#my love letter to s1

[butchcarmy]

I miss season 1 of the bear.

I miss the grunginess, the messiness of the beef, with its busted appliances and claustrophobic chaos, but also so much love. I miss the slowly unraveling mystery of Michael, the tragic ghost haunting the narrative. I miss seeing a rowdy bunch of cooks becoming greater and greater at their craft, growing to respect themselves and others.

I miss season 1 carmy, the incredible premise of a most excellent fine dining chef coming back to work at the struggling family business that rejected him. Season 1 Carmy, riddled with anxiety and grief and anger issues, but also a real desire to be good. To be better, kinder. I miss seeing Carmy’s beautiful monologue for the first time, after spending the whole season trying to piece together what made him like this. Just watching him in awe.

There is nothing quite like season 1 of the bear.

[aimfall]

happy pride month from the s1 archives crew <3

just lines version under the cut!

[goldtealeaves]

how lonely do you think he was

(alt ver below (oj in the window))

[abitcaughtinthemiddle]

The Uncertainty of Love and its Torment

As my Bridgerton rewatch continues, I’ve made it to season 2, episode 6: the failed wedding episode.

Love is in the air as Anthony and Edwina face the day of their nuptials. Yet, as we know, it is not the bride and groom that share this love- it is Anthony and Kate that long for each other. It is Eloise and Theo, unsure of their mutual attraction. And, for those of us with a keen eye, it is Penelope and Colin’s love blossoming in the palace courtyard.

While Anthony and Kate fight their love for each other- the feelings between Eloise and Theo & Penelope and Colin remain uncertain in their reciprocation.

Eloise says something important about her relationship with Theo to Penelope- that she is uncertain of his feelings and the “thought exercise” of questioning said feelings is a “thrilling kind of torment”.

(And, during this scene, we can see Pen look longingly at Colin)

While Anthony and Kate’s torment is that they do love each other, it is the torment of the unknown that plague Eloise and Penelope’s infatuations.

Eloise, because she is not used to feeling attraction and is unsure what to call it. Penelope, because she has longed so long for Colin, and his friendship with her has left her confused about his affections.

While Eloise’s attraction was new and exciting, Penelope had been living in her state of torment for years. Both a kind of uncertainty that brought each their own torment. This starts laying an excellent foundation for season 3.

And what tortuous moment can we look to in season 3?

Colin’s first confession of feelings in the carriage.

As Colin himself says, his feelings for Penelope are a “[torture] that [he] cannot, will not, [does] not want to, give up”.

Here, Colin, in a way, reiterates the sentiment Eloise shared last season. However, unlike Eloise, he, himself, is certain of his own feelings. He’s had the experience with Marina to show him the difference between fleeting attraction and love. He knows what it was like to lose Marina and to have his feelings unreciprocated- which is wholly different than his love for Penelope.

But since their kiss and as of this moment in the carriage, Colin truly does not know Penelope’s feelings towards him. The uncertainty of it haunts him as we can see with Luke’s facial acting.

Eloise’s “torment” comment, along with the struggle of Anthony and Kate from season 2 add to the context surrounding Colin and Pen’s love declarations and makes this past season that much more special.

From the first carriage scene confession from Colin, to Penelope’s admission in the church scene, these two have been through their own torments to get to each other- ones that span all the way from season 1 to season 3.

[nedlittle]

[alt]

2x21 "crisis" really is a perfect episode

[humbuns]

i’d be super interested in ur belphie powerpoint :p

i totally will be down to do one tbh if there's interest because i just have too many thoughts about him

[spacedlexi]

is anybody else out there still creating twdg fanworks 😭📢 where is everyone please dont say reddit i cant go back there

[the-other-art-blog]

Violet to Colin: "You're one of my most sensitive children."

The fandom: "How can she say that! Anthony, Benedict bla, bla bla..."

Colin is ONE of her most sensitive children. ONE, just ONE of them. And she's right.

ONE OF HER MOST SENSITIVE CHILDREN

He was the only one who indulged Violet and let her introduce him to debutantes in s1, while Anthony fucked his mistress and Ben went to orgies.

He was a complete gentleman with Marina. AND defended her when Anthony implied something about her.

And when he learned the truth, he confessed that he would have married her if she had told him the truth. 🥹

He danced with Pen after Cressida bullied her.

He wrote dozens of letters that his family of 8 could not care to respond to often. There are 8 of them!

He worried about Ben in s2 and supported him on his application to the Academy.

He learned the truth of Jack Featherington and instead of simply leaving, he did something about it. Not only did he help the Featherington family, but he saved other lords from being scammed.

He apologized to Will, explained why he acted rudely AND made amends to repair the damage by bringing men to Will's club.

He returned with gifts for everyone, but he seemed particularly thoughtful to his sisters and mother. A perfume for Hyacinth, music for Francesca, and a book for Eloise 🥹. Violet was so moved by his gift and here we have a lovely headcanon on the watch:

Then with Pen...

