#meta question

[gamma-ghoul]

I have a question, and perhaps the Stranger Things fandom can help me with this.

But, I've been wondering about this for a while: why does Joyce seem to not care that much about money, unlike Jonathan? One of Jonathan's core traits is that he constantly worries about money, even when they move to California and the family is much better off, at least they are in my opinion. I understand that the first season was meant to show that Joyce is willing to do anything to find Will so money is not even within her scope. However, in season 3, she all but ditches her job to figure out what the hell is going on with the magnets. Meanwhile, Jonathan is getting into a fight with Nancy over an internship.

I like the dynamic personally, as it shows how Jonathan is more tied to his social class compared to Joyce. I mean Joyce has played a role in the parentification of Jonathan Byers.

While Joyce loves her children deeply, she does make some questionable choices when it comes to Jonathan. I mean Jonathan's plight highlights the traumatic impact that can be caused by poverty. And you can sort of infer that Joyce probably didn't experience that growing up.

But it is jarring as viewers to see Joyce give not a single fuck about their financial situation while Jonathan is worried about mortgages. It makes Joyce look way more irresponsible as a parent, or Jonathan is clinging onto an identity that is no longer accurate to their current circumstances.

[sarahthecoat]

i just finished watching ep3 for the second time, and i am wondering, where does aziraphale's idea, that poor people have more opportunities to choose good or evil than rich people have, come from? i remember he and crowley have that conversation in the book (i forget if it's also in s1). but does it come from the bible? az collects them, and presumably reads them even if he regards them as human retellings or whatever. or does it come from someone in heaven? doesn't seem like the rest of them have the faintest idea how humans really live, though. aziraphale seems to believe it so wholeheartedly here, but step back one inch and it's utter bollocks! crowley sees what bs it is, and makes aziraphale give elspeth the money, hoping she'll follow through on buying a farm and "being good". (i just hope she's not robbed, swindled or murdered first) i would just think if aziraphale is paying much attention to humans, surely he can see that rich people have, if anything, more opportunities, and more scope, to choose good or evil, or both! anyway, i just had one of those moments where suddenly what i had been simply accepting something because it came out of aziraphale's mouth, fell apart entirely when i actually looked at it.

[astonishment-and-dread]

silly poll idea that i had

rb for reach please

[zottower]

My current favorite character is Cecil but …

... actually my first crush on a ff4 character was on Rydia. To me, she's a fantasy of a life in perfect harmony with the forces of Nature (the eons). Nature isn't a threat for her, Rydia's actually her favorite, as a child, as a grown up. She's very spontaneous, turned towards life, and she has her own kind of wisdom. Yes, she turns into a "poster girl" but it only emphasizes the enchanted aspect of her unrealistic character : she's pretty and she doesn't even know it, walks innocently around half naked. She's fun and heartwarming at the same time, in one word : adorable. I also had an Edge period, at a time when I needed a sly character in my life. He's so full of optimism and nonchalance that it's funny and endearing. I love him because he can be an asset or a liability in the fight strategy, depending on the versions of the game and how you use him. The game challenges you, and I like this. I know the jokes and the humor of this character annoy quite a lot of people, it just works well for me. I love my loumouthed goofy ninja, just as Yuffie ( and I liked her before the remake). I really liked what TaY did with him. I also have my Kain moments. Sometimes I want to hug him, sometimes I want to hit him on the head with the fry pan (when he's brainwashed). He's a very proud and beautiful knight and struggles with his feelings and his duty, it can't leave me indifferent. And Cecil … I love this character because of course he has relatable flaws (to me), because he's a knight in shining armor archetype, but he also has qualities that I love in a hero. First one being that he has a strong sense of justice. Rosa too, but she's more on the forgiveness side, I think that's what makes them complementary in my opinion. I think this quality disappears later in the series : Cloud needs a whole adventure to care a bit about the world's fate, Squall still remains in my memory as mister "whatever", and Djidane … he's very generous, but he helps people more because of solidarity. That's nice too, but it's a bit random : he just helps the first person he meets ? So yes, this is one of the main qualities I like in Cecil.

FFIV Week: Favorite Character

Hi everyone! Hope you’re all having a great FFIV week because I definitely am! All the beautiful art and writing has been amazing and I can't wait to see what's next.

For today, I wanted to ask: Who’s your favorite Final Fantasy IV character, and why?

Reblog with your answer!

[jackwhiteprophetic]

graph (tracking how often Buck and Eddie say each others' names) is NOW UPDATED TO INCLUDE 8a!!!!

