#one of the best northern exposure episodes

[northernexposureonly]

JOEL: I know I know him.

NORTHERN EXPOSURE

3.14 Burning Down The House

[nero-neptune]

“Let’s fling something, Cicely!”

NORTHERN EXPOSURE 3.14 “Burning Down the House”

[mydaddywiki]

Barry Corbin

Physique: Stocky Build Height: 5' 11" (1.80 m)

Leonard Barrie Corbin (born October 16, 1940-) is an American actor. He is best known for his starring role as Maurice Minnifield on the television series Northern Exposure, which earned him two consecutive Primetime Emmy Award nominations. His other notable credits include the films Urban Cowboy, Stir Crazy, WarGames and No Country for Old Men as well as the television series Dallas, Lonesome Dove, One Tree Hill, The Closer, The Ranch and Yellowstone.

With his beady-eyes, stocky build and big voice, the Texas native is noted for his portrayals of policemen, soldiers, and father figures, or some other authority figure, though on occasion, he has effectively portrayed murderous villains as well. One things count against this man though. He lost most of his hair in the 1990s due to a condition called alopecia areata; since then, he often appears on screen either with his head shaved or wearing a cowboy hat, or occasionally wearing a full toupee.

Married three times with one child with the first wife, two children with the second and a daughter that he didn't know he had, found him in 1991. Much of his spare time is spent riding horses and tending to cattle on his small ranch, volunteering his time to charity including rodeos and being spokesman for the National Alopecia Areata Foundation.

RECOMMENDATIONS: (2014) Modern Family (TV Series) - S5/E23 'The Wedding, Part 2' - Shirtless (1997) The Fanatics - Shirtless (1990-1995) Northern Exposure (TV Series) - Shirtless - multiple episodes (1985) My Science Project - Shirtless (1985) What Comes Around (1985) - Shirtless (1983) The Man Who Loved Women - Shirtless (1980) Any Which Way You Can - Underwear

[episodeoftv]

Prelims, Vote 8 of 8

The top 5 finales will move on to be included in the main bracket

Propaganda is under the cut, may include spoilers

Brooklyn Nine-Nine - 8.09 / 8.10 The Last Day

It just... season 8 had been so bad as a whole, it attempted to touch on the blm movement and did it in an okay at best way and in the wake of it all, i think a lot of people just weren't here for cop shows. The finale tried to bring the magic back with one last heist and it did pull out all the stops but I don't know, it just left me feeling really cold. And the ending being that even though the main character wasn't a cop anymore, that he would return to the station every year for the heist... it just never escapes the cop narrative even after he's left.

Chén Qíng Lìng/The Untamed - Episode 50

I nominate this final on grounds of CCP information control, censorship and homophobia. They were so scared of the power of wangxian that they ended up banning ao3 in china and in the show they have to inexplicably have them part ways just to hammer home the no-homo. Plus the show is just kind of objectively bad.... but it rewires your brain all the same

Community - 6.13 Emotional Consequences of Broadcast Television

ok i haven’t watched it in a while but it wasn’t the episode’s fault this show had been going downhill for a while. The finale put it out of its misery mostly.

Kyle XY - 3.10 Bringing Down the House

The writers knew they were getting canceled and chose to raise more questions than answers and set up cliffhangers, rather than have a satisfying end. I'm sure it was a last ditch effort to save the show, but it didn't work and now it's just a bad finale.

Northern Exposure - 6.22 Let's Dance / 6.23 Tranquility Base

No propaganda submitted

Ozark - 4.14 A Hard Way to Go

No propaganda submitted

Soul Eater - 1.51 The Word Is Bravery!

ugh god it just gave up on any attempt at character development or the ending of the story in any meaningful way. instead of a complex universe journey exploring her bond with soul, and death the kid becoming the new god of death, maka just...wins the day by 'being brave', extremely underwhelming and borderline nonsensical

Star Trek: Deep Space Nine - 7.25 / 7.26 What You Leave Behind

Man so okay like it’s not the worst worst one out there but man they really just fuckikg did that. Found family all went and spread themselves across the quadrant with the head of the show the leader, Captain Benjamin Sisko who really just wanted to live on Bajor, got turned into an incorporeal being who could no longer live a linear life while his wife and unborn child had to go on without him. They didn’t even have him saying goodbye to his actual son. His literal son did not get a goodbye, they only gave that to Kasidy, and no hate to Kasidy, she’s my girl, but she’s only been there for three year while his actual son Jake sisko was still basically a kid. He was like 19, 20 and no goodbye fork his dad he’s lost time and time again. Some characters got a satisfying ending but then Julian Bashir is left to stay on deep space nine supposedly still in love with Ezri Dax and together (but let’s be honest, it was a terrible forced decision. They made no sense, and had no chemistry) and still stuck without moving forward or changing. Like what a cop out. Not to mention the terrible cgi fire caves where literally gods got thrown into a fire pit and that was the big climax

[gonnabeapolyglot]

EVERYONE GO WATCH NORTHERN EXPOSURE ITS AN EARLY 1990S SHOW AND ITS SO CHARMING AND GENUINELY FUNNY

it DOESNT TAKE ITSELF TOO SERIOUSLY ITS ABOUT AN ALASKAN TOWN WHO WORK TOGETHER AND CARE FOR EACHOTHER THROUGH THE YEARS EVEN THOUGH THEY HAVE DIFFERENCES BUT ITS TONE UNLIKE ANY IVE SEEN

tHE TOWN HAS A TLINGIT POPULATION THAT IS A PART OF THE SHOW AND ARE TREATED WITH RESPECT AND AS THEIR OWN CHARACTERS AND THEIR TRADITIONAL MEDICINE AND MEDICINE MEN ARE TAKEN SERIOUSLY BY THE BIG TIME NEW YORK DOCTOR WITHOUT ANY EXPLAINATION OR FIGHT

ONE OF THE BEST MAIN CHARACTERS IS A HALF-TLINGIT GUY WHO JUST HANGS OUT END IS FRIENDLY WITH EVERYONE AND HAS A FASCINATION WITH MOVIEMAKING AND POP CULTURE!!! AND THERES A SPIRIT CALLED ONE WHO WAITS (who i love!! hes not OooOoo! I am an all knowong appirition!!! hes just like hey man. oh times have changed alot, huh? well, Im here because I want to help you, here, lets ask the river and the wind. but im not sure well get an answer but we can try) AND HE IS TRYING TO HELP FIND THE GUYS FATHER (who abandoned him and he was found by the river) JUST THERE EVERY FEW EPISODES.

they THIS COUPLE WHO'RE LIKE 19 AND 60 BUT THEYRE GENUINELY GROUNDED AND GOOD AND ARENT ONE SIDED

THERES A MILLIONAIRE WHO LIVES THERE WHOSE KINDA A FRANK BURNS BUT THE SHOW USE HIM AS A TOTAL PUNCHING BAG ITS NICE

THE TWO MAIN LOVE INTEREST CHARACTERS ARE THE NY DOCTOR AND A BUSH PILOT WHO HAS A HISTORY OF EVERY BOYFRIEND DYING AND THEY HATE EACHOTHER AND ITS ENEMIES TO FRENEMIES TO ?? CAUSE IM ONLY IN SEASON 2 BUT THE WRITING IS SO FASCINATING

THEY HAVE THESE DREAM SEQUENCES??? ALOT AND ITS THEYRE SO PLAYFUL!! THE WRITERS ARE HAVING A GOOD TIME THE ENTIRE TIME

therES THIS DUDE WHO RUNS A MORNING RADIO SHOW WHO HAD A ROUGH LIFE IN A LONG LINE OF PEOPLE WHO LIVED WITH ADDICTION etc. IN A TRAILER PARK AND HES THE CHILLEST MOST WELL ROUNDED CHARACTER PHILOSOPHICALLY AND IS KIND TO PEOPLE BUT HES NOT A 2D PUSHOVER OR LIKE. A HERO TO SAVE THE DAY?