He runs after Pen, despite other men wanting to know about his adventures.

He acknowledges his mistake and immediately tries to apologize to Pen in the Four Seasons Ball.

The next day, he comes back with a heartfelt apology.

Then, he offers her help, despite the risk of scandal and embarrassment for him. He knows Pen has no one else.

He goes to see Pen at night to make sure she's ok. And when she asks him for a kiss, he does it so sweetly.

He is brave enough to leave the men who just want to know about his sexual life.

HE WAS BRAVE ENOUGH TO ASK, as soon as he put himself together and understood his feelings. He didn't play jealousy games like others, he went and put his heart on the table. He didn't even know about Pen's feelings and he risked it!

Some extracts from Colin's journals show that his family is always in his thoughts.

You can see why Violet, as the good mother that she is, can tell how sensitive he is.

Colin travels during the summer and comes back during the season to be with his family. It angers me that people think he's selfish for this when Benedict also abandons the family to fuck.

And yet, both Colin and Ben are sensitive. BOTH OF THEM, Francesca too. I wouldn't call Hyacinth or Gregory sensitive right now, and before s3, I wouldn't include Eloise either.

Anyway, I needed to get this out because I am so fucking tired of Kanthonies and Benophies making tantrums about this line.

I'm sure when s4 comes, we are going to see a moment between Violet and Ben where she acknowledges how amazing he is and everything he has done for the family. But not now, because this is COLIN'S SEASON.

(NOTE: If you are thinking of reblogging this post with the tag #Colin is the most sensitive, kindly fuck off. I made this post to fight the Kanthonies and Benophie that are attacking Colin, not to validate your own need to make Colin superior to other characters. HE IS ONE OF THE MOST SENSITIVE CHILDREN, ONE)

[myfairstarlight]

I need to ramble about the wedding breakfast dance.

That is Colin and Penelope's "Stare into my eyes. (s1) / Just keep looking at me, no one else matters. (s2) / Keep your eyes on me. There is no one here but us (QC)" iconic couple dance scene except no word is exchanged the whole time.

Instead, we get a visual representation of that feeling as the room empties, and only them remain. Albeit the editing did not let us savour that long enough, where's the full footage in HD Netflix???

And I think it's a core aspect of a friends to lovers story and Polin's that is so under-appreciated, this silent understanding between the characters. They've known each other for years, they've always been comfortable when together, so in that moment, no word of reassurance is needed because they already know! They have always been each other's safe space, even before friendship turned into romantic love. After all, they just need one look and a nod, just like at their wedding, to be secure in the other's love. No one else matters indeed.

Furthermore, unlike the other couples who were scrutinised by the Ton at some point or another because of their match, with the unfortunate pressure that comes with it, Penelope and Colin were always more of the outcasts, gossiping on the side of balls and no one truly paid them any attention until very recently as they both forced themselves to take part in society (Penelope to seek a husband, Colin to be taken seriously). Their season is the first time the Queen (or Lady Danbury) does not meddle with the main couple! (I would add Violet to the list who was more withdrawn than in previous seasons and mostly focused on Francesca this season, but she did nudge Colin a little.)

As soon as they get together, they stopped caring about others' judgement, because why should they? The Ton did not care before, after all. Colin and Penelope dancing in broad daylight at their wedding breakfast was breaking some unspoken society rule, but even before that, dancing at the church (also in broad daylight), at the Mondrich ball as they break the dance routine to add a twirl. They simply do not care. In fact, they never truly respected propriety rules, have they? Calling each other by their given names (even a nickname on Colin's part), the letters, the many unchaperoned encounters (one of which they got caught by Portia and Jack and yet nothing happened), Colin refusing a dance with Cressida to dance with Penelope instead... it just never brought a scandal because, well, the Ton constantly overlooked them, so now Penelope and Colin return the favour by overlooking the Ton.

And it is so significant that despite the Whistledown issue still hanging over their head, it does not change the fact they have chosen each other, that they will keep being their most authentic selves with each other and act like the whole world around them does not exist because they have each other, and as long as they do, everything will be alright.

After all, it is Colin loving and supporting Penelope that will give her the courage to step into the light and face the Queen as Whistledown, and it is Penelope loving and supporting Colin that will inspire him to write and publish, and make him feel like he finally belongs.

Oh also shout out to Albion Finch, best brother-in-law, always delighted to see Penelope thriving <3

And credit to this post I saw on twitter that prompted me to write this.

[foolofatook001]

(obligatory preface I am very Joel Smallishbeans and Lizzie Shadowlady biased :P)

I recommend “Strangers” by WhyB: still in-progress look at post-canon Mezalea and the Ocean Empire, with a focus on Joel and Lizzie :D

a bit sad (okay maybe very sad) but definitely fascinating worldbuilding! it gets into social classes and what’s left over when your entire kingdom cracks in half

Lizzie also gets to scavenge and scam to her (amnesiac) heart’s delight :D

My second rec is the “Of the Empires” series by Dynames2308: written as if by an in-universe academic looking at the various empires around the land. Empires covered include the Codlands, Mezalea, and the Ocean Empire :D

you know what I’m in a really REALLY specific mood, does anyone have some good empires season one fic recs? preferably ones with cool worldbuilding. I have found myself in an e1 mood and wish to sate it.

