#out of all the s1 adults they make the most sense

[thisuserisgonesorry]

1,, im not a teenager . might be young but i have a pretty good grasp on adulthood atp , and i’m not the only person that thinks this specific take; ive asked a lot of mutuals/friends who are (young,,) adults and agree w/ me and many people in rbs agree so like .. bringing my age into this is so left field cos . idk . weird thing 2 say

2 in my experience from living in a very “redneck” (lack of a better term) area (though not america, so there could be a difference), ive met 20-25 year olds who look and act exactly like daryl in s1 because teenagers in redneck areas just look like that. thats where my estimate came from, due to my own experiences

3,, norman reedus literally just looks young in everything he plays . you cant deny that he has a bit of a baby face and doesnt ALWAYS look his age . (but also celebrity men do look like that cos they dont just start rotting away the second they hit 23 because blue collar / minimum wage jobs suck) and never did i say there was a problem w/ him being 40 , just that it didnt make sense in my mind,,, nd actors can play characters that are a different age than them. norman being 40 ≠ daryl having to be 40

4,, he wasnt embarrassed until around season 3-4 iirc , closer to when he was around more people and less isolated , closer to merles death , more so around when he found out carol would go to that community home to get away from ed and then more around beths whole arc (iirc? im a bit aways from s3 rn,,)

nd considering 25+ is around when the frontal lobe developed. yeah. he would act like an idiot in s1. like all young adults do. and he would helplessly follow his brother around for validation considering his childhood, and he’d do whatever he wanted. he would be a terrible drunk, with no job. young adults do that. especially ones w/ mental health / bad childhood

then he develops into a person who was willing to learn to deal with his trauma when around season 4 when (in hc) he’d be like 27 at the earliest (?) because we have to remember that we skip all of loris pregnancy and then the first year (?) of judiths life. making him on the closer side to 30 around the time the prison, when his character starts developing.

(and i never said 25 was the solid age, just that hes “like 25”, meaning im happy to account s1 daryl as 26,27,28, whatever, just that hes under 30 in s1 in my mind)

5 i agree that him being older plays a part in his story but i dont think being 25 suddenly makes him a little baby that makes his development void. his frontal lobe developed. that is a valid subtextual reason for him to mature. but that isnt the only thing that made him reflect and want to cope with his trauma. merles frontal lobe developed and he never tried to do what daryl did - therefor the age thing doesn’t exactly diminish his story or else merle wouldve changed before the outbreak, but he didnt, because some people dont. some people reach frontal lobe age and stay the same. its not “he just grew up” because then merle would have too, but he did grow up, and realised following merle was stupid. but he wouldnt have reached that outcome if there werent other factors so it can easily be both

6 i never said 40 looks old or that theres a problem w it, but how is he older than rick? than most of the other people there? being older than rick feels like it makes no sense (although rick didnt grow up like daryl did and they had carl young so blab yeah theres reasons) and merle being 35+ does make some sense though id somewhat agree 35 is young for merle. m not saying that ppl start decomposing when they hit 30 but god forbid i hc someone as not 40

+ trauma physically ages people so even if daryl did look the same age or older than rick, then it would still be plausible that hes younger. we see trauma age characters in this show. its not hard to assume it happened to him outside of the outbreak too

prob formatted this like a mess but ,, m tired

n e way other people in the rb say that they think daryl is different ages to all of them (varying from 20-40) and as i said in those rbs its interesting that no one can really “agree” on what age he should be cos hes an enigma like that and i think it suits him,, like we all can agree on certain things about certain character cos its a unanimous vibe but then his unanimous vibe is that no one truly knows him??? subtext of it all .

anyway /nm for all of this . im just a little guy . i respect ur opinion cos i love my pookie and i really do love that everyone interprets his story so differently ,,,, i just like talking about it

idgaf im sick of not saying it. s1 daryl dixon is not fucking 40 bro. hes like 25. there is no way in fucking hell.

[nolassolace]

Morgcedes is underrated and I'm tired of y'all sleeping on them.

[deansbeer]

kari yaps. giving yall an angsty dean blurb that i couldn't get out of my head <3 miss my baby smookums s'much.

warning(s) smut | strong language | situationship | angst | s1 DEAN | abandonment | self loathing. ୨୧ eighteen plus! adult content | minors do NOT interact.

📖 JACKLES library.

it wasn't supposed to be like this with dean. casual was what you both strictly agreed on — no strings attached, no feelings involved. just two hunters finding respite in each other whenever paths crossed. that was the deal.

but here you are, straddling him in another stuffy motel room, his calloused hands gripping your hips as you ride him slowly. the dim lamplight casts shadows across his freckled face, highlighting every expression of pleasure that crosses his features. dean's breathing is ragged, green eyes half-lidded as he watches you move above him.

you lean down, pressing your palms against his rough ones, intertwining your fingers together. the new angle makes him groan, head throwing back against the pillow. his grip on your hands tightens, and you can feel the trembling in his muscles as he fights to maintain control.

"fuck," he breathes out, voice wrecked. "you feel so good, sweetheart. s'perfect..."

you increase your pace slightly, watching as he falls apart underneath you. DEAN WINCHESTER — the notorious hunter, the man who's faced down demons and monsters — coming undone by your touch alone. his walls are down completely, vulnerability written across his face in a way you've never seen before.

that's when it happens.

"i love you," he gasps out, the words tumbling from his lips before he can stop them.

you freeze mid-movement, staring down at him with wide eyes. the confession hangs heavy in the air between you, and you watch as realization dawns on his face. dean's hands suddenly release yours, gripping the cheap motel sheets instead, knuckles turning white with the force of his grip.

"what?" your voice is barely above a whisper.

he won't meet your eyes anymore, jaw clenched tight as he stares at some point over your shoulder. the silence stretches on, broken only by your shared breathing and the distant sound of traffic outside. you're still connected intimately, but the moment has shifted into something else entirely — something neither of you were prepared for.

without warning, his hands move to your waist. those strong arms that you've admired countless times before easily lift you off of him, setting you gently on the bed beside him. you watch as he sits up, running a hand through his disheveled spiky hair before reaching down to grab his discarded boxers from the floor.

"dean, hold up—" you start, but he's already heading for the bathroom, not looking back as he closes the door with a soft click.

you lie there in the silence, staring up at the water-stained ceiling. your mind replays his words over and over, trying to make sense of what just happened. dean winchester loves you.

DEAN WINCHESTER — who keeps everyone at arm's length, who builds walls higher than heaven itself — just confessed his love for you in the most vulnerable moment possible.

and you? you don't know what to feel. this wasn't part of the plan. feelings weren't supposed to enter the equation, but here they are, complicated and messy and real.

you can hear him moving around in the bathroom, probably trying to compose himself. knowing dean, he's probably gripping the sink, staring at his reflection, and beating himself up over his slip of the tongue. that's just who he is — taking every perceived failure and turning it into self-loathing.

the thought of facing this conversation, of dealing with the aftermath of those three beautiful words, suddenly feels overwhelming. you slip out of the bed, quickly gathering your scattered clothes and pulling them on. your hands are shaking slightly as you find a piece of paper and pen from the motel's complimentary notepad.

that's all you write before placing it on the rumpled bed. it's cowardly, you know it is, but you can't face him right now. not when everything is so confused and tangled in your mind.

you're just closing the motel room door when you hear the bathroom door open. you don't stay to see his reaction, but you can picture it perfectly — dean walking out, preparing himself to bare his soul to you, only to find an empty room and a note in your place.

you know it'll hurt him. know that he'll blame himself, add it to the long list of things he carries on his shoulders. but you can't give him what he wants right now, can't pretend those words didn't change everything.

as you walk to your car, you can almost hear him in that room — probably throwing something in frustration, cursing himself for ruining what you had. classic dean winchester, turning his pain inward, letting it eat at him.

but sometimes running is easier than staying, even when you know it'll leave scars on both of you that might never fully heal.