AAAaAaaAaAAAaaA I HAVE SO MUCH LOVE FOR THIS SHOW I REALLY WANT YOU TO SEE IT!!!

[bigtimesinsmallspaces]

Post 9: Closing the Circle in Chicago

It actually was exciting getting back into Chicago. Somewhere in that morning, perhaps as we were waking up from not having slept (is that possible?) we discussed the option of staying overnight in Chicago. In truth this option had been discussed throughout the planning and for some reason I had persisted in being reluctant— I had in my mind walking around small bucolic towns and Chicago just did not quite fit. But PG seemed emphatic. And really, here we were! Why, just why, would two people coming off 48 hours in coach, choose to jump on another for 24 more? So we decided the wise move would be to spend the night in Chicago— a horizontal night— a night that included a bed. With one last goodbye to the Zephyr, we began our 1.3 mile walk to the hotel. We were happy to walk, it had been a long sit. And Chicago was bright, sunny, and beautiful. WOW! It had not been so long ago that we were here looking through those eclipse glasses and since then a whole world, or at least 6,800 miles of it, had flashed by our eyes.

It’s a special life blessing when we can rely on old friends to steer us in the right direction when arriving in a big city. In the early 80’s, back when I had really little kids and really big hair, I use to travel to Chicago quite a bit for work. Fortunately I was still in touch with my old child welfare friend Joan Langen who told us the jazz club we needed to go to and the city tour that shouldn’t be missed. So we were well prepared for our 24 hours in Chicago, (before boarding the next overnight train— back to DC)!

I loved sending my many postcards through the mail shute at the hotel— a fitting farewell for such old school greetings— as we raced off for the early seating at Andy’s Jazz Club , apparently a staple on the Chicago scene since before my birth!! It was Big Band night and I was not disappointed. The night walk was warm and gorgeous.

The next morning we headed off for the Chicago Architectural Center River Tour. It was right on Wacker Drive (best name ever for a street) and we were treated to a beautiful river cruise (the same river that is dyed green on St. Patrick’s Day) with stories of the Sears Tower, the Montgomery Ward buildings, the new riverwalk, and a range of stunning skyscrapers that are modern, old modern, post modern, new modern, and modern modern— I obviously did not properly take it all in. Suffice it to say I saw a lot of pretty buildings. I took pictures of about 657 of them.

Before we headed back to the station we hit another dive bar near the train station— appropriately named Dylan’s in honor of PG’s brother (who could not be on this journey because the 7th graders of Massachusetts must learn about equations, rational numbers, proportions, and ratios). We treated ourselves to a fine Mediterranean dinner and once again boarded a train. What a novel idea!! This was the Capital Limited, bound for Washington, DC. Another episode or two of Northern Exposure. Another overnight on the train! And another beautiful sunrise with Amtrak coffee.

Well, we’re almost there. This blog is nearing its end. But don’t despair. Earlier I mentioned there would be some more in depth description of the train experience itself. We have received a lot of questions (from our thousands of fans) that we will try to answer— you know, like—how were the bathrooms, what did you eat, where did you change clothes? If anyone has questions, please message or text us.

[adamsvanrhijn]

do you have any advice for writing period dialogue? i always think your fics sound so much like the characters and idk how to do it. i'm fine with the prose part, but as soon as a character opens their mouth i feel like they sound like they've got a smart phone and a twitter account.

well thank you first of all!! i'm not sure how helpful i can be but i will say what works for me :'-)

i would say i think the thing to focus on first is not if you're creating dialogue that is true to the period, but that is true to the character

that is more important to me than linguistic historical accuracy, which is generally not actually attainable but can be fun to try for, and it is the starting point for diving into "hey how did they use this word or phrase or sentence structure in the 1920s (or whenever)" - does it sound like that guy? if yes, but you're not sure it sounds right to That Guy's era, proceed to etymology online or whatever and fuck around until you get something you like

getting acquainted with your character's voice comes from reading/watching and rereading/rewatching your source material. I also have spreadsheets for my shows with all of the dialogue so that i can easily go find something and double check if something feels right or doesn't feel right which is maybe autism behavior

but while the source material imo should always be Home, it can only get you so far - when you aim to replicate how a character speaks, it is helpful to understand how they Don't speak, which you get from exposure to other writing and developing an understanding of the language in question if not language in general

my linguistics background is helpful because i have a mental framework for parts and structure of language, so i can recognize things in a character's speech patterns, which makes me more aware of them, and i know What i am trying to replicate and the linguistic environment i expect it to be in, rather than just trying to get at it without actually knowing what it is. this also then helps me extrapolate to things the character never said but that i want them to say in my fanfiction.

example. there are like three minimum variants of english in play in any given episode of downton abbey. but there is no downton abbey character who exhibits every single feature associated with, say, northern [england] english, because that is a very broad group of language variants, and it is conspicuous to me when i see fanfic where a character is using language that is typical of northern english but Not of the character. so having that understanding of the building blocks of language helps me avoid, like, what i see as almost a shortcut of trying to get character voice correct but that can actually put you further from where you want to be

that said. obviously not everyone can get a linguistics degree lol so i don't think that's helpful. though i would encourage anyone who wants to find new ways to match up today language with past language to do a little bit of looking into functional grammar. but i think the general advice is to pay attention to how your characters talk and think about how/when they say what they do and where that might change in canon.

and of course, this is a really methodical approach because i am a very methodical writer, and it is an approach i have developed over many years of writing, and not everyone jives with that and the best method for you might be different - but i do think this is how i think about it !!

oh i also spend a LOT of time with a thesaurus... i try to make sure i'm considering words i don't tend to use because they might be more true to the character than the one my mind goes to for the meaning

and to add on to that, sometimes characters use words that mean things to mean something a word generally does not mean, or more commonly will use a variant of a common phrase that is not my preference and so i try to accept this with an open heart and not change it to what my brain wants it to be. see thomas "could care less" barrow. i usually instinctively write it the other way and then have to go back and change it!!