[candyskiez]

so, you've heard shows be recommended because they had gay characters. you don't really know what they're actually about though, and don't know if they'd be something you'd be into and are worried about spoilers. here's spoiler free plot summaries of em!

The Owl House

The Owl House starts out as a typical teenage girl goes into a fantasy realm story, but with a twist. Actions have consequences. The protagonist is a girl named Luz Noceda, who was being sent to a camp to make her behave normally by her mother after causing too much trouble at school. She ends up finding a place she's always dreamed of: a fantasy world. A world where everyone's so much weirder than she is. And she thinks, maybe if I don't belong out there, maybe people will like me here. Maybe I can be special here.

It's a story about found family, propaganda, erased history, living with disability, religious trauma, and neurodivergence. It's fundamentally a show about people who's brains work differently finding each other and making a family that treats them right. Definitely my favorite of the ones on this list. It's about people who've been oppressed being pissed about it and about finding yourself again after giving up on everyone around you for so long. It's basically a show about being a minority and trying to be understood and to understand yourself in the process. It's about growing up neurodivergent and how isolating it feels and figuring yourself out. It's about repairing broken relationships and parents who fuck up. And it's just. Such a love letter to anyone who was the weird kid in school. It's sad and heartbreaking and also so hopeful, and it's wonderful.

Content warnings: Abuse, Death, Grief, Animal Death, Suicidal thoughts, Vague suicide attempts, Depression, blink and you'll miss it s/h, body horror, religious trauma

She Ra and the Princesses Of Power

Adora was raised in the Horde since she was a baby, being fed propaganda about how cruel the princesses were. After learning how the horde actually was, though, she defects. But there's one problem. Her best friend, Catra, stays behind. Adora finds a sword that can transform her into She Ra, and might be the key to figuring out who she really is, while Catra takes her place as force captain.

It's a story about abuse, at the end of the day. Adora and Catra were stuck in a golden child and scapegoat dynamic, despite how much they care about each other. This leads to them knowing everything about each other but not understanding it. There's a fundamental disconnect between them, because both of their traumas are completely different. They have complete misconceptions about each other. Even in their initial split, they both have completely different perceptions of what's going on and why the other is upset. It's not a story about magic princesses, it's about the cycle of abuse and what makes it so complicated. Does it have flaws? Yeah. But ultimately I really really enjoy it, and when it does something right it does something RIGHT. Get through season one, it starts kids show-y but it gets very good during later s1.

Content warnings: Abuse (obviously), body horror, gaslighting (and I mean actual gaslighting, not what the Internet thinks gaslighting is), suicide, depression, flashing lights and eyestrain during the finale

Steven Universe

Steven Universe is a sins of the father story. Steven is the son of the leader of the rebel group The Crystal Gems, who's name was Rose Quartz. He navigates the confusion of being half gem and half human, as well as trying to figure out the mess of the rebellion and what his mother left behind. He's constantly in her shadow, for better or for worse.

It's a story about grief. How it impacts relationships, how it taints history, how it impacts family. It has some definite flaws, but ultimately it's about very flawed people who have lost so many people in their life trying to cope with it. Trying to handle what they lost and trying to adjust to life without them. It's about how expectations fuck a kid up and about agency and just a show about complicated relationships in general, at the end of the day. Also, it has some FANTASTIC music.

Content warnings: Grief, Abuse, body horror, very creepy people I don't know how to tag, heavy allegories for homophobia

Nimona

Nimona is a story about a guy who gets framed for murder. His name is Ballister Boldheart, a commoner who hoped to become a knight. It seemed everyone was waiting to watch him fail, so it was no surprise when he was the immediate target. Heavily injured and away from the man he loves, he's left alone trying to figure out a way to prove his innocence- until a strange kid comes into his life. This kids name is Nimona, and while he is intent on proving his innocence, she gave up on being anything but a villain a long time ago.

It's about deconstructing the model minority myth, trans rage, propaganda, and with a healthy dose of "FUCK the police".

Content warnings: Heavy injury, on screen suicide attempt, flashing lights

feel free to add more shows! just remember to keep the summaries as spoiler free as you can and add content warnings!

[somedayillbepeterpan]

I have gone down this rabbit hole now and I'm afraid I'm never getting out. I hope I give justice to this. And sorry if this is long.

I've seen a lot of the Colin and Marina vs. Colin and Penelope analyses in here and I want to raise this parallel as to how the Butterfly ball was such a powerful move for both Penelope and Colin. We all have our issues with how they handled Pen and Colin finding their way back to each other but let me add this perspective and hope it helps us understand how real they handled the issue of LW and pushed the character development for them both.