[hellotailor]

Apologies if you've already done a post on this and I've just missed it, but can I ask for your take on the pyjamas worn by the cast of interview with vampire? I mean technically they're not a 100% necessary item, but just from a quick look there seems to be a lot of variety and they do change over the series

ok, i’m delighted by the specificity of this question, and it turns out that i have a VERY extensive answer.

there’s a lot of sleepwear in IWTV due to the volume of bedroom/coffin scenes, and like any other outfit, these costumes are shaped by characterization and historical period. for instance claudia initially wears a long, modest, frilly nightgown - an old-fashioned style that plays into her girlish doll wardrobe purchased by louis and lestat. however her sleepwear matures over the years, including a trendy lace nightdress with bloomers in the 1920s (note the rectangular silhouette), and a pink padded jacket/pastel robe outfit in 1940s paris. she's following contemporary trends while charting a visible trajectory from child to adult.

when i wrote about the Théâtre des Vampires coven costumes, i noted that while their wardrobes share certain themes (ie. monochrome patterns and stripes), they each have specific personal tastes. that holds true for sleepwear. in the S2 finale we see the coven going to bed in their coffins, with Eglee in a gorgeous (maybe 1940s?) robe, Celeste in a striped pajama suit reflecting her 1920s-30s cabaret style, and Armand in a plain grey set of prison jammies because he's Suffering.

of course, the star pajama outfits all belong to Louis and Lestat, playing into their wealthy domestic aesthetic in S1. they receive multiple bedroom/coffin scenes, and Lestat's gold Leyendecker robe is obviously iconic.

touching on the historical side of things for a moment, pajamas (as in a matching buttondown top and loose pants) were popularized in the western world in the 19th century, as a repurposed south asian import - kind of like how banyans became trendy among the upper classes in 18th century england. this was when loungewear started to catch on as a concept, both in terms of dressing gowns and smoking jackets (which you could wear while socializing at home) and actual pajamas, which became unisex in the 1920s.

back in his human life in the 18th century, Lestat probably slept naked or wore a shapeless white nightgown (and possibly a nightcap, the sexiest of garments). but in New Orleans he adopts Louis' lifestyle, which involves a luxurious wardrobe of fashionable menswear. they're both into shopping and looking good, and i think they enjoy the ritual of getting dressed together each night.

(i also have a personal theory that Lestat may prefer to sleep fully clothed because his formative traumatic memory involves waking up naked in the dark. after all, he doesn't need pajamas to stay warm, and he doesn't have a recent habit of wearing them in his human life like Louis does. then again, maybe he just enjoys having a new outfit for every occasion!)

in Dubai, we only get one scene (iirc) with Louis and Armand in their pajamas, lying in bed wearing outfits that tie into the striped prison bar imagery of their bedroom. Armand is in warmer brown tones (like his Paris wardrobe) while Louis is in black and grey, like the rest of his Dubai outfits. i'd also note that this is the one place where they're genuine in private, meaning that they aren't putting on a show for Daniel. so this is potentially Armand's most relaxed costume in the present day.

the fact that they're wearing this kind of old-school sleepwear feels very appropriate for their whole deal, imo. in the 21st century, a lot of people just sleep in boxers and t-shirts or whatever. there's a slightly 20th century vibe to wearing a full set of buttondown pajamas, and Armand's outfit reads as more stylish (and possibly more wealthy) than your average millennial guy. which makes sense! they're old men.

i think we can assume that every single thing in their Dubai home is ferociously expensive, even when it doesn't need to be. considering the way Louis gives himself a modern makeover in the finale, i do wonder if he'll switch over to sleeping in t-shirts etc next season, or if he'll stick with variations of the same sleepwear he wore during his mortal life.

p.s. all of my iwtv design posts are available on this tag!

[avelera]

I feel like so much of the silly Mel vs. Viktor discourse when it comes to Jayce would be resolved if people realized that the plot was originally conceived as a basic morality play arc with Mel as the devil on one shoulder and Viktor as the angel on the other for Jayce.

The bones of Jayce's plot in Season 1 is of a good-guy scientist who is tempted by the allure of politics and fame, with a beautiful femme fatale politician seducing him towards power on the one side and his humble 'brotherly' relationship with his scientific partner representing Jayce's 'true self' that he is drawn away from by her machinations. It's a very, very old school, reductive, male-centric plot that literally boils down to "bros before hos".

It even makes sense for S2, with Jayce overcoming his corruption arc in S1 and returning to his "bro" only for his prior sins to tragically launch Viktor's own corruption arc as the Machine Herald only after Jayce has learned his lesson.

And then the Arcane writers and Fortiche subverted this plot. Here's how:

They made all three characters multi-faceted adults with their own agency and motivations. None of them are puppets for the others or, if they are, the time one character spends controlling the choices of another becomes part of that controlling character's sins that must be atoned for (namely, Jayce resurrecting Viktor against his will, Mel manipulating Jayce against his will, Viktor trying to control everyone against their will).

For example, they made Mel complex and interesting and a good person in her own right. Yes, she still has elements of the beauty, danger, and allure of a femme fatale but by making her her own person with her own plot and motives, none of which are malicious (at most, they are self-serving until she changes her views on Hextech and how best to bring peace to Piltover).

Jayce is still torn between Mel and Viktor but he also fully has his own agency, as many are quick to point out. He is often dragged around by the manipulations of others too (Mel yes, but also Marcus, Vi, and Ambessa influence Jayce into bad decisions). Part of his arc is learning how to be true to himself and his own goals after his time spent in the Anomaly future. But, even there, you can still see the bones of the original morality play arc, where the "Good Ending" for Jayce is to go back to his lab partner "bro" and bring both of them back to being true to themselves.

Viktor isn't just helplessly standing by while Jayce ignores him. In fact, Viktor often deliberately cuts Jayce out of his experiments. He doesn't tell Jayce about the Shimmer, or the self-experimentation, or even about Sky's death until after Jayce resurrects him with the Hexcore. Viktor has agency, he has his own goals, and while he frequently chastises Jayce for abandoning their shared dream in what I believe is another hint of the bones of the original morality play plot, he also has his own flaws and his own journey to go on independent of Jayce.

Much of the silly bickering I see between Mel and Viktor fans comes down to who "deserves" Jayce, who is "erased" by not ending up with Jayce, whether or not Mel is manipulative, or if Viktor thinks about Jayce at all when he's busy pursuing his own goals, and I think all of those are absurd arguments.

Mel is manipulative, it is part of the bones of the morality play plot that has her as the antagonist, but they made her so much more than that, that I think it's an active disservice to the character they made to reduce her story down to whether or not she ends up with Jayce. I get why people get hung up on it, because I do believe it's the core of the first draft of her plot, but the richness of her character comes from moving beyond that. Indeed, in S2, the least important part of her character is her relationship to Jayce. She has her own stuff going on.

Whether or not Jayce is a victim of manipulation or whether or not he pursued power for its own sake is also showing an understanding of the basic, core plot they built the richness on top of. Jayce was seduced by Mel's manipulation and he did grasp after power, but they enriched his character by making his goals more noble and more tragic. He's always trying to fight for Viktor, for Hextech, for their shared dream, and for making Piltover a safer, better place, but how he goes about it often makes matters worse until he learns, grows, gains wisdom, and makes terrible mistakes he arguably can never make up for fully.

Jayce also isn't fully a victim of Mel's manipulation, just as she is not fully a mastermind able to control his every move. He breaks away at a certain point and makes his own (poor) decisions in ways that frighten her and make her regret her actions, until he grows enough to recognize the wisdom in her advice (though he later grows again and recognizes the original manipulation, which leads to him breaking up with her in 2.08 because Mel's sins are still there and they are the reason she and Jayce don't have hope for a future together once he realizes he can't trust her because actions have consequences in Arcane).

As for Viktor, he doesn't like Mel. In that, I think we again see the original morality play roots, with him as the angel on the shoulder disliking the devil who is seducing Jayce. But they enriched his character by having him respect Jayce's choices even as he may have privately disapproved of them, and to have his own arc to worry about with his failing health, and his other flaws like intellectual tunnel vision/naiveté, and his tendency to self-isolate in the face of his terminal illness. He has his own stuff going on.

They also subverted the morality play arc to a certain extent by having Viktor stop being the angel in S2. Indeed, the framework more or less falls away entirely and it become Jayce trying to save Viktor from himself, and from Jayce's own mistakes of not destroying the Hexcore, while Mel is busy with her own story of politics, war, and magic.