[mogwai-movie-house]

Hello! I would like to ask two questions, actually.

From what I can judge, you seem to enjoy watching and reviewing movies. Do you also watch TV series sometimes and if yes, what are the ones you would say are genuinely worth watching? (except Succession, and I also know that shows like Mad Men, Sopranos and the Wire are considered to be some of the prime TV examples.)

What are your favorite old Hollywood classics?

Thank you!

Howdy,

I can see from looking at your blog that you like Breaking Bad and Better Call Saul, and I really can't think of any better-realized shows than those. Their creators really stuck the landing and told a perfect, clear story from the beginning to the end, which is where most other shows seem to fall down: the first 4 seasons of Game of Thrones might be the best TV show ever made, but the last 2 or 3 might be the very worst; the same goes for Rick & Morty (first 4 seasons perfect, last couple a disaster). The Simpsons was the best show on TV for the first 13 or so seasons, but has been a dull and unfunny walking corpse of its former self for over two decades now, which is terrible to see. South Park was at the very peak of human achievement in that medium for over 20 years, but then hit a very tiresome and uneven patch a few years back and hasn't really recovered, though it's always worth a look. The first 3 seasons of Arrested Development are perfection; the last two are dismal. The first season of True Detective is mostly excellent; the rest just get worse and worse. So decline in quality is probably the greatest issue with even the greatest shows, particularly in America, where the makers tend to view a hit show as a cash cow they can keep on milking until it dies, rather than a story needing telling with a beginning, middle and end, like a good film or a book.

I never really clicked with Mad Men: I had an ex-girlfriend who was hooked on it, and I tried to watch a couple of episodes with her, but I just couldn't connect. I could see that it did a nice job of recreating the physical details of the era in which it was set, but was completely anachronistic in its depiction of the people, their words, actions and motivations, none of which seemed at all real to me, and all clearly in the service of creating some very clumsy feminist strawmen to attack, while also perversely reveling in it. In some ways it seemed to me a test run for The Handmaid's Tale (or 50 Shades of Grey); a fetishization of real-or-imagined female victimhood, consumed overwhelmingly by women who found a strange mix of pleasure in the pretty clothes and smartly dressed aloof, boorish and powerful men they delight in hating but secretly want to bang. I can see some people must have felt they found more than that in it, but I just don't seem to be the audience for it.

My favourite shows in recent years have been Inside No. 9, Rick & Morty and Black Mirror, though the quality of all of them has become much more patchy. Get Shorty is not at that level but very enjoyable. Curb Your Enthusiasm has remained consistently slight but fun. The White Lotus and Enlightened are both good.

Further back I would list Extras, The Office (the original UK show) and Life's Too Short, all perfectly realized from start to end. Same goes for Spaced, Father Ted and I'm Alan Partridge. Northern Exposure and Buffy The Vampire Slayer are both wondrous and unique, though the last season of each goes downhill. I loved Community (first 3 seasons) and Louie. Then obviously things like the original Twilight Zone and Star Trek. I really enjoyed Lena Dunham's Girls, too, though I haven't gone back to rewatch it.

There are too many great films from the past to list, but if I were to try recommend some of the classics to people unfamiliar with anything before their own schooldays, off the top of my head I would probably say Sunset Blvd (1950), The Third Man (1949), The Night Of The Hunter (1955), His Girl Friday (1940), It Happened One Night (1934), The Ladykillers (1955), North by Northwest (1959), Le Plaisir (1952), The Kid (1921), The Gold Rush (1925), City Lights (1930), The Last Command (1928), and Black Narcissus (1947). All of them are strikingly original and perfectly-realized stories that satisfy in a way all films should but almost all present-day films are incapable of doing.

[slickshoesareyoucrazy]

My Loneliness is Killin' Me

I must confess I've never actually been a Britney Spears fan, but I'm glad she's out of conservatorship and that's still a catchy tune.

For serious, that line has been stuck lingering in my head for about a week now thinking about where I can still go and what I can still do because of affection starvation. Buckle up if you're gonna read this, because it's probably going to be a long, rambly one. (Again).

I started rewatching Pushing Daisies a couple weeks ago with a dear friend who's never seen it (at a distance...like all of my dear friends except for J, even the ones I grew up with, she's 200+ miles away from me now). I mean, I couldn't let another moment pass without introducing my friend to Ned the Pie Maker (Lee Pace, sans elf costuming, circa 2007-9ish...I mean fucking look at him).

I told her, truthfully, that Ned the Pie Maker is probably the fictional character (other than obviously Egon Spengler) that I've had the biggest romantic-fantasy sort of crush on. I mean it's hardcore. It's worse than George Bailey. It's worse than Dwayne Wayne. It's worse than Chris Stevens from Northern Exposure. Clearly I have a thing for tall, soft-spoken, shy/awkward nerds. And I've watched Pushing Daisies all the way through about 5 times (this is time number 6; and it's short, 2 short seasons for American TV because until he started writing about a serial killer, American TV didn't appreciate Bryan Fuller at all). But I haven't watched it since I turned 35. This is my first watch since I began exploring and trying to understand my own trauma history. This watch is showing me why I like the show and Ned so much (beyond the witty writing and the bright colorful styling and cinematography and the fact that Lee Pace is smoking hot).

Not to spoil the show for people who've never seen it, but it's a romantic comedy with happy, optimistic, hopeful overtones but a really sad, complicated, dark underbelly. Ned has a superpower. He can bring dead things back to life (with obvious, serious caveats and consequences, of course...every superpower has these) by touching them. Once. If he touches them twice, dead forever (there's another rule, but I won't spoil that one because I don't need to in order to get this shit out, in case anyone else wants to give the show a try). Before he knew the rules of the game, he saved his dog, and then his mother, the beings who loved him the most (his dad was distant and kind of a neglectful asshole). But he only gets Mom back for a couple of hours, because she tucks him into bed and kisses him goodnight (second touch...dead forever). He tries to use his gift with compassion and responsibility through a childhood of basically raising himself and being unable to snuggle his own dog. And then, as a man, who just makes pies, he sees that his childhood best friend/first kiss has died. And he touches her once, ostensibly to say goodbye, but he just can't bring himself to touch her again...because he loves her so much. So it's a touchless love story; a love story full of inconvenience and longing; an ABNORMAL love story that required a lot of adaptation and patience.

(not touching ^^^)

And I love that (and I love Ned) because he decided she was WORTH that patience and adaptation. After spending a lifetime being lonely and disconnected, maintaining an important, real connection comes with sort of this 'whatever it takes' attitude. I have that. When I make a connection. And sometimes that's good. When it's reciprocated (like it is with J and A, and like Ned has). And sometimes that leads me to getting used by shitty people. Because they made me believe the connection was real with all this seeming patience and adaptation; validating me, and I believe it because even if it's a lie, I'm lonely and affection starved and I want to believe it.