The scene on the left is from S01e06 (Swish) and the right is S03e08 (Into the Light)

S1 scene - Violet is still in her dressing gown, obviously distraught having just read something from LW. She hears someone come down and finds Colin.

S3 scene - Violet is dressed for the morning and her face looks a combination of surprise and confusion after reading a letter. She turns around when she hears someone coming down the stairs.

In both scenes, we see Colin coming down the stairs.

S1 - we only see Colin's back. We're in suspense on what emotional state he is in but we do know that he's on his way to elope with Marina.

In S3 - we see Colin's face immediately looking determined and ready. We see Violet calling his name quite urgently.

S1 - Colin sees his mother's face looking like a combination of disappointment and anger. He asks what's happening. She doesn't say anything but just looks at Colin with a sadness that only a mother can give.

S3 - Violet pointedly says that she received a letter from Colin's wife (I love this line so much) that sounds awfully like "I need you to explain what's happening right now."

S1 - Violet hands Colin LW without saying anything and just looks so so so sad. Colin is shocked to his core because we learn that LW (Pen) exposes Marina's pregnancy and that she has been pregnant from the beginning of the season.

S3 - Colin determinedly faces his mother telling her that they had better sit. And I'm guessing that Colin tells her everything.

Where am I going with this? (Gosh, doing an analysis is hard 😂)

The first time Colin fell in love (thought he fell in love), he was blindsided. But I believe the pain he felt at that time was made deeper because his family had to save him from the situation (Anthony explaining that his actions in the scandal will affect his sisters' prospects as well). To think that it was his mother who first learned of the situation added salt to the wound because we all know that he is a mama's boy and that the one person he dislikes letting down is his mother.

The second (and last time) Colin falls in love, he once again feels betrayed. But he's fallen in love so deeply that he can't imagine his life without Pen. The struggle he goes through in understanding his emotions was very hard to watch and it's because the issue goes beyond his and Pen's relationship. It extends to his family.

Colin's hero complex goes beyond feeling worthy of Pen's love but also worthy of the Bridgerton name. We see it several times in S3 when he mentions it in his confrontation with Portia (" I advise you not to sully our Bridgerton name...") and when Pen tells him that Cressida discovered her secret ("It will besmirch our Bridgerton name. The entire family").

The whole sequence in the study is now more significant because of what Pen addresses in their conversation-- Colin's family ("Your family... the one you so kindly shared with me, they are too good").

Pen's "sacrifice" ("But I can no longer conceal the biggest piece of information I have. My identity."), I believe, was to save the Bridgerton family (once again) and she asks Colin to stand by her as she formulates and executes this plan.

It was very important that Pen wrote a letter to Violet directly and that Colin was there right after she's read it to explain everything. From this point on, they were a team. From this point on, Colin moves in parallel with Pen instead of against it. Colin finally sees that version of Pen that she's always been even while she was LW-- the person who was always determined to save his family just as much as he does.

From this point on, their goals were aligned.

10 rewatches after, I finally see how Colin found his way back to Pen. It wasn't very obvious to me how he got over the feelings of betrayal after he discovered Pen was LW. Of course, him reading the letters help but the events leading up to the Butterfly ball, helped him see her as both Pen and Lady Whistledown and the overflowing pride we see on his face was heart-melting to watch.

From this point on, they finally see each other eye to eye. From this point on, they finally accept this version of each other.

If you got to the end, thanks for reading my humble musings.

*Editing to add this: The Butterfly Ball deep dive series

[cloudycleric]

mike wheeler is actually so gay. thinking about this on my s1 rewatch today. things between him & el weren't even remotely romantic until lucas brought it up. everything he knows about girls or a romantic relationship with a girl doesn't come naturally to him & he basically has to ask for advice whenever he has relationship issues.

in st4 he didn't even sign the letters "love, mike" which is absolutely crazy how we just brushed over that. it's not like he's el & might not know to sign letters with "love" yet he doesn't do it anyway. legit writing "love, [name]" was the first way i ever learned to sign a letter. & adding onto that EL EVEN KNOWS TO SIGN WITH "LOVE". ???

it baffles me how people like,,,, don't pick up on all this. legitimately. ALL of the other couples in stranger things paired together normally or had the relationship come normally, & when there's issues between the two, they can solve it without outsourcing for help all the time. because they truly understand the other person as well as the type of relationship they are in.

max & lucas? fell in love pretty naturally in a way that flowed & didn't feel forced. they are also portrayed in s3 to have "more" issues than el & mike, yet lucas always wins max back, & knows exactly how to. jonathan & nancy? not forced at all, came together naturally. when they have relationship issues, they understand each other enough & trust each other enough to get through it.

mike & el aren't the same way. they get along just fine, until they relationship turns romantic in some way. think about it--when el dumped mike's ass, sure they didn't talk for awhile, but they seemed to share a genuine connection of friendship. when they are in a relationship, everything seems strained.

i think i talked about maybe a year back about how el & mike were even showcased to be actively bringing out the worst in each other, especially in s3. this can be seen in s4 as well at rink-o-mania especially, when el portrays her whole life in california as a lie. they always seem to work better together when there isn't a romantic connotation on their relationship (all of the beginning of s1, until the bathtub).

all this to say that byler endgame, cause i was sitting last night listening to sad mgmt songs & trying not to think about the election & i just kept thinking about how mike & will were built for each other, like it would be so cruel for him to be friendzoned by the person he's loved for years, & yelled for whenever he was in the upside down. breaks my heart.

since that's such a shitty ending for him, & we know that will DOES have a happy ending, i don't see how in anyway byler doesn't end up together.