Anyway, I hope some of this makes sense. But I think if people just recognized that yes, there are elements of Mel as a bad guy in the fabric of the story, of a story where Jayce is in a balancing act between his demons and his angels, but that good writers came in and layered real people over these simplistic plots, made it so Mel's story isn't just about Jayce, Jayce's story isn't just about getting corrupted by a femme fatale, and Viktor's story isn't just about being abandoned by Jayce, and thus elevated the trope beyond its tired-out, simplistic roots, there'd be a lot less wank.

[danandfuckingjonlmao]

something that has bothered me about tua seasons 2-4 is the inconsistency of the relationships between the siblings.

starting with klaus, in season 1 ben and diego were his people. ben and klaus were always shown together in the flashbacks to them as kids and obviously every second of the show because klaus was the only one who could see him. but like… they were CLOSE. SO FUCKING CLOSE. they were the most SIBLINGS of all the siblings.

that continued into season 2. ben was randomly a bit colder towards klaus but they were still so fucking close.

and then ben left, and klaus for the first time was alone without his person. everyone else lost a brother when they were 17, except klaus. so he had to grieve ben for the first time. that didn’t happen, though. there were many nods to them being close, and then of course steve blackman pulled a steve blackman which means weird unnecessary incest implications, but it wasn’t clear just how close klaus and brellie ben were even though it had to be hard to be around someone who looked like ben and was kind of ben but also wasn’t ben.

and with diego, it also seemed like he and klaus were incredibly close. diego older-brothered klaus constantly s1 and they gave off the impression that they ran into each other a lot in the city during the years since leaving the academy.

then they completely disregarded it for the rest of the seasons. in s2 and s3 there a few interactions that could lend credence to this but for the most part it seemed like they threw it out the window.

allison and klaus had no clear relationship in season 1. they had some incredibly minor sibling interactions but nothing that indicated they were anywhere near as close as they imply in season 4. season 2 they were close and then season 3 not a lot of interaction. but s4 makes it seem like they have always been incredibly close which doesn’t make sense!!

five and viktor have a relatively consistent friendship, although s4 doesn’t really give viktor any relationship development with his siblings. same with five, if anything he just gets his relationships destroyed but that’s a different post!!

allison and viktor also are pretty consistently close. the implication is that they weren’t as kids but that they really try to be as adults, and i do like their relationship overall.

luther and allison nasty ew kill it with fire. like i thought we established in s2 that incest is weird actually and that we weren’t doing that and then season 3 came along and whatever whatever shut up.

diego and luther’s relationship is fun. they go from adversaries to himbo besties and it’s relatively consistent.

luther and viktor have similar growth. luther goes from piece of shit basically causing the apocalypse s1 because of how shitty he was to viktor towards really wanting to make things right and being the big brother he always should have been. they didn’t really have a relationship s4 but WHATEVER.

i feel like five and luther were together a lot the first two seasons and that very much changed. i’m not even that upset as i think five having character arcs with each sibling is good since he missed so many years with them (other than him and viktor they were always close and should have remained that way).

i think allison and diego and viktor and diego having relationship development would have been cool. in the comics viktor and diego have a band so we know they’re friends. and in the show allison and diego don’t have too many interactions but the ones they do have are SOOOO SIBLING and i adore that.

ben and viktor have some closeness s3-4 (and the end of s2) but it’s not really something we see, more so we’re just told. and then random flashback to them hanging out as kids before the mission which was confusing.

i think five and klaus were done the dirtiest with the relationship inconsistency. i understand wanting different characters to have arcs with different people, but when you sacrifice the established relationships and basically put your characters on shuffle then you also sacrifice character consistency, development, growth, etc.

i think a big problem is how many characters they brought on last season. there wasn’t time for consistent relationships among the brellies when they had to use a shit ton of time building new characters and relationships (and immediately killing them all off which was A Choice).

anyway just wanted to write out thoughts about this. would love to know other people’s thoughts (or headcanons about the siblings).

[tossawary]

I'm reviewing episode transcripts from "Merlin" to build up my worldbuilding document (character list, mostly) and, a little ways into S2, I'm kind of feeling like the show is actually quite mean to Arthur as a character sometimes? S1 E14: "To Kill the King" is one of those episodes where I forget how badly it pissed me off until I run into it again.

Like, don't get me wrong, Arthur can be a bully, entitled, hotheaded, and reckless, but he's also at this point risked his own life to save people multiple times. Both individuals whose lives were "worth less" than his own (getting the Mortaeus flower for a poisoned Merlin, smuggling Mordred out of the city, protecting Ealdor from bandits) and also Camelot as a whole (fighting the plague-causing monster in the sewers, fighting the mam-eating griffin, drinking poison to lift the unicorn curse).

Arthur is giving me vibes of being both bored and frustrated (and probably not able to name those feelings or exactly why he has them) because he wants so badly to do good things, but he's not really sure how to go about it because (no one ever tells him anything, he almost NEVER knows what's really going on to make informed choices, and) he's also stuck under the thumb of his tyrannical father, who spends most of their scenes together berating Arthur for being too merciful, for not being dutiful enough, and/or not finding sorcerers for execution fast enough. When Arthur tries to be fair-minded and compassionate, Uther often essentially tells him that he's going to be a weak king with that attitude.

Arthur's pathways to betterment are limited, his parent and role model and boss here is an AWFUL person, but he's trying!

So, it's quite frustrating to get to this one episode where characters like Gaius (extremely biased, admittedly, clearly not an objective individual) are saying things like: "Arthur's not ready. The responsibility would be too great. Brave though he may be, he lacks experience, he lacks judgement."

Like, I don't know, Arthur may be only 21 and kind of a dipshit, but I personally think he'd still do a better job than the guy who tried to kill a kid (Mordred) just for existing a few episodes ago? Maybe? Gwen's father, who wasn't even a sorcerer or knowingly working with one, is dead explicitly because of Uther's awful laws. Did everyone in this episode forget that Uther tried to BURN GWEN ALIVE AT THE STAKE not that long ago (Episode 3)?

ARTHUR: "[Morgana]'s right, Father. You hear the word magic, you no longer listen."

UTHER: "You saw it for yourself. She used enchantments."

ARTHUR: "Yes, maybe. But to save her dying father, that doesn't make [Gwen] guilty of creating a plague. One's the act of, of kindness, of love, the other of evil. I don't believe evil's in this girl's heart."

UTHER: "I have witnessed what witchcraft can do. I have suffered at its hand. I cannot take that chance. If there is the slightest doubt about this girl, she must die or the whole kingdom may perish."

ARTHUR: "I understand that."

UTHER: "One day you may become King. Then you will understand. Such decisions must be made. There are dark forces that threaten this kingdom."

ARTHUR: "I know. Witchcraft is an evil, father. So is injustice. Yes, I am yet to be King, and I don't know what kind of king I will be, but I do have a sense of the kind of Camelot I would wish to live in. It would be where the punishment fits the crime."

UTHER: "I fear you're right. She's played with fire, and sadly she must die by fire."

When the adult druid (Cerdan) accompanying Mordred is killed (Episode 8), Arthur objects afterwards! On his own! While Arthur is sometimes an active participant in Uther's tyranny and otherwise complicit, he's been told all of his life that magic is inherently evil and corrupting, he was raised by the very man spreading this hateful philosophy, he should probably hate magic more than anyone after Uther, and yet he still disagrees with Uther's methods and judgments. Even though Uther is apparently VERY willing to lock both his son (Episode 4) and his ward (Episode 8) in the dungeons for disagreeing with him and disobeying him!

ARTHUR: The Druid was only in Camelot to collect supplies. He meant no harm. Is it necessary to execute him?

UTHER: Absolutely necessary. Those who use magic cannot be tolerated.

ARTHUR: The Druids are a peaceful people.

UTHER: Given the chance, they would return magic to the kingdom. They preach peace, but conspire against me. We cannot appear weak.

ARTHUR: Showing mercy can be a sign of strength.

UTHER: Our enemies will not see it that way. We have a responsibility to protect this kingdom. Executing the Druid will send out a clear message. Find the boy. Search every inch of the city.

Obviously, running a kingdom is complicated! Uther apparently won Camelot by conquest and is in conflict with many of the neighboring kings, including Odin and Cenred, and likely has more of the respect of the local nobility than young Arthur does. Uther's death would create some instability! (Agravaine de Bois hasn't been created yet, but let's assume there are many other potential vultures.)