And so a couple nights ago we watched an episode featuring a main supporting character, Olive. Her parents ignored her as a kid. To the point that they didn't notice she was missing for days. Olive had stowed away with two criminals, who were kind to her and paid attention to her, and she grew to love them over the two days she was away from 'home,' because they genuinely liked her and cared about her. In the show, obviously, the robbers are really the good guys, because they were kind to Olive, but in MY actual life, I've thought of how many truly shitty people I've connected to out of loneliness. I've been having nightmares about the last one I connected to lately. And I've been thinking about how I definitely could and probably will connect to some other shitty person because as awesome as J is (he's actually quite similar to Ned the Pie Maker in many ways...he just can't bake a pie...), I'm still often pretty lonely. J can't be with me all the time. Clearly. It's not his responsibility to rid me of loneliness...even if it were possible for him alone to undo 25 years of drought before we met. I hope the next connection I feel is a Ned (or an Olive or an Emerson or a Chuck), because when I feel it, I'll put my 'whatever it takes' attitude and effort into maintaining it. Even if they're a criminal. Because the criminals in real life rarely have hearts of gold like they do on Pushing Daisies.

[ear-worthy]

Because The Boss Belongs To Us Podcast: Bruce Springsteen As A Gay Icon!

Every once in a while, a podcast comes along that defines the best podcasting has to offer and demonstrates the limitations of legacy media. 

I'm from New Jersey, or as locals and detractors call it -- "Jersey." The state has always suffered an image problem, and the media has only made it worse. The Sopranos came to embody what New Jersey was to million of viewers. Jersey Shore added an element of dim-witted young adults who care only for tan lines, hook-ups, feedback from their mirror, and the verbal dexterity to utter "Fuhgeddaboudit." 

It's not an exaggeration to say that Bruce Springsteen (The Boss) is one of the most talented musical artists to come from New Jersey, with all due respect to Mr. Sinatra. 

 The Boss represents New Jersey and life there, but also the lives of many hard-working Americans. He's a blue-collar singer whose keen sense of what makes us uniquely American explains his long-time popularity. If you've even seen one of his shows, Springsteen doesn't have performers swinging on cables or appearing in a puff of smoke in elaborate costumes. There are no lavish sets, or visually striking images. It's just dirt under your fingernails' music.

With that background in mind, let me introduce you to Because the Boss Belongs To Us, which is a narrative podcast series all about how, though you might not expect it, Bruce Springsteen is a queer icon. Over seven episodes, Jesse Lawson and Holly Casio go on a mission to get The Boss the queer icon credentials he deserves, and to explore what it even means to idolize a celebrity in this way. The series was produced with Molten Heart, and is going out on iHeart Podcasts. The trailer for the podcast reminds listeners of the well-known queer icons -- Britney, Mariah, Cher, and Christina. Co-hosts Jesse and Holly explain: "The series where two queer nerds who are obsessed with Bruce Springsteen try to get him recognized as the queer icon we know he is."

As the co-hosts say in the first episode: "Who wore it best? Bruce Springsteen or K.D. Lang?" 

I've listened to the first episode twice because there's so much there. First, we meet Jesse at a Drag performance where she is playing a drag king, who is Bruce Springsteen. She explains in detail her costume and makeover, even down to the widening of her nose to give her a more butch look. Then, we learn about Jesse, a Londoner, and Holly, in Northern England, and the crucible they faced as pre-teens and teens as their sexual identity emerged. We learn that a 1988 U.K. law -- with its section 28 that prohibited the local promotion of homosexuality -- kept exploration of one's sexual identity a secret mission. Like so many others, Jesse and Holly suffered through an awakening that was fraught with risk of exposure, denigration, bullying, and even a criminal act.

Holly tells the listeners how she made a mixtape with The Boss's hit, Dancing In The Dark, on it, wondering why she was including "Dad music" on her mixtape.

Holly tells listeners that after listening to the song numerous times, and focusing on its lyrics -- I check my look in the mirror,Wanna change my clothes, my hair, my face -- the tune -- and The Boss -- spoke directly to her. 

Once the co-hosts describe how they got together, the first episode proceeds to argue that Bruce Springsteen is indeed a gay icon. The co-hosts do make a compelling case, and this was only the first episode. In addition, listeners are treated to superior sound design, with its subtle background noises and catchy music that echoes the themes of the show. 

Who are the co-hosts of this crazy stew of music, queerness, sexual identity, cross-gender attraction, wild humor and sharp wit?

Jesse Lawson is an audio producer who produced Down the Rabbit Hole, which is an audio storytelling project. She is also the co-founder and co-director of Boldface – a platform that works with community groups to produce audio, art and film. She has also run a series of workshops – Intro to Podcasting, Interviewing, Presenting, and Editing – and designed a podcast format that facilitated as much independent work as possible for members of the youth network, so the authorship for the podcast came mainly from them.

Holly Casio (she/they) is a Dover-based queer artist, zine maker, and trade unionist. Holly makes queer zines and DIY comics about queer pop culture, fat bodies, libraries, mental health, and Bruce Springsteen.

I highly recommend Because the Boss Belongs To Us. I realize that this podcast will drive most American white evangelicals crazy and be ignored by political conservatives. And that's a shame, because Lawson and Casio are onto more than an image makeover for Bruce Springsteen. 

This podcast isn't just about "The Boss." Instead, it's about "Who's The Boss?" Are we the boss of our sense of fairness, or the servant of intolerance? Do we decide who to accept in society? Or do we allow a book, a person, or an institution to command us to denigrate those who are perceived as different? Do we cling to the security blanket of conformity? Or do we embrace diversity and distinctiveness? 

As actor Emma Stone said: "What sets you apart can sometimes feel like a burden, and it's not. And a lot of the time, it's what makes you great." 

[britesparc]

Weekend Top Ten #587

Top Ten Villagers in Stardew Valley

My family is, at the time of writing, caught in the pixelated grip of another Stardew Valley addiction. My wife keeps restarting the game to attempt a perfect run. Daughter #1 has adopted a baby. Daughter #2 is about to propose. It’s all kicking off down Pelican Town.

Me? I just like fishing. Caught two of the five legendary fish so far. My aim is to become like Homer in that one episode of The Simpsons, spoken of in hushed tones by idiots at a bait shop.

Where was I?

Oh yeah, Stardew. It’s great because it’s one of those games that’s simultaneously very relaxing and also profoundly anxiety-inducing. There’s a quaint lustre to the simple village life as you plant crops and tend to your farm, taking part in odd little celebrations with the other townsfolk, making friends, running errands. But then there’s also the constant ticking clock of the seasons, attempting to buy and grow and ship and catch everything you can, and the increasingly difficult adventuring in the games many caves and caverns. There’s tons to uncover – I’ve hardly seen it all – and as well as the actually taxing nature of some of the challenges, there’s also the mental strength required to keep every end straight and balance the whole game strategically.

Or you could just chat everyone up.