[summerpearlgirl]

Polin Fic Recs - Cute Comfort Rereads

Sunshine, sugar sweet, cuteness captured in words. My beloveds.

1. Dance Card by Katie_500, Stillpink

Mature. Regency. Complete. 36,712 words. I believe this was written with the specific intent of exploring a world in which S1 Penelope is a guest in Bridgerton House for the London marriage mart season while the rest of the Featheringtons are occupied in another town. Pen feels loved, supported and listened to by the Bridgertons. Lots of unchaperoned time with Colin is the cherry on top. Polin are sweet, innocent and no touchy, but that doesn't mean they aren't thinking thoughts. Puppy love Colin is oblivious and insecure, but it is a HEA.

2. where art thou? why not uponeth me? by maxmayfield

Mature. Modern setting. Complete. 5,001 words. Under 1 hour read. Colin meets Penelope during their first creative writing class at university. They are friends for months before dating. Aware Colin Bridgerton. Sabrina Carpenter's song Bed Chem was on a loop in my head while reading this.

3. My Fairy Lady by rottentiger

Teen and up (rating may change). Regency. Work in progress. +10,000 words. Penelope is a tiny fairy and Colin accidentally traps her in his bag while in a forest in Ireland. When he returns to London he discovers her. Unable to immediately return her to her homeland, Colin promises to care for her until the end of the season. Penelope is a ray of sunshine. They are both so tender and kind to each other it feels like I am being sprinkled with fairy dust.

4. Dancing Around the Truth by WeepingFromACedarTree

Explicit. Regency. Complete. 60,167 words. Set post-S2. Penelope's family leave town and Pen is alone at Featherington House. Pen falls ill with a potentially deadly fever. Colin throws the propriety rule book out the window and stays by Pen's side caring for her.

5. U Up? by DollyPop, Stillpink

Mature. Regency. Complete. 36,709 words. Set post-S1. Sexting Regency style with racy letters exchanged between Colin and Pen. I was giggling and kicking my feet the entire time.

[louisferrignojr]

i keep saying i'm not going to pay this show any more attention and I keep coming back with more thoughts and i decided to inflict them on all of y'all so here goes

hot take: the brad/hotshots storyline isn't inherently bad. it was entertaining. it was fun and campy, classic 911. i love it when shows get a bit meta. we stay sillay.

however it all falls completely flat, and here's why:

they butchered the main storylines they had set up at the end of s7 — Hen and Karen vs Ortiz (and Gerrard), the 118 vs Gerrard vs Tommy (don't play, they wrote it out with big block letters), Bobby's suicidal ideation, abrupt resignation and relationship conflict with Athena, not to mention NDE. the only storyline they seem to have spent any time on is Eddie and Chris — thank fucking fuck, some good food for Eddie.

they have disregarded previously established side characters in favour of developing Brad Torrence. where the fuck is Ravi? where's Sue, where's Linda? why is Josh only there as a mouthpiece to deliver a cringeworthy self-congratulatory speech praising Ryan Murphy's previous — and still DEEPLY biphobic — work?

the hotshots storyline of 8x07 and 8x08 should have taken place WAY later in the season: only after spending time giving their existing characters and relationships the focus they so sorely need.

Hen and Karen and their struggles with Mara being with Chimney and Maddie — where was the conflict between Hen and Chimney? blink and you miss it in 8x01. why was everything wrapped up so fucking quickly in 8x04? the pacing of that episode was INSANE. they could have drawn it out until the mid-season finale, and ended it on a positive note of Mara coming home.

Maddie and Chimney have had almost nothing all of 8a — what looked like a conversation about family planning, addressing their past issues, deciding to stick together and make it work this time, it was building up to something so good — and it crumbled before my eyes with the accidental pregnancy reveal. because we're dealing with teenagers who don't know how birth control works, not two grown adults in their 40s with a history of PPD. be so for fucking real.

and then: why bring back a homophobic, racist, sexist character, have him act EXACTLY like his old self — including throwing a subtle slur at his old subordinate who's just come out of the closet — and then reduce him to a cartoonish villain — did they perhaps realise that bringing back Gerrard was a big mistake? that no one wants to see this type of villain anymore? that his return undercut the justice of him getting fired by the LAFD for his bigoted behaviour? much to ponder.