(CLICK FOR QUALITY)

[s0fter-sin]

thinking about the way ghost doesn't hesitate to start killing shadows when graves betrays them but soap only takes one hostage

you can almost hear the voice in his head telling him it doesn't have to be this way; they can still talk it out

"i'm calling shepherd"

his first instinct when confronted with betrayal is to play it by the books: to go up the chain. that goes against everything we've seen him do. he bucks authority at every chance except for the one time he's confronted with the barrels of his allies' guns

he wants a peaceful resolution; for the first time we've ever seen, he doesn't want violence to be the answer. there has to be another fix, a solution that doesn't end with him killing the same men he's been working with; his friends

nothing's happened yet

it doesn't have to go this way

but ghost has been betrayed before. he knows the way this ends; either with him six feet under or his enemy

he doesn't hesitate

it's only when they knock alejandro out that soap shoots; when they spill the first blood and cross a line they can never come back from

only when ghost orders him to run and he has to cover his retreat

and somewhere along the line, between civilians’ screams and taunting voices, between his shaking breath and ghost steady in his ear, that naivety is stripped away; his trust turned to teeth that he uses to sink into throats of men he'd have given his life for

"be careful who you trust, sergeant; people you know can hurt you the most"

he's learned the price of trust

just like ghost did

but unlike ghost, he has someone to guide him through the aftermath

"good advice, It"

[yekokataa]

Nix Gottlieb is very much based on a real person. With the house Luiks interited there came a bunch of black and white photos. We started using these photos as blueprints for characters. All real people, all deceased by now. And one of them was a picture of a man with monk’s hair, glasses, and this strange, strange smile. This was a drinking buddy of Luiks' father. If you had to describe him in a sentence you would say ‘one horrible cunt.’ Absolute terrible fucking human being, but also a legend in this drinking circle back in the day.

This is a real story: there's a party that Luiks’ dad is at, and this guy ‘Nix’, he’s an actual doctor. Somebody at the party complains of a stomachache and Nix touches his stomach and diagnoses him with appendicitis. He literally takes him into a bedroom and operates. He cuts out his appendix and it turns out it’s close to the point where it’s going to explode, so it was very good that he intervened at the last moment. Two days later this person runs into Nix on the street and thanks him. And it turns out Nix was so drunk he has no memory of it. When he finally understands it’s not a prank, all the color drains out of his face, because what are the chances he didn’t kill the person by accident?

There was so much about this real person that was not an adaptation, we just put it into the game.

– Argo Tuulik

[ultfreakme]

"Gojo should've gotten to live as a person-" THAT’S THE POINT. That is the ENTIRE point of JJK. Every single character who died was someone who "should've gotten to" do a lot of things. Riko should've gotten to live for herself, Geto should've had the chance to be a teenage boy given support and safety, Junpei should've gotten to live without fear, Nobara should've had the chance to let people in without fear, Nanami, Yuki, Mai, Higurama, EVERYONE.

Here's the thing, Gojo is on this list. Gojo isn't the exception because JJK at its core is a story about how overarching systems destroy people; bullying, capitalism, sexism, etc. And this system does not need people to run it. Which is why killing Kenjaku didn't stop shit because yeah he started this mess but its grown beyond him. Fuck, it was there before him.

This is also why despite Sukuna & Uraume being the only ones who are actual threats, nothing is better. The cast got rid of the higher-ups, jujutsu tech as it is, is no more. The major families are dismantled. This should be a victory. This is what the Sashisu gen pointed out as the problem but things have never looked more bleak.

Why? Because the problem isn't Kenjaku, Sukuna, curses, sorcerers or curse users. It's the existence of Cursed Energy itself. This has been pointed out multiple times by Yuki. Its the system and Gojo has been complicit to the system for a long, long time. He's also it's victim. Gojo says he's the exception a lot, but as everyone has rightfully pointed out, he was nothing more than a weapon to jujutsu society.

JJK has followed a very clear pattern to every character right from Geto to Junpei to Riko; characters are representatives of systems of suppression, and they will not escape it. I can't recall a single character that's escaped unscathed, much less alive.

Is it disrespectful? Yes. Is it demeaning? YES. There has not been a single character death that's been dignified in JJK. It's all on a scale of bearable to absolutely horrifying. It is genuinely wild seeing people resort to threatening the author AGAIN. Calm the fuck down. You are entitled to feeling upset about how Gojo has been treated but Yuta stans are being calm despite Yuta arguably suffering the "he is a weapon" thing WORSE. It's still a fictional character and JJK's narratives never treated Gojo with any exceptions despite the character saying otherwise.