One of the big draws of the game – and I’ve looked online and can confirm this to be the case – is in its cast of villagers. The various oddballs and eccentrics all exist, essentially, as their own little quest, a regular need to keep them happy and give them gifts on their birthday as well as increasing your relationship level to unlock various perks and snippets of backstory. There’s a lot to unpeel in the game’s vaguely Twin Peaks-meets-Northern Exposure setting, and that’s before you even get onto the whole romance angle as you seek a willing bachelor or bachelorette (pretty sure it’s set in some fictionalised version of “America”), doing up your house so there’s room for them to move in and, later on, have a couple of sprogs.

And that’s what we’re talking about here. Each villager has a suitably different personality, with different things they’ll say and different histories to unfurl. And some are, frankly, more interesting or amusing than others. Some I think are genuinely sad! So what follows is a celebration of my favourite residents of Pelican Town; the best villagers in Stardew Valley. And that’s all there is to it really. Praise Yoba!

Willy: I already said my favourite part of the game is the fishing, and I’m currently trying to catch everything, so I’m naturally drawn to Willy (not like that). He’s a filthy, raggedy, salty old sea dog who probably stinks. He lives in a shack by the sea and I imagine he sounds exactly like Robert Shaw playing Quint in Jaws. Despite all this, he seems to be something of a “town elder” and commands a good deal of respect. Life goals, essentially.

Robin: an absolute superwoman and by a considerable distance the most capable character in the game. You get the impression she built half of Pelican Town single-handedly, including her massive house and 90% of your actual farm. She’s got a silly sense of humour, seems largely unflappable, and has a really cool family with her weirdo son, mad scientist daughter, and totally spaced out Egon Spengler husband.

Clint: a proper sadsack of a character, an overweight mopey beanbag who bitches about his job and his life and rather heartbreakingly pines for Emily, who doesn’t appear to return his affections even if you don’t marry her. He’s a really smart and useful blacksmith, knowing his stuff and being super helpful, but it’s the undercurrent of tragedy to his life that I find oddly endearing.

Linus: another character with a hint of tragedy to them, but unlike Clint who’s ostensibly on the up but a mardy bum, Linus has nowt but is happy about it. A weird hermit dressed in leaves who sleeps in a tent and robs from bins, Linus is naturally very guarded but once you get through to him he’s super-loyal and dependable, and no one in town seems to look down on him or belittles him.

Abigail: she’s a purple-haired goth who hangs around in the graveyard, dreams of wearing a suit of armour, and wants to go on adventures in the mines. Of all the prospective husbands and wives in Stardew Valley, Abigail is clearly the most badass and likely the most bonkers. Not necessarily my first choice for prospective spouse, however, as I can’t shake the fact she’s supposed to be about sixteen.

Maru: whereas Abigail is an emo-tinged adventure junkie, Maru is all about the science. A dungaree-clad tinkerer, her room is littered with parts of actual robots and all manner of strange and elaborate machinery. She nearly electrocutes you at one point. Thinking about it, she’s pretty badass too.

Leah: Maru is science but Leah is art. An airy-fairy semi-hippy who hangs out in a picturesque cabin by the lake where she spends most of her time painting and sculpting. And that’s great; there’s something really optimistic about her and her outlook. Plus her house is lovely. God knows why she’d leave it to move into your shithole of a farm. Poor sod.

Gunther: Gunther is an enigma. Ostensibly an expert on historical antiquities, relics, and precious minerals, he can explain away any oddball trinket you find, and give you a nice reward for donating it to him. He’s very rarely seen outside his museum and there’s precious little to indicate any exterior life. Does he have friends? Where does he actually sleep? How does he find time to serve coffee in Central Perk? But the most bizarre thing is that he appears to be a general from the American Civil War. What the hell is up with that?

Pam: once more we return to the realm of quasi-tragedy, as Pam is quite seriously an alcoholic. She lives in a shitty trailer with her daughter Penny (very nearly on the list, sorry, Pen); she’s unemployed and drinks all the time. But peer under the surface and you see she’s not just a lush; there’s sadness and disappointment there. And she’s still one of the old-school bigwigs, popping up in Gus’ saloon to have important meetings. And you can help her get her life back together, getting her old job back and building her a house. It’s a redemptive tale.

Gus: just edging out the likes of Penny, Emily, Pierre, and Harvey, we have Gus. A comedy barkeep with a Mario tasche. He’s always got a kind word of welcome when you walk into Stardrop Saloon. He gives free food to Linus! What a mensch!

Maybe I should have also included that cat/mouse thing that sells hats. They’re really weird.

[agentrouka-blog]

Do you see things going worse for Sansa in TWOW before her situation eventually gets better in ADOS ?

Hi there!

Oh yes. I mean, everyone is going to struggle, Sansa is no exception.

Probably, she'll very early exchange her fairly safe and peaceful (on the surface!) existence in the Vale for one that is much more insecure and physically dangerous when whatever crisis there sends her on a journey North. Likely, she'll face hunger and exposure to the elements for the first time, travelling in the winter landscape. Whatever threats she faces on the trip will be probably met with the news/rumor that Jon has died. Her last hope for family. She'll be all alone in the world, for real. Then she surprisingly reunites with a physically and mentally scarred half-brother who has episodes of feral warg rage and on top of that she learns the world is ending. Then she finds out the claim she had pinned all her value on is of extremely limited value attached to her marriage and age and sex, and conversely she may appreciate the roadblock her forced marriage represents when people try to make yet more unwanted marriage plans for her. She'll get to confront her perceived guilt over the happenings in AGOT and the inescapable fact that her old home and its people are gone gone gone. Only a ruin remains that she can only regain in bitter battle. If she wants Winterfell, she will have to recreate it herself. Her little brother may die. Her best friend was forced into marriage and horribly abused. Her mentor is a monster and she had called him father and tried to see the good in him for months and months. She lied about her aunt's death, and revealing the truth may mean telling Sweetrobin his mother tried to kill her and murdered his father. Gaining the political and military support they need may mean making uncomfortable alliances. And this isn't touching on the devastation she may witness in others. The North in the winter is a tough place to survive. Sansa's people are already battered from the wars and now face decimation from hunger and cold. How to feed them? How to rally them for the fight against the ice threat?

Seeing Sansa unveil her political skills will be an upside. Seeing her bond with Jon grow, too. (Though, that will add its own angst...)

But the joy of seeing her return home will be tempered by heartbreak.

And ADOS won't suddenly improve everything. Whatever the ice threat left her will have to be aimed at the fire threat.

The moments of sweetness we get will shine bright because they will bloom in the darkness.

Honestly, the incest romance is going to be one of the lighter aspects of the Northern arc.

[thinkingisadangerouspastime]

What do you think about the "Katara and Aang idolize one another" agruement?

it’s bullshit

I think this argument is a lot like many ship-related arguments in the A:TLA fandom: while perhaps it contains an inkling or two of truth, it is by and large an inaccurate assessment. Here’s the thing about Katara and Aang idolizing one another: they did! But only for a brief portion of Book 1. That is all. People who insist Aang and Katara idolized each other for the entirety of A:TLA are incorrect, plain and simple, and I encourage them to rewatch the show, lol.

Before I go any further, here is a definition of “idolize”: to admire, revere, or love greatly or excessively. Obviously, the qualifier of “excessively” is what demands attention, as “great” admiration and love are not emotions inherently bad.

So let’s jump right in - I’ll start with Aang, since fandom launches most of its “critiques” on him when they examine Kataang. Aang’s idolization of Katara in early Book 1 is pretty straightforward: he had a crush on her!

(Note that Katara had a crush on Aang, too, but her idolization overall presents itself in a different form that I’ll discuss later.)

But yes, Aang had a crush on Katara. And like anyone who’s ever had a crush, he definitely idolized her in the beginning! We see in “The Fortuneteller” the rose-tinted lens he views her with; the scene is cute and relatable, as a majority of alloromantic people have had That Moment where they’re a little bit overwhelmed by their feelings towards their crush.

But Aang’s perception of Katara does not remain this way. The idolization argument implies that throughout the entire series he saw her through rose-tinted goggles, but the fact of the matter is that he doesn’t! Aang sees Katara at her lowest points (just as she sees him at his, which I will expand upon later); to name only a few:

- her frustration about her waterbending abilities in “The Waterbending Scroll” that she unfairly takes out on him

- her anger as a result of sleep deprivation in “The Chase”

- bloodbending in “The Puppetmaster”

- and, of course, much of “The Southern Raiders”

Why is this relevant? Well, human beings are flawed by nature. To idolize someone generally involves either a lack of exposure to a person’s flaws, or to see but to then actively ignore someone’s flaws (and, for the record, ignoring a person’s flaws is entirely different from accepting their flaws). So, it’s plain as day that Aang has been exposed to Katara’s flaws, meaning the former doesn’t apply. But does Aang ignore her flaws?

Short answer: no.

Long answer: no, and the series clearly demonstrates this fact.

Example - Aang experienced firsthand Katara’s frustration about her waterbending abilities, so what does he do? When they reach the Northern Water Tribe, he sacrifices a night’s rest to teach her waterbending in direct defiance of Pakku’s orders, and would have continued doing so had Pakku not found them. Aang understands her struggle, he acknowledges her frustration for what it is, and he seeks to help her resolve it! If Aang still “idolized” her by this point, then chances are he wouldn’t have recognized Katara’s conflict in the first place, namely because idolization = rose-tinted lens that would have clouded his vision and prevented him from identifying her flaw/struggle.

To jump to the end of the series, “The Southern Raiders” is a titular example of how Aang does not idolize Katara. TSR is perhaps Katara’s lowest point; if Aang idolized her as some people like to claim, he probably would have shied away from her during this episode. He would have avoided confronting her anger and her hate, because acknowledging someone’s flaws means destroying the image of perfection one has created for that person. But Aang doesn’t shy away. He tells Katara, straight to the point, that she is going on a revenge mission. It hurts, but it’s the truth. That is the thesis of the entire episode, and it is what Katara herself comes to term with by the end of it.

Basically, my point is that Aang not only bears witness to Katara’s flaws, but actively confronts them. That is… pretty much the exact opposite of idolizing someone?

To put it simply: it makes no sense to say Aang idolizes Katara, seeing as he refuses to shove her flaws under the rug rather than pretending they don’t exist (which is what idolization would suggest). He sees them, he acknowledges them, and in fact he always seeks to help her resolve those problems, which is a sign of a healthy, mutually supportive, and respectful relationship. Over the course of A:TLA, Aang gets to know Katara (and she him), thus the series itself and plain logic demonstrate how his rose-tinted lens fades away with time.

Also, please examine the progression of how Aang looks at Katara throughout the series. He clearly starts with a cute crush, but by the end of the show? No idolization in sight. That’s acceptance and love, babey.

Now let’s talk about Katara. Her idolization is less related to her crush (there are aspects to look at there, too, of course; however, most of them track with what I just discussed about Aang) and instead is largely connected to Aang being the Avatar. And tbh, can you blame her? Katara had faith in the Avatar’s return well before she met Aang - of course she’d be a little starstruck after they first became friends!

Think about the very first episode, where Katara insists that Aang is full of wisdom. Yes, she is technically correct about that, but she really hasn’t known Aang long enough to justify that conclusion - she believes it solely because she believes in the hope and power of the Avatar. (I think technically she may not have known Aang was the Avatar at that point, but like, Katara isn’t stupid lmao. An airbender who’s somehow alive after 100 years?? And yet he’s not the Avatar? Sure, Jan.) Later, in “The Storm,” she defends Aang’s actions (or lack thereof) as the Avatar. And of course she would do so at that point (i.e. early) in the series! She doesn’t want her hope (read: her idolization) to be dashed that the Avatar will save the world!

But again, Katara’s perception of Aang does not remain this way. As aforementioned, Katara also sees Aang at his lowest points. To quickly name a few:

- in “Bato of the Water Tribe,” where Aang hid the letter from her father

- in “The Avatar State,” where Aang is trying to forcibly trigger the Avatar state (not good lol)

- after Appa was stolen; when Aang learned what had happened to Appa; when Aang tries to stop letting himself feel because of his grief about Appa being gone

- after the failed invasion, when Aang is heartbroken over his own failure

Again, Katara is exposed to Aang’s flaws as he is to hers, and just like Aang, she does not ignore them. She gets understandably upset when Aang hides her father’s letter, and after thinking about his action she recognizes what incited him to do so and thus chooses to forgive him. It is not an immediate decision (had she idolized him, it most likely would have been, as idolization implies there’s no way the idolized person can be in the wrong). Similarly, in “The Avatar State,” she disagrees with Aang’s decision, tells him so, and sticks by her opinion (a direct parallel to Aang’s advice to her in “The Southern Raiders”!). Later in the series, when Appa is stolen and when the eclipse invasion fails, Katara does not look away from Aang’s pain (versus to idolize him would mean to ignore any demonstration of his flaws); like Aang with her, she faces his negative feelings head-on.

So after a while? Katara still admires Aang as the Avatar, as any normal person does, but she knows him. She knows his flaws. And she loves him regardless. Not only that, but she seeks to help him address whatever problem is at hand (e.g. her comforting him after Appa is stolen and even her simple decision to put a hand on his shoulder after the failed invasion), just as Aang does with her.

(There is a FANTASTIC gifset here that demonstrates how whenever Katara and Aang disagree, they acknowledge their disagreement in healthy ways. Quite the opposite of idolization.)

And again, take a second to examine how the way Katara looks at Aang changes, too. That’s love, babey!

So do Aang and Katara idolize each other? Sure, they used to. For all of… ah, yes. A few episodes in the very first season. But by the end of the series? Sorry, that assessment couldn’t be further from the truth. Katara and Aang know each other better than anyone, from their positives to their negatives, and that is why their relationship is a titular example of healthy and supportive best friends to lovers.

[kick-a-long]

Americans have a complex relationship with stereotypes in media. It’s only in the last few years that there has been any mainstream efforts to create multicultural characters or women written or constructed by people with experience with any of the groups involved.

It’s a HUGE industry with a lot of people represented but, until recently, only a few types representing (white looking Christian or Jewish men.) One difficulty with finding Jewish characters is that they are often not religious and played by very specific kind of actors. It’s common for Jewish characters to not be introduced as Jewish. If a character “looked” Jewish they usually were comic relief not actually the rich characters. The rich Jewish stereotype on tv came in a generally crappy wave of bigotry during post 9/11 tv. The idea being a misguided attempt to justify Islamophobia by being reductive of everyone imo.

A lot of Jews wrote comedy and it was always common to “joke” Jews ran Hollywood so most media flipped the joke to deescalate the issue. You would see Jews put in roles mostly as poor little baby adorkable types (the last gasp of that imo was the Judd apatow movies in the 00’ and teens.) and if they did have a good job they would be set upon by the world and would have problems getting the girl (a classic example is Northern Exposure which has antisemitism in it but is dear to my heart and one of the best shows with a Jewish protagonist.)

For goy who want to see Jewish characters and perspectives:

It’s actually easier to find positive Jewish people on tv shows from the 70s and early eighties. Even the Regan years have a lot of “special episodes” explaining that Jews are “just like everyone else.” Roada and Mary Tyler Moore show, there are a bunch of Norman Lear shows that do a surprisingly great job.

The best way to see good Jewish representation is to look at shows with recurring black characters (majority or at least one) in the 1970s. Jewish writers were leading the charge to get black ppl on tv in the 60s (I believe it was illegal in many states to have black ppl on screen with white ppl before the early 60s and maybe later.) Unless it was a movie where they was a slave or “servant” or minstrel show hobo type.

Honestly, as someone who loves old tv shows (even WILDLY OFFENSIVE ONES like hogans hero’s, I dream of genie, and Sampson and sons) there were much better writers and actors creating fuller and more interesting characters in a lot of them. Often as the shows ran on the characters of all races would be developed into rich and empathetic people that helped the civil rights movement, women’s equality movement and gay community become de stigmatize. There was bigotry of exclusion, bigotry of exoticism (looking at you Walt Disney and any “family friendly” media till 2010,) bigotry of fear or lazy stereotypes, but there was a TON of good stuff.

Don’t believe we are in the most enlightened times. Don’t settle. If you can get Hulu or Amazon prime, a whole bunch of tv might speak to you in ways you’ve been looking for your whole life.

So I have a few questions for goys,

How many times did your parents actually sit down and explain antisemitism to you, in the way that they explained racism, sexism and homophobia?

How many times did people explain the holocaust to you in your school?

When you were a kid how many shows did you watch that would antisemitic “rich jew” jokes?

How many times do you think Jews were slaughtered in general?

And finally how many times do you think your country has unfairly prosecuted Jews?

Now I’m asking this because I want to get how much internalized antisemitism there is, because I watch American shows making insane amounts of Jew rich jokes.

Or when they’re talking about minorities they conveniently leave out Jews.

In some states it isn’t mandatory to teach about the holocaust.

[maturemenoftvandfilms]

Barry Corbin Born: October 16, 1940, Lamesa, TX Physique: Husky Build Height: 5'11" (1.8 m)

Leonard Barrie Corbin is an American actor in films and on television for over three decades. To moviegoers he is well remembered in films like Urban Cowboy and WarGames, as well as TV projects like Lonesome Dove and One Tree Hill. His best-known role came in the television series Northern Exposure, for which he was consecutively nominated for two Primetime Emmy Awards.

With his stocky build and big voice, the Texas native is noted for his portrayals of ornery cowboys, tough cops, military men and on occasion, a kindly father or mentor. The alopecia deal has dropped him down my list but he could still get anytime he wants. Married with four children, Corbin spends much of his spare time is spent riding horses and tending to cattle on his small Texas ranch near Fort Worth. Lets just say, he could spend some of his spare time riding me.

RECOMMENDATIONS: (2014) Modern Family (TV Series) - S5/E23 'The Wedding, Part 2' - Shirtless (1997) The Fanatics - Shirtless (1990-1995) Northern Exposure (TV Series) - Shirtless - multiple episodes (1985) My Science Project - Shirtless (1985) What Comes Around (1985) - Shirtless (1983) The Man Who Loved Women - Shirtless (1980) Any Which Way You Can - Underwear

[im-just-a-random-fandom-girl]

You know what I want?

Domestic Stucky. In Westview. Hear me out.

(First of all, Endg*me can go fuck itself. Steve’s whole thing? Never happened. Forget about it. Wipe if from your mind. We’re rewriting that shit.)

(Also, this isn’t a fic even though I know it starts out looking like one lol. This is just stream of consciousness thoughts. I would put way more effort into actual writing)

The weeks after the final snap were hard. 

Bucky was back, and it felt like every weight that had been dragging Steve down for the past 5 years was lifted. He was mentally and physically exhausted, but his soulmate, his best friend, was at his side again, pulling him into a warm hug, tight and breathtaking. 

It was still hard; Steve was a very different man than he had been 5 years ago, but Bucky was calm and understanding. There was still much to mourn for, too. Tony and Nat were gone. Any sense of stability that had been established during those 5 years was immediately destroyed, and Steve was sure it would take many more years to try to fix the damage.

And Wanda. When Wanda was snapped back into existence, her grief was palpable. What had been 5 terrible years for him had been 5 minutes of bliss for her, relief that she wouldn’t have to try to live in a world without Vision. Steve knew the feeling. Even though he didn’t quite understand Wanda and Vision’s relationship (he was a robot?), he can’t really judge because he’s been pining after his childhood best friend for the better part of a century and still hasn’t managed to do anything about it.

To be brought back to life was the worst trick you could play on Wanda. Her sense of peace was snatched away from her and she was throttled back into a world that had nothing in it for her. Everyone she loved was dead. Her powers still deemed her a threat, even if she had played a crucial role in the fight against Thanos.

Steve wanted to be selfish and just run away with Bucky, but he couldn’t leave Wanda, who had become the little sister he never had.

He worried about her. Even as those who had been snapped away started to come to terms with the fact that 5 years had passed, Wanda wandered around, just a shell of her former self. Sometimes she fell into fits of rage and despair, using her powers to smash everything in her room at the compound or snapping at anyone who tried to distract her. Most of the time she was just blank.

Just a month after the return from the blip, Wanda strolls into the kitchen and announces that she’s going to S.W.O.R.D. headquarters. Steve’s head snaps up. Her eyes are hard and determined, and Steve belatedly realizes that every muscle in her body is tense as she readies herself to fight anyone who tries to stop her. Sam is the first to speak up.

“Okay, kid,” he breathes out nonchalantly, “you need anyone to go with you?” Sam is good like that. Always knowing what to say to make someone feel comfortable and cared about, but not coddled.

“No,” Wanda grits out. A breath, and then, softer, “thank you.”

Glancing around to see if anyone else had any objections, Wanda walks out of the compound.

Steve lets out a breath he hadn’t realized he was still holding, but the room is still tense. He whips around to Bucky, eyes wide with concern.

Before he can even say anything, Bucky reaches out and puts a hand on his shoulder, “Don’t worry. Come on, we’ll watch out for her.”

So, with a tight smile, Steve stands up and lets Bucky lead the two of them out.

It’s not until they are halfway down the street in an inconspicuous car, trailing a little ways behind Wanda’s red sedan that it occurs to Steve to ask what they’re doing.

“We’re just going to follow her to make sure she’s alright, pal. S.W.O.R.D. has Vision’s body, and it’s not a good idea for her to be alone, even if she thinks it’s best.”

“She’ll be mad if she realizes what we’re doing.”

“Good thing one of us is a reformed Russian spy,” he smirks.

Steve’s heart skips a beat at that familiar face, one that he hadn’t thought he’d ever see again, and blushes, ducking his head. If Bucky notices, he doesn’t say. They carry on in a comfortable silence.

As they pull into the S.W.O.R.D. parking lot, Steve watches Wanda march into the headquarters. He turns to Bucky, "Are we going to follow her in?"

"You can't, that's for sure." Steve scowls. "It's not entirely your fault, pal, but you're don't exactly blend in easily. But I'll go in to keep an eye on her if you want me to."

Steve considers the offer for the moment. As much as he wanted to watch out for Wanda, he knew that if she found out, it would hurt her more. She would think that he didn't trust her, and that he was following her to make sure that she didn't lose control of her powers and hurt people. He didn't want to make her feel more ostracized than she already was.

"No, we'll just wait," he says, shaking his head. His eyes never leave the entrance to S.W.O.R.D. headquarters. 

The wait for Wanda feels excruciatingly long. Steve doesn't trust that S.W.O.R.D. is any better than S.H.I.E.L.D., and he honestly has no idea what they've been doing with Vision's body for the last 5 years. A renewed sense of guilt washes over him.  If he had tried to fight S.W.O.R.D. harder for Vision's body, Wanda wouldn't be here, fighting through her grief to see him one last time. After the snap, Steve didn't feel like he could waste his dwindling energy scrutinizing S.W.O.R.D's every move, but he now wishes he had. He could have spared her this pain. 

Sensing the anxiety bubbling up within him, Bucky reaches out, pulling Steve's hand into his own. "It's not your fault, Steve," he reminds him gently. Steve squeezes his hand in response.

Wanda walks out of S.W.O.R.D. headquarters 20 minutes later. She seems drained and tired, but her expression reveals nothing. They wait again before following her out of the lot.

When she turns right, away from the direction of the compound where he assumed she would return, Steve frowns. "Where is she going? The compound's the other way."

Bucky shrugs. "I guess we'll see."

Steve has no idea where they are until he sees a sign declaring "Welcome to New Jersey!" not far down the highway.

"What the hell is she going to Jersey for?" Bucky gasps, pulling a loud laugh from Steve's chest. It's absurd and ridiculous, but it reminds Steve of when they were kids in Brooklyn, shitting on the Yankees and the state's annoying accent, among the plethora of other abhorrent traits about New Jersey. Bucky starts laughing with him, shaking his head. 

They finally arrive in a small, run-down town called Westview. Steve can't imagine why Wanda would come here.

Her red sedan comes to a stop in front of an empty plot of land, and she steps out, clutching a folded piece of paper to her chest.

"Oh, Christ... Shit," Bucky mutters. Steve is about to ask what he's thinking when he finally sees Wanda's walls crumble. 

Her shoulders shake with the force of her sobs, and she falls to her knees with a cry of desperation. A red orb of her twists around her body and Steve shoves the door to the car open, desperate to get to Wanda. 

"Steve!" he hears Bucky cry out behind him, and it's the last thing he hears before Wanda's powers implode around her, and his vision is blotted with red.

Remember! Wanda made all of her characters in the hex as similar to their actual lives as possible to ease her control of them! SO, it's only natural that her powers would pick up on the fact that Steve and Bucky are very obviously pining for each other and put them in a loving relationship while they are in the hex. Since they are both under Wanda's control, their storyline would happen mostly independently from what we see in WandaVision. I wouldn't have there be any smut (since I'm not talented enough or comfortable writing it myself) so there wouldn't be any non-con or any serious dub-con while they are in the hex. The idea is that both of them want everything that they are made to do (be partners, hold hands, kiss, do other couple-y stuff), but they are concerned because they think the other would feel disgusted and not want it.

There unfortunately were not any gay characters on TV in the 50s and 60s, so I would write these two "episodes" with loose ties to other sitcoms from those decades and do some research into how gay couples lived during these time periods. Basically, reimagine my own 50s and 60s sitcoms with realistic portrayals of a gay couple.

For the other decades, I would then base their relationship off of those actually depicted in sitcoms from that time. 

It should be noted that, while I have actually watch a lot of old sitcoms, I haven't watched many of the ones I mention. If I every decide to write this, I would do a lot more research on these shows (and watch some episodes!)

70's - I would likely draw from Barney Miller, Mary Hartman, Mary Hartman, and Soap.

80's - Roseanne is pretty iconic, but I would be a little hesitant to write it after all of the controversy a couple years ago. Love, Sidney may also work, but I don't know enough about the show.

90's - Will & Grace, of course! I don't know anything about Northern Exposure, but the little bit of research I've done suggests that also may be a source of inspiration.

2000 through early 2010s - It's Always Sunny in Philadelphia and Modern Family. (I loved The War At Home, but it doesn't really fit)

When Wanda releases everyone from the hex, Bucky and Steve had some serious miscommunication issues and angst. Both feeling exceedingly guilty about their actions, despite the fact that they had no control over them. They got a taste for what domestic life would be like together, and they are frustrated that they enjoyed it since they believe the other one did not. When Wanda explains that her powers gave everyone jobs, relationships and roles in society that were equally comparable to those they had in real life, Bucky and Steve both realize that the hex would not have put them in a relationship if it wasn't what the other also wanted. Yay! They make-up (and make-out, lol).

I seriously want to write this, but I really don't have the confidence that I will be able to execute it as I imagine it. If someone wants to work on it with me (be it we both write it or you just want to offer some brainstorming help/story guidance), I would be thrilled! Just so long as there isn't any pressure to get it done in a time crunch. I just want this writing experience to be fun! Also, if you are interested, I swear I’m a better writer than what was just exhibited, but I really only spent an hour or so on it, so it’s obviously not my best work.

Anyway, if you have any thoughts, suggestions, advice etc or just want to scream about WandaVision and/or Stucky, please feel free to PM me or stop by my inbox. It would make my day :)