Athena and Bobby nearly died, they lost their house in a fire (hello? ptsd flashbacks? no? okay.), then Athena nearly died AGAIN, but we don't need to linger on any of this. back to work, you two. Bobby, you get your firehouse back. Athena, back to doing bad cop shit, i guess. (they had a nice relationship moment with the house hunting and deciding to build etc in 8x04, and that's about it).

Buck had a consistent storyline between 8x01 - 8x04: struggling being under Gerrard, getting to work with Bobby again, and finally getting his captain back on a permanent basis. then we got 8x05 with Tommy — an episode dedicated on the intimacy and depth of their relationship — which they then completely fucked it up in 8x06. yes, the "past connection" reveal was a terribly done messy retcon of the entirety of s1 if you ask me, and a disservice to all three characters: Buck, Tommy, and Abby. the backlash from the GA following the breakup speaks for itself. but they then went to make a big joke of Buck coping with the breakup in 8x07 and 8x08. because we can't be serious about anything, ever. and again — I get it. it's the weewoo show. but don't tell me they haven't previously done well thought-out, touching storytelling. anyway, this got a little derailed because i'm still so fucking salty — the bottom line is, however they butchered Buck's storyline, at least he's had something meaningful.

the only other main that has had a meaningful storyline in 8a is Eddie. they've shown him struggling with being away from Christopher in almost every episode. i can't say i'm a big fan of the way 8x06 went for him (literally. enough with the movie references. tim minear have a fucking original thought for once). but I'm loving where his storyline is headed. that was a good 'cliffhanger' if you will. go back to your roots baby! go reconcile with your son — own up to your mistakes! talk to him about his mother! go to father-son therapy together! -> so much wishful thinking, y'all. we'd be lucky to get 1/10th of this on the show, but whatever.

tldr: no one gives a flying fuck about hotshots or brad because while we love the silly weewoo show, we need something to chew on before you toss us a half-baked dessert. to quote lou ferrigno jr, i am not satisfied.

[vidavalor]

Crowley and Plosives

@kimberleyjean asked in my recent post on rings and apostrophes why it is that I think Crowley pops the consonants of words at times, as in "BooK. shoP", and if there is a technical term for what he is doing. There is.

Let's talk about Crowley's exaggerated plosive sounds--as well as his little "mmm" thing-- and what this all probably has to do with his hiss.

In order to talk about why it likely is that Crowley pops specific consonants when he speaks-- with it being more pronounced at certain times than at other times-- we first actually have to talk about his hiss.

Crowley's hiss is less of a separate sound and more of a slur of what's known as a sibilant sound in phonology-- it's the sound of the letter s or the letters sh. If you say the word "sash" aloud, you're using sibilant sounds twice over-- once at the start and once at the end of the word. While Crowley could probably just hiss like a snake when he's in human form, we never actually hear him do that. We hear a hissing sound manifest in his sibilant sound when he is speaking-- which is to say when he's being a human over a snake. The same is true of Lord Beezlebub, whose fly buzz sound affects their speech. In their case, their sibilant sounds turn into the letter z to mimic a fly (as in, "It izzzzz written" on the tarmac in Tadfield in S1).

Sibilant sounds are part of a group of sounds known as fricatives, which are all softer in sound. They are grouped together based on how your mouth and throat move in forming the sounds and how much air is needed to move through them and in what way to say them. The letters k, p, t-- and sometimes d, b and g, depending on the word and the position of the letter in the word-- are "hard" sounds and are known as plosives. These are the sounds that Crowley tends to pop or to which he gives exaggerated emphasis in his speech. My theory as to why is basically that David Tennant decided that Crowley would feel the hiss is weak and react to it by popping his plosives to seem more intimidating, which really does go along with Crowley's psychology well.

Crowley's hiss is a feature of what of him is a snake and, as a result, will show up in the times that a snake would hiss. That means the slurred sibilant sounds show up primarily in situations in which he feels a sense of vulnerability. Snakes hiss when they're stressed or under duress and they hiss if you try to interact with them while they are digesting a big meal. In demon snake terms lol, it means Crowley is most likely to hiss in exactly the moment he does not want to (when he's anxious or afraid, which is usually when around other demons or angels). He probably cares a bit less about slurring sibilant sounds around Aziraphale after a big meal--or a "big meal"-- and Aziraphale actually probably likes it a bit as it's his life goal to keep that snake blissssssed out but the hissing around other people thing?

Crowley hates it. He haaaaaaates it. There is evidence of Crowley hating the slurred sibilants in a few scenes.

One is that when he shapeshifts into a monstrous snake to scare the guy at Tadfield Manor in S1, Crowley doesn't hiss at him-- he roars. Like a lion. (Lions are also on the arms and legs of his reason-for-therapy-alone throne chair in S1.) And this is his reaction when he makes the guy faint from fright:

He loves it. Ah, control...

Because Crowley is a lot of things, really-- he's a snake, yeah, but he's a big cat, he's a crow, he's a nightingale, he's a black swan, he's a horse... we could go on. To control the hiss when he wants to is to feel in control of himself.