But the show generally isn't pushing that angle. This isn't really about smooth transitions of power. Personally, concerning Arthur's "lack of judgment", I do find his ready conviction that it is his duty to die for Camelot's honor if necessary (he says as much to Merlin explicitly before fighting Valiant in Episode 2, then again before fighting the Black Knight in Episode 9) more than a little concerning, but that doesn't seem to be angle pushed here either.

The show has characters (Merlin, Gwen, Gaius) suggesting that offing the King, who regularly kills innocent people whether they have magic or not, who has forbidden use of the tool that might have saved innocent people from Nimueh's plague or the wraith of Tristan de Bois, would be wrong! It would be murder and murder is bad! It would make (in the words of a grieving Gwen) her "just as bad" as him.

Even though Merlin has at this point already killed Aulfric and Sophia (Episode 7), as well as Mary Collins (Episode 1) because they were trying to kill Arthur. And arguably got an assist with Valiant (Episode 2). And will kill many more as the show goes on. This conversation with Kilgharrah in S1 E14 is in many ways so, so funny:

KILGHARRAH: Well, young warlock, what is it you come to ask of me?

MERLIN: I need your help.

KILGHARRAH: Of course you do, but this time, will you heed my words?

MERLIN: The sorcerer Tauren is plotting to kill the King. He's made an ally of Morgana. I don't know what to do!

KILGHARRAH: Do… nothing.

MERLIN: What do you mean? If I do nothing, Uther will die.

KILGHARRAH: Don't you want Uther dead? It is Uther that persecutes you and your kind, Merlin. It is Uther that murders the innocent…

MERLIN: But surely that doesn't make it right to kill him.

KILGHARRAH: Only if Uther dies can magic return to the land. Only if Uther dies will you be free, Merlin. Uther's reign is at an end. Let Arthur's reign begin. Fulfil your destiny!

[The dragon flies off.]

MERLIN: Wait! Where does it say my destiny includes murder?

KILGHARRAH: Free this land from tyranny, Merlin! Free us all!

I feel for Kilgharrah here. He was VERY straightforward. I don't know how he could have been clearer about this.

I won't say that Merlin's character writing doesn't make ANY sense here (I do think the character writing in this show is NOT amazingly consistent), because... he IS being influenced by Gaius, who is, unfortunately, a bootlicker and also probably extremely traumatized by all of the death he's seen (big contributor of the bootlicking) (also, apparently Gaius only becomes a "freeman" at the end of Episode 6, so there's that). And Merlin is also being heavily influenced by Arthur, who loves his father, despite everything. For Arthur's sake, if no one else's, Merlin will go out of his way to save Uther. Sure! That tracks!

Merlin spends a lot of time in this show protecting a terrible status quo under some assumption that Camelot will... somehow suddenly become better under Arthur? Instead of perhaps eventually just trusting Arthur and talking to him after their years of knowing each other? There are several, in-world reasons for this and I don't think they're all unrealistic! It's tense! It's thrilling sometimes!

(Though I am ultimately a little annoyed that Merlin's many secrets never really come out and get dealt with by the characters, because that would have been fun drama and some resolution to all the tension, even if the story did still end in death.)

There's some tasty tragedy in this silly show, in many ways. Merlin is confused and conflicted and scared and without clear guidance in many ways. Kilgharrah is mysterious and not at all reassuring. Gaius is complacent and (very reasonably) incredibly secretive. Merlin doesn't get to see many of the moments where Arthur speaks up for magical people and tries to talk Uther down. Morgana and Arthur are both stuck here in a "The hands that cradled you are covered in an unimaginable amount of blood." "But they cradled me, yes?" nightmare scenario. (There's also a sexist element where male characters like Gaius and Merlin won't let Morgana know about her own powers "for her own good" in a gaslight-y way that's fascinating to me in how it creates a villain.)

But, also, the compelling tragic elements here don't make certain episodes any less frustrating to watch in their execution. (I don't think villains being frustrating to watch or read necessarily makes them effective villains, especially when what I really find annoying here is the heroes' reactions to the villain. Uther has killed SO MANY PEOPLE! FOR NO REASON!) Especially when a lot of the overall results of this show often feel more accidental than purposeful. I do understand why the writers keep Uther around! He's a formidable antagonist to have looming all over the place and the actor is fun.

But OOF, I felt that "Do... Nothing".

Merlin! MERLIN! LISTEN TO THE SCARY DRAGON! MERLIN, REMEMBER THAT TIME UTHER TRIED TO BURN GWEN ALIVE??? JUST BECAUSE GWEN IS TOO NICE TO GO AFTER UTHER WITH A KNIFE AND TAKE REVENGE, IT DOESN'T ACTUALLY MEAN KILLING HIM MAKES YOU "JUST AS BAD"!!! MERLIN!!! YOU HAVE ALREADY MURDERED MULTIPLE PEOPLE WHO KILLED WAY LESS PEOPLE THAN UTHER!!!

In Episode 4, Morgana says to Uther: "You can't chain [Arthur] up every time he disagrees with you." This implies to me that Uther has had Arthur thrown in the dungeons before. In Episode 3, Arthur says to Morgana: "Father will slam us both in chains if he knew I'd endangered you," and maybe he wasn't at all joking with that? Arthur is rattling the bars of his cell here, apparently fairly ready to be aimed wherever Merlin points him, bucking against being aimed at innocents by his tyrant of a father.

But nooo, Gaius says Arthur is "not ready yet" because...??? He seems less hotheaded than Uther to me, honestly. Are his tax policies not up to par yet? You can hire a guy for that. Suggesting that Arthur would be in any way worse than His Majesty "Anyone Who Talks To A Sorcerer Gets Executed Even If They Didn't Know They Were A Sorcerer" feels quite mean to Arthur, really. I think he'd do alright, in comparison, Gaius who lies to the King every single day, but I suppose you sometimes want to be a loyal friend to good ol' King "Made Merlin Drink Poison That One Time And Wouldn't Let Anyone Go Get The Cure". Good for you. Bad for everyone else.

Like, I know, I know this show is not very deep. I like that all of the characters are flawed and fumble a lot! I even kind of enjoy that it ultimately ends in death with so many loose emotional threads. It is a weekly burst of fantasy nonsense that is not especially concerned with consistency in worldbuilding or characters from episode to episode. But the executive discrepancies here are, like the ones in "Star Wars", weirdly fascinating with all of the holes and wobbly bits it creates.

This show: "Yes, our hero has once again saved the tyrannical king who kills innocents! Preventing the oblivious prince from assuming the throne and trying to do better as he so clearly wants to do! Good work, Merlin, taking the high road (which involved murdering the rightfully angry people trying to kill the tyrannical king) again!"

Me, every time: "...I am genuinely not sure how the show wants us to interpret this. What did they think they were doing with this? Was this always meant to be a tragedy from the first season? Because personally, I'm getting some kind of tragedy from this."

[rosie-read-that]

jamie dutton hot takes as someone watching yellowstone five seasons late*

*and having only seen 1.5 seasons

beth's s1 "you're only care about yourself" and s2 "you have no morality" speeches are more revealing about beth than jamie, and that is a hill i will die on as a beth and jamie enjoyer. he gets called out as someone with zero sense of self, but beth also has no idea who she is outside of "i killed my mom/i can't have children/i must live for my father until he dies." all of the duttons exhibit antisocial personality traits, actually, so beth bringing up jamie's selfishness and lack of morality is very pot calling kettle, and in fact, i would posit that beth hinges a lot of her identity on jamie and vice versa. that said, as much as they function as walking rorschach tests for each other and voids they can stare into and project the worst parts of themselves, i don't think beth has a single clue who jamie is as a person, neither does jamie know beth deep-down (the way rip does). they're too busy seeing themselves to see each other - therefore everything beth says about jamie and jamie says about beth is unreliable narration and i ain't no dummy, so i believe none of it.

i don't think taylor sheridan is this nuanced, but a lot of the fandom reaction to jamie and the response to him in-universe is because the world and also "the world of yellowstone" doesn't take kindly to weak men. jamie is incapable of pulling himself up by his bootstraps, he is the most emotional man on the show, he doesn't lose his shit in the rip way or the kayce way, the macho-adjacent "acceptable" way. he stares at himself in the mirror and ugly cries. he blubbers as he does a murder, then cowers when he has to tell his dad what he's done. he gets called a coward and a bitch and all sorts of emasculation-coded words, beth makes a lot of comments about him not having balls. in neo-western society, men like jamie are inferior, and actually the "acceptable" way to be a man is as narrow as evelyn dutton's "acceptable" way for beth to be a woman. sheridan isn't gonna do it, but i'm sure as hell looking those gender roles in the face and saying "not today, satan!"

kayce got to kill like half a dozen people in s1, he strung a man up from a tree, "disappearing" ranch hands is common practice at the yellowstone, so john saying he draws the line at jamie's one (1) murder makes absolutely no sense. if beth had been the one to strangle that reporter and yeet her into the river, john would've patted her on the back, handed her a drink, and said, "thank you, sweetheart."

knowing as i know that jamie is adopted kiiiinda gives me a lil bit of the ick in the way that some of the show's messaging is obviously conservative, and so john hating his adopted son puts a lot of emphasis on him not being a "real" dutton, not part of the bloodline, not pure. he's basically framed as another interloper, a changeling, someone who shouldn't be there and who the family would be better off without. this being taken off the table entirely when jamie is discussed is sus af. like, what loyalty does he owe john and beth (shhhh, lee and kayce, you don't come into this) when they've done nothing but heap on abuse? he didn't ask john and evelyn to adopt him. his education was paid for because john wanted a lawyer in his arsenal. so ?????

added to above: forget about being an accessory to the crime, if jamie dutton had decided to send john into the afterlife with his own two hands and a meat cleaver, it's what john would've deserved!!!!!

i'm obviously not excusing what jamie did to beth - being forcibly sterilized is horrific - but some of y'all act like he was a middle aged man when everything happened. i've seen age debates like "he was 17! probably 18!" and it makes me want to ben-affleck-smoke-a-cigarette if you think a 17-18 year old knows what the hell they're doing in a high-pressure, high-stress situation where you can't confide in a real adult, and also you're terrified of doing something that would create a headache for your abusive parent. beth shouldn't "be over" what he allowed to happen to her, but she deflects a lot of her feelings onto him because, mentally, she can't handle seeing her parents' faults. evelyn bears a lot of the blame here because using your last breaths to tell your daughter that she's at fault for your death is some fucked up shit, and also where was john????? where was the parent??? why was he not aware of his daughter's risky behavior!!! did he even bother giving her the sex talk? i think not!

take a shot every time someone snidely mentions that jamie cares soooo much what people think of him.... at john. take a shot at john, because there's a man upset that he's sliding into irrelevance and that his name doesn't open all the magic doors anymore, so if you think jamie is a big baby, well, he learned how to be a big baby from his dad.

i don't actually have an issue with jamie's emotionality or failson tendencies. moral failure? name one moral person on this show. i wish he had the strength of will to disown his family, gtfo of montana and be a lawyer somewhere else. my dream would be for beth, kayce, and jamie (and rip!) to realize what a bag of dicks their dad was and to burn the yellowstone to the ground before cashing in their land checks, but that's obviously not gonna happen, so i'll settle for none of the siblings dying, because having john and evelyn as parents was punishment enough, and in terms of crimes, i think they're all pretty much even.

yeah.... i guess it all boils down to "i hate john dutton." all the people who said "but i watched for him!" YOU WATCHED FOR WHO???? FOR HIM???? as a how-not-to-be-a-dad manual, right? ........right??

[theoutcastrogue]

[I swear I'm not biased. Also, skip this post if your criteria for a good story include happy and just endings.]

What made Arcane S1 a masterpiece was the Tragedy, and Vi's central place in it. She doesn't interact much with the magic plot, but she's right in the middle of both the sociological storytelling and several individual character arcs, and they're all pulling her apart. And that's what makes it all so compelling.

Vi accidentally or unwillingly becomes the catalyst for the collisions of Piltover vs Zaun, Vander vs Silco, and Powder vs Jinx. And she's torn between Vander's pacifism/defeatism and Zaun's rebelliousness, her hostility to Enforcers and her growing affection for Caitlyn, her hate for Silco and her love for Powder*, avenging the dead and protecting the living**, Caitlyn's vision of charity from above and Ekko's accomplishment of autonomy from below, saving Caitlyn and saving Powder (both from Jinx!), love and loyalty, guilt and revenge, topside and undercity.

There's a maelstrom of opposing forces and ideas, and all Vi wants to do is stand in front of her people and take the hit for them, raising her fists and blocking with her face like she always does. But who ARE her people, even? She's in the centre and she cannot hold: she's getting drawn and quartered by the actual themes of the story.

Like a true Tragic Hero™ (i.e. protagonist, heroism is irrelevant), she always chooses wrong. Not necessarily in the moral sense (though sometimes that too), but through a combination of tragic irony™ (when the character is unaware of a crucial piece of information) and coincidence: whatever she ends up doing, tragedy ensues. And it makes for a great story! Tragedy is a FANTASTIC medium if you do it right! And Season 1 did it perfectly.

But more to the point, it isn't about fatal character traits or random coincidences, it embodies all the social conflicts laid out in the story. All around Vi, the sociological storytelling converges with the psychological, and they both say the exact same thing: apply pressure to a society long enough, and the walls WILL come tumbling down. So the result is classic tragedy: any different choice could have prevented it, and yet it was inevitable. But the angle is specific: it's not the gods who are cruel and fickle. It's not our nature that's inescapable. It's not Fate that's implacable. It's History.

Season 2 didn't stand a chance in hell to be worthy of Season 1, unless League lore and all promotional goals were aggressively ignored. About half of it was worthy, I think, continuing seamlessly the earlier themes. But then the sociological storytelling was dropped from the forefront and eventually from view, Vi lost both her central place in the story and her internal conflict, and got a corny happy ending, there was SO MUCH flinching, and even the tragedy of Jinx's self-sacrifice was taken back (wink wink, she's alive).

I have many issues with Season 2 (and a lot of praise: parts of it were excellent, and the animation remained incredible throughout), but the main reasons it can't possibly compare to Season 1 is that in the end there wasn't enough Vi, and there wasn't enough tragedy.

Respectful hat tip to Ekko for filling in.

* Vi actually prioritises "bringing his bullshit empire down" over saving her sister from Silco, and voluntarily offers the name "Jinx" to the Council just to convince them to attack him.

** applies both to teen Vi choosing to surrender to the Enforcers, so that the Lanes won't fight and no one will get hurt (except her), and adult Vi putting her vendetta against Silco above everything: she gets Jayce to bring armed enforcers and Hextech weapons down to the undercity, and stands over the entirely predictable outcome of a dead child. Some of this obsession is fueled by hate for what Silco did to Vander and her siblings, but I think most of it is reflected guilt for what SHE did to Powder, which would never have happened if it weren't for Silco.

[genericpuff]

You should watch Jack vs. Webtoons video on Lore Olympus before it gets wrongfully taken down.

His video pointed out something I wasn’t able to put into words until now. Lore Olympus has a real bad dialect problem. One second the characters are talking like they’re in a Shakespeare play which makes sense, sense they’re gods or what not. The next second you’ll have characters saying shit like “blue balls” “clout chaser” and “you’ve got a young wife with a fat ass”. It probably wouldn’t bother me if certain people talked a certain way like how Hera doesn’t use any slang and how Hermes uses some but all the characters vocabulary are the exact same.

Honestly I can look past the art and it’s inconsistencies but having dialect jump from regal to tiktok facebook slang makes my brain hurt more than glossy lipped Hades and bug eyed Persephone.

I checked it out, it's pretty great haha and yesss this is something that's been discussed before but I haven't really ever made a post about, the dialogue is CONSTANTLY flip-flopping between royal talk and "hello fellow teens" quipping. Sometimes it feels like it's trying to be like Marvel and then other times it feels like it's trying to be Bridgerton. I can think of no better example than all of the "pedigree" talk, it makes me squirm every time I read it because in the modern context of LO, it SCREAMS eugenics. The whole B-grade goddess thing made sense, until they started talking about Persephone like a poodle:

But then you ALSO get INCREDIBLY stiff dialogue that makes it seem like the comic is either being written by AI or Rachel is actually a real life version of Michael Afton post-scoop:

And yes, there is a tinfoil hat theory that LO is being written by bots at this point because I don't know how a single person could write something so tonally confused. That said, I do think the more reasonable explanation is that Rachel is likely copying dialogue from shows and movies she's watching and just tweaking it slightly before slapping it into LO. She's not observing why the dialogue works in the media she likes, she just knows she likes it and slaps it in there without any regard for context, tone of voice, or personality.

And that leads to, as you said, all the characters sounding the exact same, and that metric by which they all sound the same changes all the time. I think at this point the only reason we haven't seen Hera dropping TikTok language is because she hasn't been onscreen long enough for her to get the chance LMAO That said, we've definitely gotten some weird inconsistent dialogue with Hera as well:

(like she's essentially saying the exact same thing across both of these panels but one is being said by an adult and the other is being said by a teenager lmao)

I think the dialogue is definitely one of the most glaring issues with LO, among all of its other problems. It just never feels like it's being written by a human, there are problems with this even as far back as S1 but it's become especially apparent in S2 onwards.

To finish off this ask, here's one of my favorite dialogue mishaps in the entire series, from S1, in which Apollo literally adopts an askew English accent:

[irisbleufic]

Of all the current Devil’s Minion writers your playlist is the one I want to see. Do you have one? If not, are there particular songs you’ve been listening into to while you write? The vibe of your prose with them is hypnotizing like the short story about them in the books, it’s impressive, and does your music also inform this choice if at all?

Intense question, anon. Fourteen-year-old me fucking hyperventilated after reading the DM chapter in Queen of the Damned (me, on the floor of my bedroom at 3am because I don’t want to get caught reading this book, staring dazed at the ceiling; me, now, three weeks ago, sitting shellshocked on the sofa after watching S1 and S2 over two days as a binge; me, over two of those weeks following the binge, rereading the first half of the Chronicles and starting to see double, tilt the prism, see what happens when the narratives are overlaid and blurred), and it still feels like that. Likely my prose turning out the way it is in these stories is about 90% my giddy teenage self having access to my adult self’s writing experience to finally write this beloved pairing without fear of litigious letters (IYKYK, my fellow elder Millennials in the fandom). I don’t often love film and TV adaptations of my favorite books, but I adore this show. It’s flawlessly transformative; its improvements only make the resonances and overlaps that much more meaningful. No notes.

However, I have been listening to the same small handful of songs on repeat for 6 days as I write these pieces. I imagine they are affecting my sense of scansion at points; my writing life didn’t begin with fiction, it began with years of poetry before I ever tried prose. These tracks are as meaningful to me as poems as they are songs. It’s as good a starting point for a playlist as any; I’ll keep adding and put it together on Spotify at some point.

1. Vesuvius - Sufjan Stevens

Vesuvius, I am here

You are all I have

Fire of fire, I'm insecure

for it is all been made to plan

Though I know I will fail

I cannot be made to laugh

for in life as in death

I'd rather be burned

than be living in debt

This song was my entire first 72 hours of writing. I’m that Autistic weirdo who will listen to a single song on repeat for a month and think nothing of it. Villa of the Mysteries in Pompeii being the nexus point of their love story from beginning to end in QotD, this is everything to me; I was never going to be able to write about the show incarnation of them without integrating this location and this imagery in the most reverent love letter I know how. This is why my series title for these stories is Caldera. Volcanic crater blowout if ever I saw one; I ran with it.

2. I Forget Where We Were - Ben Howard

Hello love, my invincible friend; hello, love, the thistle and the burr. For you, I have so many words—and I, I forget where we were. I haven’t known this song for all that long in the grand scheme, but it found me via Spotify shuffle in 2022 right after something awful happened. The longing in this song hinges on one of the lovers in it waking up to something they’ve forgotten about their relationship, something precious, and I’m thrilled to finally have a fandom application for it.

3. Make You Better - The Decemberists

I sung you your twinges

I suffered you your tattle-tales

and when you broke sideways

I wanted you, I needed you, oh

to make me better

Oh, to make me better

But we're not so starry-eyed anymore

like the perfect paramour you were in your letters

And won't it all just come around to make you

let it all un-break you to the day that you met her

No excuse for this one; it does a great job of speaking for itself. Front-man Colin Meloy is one of my all-time favorite songwriters, and his work is frequently dark, creepy, and/or gothic enough in flavor that I could find a few more.

4. Song to the Siren - Elisabeth Fraser & This Mortal Coil

On the floating shipless oceans

I did all my best to smile

till your singing eyes and fingers

drew me loving to your isle

and you sang, “Sail to me,

sail to me, let me enfold you—

here I am, here I am,

waiting to hold you.”

This cover of Tim Buckley’s folk masterpiece completely transforms the vibe of the song, and in the kind of way you need for this pairing. This one is at responsible for the events and imagery in my “Still Life with Sunken Treasure.”

5. Hal - Yasmine Hamdan, Only Lovers Left Alive OST

لأ ما أقدرشي

لأ مش ممكن

لأ ما أقدرشي

لأ مش ممكن

يا عزيزة اطلعي

لأ ما أقدرشي

يا حبيبتي شرّفي

لأ ما أقدرشي

وطلعت يا ناس، مغلوبة يا ناس

يا عزيزة اتريحي

لأ ما أقدرشي

يا حبيبتي اتلحلحي

لأ ما أقدرشي

وسمعت يا ناس، مغلوبة يا ناس

لأ ما أقدرشي

لأ مش ممكن

لأ ما أقدرشي

لأ مش ممكن

لأ ما أقدرشي

لأ مش ممكن

يا عزيزة اتفرفشي

لأ ما أقدرشي

يا حبيبتي قربي

لأ ما أقدرشي

فرشنا يا ناس، مغلوبة يا ناس

يا عزيزة اقلعي

لأ ما أقدرشي

يا حبيبتي اتجرأي

لأ مش ممكن

شلحنا يا ناس، مغلوبة يا ناس

لأ ما أقدرشي

لأ مش ممكن

لأ ما أقدرشي

لأ مش ممكن

يا عزيزة اتغندريله

يا حبيبتي اتذوقيله

افهمي يا سيدي مش قادرة

وطبعا تقنعني مش واخدة

ايه يا عزيزة؟

ايه اللي إنتي عملاه ده؟

يا يا يا راجل يا هوه!

مش عيب عليك اختشي ونو

لأ ما أقدرشي

لأ مش ممكن

يا عزيزة اخلعي

لأ ما أقدرشي

يا حبيبتي اتشخلعي

لأ مش ممكن

يا خيبتي يا ناس، مغلوبة يا ناس

يا عزيزة اتبغددي

لأ ما أقدرشي

يا حبيبتي جربي

لأ ما أقدرشي

وجينا يا ناس، غلبنا يا ناس

جينا يا ناس، غلبنا يا ناس

I don’t think the Arabic justified to the correct side when I copied this, but the translation is very easy to find. I don’t speak Arabic, but honestly the English translation is dull compared to the beauty of this language. If you haven’t watched Only Lovers Left Alive, what the hell are you even doing with your vampire-loving, monster-fucking life? All the tracks on it have the right vibe for DM, really.

[milevenstancyendgame]

Mike's Intuition

Something I haven't seen talked about yet, is Mike's talent of intuition.

We see the most of it in s1, I think. His immediate connection to Eleven is the first glimpse we get of it. Whether you see it as love at first sight or not (the s4 monologue confirmed that, but that's not the point), he acted in a deeply compassionate, empathetic, and very mature way for his age (compare Lucas and Dustin's reactions). Instead of being freaked out by El, he just saw a lost child in need, and he understood that she must have gone through something awful, even though he had no idea what it was (just look at his face when he sees El holding the soft sweater to her cheek).

He also just "knew" that she wasn't a dangerous/bad person. Which was something the others were very worried about, especially after she displayed her superpowers. He just felt sorry for her and instantly liked her, just like that.

I think his most consequential decision came after he asked El to ring at their door, so his Mum could call for help, and she refused and made it clear that it would get both of them killed.

Instead of freaking out, he did what? Turned his bike around after having departed for school, and went straight back home to give El company for the day and play host to her.

Seriously, the switch is astounding. One moment, El thinks he's gonna tell his Mum about her and they will all die, and the next they are playing and laughing like happy, little children.

There's zero logic in this decision, it's just Mike acting on pure gut instinct. He cares for this girl without knowing why, despite knowing nothing about her, except that she means danger, and he just follows that feeling.

And nothing changed that, not her powers, not when the danger became real.

When El recognises Will on the photo, he also immediately believes that she can help them to find Will, and he never wavers in this conviction. But all that happened, was that she wordlessly pointed at Will.

Lucas' reaction to Mike's belief in this is actually really helpful to emphasise their strengths - Lucas is the voice of reason, while Mike is the voice of intuition. Dustin is in-between them.

Which is also why they make such a great team - they balance each other out, and you need both to solve a mystery. And typically in this kind of crime or mystery-solving story, you need at least a few characters who just follow their hunches, even though they know that it doesn't make any sense rationally and might just lead to a dead-end.

Mike is exactly that character (and Joyce is too, btw. There's even a beautiful visual parallel of both of them running into someone's arms at the end of "Holly Jolly"). When they pack their things for "expedition Mirkwood", Lucas once again doubts the whole plan and El, but Mike shushes him with "Just trust me on this one, okay?", which effectively shuts Lucas up. So it seems like they have good reason to trust Mike's intuition.

I also think that there was a good deal of self-blame afflicting him after they saw Will's fake body, and this was (among other things) the reason why he lashed out so strongly at El. He had trusted her, and he also had trusted his own evaluation of her and his belief that she would lead them to an ALIVE Will (which others had doubted). Even though there really was no reason to believe that Will would still be alive, just because El had presumably seen him at some point.

But then El uses the walkie talkie to prove to Mike that Will really is still alive, and it shows us that Mike's intuition had been right the whole time - again, like Joyce's.

Throughout the rest of s1, Mike remains the most open to any new explanations and possibilities that open up (like the idea of an interdimensional gate).

When Nancy and Hopper call them on the walkie talkie, he's immediately inclined to respond and makes the final decision.

After they team up with the teens and adults, and Hopper asks El to confirm the details of the gate, Dustin wonders "How does he know all of that?" And Mike responds "Because he's been there," giving us another neat example of his deeper understanding/reading of what's going on.

In s2, he likewise senses from the get-go that something seriously dangerous is happening to Will, so he supports him. He has no trouble understanding what Will is sharing about his supernatural experience and he easily syncs with Joyce in trying to connect Will's vine tunnel drawings (crazy together, lol). And again, he connects the dots and realises that the Mind-flayer lured them into a trap.

His intuition also remains just as adamant about El still being alive, as it had been about Will being still alive in s1! And the fact that he actually could sense El in the void is BIG. This boy has superpowers of his own.

S3 and s4 moved him into more comedic scenes/genre, so we saw less of this, but it's still a core character trait:

In s3, he again notices Will's unease in the cinema. He also was right on the money about El overexerting herself (which only got confirmed in s4 by Brenner, who said she had suffered from something like a stroke), which no one except Lucas (!!!) paid any heed to ("Oh shit, is that like a thing?").

In s4, apart from the comedy, the focus is precisely on Mike's insecurity and self-doubt overshadowing his intuitive understanding. Will has to give him a pep-talk and remind him of why he's their leader, which is the cue for him to tap into his superpower and pour out his heart/love to El to save her (Will's "You're the heart, okay? Remember that!" is pretty cryptic, even with the knowledge of what he's referring to, but Mike immediately switches from a panicking mind to his heart/intuition).

[princelance]

a movie........

time for a rant that has been a looong time coming because

the FUCK??? NOOOOOOOOOOOO PLEASE NO NO NO PLEASE GOD IF YOU'RE OUT THERE NEVER LET THIS MOVIE SEE THE LIGHT OF DAY NEVER EVEN MENTION THAT SHOW EVER AGAIN IN MY PRESENCE it should fucking DIE and stay DEAD

the WORST fandom i've ever come across/been part of. everyone was so fucking braindead. god the bullying here was So Bad. vld fandom was the epitome of 'you can't enjoy what you like'. and the bullies were like, some of the most popular blogs here. the content creators (among others ofc) here were NASTY. the people making decent art were so fucking rude to almost anyone that didn't bow down to them and agree with their views on the show, sitting on their high horse like they were fucking gods or something when they were like, 17 or something. mind u voltron was a show about ugly transformers lions and a bunch of kids in space meant for 7 YEAR OLDS. like stfu it's not deep, it's not important. i get that this is the internet i really do but apparently everyone was a pedo and homophobic and racist and needed to be cancelled because they weren't pure angels. i hope the people who liked the show, both teens and adults alike, have grown up and learnt what those words actually mean and why you shouldn't just casually throw them around. i hated you all. u had to be so careful about what you said on here, it was like north korea or something. i remember how kids got bullied into deleting their harmless fanfics, the fucking voice actors got bullied on a daily basis, it was BAD. i remember i got hate for having shiro as my icon and the background was the bi flag colours. I AM BI. also, so what if i had headcanoned shiro as bi, you couldn't have stopped me or anyone else from thinking that, and also IT WOULD NOT HAVE MATTERED, HE'S FICTIONAL, HE'S JUST LINES AND PIXELS. i know this is going to shatter some of your worlds (or at least would have back then), but a random ass nobody on tumblr headcanoning a character as bi when said character is "actually" straight/gay/whatever is NOT going to affect irl queer people in any way, it does NOT have real life consequences. who gives a fuck. since when has the fandom given a shit about canon anyway? fuck you.

okay, i've been bitching about the fandom enough (no i haven't, there's no way you can ever bitch about the vld fandom enough). what about the actual show? well. once again it's meant for 7 year olds. who cares if it was good or not. i've seen seasons 1–6. i liked season 1, didn't really like anything after that since the show seemed to change so much. the first season kind of has a different vibe completely? idk how to explain it, it just kind of feels like the actual show and then the rest was just a long fanfic by someone who was in love with keith's character. but since i was watching the show with my sister who was 10 at the time, it was fine, otherwise i wouldn't have kept watching after seeing season 2 i don't think.

here are a few negative things about the show imo:

making keith the main character out of nowhere after s1 (where he definitely wasn't the main focus) was so dumb. god the showrunners loved keith sooo much, it was so stupid. keith was nooot a leader. whatever.

making keith the black paladin was also so fucking stupid my god. and yes, everyone here wanting LANCE to become the black paladin just because he was the fandom favourite (don't get me wrong, he was my fave too) was so fucking braindead too honestly. shiro or allura. no one else made any sense.

canon allurance SUUUCKED. like holy shit that was so bad and horribly written, even lotor and allura had a better love story and had waaay more chemistry (and their relationship ended badly, rightfully so). and NO klance was never ever ever going to be canon, you were so delusional. like lmaooo did we even watch the same show? i just really enjoyed their dynamic and that's why i shipped them together, whatever. but yeah, like i said the bullying here was disgusting and everyone was cancelled, great, klance seemed to be the only thing you were allowed to like so in that sense i was lucky.

everything they did with allura in the later seasons............ you know what? i'm not even going to start. because wtfffffffff, as a storyteller myself i ?????? what in the world were they thinking. but yeah whatever it does not matter.

the point of this post is that EW EW EWWWW FUCK THAT SHOW AND FUCK YOU, if you were in the voltron fandom in 2017/2018 i personally hate you

[chaifootsteps]

I was trying to think how to recommend watching the show to someone who might have only seen s1 and figured recommending skipping some episodes of s2 might be the best way, but then I noticed something

when I was trying to pin down which episodes of s2 I think are genuinely good to still watch I kinda realized there isn't any?

like even the episodes I think are the 'best' written (as in they're the least frustrating, no Stolas in them obvs) are still rife with plot holes or jokes that don't land

like exes and ohs felt like the last gasp of the old show and even that episodes has Crimson's nonsense marriage plan that doesn't make a lick of sense. it underutilizes Millie to the point it feels like the writers are just being blatant about how little she matters now. it has the unfunny dildos in the wall joke.

and that's the best episode of s2 as far as I'm concerned. the only other one that's relatively not completely sucky is the midseason musical whatever and that's still pretty bland and has a Fizz who feels nothing like his s1 self in it.

even the shorts have plot holes and issues, despite being the closest to the show's original premise (and not featuring Stolas)

like taken as a whole the entire season is just garbage. Ghostfuckers I think is going to be more mid with a potentially very awful suicidality plot point. I think there's a chance the Millie bit is going to be secondary in awfulness to what they do with Blitzo if my hunch is right that they're going to make Tilla appear just as a means to give him catharsis so he can do the thing the show thinks will 'fix' him - get together with Stolas

I'm not sure how the last two are going to play out but there's near 100% going to be Via leaving Stolas for the stupidest reasons the show can conjure up so he can look like he's in the right, again.

the only thing that might be worthwhile from the remaining three episodes is if Stolas realizes he's done wrong and actually apologizes, and faces consequences for being the suckiest Goetia royal ever. but even then I expect the show to tie itself into a pretzel to find a way to minimize what he did or blame Blitzo for some of his misfortune, as if it was his fault Stolas never once said 'I can't talk about this right now, I'm spending time with my daughter/working/actually being a capable adult for once'

the only other thing I'd want from the season 2 finale is for IMP to feel like a family again and that vision of the show is so far in the rearview mirror I wouldn't even bother making it a prediction for the Sinsmas episode. that one should be about family and coming together, but apparently there are leaks suggesting it's the episode where Blitzo finally gives in and goes to play his role as Stolas' white knight, just like Stolas and Viv have been demanding from him all season long

Agreed, unfortunately. The best part of S2 so far has probably been the shorts...otherwise, it feels like a level of aimlessness, retcons, and plot holes that most series don't achieve until after they've run for years and exhausted all their good ideas.

[zmediaoutlet]

happy wincest wednesday z! it's very probable you've been asked this already, but, on a chance you haven't: between when you first got into wincest and now, what were the main shifts in your perception of the ship, in things you focus on, in things that give you the most heart palpitations? especially considering that you came in when the show was still about halfway in, iirc! would really love to hear about this <3

aw, bud! gumdrop! ty for thinking of me on the happy holy day <3

and you know, I don't think I have been asked this! It's a really good thing to ponder. My memory is Bad but let me try to cast my mind back to those early days in a sort of compare/contrast exercise and we'll see what shakes out. As you know I started watching spn in ~2011/12ish, and was fully caught up and watching ep by ep as of late s7/beginning of s8, so it is a little different that I binged the first half of the show and took the slow path for the second half. So what did I think initially...

I remember having an out-loud conversation with the bestie once I'd essentially finished s1 that I was surprised I wasn't shipping the brothers. A lot of those early s1 moments didn't get me at all, and I still wouldn't put s1 in my top five seasons. Like -- no chance. It was important getting-to-know-them time and of course there are great individual bits, but I didn't wincest about it at all. I think that took until... s2, maybe even s3. (It was a fast binge at first, admittedly. I think you also know that I watched almost all of s1 in the grips of a literal delirium fever, so I wasn't really grokking it until later.)

I think I really started to like Get Into the wincest once it was getting apocalyptic -- s3/4/5. I mean how could you not. The stakes are never higher than they were then, really. That was the deepest danger and it was such a five-alarm fire of -- oh, this is IT. This is what it means that they're brothers. Back then I liked more of the 'family horror' element, although obv I never went quite as melodrama hbo-spn as the current fashion is, bc I left that behind with like HP fandom in the 2000s, haha -- but still! I read my fair share of "Sam pines and this is why he leaves," my fair share of "Dean's torn up about how his little brother's hot and that's why he basically feel like he deserves to go to hell," you know. etc etc. They still hit in their way but I don't -- like that much anymore, because.......

so I was REALLY into the s6-7 arc, loved it to PIECES. I loved saint!Sam getting his martyr on, the insanity, etc. The first fic series I wrote for this fandom was Physical Graffiti and it was all about that. And I still love it! Still wonderful! Buuuuut I didn't realize, I guess, what delights there were in store for the Carver era, and I didn't realize either that Sera was still working firmly inside the Apocalyptic Model -- obv appropriate for the show, but even if it was all about consequence and messy "what if there's not destiny anymore", it was still very much about the destiny and how firmly tied they were to each other. But then there was --

Carver era! Which was a bumpy ride, haha. But even the first half of s8 was ROUGH to get through (god, those horrible amelia flashbacks, godddd) what became clear was that this was now the Choosing Era, and there's nothing that hornts me up more than Choosing. I love the apocalypse, I love the destiny shit, but it turns out that I love SO MUCH MORE the sense that there are ten thousand thousand other options that characters could be making and yet they nevertheless turn ever inward, because this is what they want after all, and not just what they are forced to have. Dude, that FUCKS. It's so good.

therefore, like, I get palpitations obviously still from things like s1, Sam saying "it's never gonna be like it was" and Dean pathetically going "could be?" Like that's good. Of course. But my established-relationship, adult complication, soulmates-are-made-not-by-fate-but-by-choice heart thrills more (and more every day!) to little things like... in the French Mistake, when Dean half-cautiously says to Sam that his life here isn't so bad, and maybe they could stay, and Sam just shrugs and says "we're not brothers here, man." Or when Sam could absolutely have stayed in Kermit at that shitty motel where Amelia would've waited, but instead he shows up at a cabin and eats bad chili with Dean, even if he's still mad. Or when Dean was a demon, and then had a mark, and Sam at any point could've said -- you know what, we could make a sacrifice play here and save several days, but I wanted you back, and Dean looks at him and then away because -- that's just true. That's a choice, made. Every day.

that's the shit, man. That's all I need.

[truessences]

Was on Reddit in the Stranger Things subreddit and someone asked who the most intelligent member of the party is. Here was my answer.

I think Mike is the smartest of the kids, Dustin has an overall knowledge base of nerdy stuff but I feel like Mike, also has that but tends to think quick on his feet, is creative, brave, observant(sometimes) and strategic. A lot of big plans have happened because of him spearheading them.

S1- everything he did for El and being able to explain to everyone about the upside down after learning about parallel worlds from his teacher

S2- causing a diversion for El and Hopper to get in and close the gate. True sight and that Will was a spy.

S3- being the only one really who was trying to keep El from over doing it and also immediately coming to El’s aid in the sauna sequence. Plus that was also his plan.

S4- figuring out the pen and thinking to go see Suzie.

I also might be biased as he’s my fave and I think people are way too hard on him but I think my examples help lol.

I’ve always felt like they all had their specialties anyway or what I think they’d be good in and a lot of it overlaps obviously.

AND THEN, I talked about how he is also extremely self-sacrificing and some extra stuff because as always, I feel like people are way too hard on him.

Exactly! He’s also so self sacrificing! People say he hasn’t been the same since S1 and I agree in a sense but not about his character but that’s really on the writers.

S1- telling Brenner that he’d have to kill him (us) to get El. Willing to throw himself off the cliff for Dustin, trying to stand up to the bullies for Will.

S2- running to the soldiers to tell them it’s a trap when he could have easily died. The plan to go into the tunnels which led to him getting attacked lol.

S3- trying to fight Mind Flayed possessed Billy TWICE. Because Billy on his own is scary but a possessed one?? Come on now lol. People really say they hate S3 Mike and I will never understand why lol. My boy was so brave. The other stuff is because of Hopper and I’ll forever die on that hill.

S4- he didn’t get as much to do in terms of forward action but immediately running out to El in the desert when there’s no way he could have known that it was safe for him to do so.

He very much clearly is the leader and the heart of the group. I feel like people say otherwise just because they don’t like him and outside of “oh he’s just a boring character” I don’t personally think he’s done anything to be unlikable, I feel like there are reasons for a lot of his moody (outside of teenager) behavior. He doesn’t get any slack from the fandom and at times his own friends (Max and Will at times and even Lucas). He’s the only one who didn’t get the chance to really talk about his feelings UNTIL S4.

And then someone responded that he was being a jackass in S3, which is why a lot of fans seemed to dislike him and I'm like no, sorry that doesn't make sense to me. Hopper is literally an adult and threatened Mike at least 3 times in their conversation. Like you don't *have* to like anyone but I feel like the reasons that are given for Mike specifically don't make sense to me. As I said in the post, everyone has their moments of being assholes but Mike is the ONLY one who doesn't get a pass. I feel like Lucas was treated pretty badly in S1 but that's gone down thank goodness but Mike still gets shit and to me it's unfounded.

Like don't piss me off lol