[evadingreallife]

If someone has written and published actual books and then writes a crossover between their book and some other story through, say, an ao3 account, is that crossover canon or just another fanfic in the fanfic sea?

[dukeofthomas]

I find the fact that the confrontation at the end of UTRH is often summarized as Jason asking Bruce to kill the Joker for him fascinating.

Because that's not what happened.

Jason holds a gun up to Joker's head, gives Bruce another, and tells him that if Bruce doesn't do something (shoot Jason), he will kill Joker.

Jason doesn't give the gun to Bruce so that he would shoot Joker. He isn't expecting Bruce to pull the trigger on the clown. He's asking Bruce to do nothing. To be inactive. Because that will still be a choice, and despite having done nothing, everybody clearly agrees that Bruce would still, at least in part, be responsible for Joker's death.

...And to me, this moment is a kind of- microcosm, of the rest of Jason's point. Because after being captured and carted off to Arkham, the villain will escape again, and will kill more people. The only way to truly prevent that from happening would be to kill them; Bruce refuses to do so, and I respect his right to choose such a thing for himself, but it is still a choice, and if we agree that Bruce's inaction during the confrontation would leave him at least partly responsible for the Joker's death, then we must also agree that his inaction in permanently preventing the Rogues from killing more people means he is also, partly, responsible for all of those deaths.

[khruschevshoe]

You have to understand that the reason why Nine is my favorite doctor is not because he is grizzled or edgy or a bad boy- it is because he is, fundamentally, kind. He is full of hope and optimism and compassion and he tries to convince himself that he is wrong to do so because the world tries to convince him otherwise (Jabe's death, Dalek, Adam, the Time War, the Slitheen, etc.) And yet at every opportunity he is given he is in awe of the majesty of the universe and the wonder of human kindness and Rose is important because she reinforces this over and over, her ferocious humanity, her relentless empathy, her flirty teasing, her incredible warmth, the fact that she reaches out to a Dalek with kindness.

And it's not just Rose, either- there is Jack and Cathica and Jabe and Lynda with a Y and Harriet Jones and even Mickey and Jackie, they are all so incredible, so flawed and complicated and wonderful and Fantastic.

I love Nine because he is hopeful and kind and a coward, not a killer, any day. I love Nine because of the absolute sheer, healing joy we see as he gets to shout "Just this once, Rose. Just this once. Everybody lives!"

I love Nine because, at his core, he is the Doctor. He is a healer. He is angry and traumatized and carrying the weight of the universe but most of all, his heart, damaged and broken and so full of love for the universe and humanity and one girl in particular that he welcomed the time vortex into himself without a single regret. He regenerated not with tragedy or regret, but with pride and optimism.

I love Nine because "You were fantastic, Rose. And you know what? So was I."

[pretty-weird-ideas]

Episode Seven and White Tears

The trial's allegory is not just a lynching, it is a lynching for a Black person entering a relationship with a respected White man, and proceeding to leave him. It's not a murder case, as seen through the show, there's actually very little emphasis on the murder in the episode in regards to Louis. The emphasis is on his "seduction", his "ungiving nature", and "refusing to give his body". It is a public humiliation and lynching for turning a respected white man down. The crime isn't hurting Lestat, it's hurting his feelings.

Lestat doesn't speak to the audience about the pain of his throat being slit. He speaks of loneliness, the audience chants and jeers about how cheating was justified if Louis isn't putting out. Santiago isn't talking about the murder, he's talking about how much of a sexual deviant Louis is the second he is introduced. The show is telling us what's important to the case, and what language hurt and stuck out to Louis the most. The deciding factor in the eyes of the audience, the story that Sam and Santiago are trying to tell, is that the crime is heinous because Louis turned down Lestat.

The audience isn't mad about the murder, they're mad about Lestat's emotions, they're mad about the betrayal, and they are mad that Louis and Claudia didn't put up with things. The case built against the two of them isn't based on violence, it's based on white tears. Louis isn't called a monster for slitting Lestat's throat, the audience member calls him a monster for turning down Lestat's advances.

The show is clear that the trial isn't really about the murder, it is about Louis not "giving enough" for Lestat. It's about Louis asking Lestat to turn Claudia and literally bargaining his happiness where he literally gets on his knees and says "I'll be happy for you, I will never leave you if you do this for me". It's never been about the murder, it's quite literally just shaming Louis for not "loving a good man who might be abusive".

At the end of the day, the trial as framed and written by Sam is building a case off of Lestat's tears, not actual physical harm.

Like my skin is crawling but also the show is so chilling with how it portrayed the "He's a good man so hold your tongue and endure! Lest you read as ungrateful".

Anyways someone take the laptop from me before this becomes my life.

[steddielations]

once again thinking about how Eddie’s realization that Steve’s actually a good dude probably has to do with how Steve kept making sure he was in the loop (girl with superpowers) and placating his worries without making it seem silly (Dustin’s not cursed, just mental) and never once making Eddie feel dumb for trying to keep up and going blank under stress (not saying ‘you should already know’ when explaining the hive mind) I know we love how Eddie doesn’t make Steve feel dumb about the Ozzy reference, but Steve was also doing that for Eddie too for most of the season

Just thinking, with Eddie having failed grades and clearly struggled in school and not being seen as “traditionally” smart, he’s definitely been treated like he’s stupid before. Both him and Steve know what it’s like to feel dumb and they made such a point not to treat each other that way and it’s so!!!

[artbyblastweave]

Superhero deconstructions for the Justice Leaguers who've managed to weasel out of it so far:

Wonder Woman: What's that? You're from a matriarchal, monarchal enclave of immortal, bronze-age warriors who worship the actual Greek gods? Who are real? And you came out the other side of that with values completely compatible with 21st-century progressive mores surrounding individualism, secularism, gender identity and governance? And you're completely accepting of trans people? That is so cool and marketable The Flash: A white midwestern cop has developed omnipresence. This is probably fine Green Lantern: Is the objectively-quantifiable and measurable quality of "Willpower" in the room with us right now. Also. who exactly signed off on this extraterrestrial paramilitary. Is this a cult Aquaman: A hereditary monarchy exerts military control over 70 percent of the world's surface. This is also probably fine

Martian Manhunter: God I wish Martian Manhunter had enough of a presence in the popular consciousness for there to be an intuitive attack surface

[zottower]

My favorite dungeon is the Sylph Cave. I like trying to find the weak points of monsters to defeat them quickly and survive, and I always forget about the solution of this maze, so it's always a trial and error exercice that I enjoy a lot. With my goldfish memory, I will never get bored of Sylph Cave. And the 3D version is soooo pretty ! My least favorite dungeon is the Lime Cave. Because with Tellah and Cecil's magic stats I have to use items, especially ethers. I don't like using items. I'm stingy. lol

FFIV Week: Favorite and Least Favorite Dungeons

Which dungeon did you absolutely love? Was it the design, the monsters, the exploration?

And which do you dread re-visiting? Did it make you want to pull your hair out?

Reblog with your answer!

[tunemyart]

So I've just watched the finale and I'm feeling... Weird. I think part of it is because this show started with everything I like in a story (cool badass ladies, a queer romance, found family, redemption, etc etc) and ended up being... Not all that (most characters die, the romance is doomed, and I guess the redemption mostly happened but wasn't entirely satisfactory to me). Also, I'm someone who as Trauma (tm) with death so, I guess my brain's first reaction is "fuck that I just want them all happy and safe" and it takes me a while to accept when stories take these paths, however well written they might be.

Still, I thought it all went a bit fast in the last 2 eps, with parts of the show ringing just a little bit more hollow than I would have expected? I'm left feeling like the characters of Alice, Mrs Hart and Jen were treated a bit superficially (Lillia's story felt more complete). I also wished we had seen more of Agatha's past because spending centuries just conning witches then killing them is... a bit boring? (maybe we learn more about her in WandaVision, I haven't seen it). And obviously I wished we had seen more of Agatha and Rio. It's like the show couldn't decide if it was about Agatha or about Billy (partly because, I'm guessing it's setting up a 3rd show about him?), and with this short format we ended losing a bit on Agatha's part.

Anyway, curious of what you think of all that because your analysis are always super interesting, and like I said my own brain might be a bit biased towards resistance with this one. And obviously would love to read your fanfic(s) should you write any!

So, I've started and restarted a reply to this a few times, but I think what my answer boils down to is: we're meant to have multilayered responses to this finale. We're meant to sit with it. It's meant to change our experience of the show we've had to this point.

I think the best metaphor for this is the fact the revelation that Rio is Death. Bear with me, because I know this got spoiled for us way early on and we all knew it and were all just waiting for the revelation to drop - but imagine for a second that we didn't know that Rio, Agatha's ex-girlfriend and spooky fun vaguely-a-psychopath as played by the delightful Aubrey Plaza, is death. Your perception of Rio would have been turned on its head. Your perception of Agatha would have been turned on its head. Your perception of the Witches' Road and what we're even doing here with Death walking alongside us as a tourist would have been turned on its head.

Now, we all had an incredibly fun time even with the knowledge that Rio is death before we should have had it. But I think some of the power for what it meant for the story - and our perception of what was really happening - was muted.

Jen, at the beginning of 1.08, says, "She told us who she was from the very beginning."

Sit with that - because the same is true of this story.

---

It turns out that the Road is a metaphor for death. This isn't fully illustrated for us until Nicky, the author of the Ballad, walks down the road with Death's hand in his, and we go, oh. Oh.

Agatha tells us in the beginning that the Road doesn't exist, a rare instance of her giving anyone unbridled truth. And sure - the Road that our coven walked down doesn't exist. The Road that all the witches Agatha lured to the deaths believed in doesn't exist. It's a fiction. But it's significant that Agatha lured them all to the Road and killed them. They wanted to walk the Road. They died. Not "they died instead" - it's a two-fold statement. They wanted to walk the Road and they died. In a gruesome way, Agatha's been taking witches on the Witches' Road since the 1750s.

I don't think the significance of that is lost on Agatha, either, especially where we pick up at the beginning of 1.08. Lilia's dead, and everybody's reeling.

Perhaps Agatha more than anybody.

---

I also want to quickly take a look at Rio's accusation of Agatha regarding Billy.

"The bodies are really piling up." "Did you doubt me?" "Yeah, I did. I thought there'd be a trick in there somewhere. And there was! You were distracting me from him."

Because this is a revelation about Agatha's actions toward not just Rio, but any audience watching her - i.e., us the viewers. She's been distracting us! Not from who Billy is, we know that of course, but with regard to what the Road itself is. Agatha's known the Road isn't real the entire time. She's been protecting Billy from that knowledge. She's been protecting Billy from Rio. She's been protecting the coven itself from disintegrating. And, the biggest con woman move of them all, she's been distracting us - with less and less success as the show goes on - from the fact that she is not even the slightest bit in control.

---

So I definitely want to circle back to what you said about how the show started out with everything you like in a story, because oof, yeah, I felt that. I felt that hard in the finale. Coming off the impact of the incredible storytelling in 1.07, and the queer jokes and campy Wicked cosplay balancing out the sad, I think many of us spent the next week expecting some kind of emotional resolution that probably involved the remaining coven banding together in some more of that found family we've felt them becoming along the way.

Here's where things starts going wrong, right off the bat: they don't. Instead, they splinter. Not only are you aware of just how few of them are left (Jen, Billy, Agatha), but Jen and Agatha can't handle Lilia's death. Jen's distraught. The close up on Agatha running away out of the trial and back onto the Road, alone, shows her looking hunted and wild in her guilt. Everything that follows has its seeds in that moment of rending that began with Lilia's death.

From the beginning, the point has been that Agatha Harkness is a covenless witch. It's something we've seen her revel in - maybe simply because she has no choice but to own it. But the fact is that here, for the first time in centuries, she had a coven. She didn't intend to have one - she intended to kill them all in her basement and not think twice about them again. But events transpired the way they did. They became her coven. And one by one, they all died on the Road.

Rio, of course, has the words to cut right to the quick: "Your coven is shrinking," she teases Agatha cruelly. Agatha looks wild - because she's right. The worst thing is that she killed Alice - and she didn't mean to. She didn't want to. But she did, and in exactly the same way she'd intended to kill her at the beginning, the same way she's been killing witches for hundreds of years. "Your coven is shrinking," and it's Agatha's fault. It's Agatha's coven. It's Agatha's coven.

Hold on to that, too.

---

One of the things that I've been mulling over most is Agatha's character. She's so much fun in the beginning. We're all fucking charmed by her. We also don't have the full context of just how much of a serial killer she is.

So for me, at least, watching 1.08 and not only not getting found family, but getting an Agatha so far away from a "redemption" story that she only just barely is willing to not sacrifice Billy for herself, was kind of a rude awakening. Agatha's a lot more of a villain that I was prepared for. Surprise!

Agatha's so far away from "redemption", in fact, that she's only just barely starting to feel empathy for other witches. She's just starting to be affected by people who aren't #1. And that's a trauma response. And it's so, so, so deeply rooted in her that she's only just starting to be able to conceive of the idea of people who care for her. Of the possibility of being able to live in community. She's not ready for a redemption arc. There was no way that the kind of redemption arc she'd need could fit into nine episodes, because so much of it would for her be predicated on a mental shift that Agatha just hasn't arrived at yet. She's still so angry. She's still so traumatized. She's done almost none of the work. And even at the end, even with the final gesture of sacrificing herself for Billy, that's not a final act of redemption, oh Agatha's now a good person/forgiven/insert word frame of choice.

What this show did in terms of redemption for Agatha was set her up to be in a place where she might want it - where she might want to do and be better for Billy, and someday, for Nicky.

And it's significant that that point comes for Agatha in dying… and after death.

---

This show is about death. The Road is about death. Death is a character on the show.

Like, okay, you're saying. Fine. But what about my gay fun times? What about my queer romance, my found family?

And please know that I'm there with you.

I'm not hugely in touch with what the larger fandom is saying and how they're reacting because I have my little echo chamber here on tumblr and a few friends who have actual social media, but even here I get the sense that we're all kind of :/ for fairly similar reasons. What happened to the show I fell in love with?

And for me, the last few days, I think it's been important to realize that the fact that the show I fell in love with didn't suddenly become a different show. It didn't pull a bait and switch. No twists were in bad faith. Everything has been right here in the text of the show from the very beginning.

And I think it's important to see the story that Jac Schaeffer et al. were actually telling vs. our expectations of what they were telling, or worse, what we wanted them to tell. For just one example, I was convinced we were going to see Alice again - maybe Lorna Wu, too. I wasn't expecting it to be for the sole purpose of recognizing that not only is she dead, but to give Alice herself the space to say that it wasn't fair, that she wasn't ready, that she'd just broken her family's curse, that now she can really do something with her life! Because, ugh, yeah! It's not fair, for all those reasons! But that's also death. Likewise, Sharon's just dead, and worse, her death was pretty much meaningless. Lilia rediscovered herself again, and she chose her death to save everyone else - extremely meaningful. But at the end - she's just dead. We don't see her again. She's gone. She, like the others, walked the Road and away with Death.

I loved these covenless witches. I loved them finding themselves together. I loved them bonding around the campfire and discovering community. I miss them all, so so much. But they told us from the beginning how haunted by death all of them were: Alice and her mom, Lilia and her coven in Sicily, Billy and William Kaplan, Agatha and her son and her ex-lover. And of course, Death herself. Forget haunting these individuals - she came to actually join the temporary coven. Like, fuck. They told us what this show was about.

---

This show is about death, but it's more complicated than that: we'll take our cue from Rio again, who, in being Death, is also the original Green Witch. In short, this show is about Green Craft, "growth and decay in constant flow."

So yes - almost every single witch in the coven dies. Yes, it's permanent. No, the queer romance isn't resolved happily. No, Agatha doesn't have a redemption, satisfying or otherwise. And no, none of it follows what we've come to expect from found family story trajectories.

But the focus shouldn't be solely on the decay. There's a whole cycle of growth coming up after it, even now, and it's being made possible by the death and decay that we just witnessed. And most importantly, it's confirmed that this isn't the end of the story - just the end of "Agatha All Along."

---

I'll finish by actually answering your question - I've been sitting with the finale for a few days, because I also felt weird about it. And I think that's the right word: "Weird." Very spooky season-esque, first of all, but also not tipping all the way right into "bad".

The first thing to acknowledge is that no story is perfect - they were limited by nine episodes by what they had the space to show, and finales are really hard to get just right. The second is that you're allowed to not like any or all of it, especially when something happens that asks you to change your entire understanding of the story thus far, i.e. the Road isn't real, or when you have a particular trauma around death and it turns out that that's what the whole show is about in ways we hadn't fully realized. The third is that it's worth sitting with stories sometimes and seeing how they marinate and develop in your brain and your soul over time. All of these things can and should coexist.

This isn't my first go-round with a series finale that initially made me ???, so I was fortunate in that I felt like I had a cheat sheet. I've still got some marinating to do to see how this continues to change for me. But it's helped me to realize that my ??? reaction is what the story wanted me to have - that the characters are reeling right along with me. Not just Alice in shock about her death, but also Billy at the implications of his creation of the Road regarding his responsiblity for what happened on it. We're meant to feel this way… and then we're meant to reconsider the journey we've been on, the Road we've walked with all of them and the death we've died alongside them, and see it anew for what it really is.