We all know how much Crowley seeks as maximum control over how he's perceived by others as he's capable of generating. It's a normal response to all the trauma he's suffered. It's probably worth considering as well that Satan's attacks on Crowley render him incapable of controlling his own mind and body for the duration of the assault. He doesn't have the option to speak or, if he does, the words aren't his own. These are bodily autonomy violation issues and the result is that Crowley hates anything that makes him feel weak and the fact that he has in the hiss what amounts to a nervous tic that is a symptom of his anxiety disorder makes him feel out of control of himself.

Another example of him hating the hiss is when he intentionally slurs the sibilant s sound while mocking Heaven:

Crowley is not just talking about composers in this scene in general but using first-class composers as innuendo for sexual partners and mocking Aziraphale's potential choices if he gets stuck in Heaven for all of eternity. He does so by combining soft fricatives and his slurred sibilant hiss, showing how he equates the hiss with a sense of what he considers weak and unattractive.

The other scene that suggests this-- and shows how Crowley pops his plosives as a counter to the hiss-- is actually the end of the apology dance, when Crowley pops a t so hard, it's almost its own word: "You were righTTTTTT."

The apology dance scene and its hard T as the final note of the mock-submissive dance also makes it clear that, unsurprisingly, Aziraphale knows what the popped plosives are all about. Plosives are, well, explosive. They have harder, louder, more dramatic sounds. It seems like Crowley pops them both as a measure to counter his hiss and as a measure to try to control it. He's taught himself to respond verbally with intensive plosive popping instead of hissing, which is also why we don't actually hear him hiss all that often.

One of the only times is almost immediately after this:

Because saints and demons preserve us, it's Master Crowley, right? But then Satanic Nun!Nina interrupts them and Crowley starts slurring his sibilant sounds in sarcastic response to Aziraphale telling him that he didn't need to put the woman in a trance.

"Oh, oh, 'xcccussse me, ma'am, we're two supernatural entities looking for the notorioussss SSSSSon of SSSSSatan. Wonder if you might help us with our inquiries?'" How he controls the sentence, though, is really interesting. The extra-exaggerated sarcasm of the last sentence helps him regain control enough that the final 's' in 'inquiries' isn't hissed and he's back in control of it. He's also almost amping up the sibilant sounds he does slur sarcastically as well. Part of why it comes out here is that he allows himself to be less guarded with his speech in front of Aziraphale.

We've actually only heard him hiss his sibilant sounds about three times, if memory serves me correctly, and two of them are related to Heaven and Hell-- the two moments I mentioned above. They're examples of him trying to control-- and then sarcastically wield-- the hiss. (Particularly "celestial harmonies", which he did entirely intentionally.)

There's also one more positive instance of a sibilant slur though and that's this: "Yessssss, the 'Reign of Terror.'"

The long hiss of a "yesssss" in this scene is not one that bothers him because drawing out a sibilant sound during a sexy conversation with Aziraphale is a very different situation than one about or involving Heaven or Hell.

If you look back on the series, there are probably no more popped plosives than in Crowley trying to ascertain just wtf Gabriel is doing in the bookshop wearing nothing but their tartan bedsheet.

"WHaT. Arrre. You. DO. ING. In. THis. BooK. ShhhOP?" 😂

Crowley was literally terrified (and also losing it internally because he just jumped and basically screamed at the sight of Gabriel) and there's a very brief "shhhh" in "bookshop" that starts to slur and has him practically shouting the "OP" to finish the word without full-on hissing. It's a scene built around the plosives, really.

Gabriel probably understands Crowley's manner of speaking more than "Jim" did in this moment as Gabriel has his own affected way of speaking. His defensive speech has the same need for a sense of maintaining an appearance of control and dominance but is usually less about emphasizing plosives and more about conveying a sense of power through a perceived sense of "manliness" in a smug, corporate sort of way. The way he says "but as The Almighty likes to say: 'Climb Every Mountain'" in that 'CEO saying the bullshit company slogan to a junior employee at the company retreat' sort of way.

Gabriel usually uses intimidation through lower, more frighteningly measured tones that carry the sense that if you pissed him off, he would explode and it would not be pretty for you. It's what makes the moment when he does actually a bit shocking and that's when you hear the force come out in his speech a bit.

He pops plosives in the curse and owns the 'fucking' in that sentence as a result. That is top shelf use of a curse word, in that it's selective enough and pronounced in such a way as to give it real power. You know he's going to lose this round because he can't win it but you're still kind of afraid of him-- maybe for the first time.

But Jim? Jim has none of this.

Jim is a guileless lovebug who doesn't understand why Crowley would feel the need to speak-shout at him and pause dramatically so his "I. AM. DUSTING." response is priceless. Jim over-emphasizes all of the sounds because he doesn't know why Crowley only emphasizes the plosives and he pauses dramatically between the words more out of confused repetition of Crowley's speech pattern to try to relate to Crowley than out of understanding that it was meant to intimidate him. He uses the same sense of theatre that Crowley uses without any context as to why Crowley feels like he has to and, as a result, it guts Crowley's whole attempt to intimidate him to compensate for his own feelings of vulnerability.

