult, and hasn’t experienced another way of living that would make the transition easier for him. Finally, as I said in Part 1, I don’t think death is in cards for him, making a Vader-like redemption by self-sacrifice impossible.

In conclusion, I don’t share the worries of Star Wars fans that The Last Jedi has firmly done away with any hope of Kylo Ren being redeemed and having a future with Rey.

I’m much more pessimistic than that.

Reylo, continued Force bond, eventual turn; I believe we’re getting all of that – and it’s going to be rushed and written like hot garbage.