Crowley and Aziraphale both are fascinated by words and the evolution of language and they speak every language in the world. This means that they both have the ability, in theory, to correctly speak in any accent in the world, which is necessary to be able to pronounce the words in every language. Between that and his self-conscious, trauma-adjacent, plosive/fricative issues, as well as just being interested in how things like pronunciation informs the evolution of language, Crowley is more aware than most of how he sounds when he speaks.

But there's also that his unique way of speaking-- when combined with his low, rumbly voice-- can be very sexy and he's aware of it, namely because it's clear that Aziraphale thinks his sounds-- all his sounds, along the full spectrum of them-- are hot. As a result, we also have scenes in the series wherein Crowley will sometimes heavily emphasize plosives-- and fricatives-- around Aziraphale just for fun because to do so has become a part of how he speaks and because the angel likes it. An example: the "lotsss of GooD DeeDsssss" bit of this:

That Aziraphale likes the full range of Crowley sounds is symbolic of the fact that Aziraphale likes the full range of Crowley, full stop. As a result, Crowley plays around with how he enunciates words, often drawing out parts of them in ways he knows Aziraphale will enjoy. His "oo" and "ou" sounds are often elongated into an "oooh"; he softens fricatives to a breath at times when speaking more gently. At other times, he amps up his RP accent and emphasizes certain words in a sentence with pauses and heavier enunciation ("canopy", "astonish") to maximize their appeal and to draw Aziraphale's attention to them, usually also for wordplay-related reasons ("did you smite them with your wrath?" in Lockdown, for example.)

Then, there is that part of their language thing also appears to be an interest in onomatopoeia, which are words that have derived in language not from a connection to other, previously-existing words but from the sounds of Earth. Crowley, in particular, loves onomatopoeia, and likes to weave words that are that into his conversation-- "frou frou", "whoop", etc.. The word "hiss" is onomatopoeia. Unlike other etymology posts I have written or will write, there is no "derived from the Old French x" or "from the Latin x" or the like for the history of "hiss"-- it's just literally that people heard a snake hissing and said that sounds like "hssss" and so we're going to call it a "hiss."

While Crowley has issues with his anxious snake hiss, though, he actively likes to make the pleasurable sound the humans (and angels and demons) can make-- the ultimate in onomatopoeia. The word that is actually more his anti-hiss than his popped plosives:

"Mmm."

"Mmm" is derived from nothing more than the human sound of contentment. It's an often almost involuntarily hum of pleasure-- the human sound of satiation. There is no other history to the word but that and there has not been since beings began to exist.

Crowley makes the sound unconsciously but he also makes it consciously at times when speaking with Aziraphale because he knows Aziraphale likes the sound of it. Case in point: the very obviously intentional "mmm" in the Edinburgh phone call (and the heavy, exaggerated plosives emphasis on what followed it):

"Mmm" is also something of an etymology joke as well because, at last count, I think I had at least twenty-five instances in a note file here about intentional wordplay between Crowley and Aziraphale that focuses on frequently confused words and phrases (to founder vs. to flounder; whoop vs. whoomp; wittering vs. withering; to get a wriggle on vs. to get a wiggle on, etc..) which I bring up mainly because, especially when written, "mmm" is frequently confused with "hmm", and the etymology of "hmm" is pretty funny from a Good Omens perspective.

While "mmm" is a sound of pleasure, "hmm" is a sound made of consideration, a kind of pause in a sentence to acknowledge something that was spoken and to either suggest you're giving it thought or to show hesitation over what was said-- or, possibly, both. While "mmm" is a contented sound derived from the human body, "hmm" is onomatopoeia because it is imitative of a different, very specific sound in nature...

...it comes from the droning sound of buzzing bees.

To Crowley and Aziraphale, "hmm"-- the sound of hesitation and reflective contemplation-- is a sound of the insects that are symbolically the angels and that's amusing to them since the humans frequently swap it out with their signature sound of pleasure while Crowley and Aziraphale do not find much about Heaven very arousing.

Crowley's new favorite hobby in S2 is making dirty jokes that are going over Muriel's head-- some of which, like his handcuff innuendo while getting Muriel to take him to (literal) Heaven, are a bit on the surface. Others, though, like the frequently confused words wordplay of using "mmm" in protest of Heaven instead of "hmm" in the "mmm, bees" moment after successfully getting one over on the angels-- are examples of just wordplay jokes that Aziraphale would have found funny that Crowley was amusing himself with in the moment.

Crowley is definitely not the only one of the two of them amping up those mmms though. The only bee who has his attention is playing right back...

...and the mmm thing is not exactly new, either...

...like for him to mmm his way through an entire barbecued ox five minutes after this...

Original post that prompted this response: