#plus there’s not much of an audience for it anymore

[shadow-the-crow]

soo i'm sort of stuck on s4 of tma. i've somehow lost the motivation to listen to more than 1 or 2 episodes a month. and at first, i thought it was just because of the season's generally gloomy mood and me finding new fandoms, but i think i've figured out another reason.

one of the generally agreed upon rules of writing (which, of course, are meant to be broken if you know how to - but in this case i think it might have been good to respect it) is that you should give your main character a strong long-term goal. they should want something, really want something, and act in order to try and achieve that. whether the goal is killing the bad guy, finding a missing family member or maybe just getting back home to finally rest - it can be anything as long as it's important to the protagonist. this helps give a story structure and appeal, because otherwise, the protagonist tends to just passively float through a story, reacting to the events happening to them, but barely becoming active themself. in this case, the audience tends to feel as lost and confused as the protagonist seems. we're just watching the events happen, not knowing what to hope for - and also not being able to emotionally connect with the protagonist as much, since hopes and ambitions make a character more relatable.

and i think that's what's missing in s4. in s3, the crew was trying to stop the Unknowing. in s2, Jon was desperately trying to find out what the fuck was going on - who killed Gertrude, what the Fears were and so on. in s1, although you might argue it was also missing strong character ambitions, Jon and the others were at least trying to fight off the worms and not become victims of the Corruption. plus, back then, there was still the mystery of what the horrors even were.

now, in s4, there's practically no mystery left. we know exactly what the Fears are, and the statements are often a confirmation of what we already know rather than something for us and the characters to theorize about. and even the minimum goal of survival has lost a lot of relevance, since by now, Jon has lost enough vulnerability and gained enough power to not feel easily threatened by other avatars anymore.

there's a few other "goals" that might come to your mind: stopping the Extinction from emerging, freeing Martin from Peter's grasp, escaping the Institute... but none of these really function as motivations. the Extinction thing is mostly Peter's goal, Martin only agreed to protect his friends, and while him and the others are acknowledging that stopping a new Fear is probably important, they're not really acting towards it. Jon does want Martin back, but again, he doesn't act on it until the very end of the season, he just lets him do his own thing. And he does want his normal life back, to be human again and be freed from the Institute - but these goals don't even seem achievable in any way. it's like: yeah, sure, Jon would ideally like to achieve these things, but there's no possible way out by now. even after finding out he could gouge his eyes out and run away, he knows he has the responsibility to stay and fight off the Fears - and he doesn't even know if he could survive without the Eye. he'll probably never be human again. so, again, not a goal he's actually working towards, since he's aware it's not realistic at all. and sure, there are other short-term goals he has throughout the season, like travelling to Ny-Alesund and stopping the Dark cult - but plots like these are resolved after a few episodes, leaving us once again without a bigger goal.

so yeah. i'm not saying s4 is badly written - when i do listen, i'm interested, it's simply missing an element to keep me hooked and make me want to keep listening. this is how i view it, feel free to disagree with me and do tell me your arguments.

[bonesandthebees]

sigh feeling nostalgic for my old fics/the old community these days. I miss it man.

[customizablefriend]

My true self still loves Tommyinnit I am still an inniter at heart I have not changed

[archerons-arrow]

i will be happy when sarah finally releases whatever retconned garbage is up next so everyone can stfu about whatever ship war they're reading into (whether you're right or wrong). i used to care about it in like 2018; i don't anymore. because this woman doesn't plan shit. she can't even keep her own lore, world building, or already published plotlines straight.

jfc - it has been a fucking decade of this, and all she has done is shit out a "crossover" that no one asked for and use her own need for therapy to have the eldest archeron sister cosplay as feyre and replace her younger sisters with two complete strangers that she "saves" and call herself a warrior queen who answers to no one. girlie, if you live in a court in prythian, you're a subject and you answer to someone somewhere. sit down and eat your food... or cassian's dick for all i care. i lost it at the house being alive in that book, besties; like what has it witnessed.

like ... idk what happened to the person that wrote the first three books, but holy shit. i am tired. i even stopped following tags on all social media three years ago and the discourse just leeches out everywhere. hence why i am here complaining. y'all woke me up on tuesday with your bullshit. so now my formerly-quiet annoyance is everyone's problem.

[mrdrhenwardhykle]

Idc what I said before but don’t freaking mention Mario or Charles Martinet rn because I’m going to freaking sob if I hear another damn thing about that again

(Read original tags)

[herjuhodivine]

ㅤ        ㅤ             ⠀✣ ⠀۪⠀ ´ another night ⠘ ✫

pervert! yandere! jinx x model! love deprived! fem! reader ( ft. vi + caitlyn )

very self indulgent , regular-ish jinx ( she would be a perfect yandere ) , topside! reader , model! reader , nsfw + sfw-ish , mentions of killing / bombing people , overprotective! stalker! jinx , mini series , self aware-ish! reader , mentions of stolen belongings , reader described to be obsessed with pastels ( pink & blue ) , reader being friends w vi + caitlyn , jealous!/possessive! jinx , pervert! jinx , mentions of manipulation , kidnapping , wlw ( duh )

i — ii — iii

not proofread

s.masterlist ૮ ྀི ◞ ◟ ა navigation ૮ ྀི ◞ ◟ ა masterlist

You don’t even feel annoyed anymore; just amused and kinda impressed. it’s every hour now that something is rather misplaced than missing; like they are living in the exact same pink and blue striped room with you.

the clock reads 2:32AM, and you heard a faint sound of movement and a low grunt, you sat up, curling up into a ball in the center of your bed. everything is silent now. the pitch black darkness, small light lights only glow from the hanging dim fairy lights.

you’re not sure what to do at this point, but you are heavily opposed to calling vi or caitlyn or the enforcers. all of them will end terribly, caitlyn plus enforcers is double work with vi in there, is just annoying and you don’t want the press involved in your life and cameras everywhere. so your only option?

cleaning out your bedroom at two in the morning because…last night motivation, they say. getting up out of bed, your body weak and lazy, you could have swore you felt a hand brushing against your ankle, you stumbled forward and looks down, hoping you’re wrong and walked away from your bed and turned on the lamps and starting to rearrange all of your clothes, emptying the closet, drawers and storage bins, hanging rack.

‘my goodness she has so much clothes.’ was jinx’s first thought as she watches the amount of piles of clothes that surrounding you and flooding the floor. pile after pile after pile, i guess that’s the perk of being a famous model. she desperately needed to leave underneath the bed though. but you wouldn’t have woken up and decided to get out— no!…this is her fault. she should have left earlier, this is her problem. now she has to wait until you leave the room.

minutes went by, and jinx has noted that you talk to yourself a lot, like a lot. you note down everything you do and talk to yourself fake audience and “the little whispers” you like to call them. maybe you’re just like her. you announced you are going to get something to drink, debating on water or wine as you got up from the multiple piles of folded clothes, now she got a chance, swiftly sneaking from underneath the bed into your bathroom.

well you saw that. the long blue braids, the hot pink eyes with the same streak you saw in the cameras, jinx; the most wanted criminal in piltover and zaun’s wildcard, jinx, is in your home, underneath your bed; just snuck off into your bathroom. you couldn’t tell at this point if she was walking to your bathroom or running but—you caught a perfect slow-mo move of her face. and…she’s really pretty. yes! you sound crazy right now…but you honestly couldn’t tell what’s going on anymore or why she was even here? is she to cause of your stolen belongings?

you were utterly confused on what to do anymore, report her get the entire piltover’s eyes in your business or keep it low and accommodate to her living with you? decisions, decisions, you were never good at those.

everyone else would think you’re stupid—psychopath even but…you decided to go with it. patiently waiting for jinx to return back underneath the bed keep her trapped and confront her in the bathroom? maybe another time. swiftly you heard the bathroom door open and jinx slipped right back underneath the bed. you poured another glass of wine and walked back into the bedroom, trying your best to keep your eyes pry off the bed and going back to cleaning.

this is going to be interesting indeed.

©︎ J U H Ō . all rights reserved. please don't plazarize, copy, or steal any of my works without my permission, thank you !

this shit was so ass, i hate it but i didn’t know how to properly word this without it sounding complex or too boring. lord wtv, now im debating if ep3 should continue from ur pov or jinx’s pov ughhhhh and i got school tomorrow!

[venus-haze]

She's Out To Please, She Pouts Her Best (Soldier Boy x Reader)

Summary: Soldier Boy’s been pulled from the European Theater to sell war bonds to the American people, the goodwill tour dotted by big cities and small towns alike. In the meantime, he gets familiar with the variety of women in dazzling costumes that accompany his speeches with carefully choreographed dances. You’re, without a doubt, his favorite of them all.

Note: Female (blink and you’ll miss it implied plus size) reader, but no other descriptors are used. This fic is so short because it’s pretty much PWP. Do not interact if you’re under 18 or post thinspo/ED content.

Word count: 2k

Warnings: Dressing room sex, mirrors, breeding kink, daddy kink, power imbalance, overstimulation, implied baby trapping. Do not interact if you’re under 18.

Chattering from the packed high school auditorium somehow seeped through the walls. The rural town that was the latest stop in Soldier Boy’s war bond drive had shown up en masse out of patriotism or sheer curiosity. Usually both. Electricity was always in the air before the show in small towns. Some of them didn’t even have movie theaters. 

You and the other dancers on the tour had set up camp in one of the bigger classrooms, using it to get ready in since it was near one of the bathrooms. Dresses, sequins, and makeup scattered about the room, making the place of learning look like a department store had exploded inside. You’d been helping another girl with the curlers in her hair until a masculine voice called out your name from the doorway.

“Soldier Boy wants to see you in his dressing room.”

You nodded, giving an apologetic look to your colleague, who waved you off. It wasn’t unusual for Soldier Boy to call on one of you to help him “warm up” before the shows. Lately, however, he’d almost exclusively been asking for you, to the detriment of your jaw. 

Grabbing a nearby tube of red lipstick, you hastily applied it in the illuminated mirror in front of you. The lipstick residue soon adorned a tissue that you discarded, and you used your fingertips to gently massage the muscles in your face in preparation for taking him again. You hoped you’d at least get to come this time.

A flyer had gotten you to this point, stark white with patriotic motifs, pinned to a board in the nightclub you had been working in prior to getting the gig. Uncle Sam declared, “Ladies, you can serve your country too!” You figured why not, there was a war on, and if you could do something to help, you might as well. 

Your qualifications led you to your local USO office, where you were handed a star-spangled outfit and joined a gaggle of other girls to be the supporting act on Soldier Boy’s war bonds tour across the country. At times, you felt silly, kicking and shimmying to audiences who were clearly only putting up with the opener just to catch a glimpse at the world’s first superhero. A man larger than life in every sense of the word, as you and your fellow dancers on the tour would learn.

Wandering the hallway, you checked each door for an indication of which commandeered classroom was his. Not one for subtlety, his dressing rooms always had ‘SOLDIER BOY’ printed in large letters, declaring his presence. You found the sign toward the end of the hall, giving a smile to the usual group of people who congregated around him, assistants and handlers to keep him on schedule.

You knocked on the door, announcing your arrival. 

“You wanted to see me, sir?” you asked when he opened the door. 

He smiled, putting his hand on your lower back as he ushered you inside. “Sure did, sweetheart.”

His dressing room always betrayed his vices—alcohol, drugs, porno mags. It didn’t faze you anymore, not like the first time he asked for you, a stuttering mess in his presence. Back then, you had to take a shot with him to settle your nerves enough to blow him without feeling too self-conscious. Now, it was routine. You moved to get on your knees, but he stopped you, to your confusion. 

Instead, he disarmed you with a passionate kiss that nearly knocked you over. You steadied yourself on his strong arms that had made their home near your hips. He squeezed them, pulling you closer so your body was flush against his as he slipped his tongue into your mouth. 

You let him take the lead, he always did—strong, masculine, hard-working. Wasn’t America lucky its hero was easy on the eyes too? Except he had a temper, a mean streak that could go for miles. Not that you’d ever been on the receiving end of it. No, for all his faults, you seemed to get the best of Soldier Boy.

“I’ve been thinking about you,” he whispered against your lips.

“You have?”

“Don’t sound so surprised. You’re—“ he paused, searching for the word he wanted to use, “special to me.”

You weren’t sure why he was laying it on so thick. It wasn’t your first rodeo with him. “Special?”

“‘Course you are. You wouldn't be here if you weren’t,” he said. “I wanna try something different today, alright, doll?”

“Alright,” you agreed softly.

He smiled. “That’s my girl.”

Your body came alive at his praise, and you pressed your lips to his for another kiss. He guided your body backward until you bumped into the vanity. Parting his lips from yours, he turned you around, bending you over it so you were face to face with yourself in the mirror. 

You looked at him from the reflection, brows furrowed as you wondered what he was doing. 

He leaned down, voice husky in your ear as he growled, “I want you to see how pretty you look when you come.”

Your eyes widened, and you grabbed either side of the vanity in preparation, to his amusement. He pressed a kiss to the back of your neck as he pushed up your shimmery skirt, exposing your red, satin panties, specially made to be on display. Soon, your panties were around your heeled feet, one of his hands reaching to play with your clit while the other squeezed one of your breasts through your top.

“We look good together, don’t you think, sweetheart?” he asked, intense gaze studying your reactions.

“Y-Yes,” you moaned, trying to keep your eyes open. 

He always wanted you to look at him. From your knees when you were sucking him off, when he’d be standing on the side of the stage during your act, in his hotel rooms when he couldn’t find local girls to fuck around with. This instance was different, though, able to really see him, and yourself. You didn’t find your glassy gaze or parted lips particularly flattering, but he couldn’t seem to get enough.

His fingers had already brought you close to climax, and you whined when he pulled them away from you for a moment to free his hard cock from his pants. You shuddered, feeling it on your skin before he guided it in your pussy. Your hands curled around the vanity you were bracing yourself on. You weren’t sure if you’d get used to how his cock seemed to split you apart every time.

One of his arms wrapped just below your chest to hold you up, as you struggled to support yourself when he started pounding into you. Your pussy was already wet and pliant for him, and you'd be embarrassed by the obscene squelching sounds if you weren't so focused on getting off when he had brought you so close to the edge already.

You were your own voyeur, your brain feeling like it was going to melt, watching yourself getting fucked by him. His superhuman strength always caught you off guard, from the first time he shocked you by lifting you above his head on stage for a roaring crowd to the way he could make your body feel—and look—like you were little more than a ragdoll. 

“Gonna put a baby in you,” he grunted as he thrust into you, items falling from the vanity and onto the floor at the force he used to fuck you. “Want you up on that stage with my cum leaking out every time you kick up those legs—fuck—you’re mine.”

Your pussy clenched around him at the vulgar image he conjured up. “Yours daddy.”

His voice was strained, words slurring together. He was close. “‘S right, baby. Keep fuckin’ you ‘till you make me one. You like takin’ daddy’s dick, don’t you?”

You had to force the short affirmation out of your mouth, pleasure’s chokehold creeping up on you. That wasn’t enough for him or his ego.

“I wanna hear you say it.”

“I love taking—oh fuck—taking your dick, daddy.”

He came, hard and sloppy as your pussy milked his cock. You cried out, feeling so full it almost started to hurt. Something in you finally snapped, releasing the pain and pressure as you rode out your orgasm on his softening cock. Your arms gave out from under you so that it was just his strength holding you up. You weren’t sure how you’d be able to go back to having sex with men who weren’t well-endowed superheroes. Go back to faking it, you supposed.

Your throat was sore. You hadn’t paid attention to how loud you were being. Everyone outside the room must’ve known what was happening if they didn’t have an idea when you first showed up looking for him. 

Soldier Boy pulled himself out of you, and you could hear fabric rustling and the sound of his zipper again. You didn’t bother trying to stand up, still needing time to catch your breath. 

He used his fingers to swipe up some of his cum that had begun dripping out of you, causing you to gasp at the slight sensation of them brushing against your pussy. You whimpered when he pushed his index and middle fingers inside you, already aching from the orgasm he’d just pulled from you. 

“I—I can’t—“

‘I can’t get pregnant and ruin my career,’ you wanted to say, but all that came from your lips was a desperate, animalistic moan.

“I got you, baby,” Soldier Boy whispered, voice low and husky in your ear. “Give me one more so it sticks.”

You choked on air as his thumb brushed your clit, rubbing circles in the sensitive bundle of nerves. His fingers pushed deeper, and your hips bucked at the overstimulation, your spent pussy reactively pulsing around his cum-slicked fingers that curled inside you.

The woman staring back at you in the mirror was a mess with her mascara stained cheeks and smeared lipstick. You were utterly unrecognizable as you came again, harder on his fingers this time, crying out as you gripped the edge of the vanity, threatening to break one of your manicured nails. 

“Good girl,” he praised, pressing kisses to your cheek, as you came down from your second orgasm, pulling his hand from between your legs. “You alright?”

“I think so,” you breathed. “Jesus Christ.”

Your legs felt like jelly beneath you, and you wondered how the hell you were going to be able to dance in less than half an hour. You’d have to reapply all of your makeup too.

He turned you around, looking at you with a brief fondness before kissing your lips, soft and quick. 

“I need to fix my face,” you breathed.

He smiled. “Why? You look great.” 

You laughed softly as he gave you space. You pulled up your panties from around your ankles, knowing his cum would stain them by the time you made it back to the dancers’ makeshift dressing room. Taking some of the tissues from the box on top of the vanity, you began wiping your ruined makeup from your face. He stared at you in silence from the spot he’d taken on the loveseat that’d been brought in for him.

“I think I’d be a good father. Better than my old man,” he said finally.

You paused, looking at him from the mirror, giving him a sardonic smile. “I don’t see you as the settling down type.”

“Maybe I just need a woman worth coming home to.”

“Maybe,” you echoed.

“C’mere.”

You obliged, joining him on the loveseat. He wrapped an arm around you, holding you close. You let yourself bask in the intimacy.

“Things aren’t always gonna be like this,” he said. “Once the war’s over, what’re you gonna do? Go back to dancing in nightclubs?”

“Why not?”

His jaw clenched, cheek twitching as he pulled his gaze from you. “I don’t want you doing this for anyone but me.”

This could have been any number of things, dancing, fucking, being at his beck and call. Knowing him, he meant all of it.

“Ben,” you said, grabbing his attention, “then you have to tell me what you do want.”

“I want you. I want the white picket fence, kids running around the yard with the dog,” he said, the intensity in his voice wrapping tendrils around your mind, pulling you into the world he was describing. “I want dinner to burn ‘cause I was busy putting another baby in you when I got home.”

“Oh,” you whispered.

A voice through the door startled you. “Soldier Boy, the mayor’s here to see you!” 

“Think about it,” Soldier Boy said, getting up from the loveseat to grab his helmet and shield. 

The door shut behind him, leaving you to agonize over the future he presented to you. Part of you wondered if you’d really have a choice.

[sarahcmarie]

Dick listens to rockin robin before every event and patrol for good luck it’s a tradition started by his parents

Dick remembers when his parents used to get ready for a show they’d play the song he remembered how his dad would dance with him on his shoulders how his mother sang along as she did her makeup how as the end of the song neared his mom started dancing with them he remembered his dad making a bad joke he remembers how his mother laughed with pure glee he remembered feeling so happy before preforming feeling prepared

After his parents death he couldn’t bear to listen to the song anymore he couldn’t handle the memories it brought with it

It was time for his first gala and suddenly he was full of nerves which was ridiculous he preformed much harder things with a bigger audience this was just a stupid party but he couldn’t even leave the car Alfred was at the window asking if he was ok and he couldn’t even respond he could hear the radio playing but he couldn’t move he couldn’t talk and suddenly a familiar tune started playing on pure autopilot he started humming and tapping his foot by the end of the song he gathered up the courage to meet Bruce outside of the car walk to the party he felt Bruce’s hand on his shoulder and for the first time he thought that maybe everything was gonna be ok

He listened to the song before every gala after that

Dick was FINE he wasn’t angry and yea it was the first anniversary of his parents death but he was fine but Bruce told Dick that if he wanted to patrol he had to calm down so he went up to his room and he definitely was NOT brooding he was thinking like an adult plus even if he was brooding or angry he had every right to in the past year his life had been completely up rooted he was taken away from his home his parents died AND everyone was treating him like a little kid when clearly he was not 9 years old is basically an adult anyway but alas he had to at least make Bruce think he had calmed down (even if he didn’t need to cause he was fine) if he wanted to go out on patrol so he turned on the radio and the song he used to listen to everyday with his parents came on he almost turned it off… but he didn’t he let the song play and he felt calm he felt just a little better Ok maybe Bruce was a little bit right not that Dick was gonna tell him that

Dick added rockin robin to his before patrol playlist

After Bruce took in Jason Dick saw the uncertainty he had as robin Jason was confident in everything he did but at the end of the day robin was Dicks thing not Jason’s at least that’s what Jason thought the first time Nightwing and Robin patrolled together he played the song he saw Jason give him a weird look but started singing and dancing anyways as he did every night before patrol after this same event occurred a few times he started seeing Jason relax the same way Dick did when the song played

And then Jason died Dick didn’t listen to music before patrol anymore

Tim drake was determined to help Batman and Nightwing he had become Robin to help make that happen

But Nightwing was angry and lost in his own grief as much as Batman and that couldn’t happen the first Robin was Batman’s light to help Batman he had to help nightwing

Tim was talking to Alfred when the man mentioned the tradition how Dick and Jason would listen to rockin robin before every patrol so on a particularly bad night after Bruce and Dick got into another argument he played the song the shift he saw was immediate and it went through a couple stages

Surprise grief anger and finally robin just like that Dick Grayson disappeared and the spirit of robin took his place if Tim added that song to his before patrol playlist when Dick visited well that was between him and Jason Todd’s ghost

Jason was alive and he was angry it had been a few months and he had a very fragile relationship with his family he had to drop off some files before patrol and decided he’d just get ready there Tim’s music was playing as he stretched with Dick and that same familiar song started playing Jason froze and a truck load of memories came at Jason

Dick ruffling his hair before patrol Jason trying to hit Dick after he ruffled his hair before patrol Bruce hiding his smile at their antics

And weirdly enough he didn’t feel angry or violent or bitter like he usually did when a reminder of his tenure as robin came up he felt calm he felt prepared

Bruce was dead Tim was gone Dick was Batman and Damian was Robin everything was different he had a kid who wanted to use murder as a means for justice to raise on his own sure he had Alfred’s help but Alfred could only do so much Bruce was dead and Damian was here angry about what happened to his father angry about being uprooted from his life at nanda parbat angry about how people were treating him as a child

And Dick? Dick understood that anger he was feeling the same anger but he had to be there for Damian he didn’t have the luxury to let his anger out

Alfred had given the advice to treat Batman the way he treated everything else treat it as a performance and to preform he did what he did before every show he turned on that song the same song that had gotten him through the hardest times of his life and he held on to the memory’s it brought memories he couldn’t look back at for a long Time without anger and sadness

He looked at them now with joy and nostalgia and just a little grief

His mothers laugh and his father’s cologne

Bruce’s warm heavy hand on his shoulder before a gala

Jason’s faked annoyance when Dick grabbed a hairbrush and used it as a microphone and started dancing

Tim’s relief when he saw Dick smile

He held these memories tight and didn’t let go

Because his family was why he preformed why he smiled through the hard days why he made bad jokes when things were getting hard

[miwiheroes]

Dropping Byler Evidence Every Day Until Season 5

. ݁₊ ⊹ . ݁˖ . ݁ Day 16: My Favourite Parallel . ݁₊ ⊹ . ݁˖ . ݁

This evidence has always been one of my favourites.

"You never say it." "I say it." vs. "I didn't say it." "You didn't have to."

When I first saw these two clips back to back, when I was a little byler in the big city of youtube analysis videos, I think I lost my mind. Having these two lines of dialogue being so perfectly contrasting proves that Milkvan simply can't be endgame to me, especially when Stranger Things' couples usually never say I love you to each other.

I feel like a lot of the canon couples in ST all have one thing in common: they've all never really said I love you to each other??? Plus, they've never actually used saying those words as a big conflict storyline before. Having this storyline in a sitcom or something where this couple ends up being endgame anyway makes sense, but in this setting where everything is so thought out, it makes no sense for this parallel to be made and have Milkvan be endgame guys.

This conflict between Mike and El wasn't just something for the two of them to do (or rather, Mike) in S4. This was to make them, in the audience's minds, a couple not worth rooting for anymore. Especially when there's a better, second option.

"You never say it." "I say it." vs. "I didn't say it." "You didn't have to."

IS BASICALLY:

"I need you to tell me you love me because I can't tell whether or not you love me." vs. "I don't need you to tell me you love me because I know you do in the way you treat me."

The second one is true for most of the couples on Stranger Things. You don't need Lumax to say it, let alone even kiss, to know that they have a deep love for each other in S4. You don't need Jancy to have this big dramatic I love you moment, you don't need Jopper to either. But you know who did have the same storyline as Mike and El? Stancy. And because it was a smaller sub-plot, it was wrapped up quickly in one season where it was established that Nancy did not love Steve because she never showed it, EVEN THOUGH SHE DID SAY IT.

TLDR; Actions say much more than words, and if you really think about it, Mike and El in S4 did not show their love for each other rather than Mike talking about it all the time.

Their love is also paralleled (or perpendiculared tbh) with the Jancy scene in S4 where they both describe the things they love about the other ^^^, talking about genuine characteristics. Mike's reasoning for 'loving' El is that she is.......... a superhero and incredible and can 'move mountains' (even though she can't). One of the reasons for El not thinking Mike loves her is literally the fact that he always calls her a 'superhero' so that when she has no powers, she feels like he can't love her. And I can't blame her tbh 😭

Also this basically foreshadows the fact that Will confesses his love to Mike through El, and in doing so, expresses his love for him without having to say the actual words. Mike knew that those words meant an I love you because he literally used them in his monologue.

(I dont wanna be annoying asl but I think people would pick up on this stuff more if Will was a girl-- *gunshots*)

[shadow-the-crow]

soo i'm sort of stuck on s4 of tma. i've somehow lost the motivation to listen to more than 1 or 2 episodes a month. and at first, i thought it was just because of the season's generally gloomy mood and me finding new fandoms, but i think i've figured out another reason.

one of the generally agreed upon rules of writing (which, of course, are meant to be broken if you know how to - but in this case i think it might have been good to respect it) is that you should give your main character a strong long-term goal. they should want something, really want something, and act in order to try and achieve that. whether the goal is killing the bad guy, finding a missing family member or maybe just getting back home to finally rest - it can be anything as long as it's important to the protagonist. this helps give a story structure and appeal, because otherwise, the protagonist tends to just passively float through a story, reacting to the events happening to them, but barely becoming active themself. in this case, the audience tends to feel as lost and confused as the protagonist seems. we're just watching the events happen, not knowing what to hope for - and also not being able to emotionally connect with the protagonist as much, since hopes and ambitions make a character more relatable.

and i think that's what's missing in s4. in s3, the crew was trying to stop the Unknowing. in s2, Jon was desperately trying to find out what the fuck was going on - what happened to Gertrude, what the Fears were and so on. in s1, although you might argue it was also missing strong character ambitions, Jon and the others were at least trying to fight off the worms and not become victims of the Corruption. plus, back then, there was still the mystery of what the horrors even were.

now, in s4, there's practically no mystery left. we know exactly what the Fears are, and the statements are often a confirmation of what we already know rather than something for us and the characters to theorize about. and even the minimum goal of survival has lost a lot of relevance, since by now, Jon has lost enough vulnerability and gained enough power to not feel easily threatened by other avatars anymore.

there's a few other "goals" that might come to your mind: stopping the Extinction from emerging, freeing Martin from Peter's grasp, escaping the Institute... but none of these really function as motivations. the Extinction thing is mostly Peter's goal, Martin only agreed to protect his friends, and while him and the others are acknowledging that stopping a new Fear is probably important, they're not really acting towards it. Jon does want Martin back, but again, he doesn't act on it until the very end of the season, he just lets him do his own thing. And he does want his normal life back, to be human again and be freed from the Institute - but these goals don't even seem achievable in any way. it's like: yeah, sure, Jon would ideally like to achieve these things, but there's no possible way out by now. even after finding out he could gouge his eyes out and run away, he knows he has the responsibility to stay and fight off the Fears - and he doesn't even know if he could survive without the Eye. he'll probably never be human again. so, again, not a goal he's actually working towards, since he's aware it's not realistic at all. and sure, there are other short-term goals he has throughout the season, like travelling to Ny-Alesund and stopping the Dark cult - but plots like these are resolved after a few episodes, leaving us once again without a bigger goal.

so yeah. i'm not saying s4 is badly written - when i do listen, i'm interested, it's simply missing an element to keep me hooked and make me want to keep listening. this is how i view it, feel free to disagree with me and do tell me your arguments.

[am-i-the-asshole-official]

AITA for telling off my sister about watching a kid's show?

💫 for searching!

I (15F) have an older sister, Penn (17F), who is kinda childish. Actually, she's really smart, and can be mature when she needs to be. It's just that her interests are kinda childish for someone her age.

Penn really likes cartoons and video games, and recently she's been getting into Sonic the Hedgehog. At first I thought she was just getting into the Snapcube fandubs, but out of nowhere I saw her watching one of the new Sonic TV shows, can't remember if it was Sonic Boom or Sonic Prime.

Anyways, at first, this didn't really bother me too much. She watched her show for the weekend, and I would get back to my shows for the next few weeks. But then the next weekend, she was still watching the show. When I asked Penn why, she said that she was really invested, and she hadn't actually finished the show yet. She said she was watching it in increments, because she wanted to savor the episodes, which felt stupid. The writing was obviously meant for kids, and the colors felt really bright and glaring to my eyes. I couldn't believe this was how she was unwinding, or how she could "savor" such a bad show. Plus, I prefer to watch as many episodes as possible in one go rather than in separate goes, but to each their own ig.

Next weekend comes, and guess what? Penn picks up the remote before I can get it, and says she's gonna keep watching some more. At this point, I'm pretty mad. I've been wanting to watch my shows all in one go during the weekends, but have been stuck watching one or two episodes at a time after school each day. So I snapped at her, saying, "Nooo, let's watch my things!"

Penn looked kinda hurt, and when she asked me why I said that in such an annoyed tone, I told her that the show she was watching was cringe and just plain bad. I also said that we never watched my shows anymore, only hers, and that she shouldn't be focusing on kids' media when she has college to focus on soon.

Penn got really mad at me for saying that, telling me that she just wanted to unwind now that the third quarter had ended for her school (our school years are divided into four quarters rather than 2 semesters), and that her homework load was lighter. She also said that she hardly ever uses the TV, and that I wouldn't die if she used it just once. She then left the living room in a huff and went up to her room. This was a day ago, and she hasn't spoken to me since then.

I feel like I was really a justified asshole in this. She's been hogging the TV with the Sonic show, instead of focusing on any of her advanced classes. I guess you guys can decide? It just feels like we're both getting older, and that she needs to stop focusing on such childish things. I think that if I help her get into media that's more aimed for older audiences, it'll help her get into more of a mature mindset.

[shaampoo]

OMG!?!??! I WANT TO TALK ABOUT THIS SONG (and AU), RIGHT NOW!!!

(By Lydia the bard

TINKERBELL VILLAIN SONG - Fall Little Wendy Bird Fall | Song by Lydia the Bard and Tony | Animatic

The title^)

First of all the cover art is AMAZING, Tink is SO pretty, the sparkle and lines on the wings, her grin, HER HAIR, HER EARS, HER DRESS,

Also, "Fall Little Wendy Bird Fall" is a great title

Now the video itself and its lyrics, i really REALLY want to just compliment every single frame of this video, its so beautiful, so well done, its like it was blessed by The Muses of greek mythology,

Okay so the lyrics at 0:45

"You dont seem to quite understand what is at stake,

This messed up little family that i had to make"

Not only is this line so beautiful with the way her voice sounds, its pretty much a nod to the fact Tink and her friends kidnapped peter pan and the lost kids to keep her and her friends alive

(0:55) \/

"If i could let them all go home please know that i would

But it'd do more harm than good"

Just Tink expressing her guilt that she and her friends kidnapped the lost boys so that they could keep existing, but like, JWHSEAJKHWED, she ofc doesn't want her or her friends to die, and since people are slowly not believing in fairies anymore, they're slowly going extinct, ALSO, Fawn and Silvermist are DEAD, so yeah, that messes with someones head

AAAALSOOOO, i LOVE their silhouettes, the height and weight differences instead of them all having the same height and weight like in the movies, plus, i LOVE that despite not looking like how they do in the movies, you can probably still tell who is who,

ALSO

Even if it wasnt intentional, i like how in kinda faraway shots, Tink has a more cuter roundish look, while in closer shots shes more edgy and more intimidating(? if that's the right word), kinda showing how others view her (kinda?) as a cute fairy, maybe underestimated, but yknow, close up, shes plotting to kill a child

(1:15)

I love how Tink is gesturing in this scene, cause 1. It conveys to the audience what she wants from the lost boys and 2. Canonically, when fairies talk, people usually just hear jingling of bells, so shes gesturing because shes also conveying what she wants to the lost boys

1:23

"Swear its nothing personal, its a necessary evil"

I just love this line because it is a necessary evil, she needs the lost boys and peter pan in neverland to believe in fairies so that they exist, and Wendy is pretty much a threat, since she makes the lost boys want to grow up with families,

Also, the lost boys look so cute in here, i cant remember their names tho, one is holding a slingshot, aiming at wendy, one is holding rocks , and one has a stick , so Tink just told these children to assassinate Wendy, or at least attack her.

1:35

I love how the kids explain that Tink make them do it, and Peter Pan just glares at Tink, and i love that I'm pretty sure that Peter isn't mad/doesnt blame the lost boys

As seen in this scene where Pete is smiling and stuff at the Lost Boys and/or at Wendy

1:55

I love how Tink refers to Wendy as a "Nasty little spark" because, a spark can turn into a fire, damaging a lot of stuff and people, pretty much saying that Wendy has to be snuffed out before she causes a fire,

"Setting fires inside my house is just not allowed"

Pretty much referring to the fact that Wendy, the spark, is creating a fire, aka, making the lost boys want to grow up and go back to the real world, making them not believe in fairies anymore, thus, making her and her friends die, which is, not allowed.

Also. the fear in Tink's eyes is so fear, her expression is on point, the mix of concern and fear is just, so beautiful, also i love her pointed ears

2:17

First of all, this screenshot does not do justice to the actual design of the mermaid (siren?), cause they are AMAZING, BEAUTIFUL, GORGEUS.

Also, the fact that Tink is persuasive enough to convince someone to kill Wendy in such a short amount of time is impressive, and the fact that the mermaids agreed so quickly is also impressive,

When it failed, the absolute horror and shock on Tink's face? Shes horrified that another plan of hers failed, and shes scared that her friends might die, like, wow

The despair on her face is just so...asdjwoaijdoiwajd

3:38

The fact that Peter Pan (i cant even give him a nickname cause Pete sounds different and P.P. is just wrong and Pan is just A Thing), first at the gust of wind that blows away the pixie dust (which keeps the ship afloat) he covered his eyes, maybe cause the dust or his hair in his eyes, then he looks at Tink in anger and shock and probably some confusion, then looks at Wendy, in concern and fear,

Theory: Pan knows that, since Tink doesnt want the lost boys to leave, and he knows that gust of wind was from the fairies, and Tink's dislike and hatred to WEndy, that Wendy was probably the only one not going to be saved, which is why he only looks at her and tries to save her (that or he's a SIMPPPPPPP /j)

3:50

The fact that you can see Wendy screaming??? Chills,

And the black screen right after, signalling Wendy's death is just amazing

Anyways, overall, what im saying is

THIS SONG IS AMAZING GO CHECK IT OUT, GO CHECK OUT THIS PERSONS CHANNEL, THEY HAVE GOOD VILLAIN SONGS, THEY EVEN HAVE ENCANTO!!!!

[bertoyana]

funniest thing to #Me about the use of charles' telepathy in charles' and erik's relationship in the prequels is how both of them suck SOOO bad at using it LMAOOOO

like, you'd think having a telepath in the dynamic would actually help things along with the communication, but they are both USELESS at making use of it

charles will use it to crossdress erik and tell angel how much he wants to fuck him and erik will use it to tell charles how much he wants to be controlled, but that's ALL they use it for. it's not even horny or funny anymore it's just SAD, man. they suck so bad at it

(the only time they ever make good use of it is when charles unburied one of erik's memories with his mother, and that's it)

erik just automatically assumes charles knows everything and that he knows WHY erik does the things he does (because charles is in his head, so he MUST know, right?) and charles automatically assumes erik understands the hidden meaning of every single thing he says (because erik is also in charles' thoughts, so he SHOULD know, right?)

(wrong. they are both stupid and they will keep going in circles for 30 years straight)

like. take their first interaction in xma as an example

(on the other hand, i don't even want to think about the "you are looking in the wrong place" line because it makes me want to k1ll myself in front of the writers)

they are in each other's heads right now, and yet they are not even LISTENING to each other, they are just going in circles because both of them are too wrapped up in erik's own grief to actively try to hear what the other is trying to say. and while you can tell charles is hurting for erik and wants to help him, he's probably not going about it the best way

also if you pay attention at the start of the scene, when erik feels charles in his mind he just... looks confused, curious maybe, as to why charles is there, but he doesn't get angry or defensive straight away. he just lost his family for the second time (simon kimberg i'm in your walls) so he's probably even welcoming the only familiar thing he still has left.

he doesn't get defensive UNTIL charles starts talking and just kind of... also starts putting his own foot into his mouth. bless his heart.

and the thing is, while they get interrupted by apocalypse... being there lmao, i don't think this would have pan out any different if it was just the two of them. as i said, they are not listening to each other. charles means well but he's not really listening to what erik is trying to tell him, and in response to this erik is rejecting any type of help charles wants to give him.

and we know apocalypse was using erik's grief (about magda and nina, about the camps) to manipulate him - *we* as an audience know that, but back in this scene, charles doesn't even NOTICE apocalypse. and this, plus the fact that as we've established, they SUCK at trying to listen to each other and communicate, just brings the entire thing to failure.

(also imagine being the most powerful telepath in the world and being too focused on your best friend to notice the god standing a few steps away from him... which could mean nothing)

(mind you. they are literally in each other's heads rn. they can hear what the other is thinking and feeling. AND YET)

and it's even funnier (no) how they are even WORSE without charles' telepathy. take as an example, both of their fights in the plane in dofp

from charles' point of view, erik was the one that left him. erik literally and physically LEFT him in cuba, took the only teleporter there was and left charles to bleed out (lmao). meanwhile, from erik's point of view, he might have left first physically, but he only did so after charles rejected him. so, from HIS point of view, charles was the one to pull away FIRST. when he told him they didn't want the same thing (rejecting erik's ideals and by thus rejecting erik himself as well)

(and charles also let erik to rot in prison for 10 years so he could be also referring to that lmao)

this also brings me to my other point. which is something that i do think is pretty much ignored by everyone, but to be fair, it's also ignored by the movie so,

and it's the fact that the movie establishes that erik has been isolated for 10 YEARS. again, we as the audience know that charles has been struggling for the past 11 years, we know he did all he could for the mutants and we know he's been struggling, and we also know he's been using the serum because he couldn't stand the voices.

mind you, erik doesn't know any of this. not only because he's been in prison for 10 years (and i doubt they let him keep up with the news) but also because charles doesn't tell him any of this (fair)

and the last thing erik said to charles before they parted ways in cuba was that they wanted the same thing, which charles denied.

so from erik's point of view, all that he knows is that charles promised him all those years ago that he wasn't alone, and then he rejected erik in cuba, sent him away, and then proceeded to give up on erik and on their cause by doing nothing when the mutants were being tortured and experimented on. and he started using the serum and living with hank like a normal human being, sacrificing his powers and 'betraying' their cause.

ofc none of this is what actually happened, and *we* know that. but erik doesn't. and for some reason??? that i find extremely hilarious??? no one ever BOTHERS to correct erik's assumption, lmao. also none of this ever comes up again in the movies which to me just means erik went on believing that charles just briefly gave up on their cause for 10 years LMAOOO

okay, moving on bc i still have things to yap about

the other plane scenes comes in. erik shows up with the chessboard, they actually DO talk a bit and erik tells him he didn't mean to kill jfk (can't believe i wrote that down these movies were insane) and then they settle to play chess. AAAND this scene comes in

and he apologizes for SHOOTING charles, because he never meant to hurt him, and he does regret that. but he's not apologizing for leaving, because, once again, from his point of view, charles left HIM

and then charles hits him with the most pathetic saddest wettest expectant look in existence (james mcavoy you are insane) because he thinks erik is going to apologize for leaving

and then erik hits him with this LMAOOO

and charles realizes erik is apologizing for shooting him (something i'm pretty sure charles didn't exactly blame him for? his biggest accusation was that erik abandoned him)

and you can see charles literally and figuratively backtracking and shutting down immediately AGAIN.

(because, again, charles thinks erik left him, and erik should apologize for that, but from erik's pov? charles rejected him, he pulled away FIRST so he wasn't the first to abandon the other. charles was)

(they both are wrong and right in a way. they also don't tell each other any of this)

then it's erik's turn to give charles the wettest and saddest look known in mankind, charles shuts down, refuses to even look at erik, he changes topics and erik lets him.

(they never talk about this again, btw)

(it probably blew up in their faces in genosha. i just know they make everyone's life miserable as hell in there . god bless)

anyways, i'm sure someone smarter than me could make a more interesting analysis of how you can tell they do genuinely care about each other, but their failing to communicate properly just brings them to their fall down over and over. especially because it's something that keeps blowing up in their faces all the time in the prequels. something something the failure of telepathy something.

[raileurta]

GREETINGS my thoughts are once again plagued with thoughts of the teenage bug queen and I'm making it your problem.

You mentioned that miko just sorta bullshits her way to success and that gave me an idea. Imagine if she accidentally recruited megatrons forces

How does one accidentally get recruit a bunch of vehicons you ask? Apperantly by going on a rant about how much megatron sucks while capturing an energon mine and only realizing you have more of an audience then intended when the miners their start cheering and swearing loyalty.

Miko just sort if rolls with this development, she can hand a couple miners after all. But apperently she was being recorded and those miners sent the video to their friends, who sent it to theirs friends, and so on until like a dozen is turned into several dozens showing up at that mine to swear loyalty. By the end of it all a routine energon raid has granted her roughly fifty new recruits, an energon mine plus coordinates to even more, and whatever tech and weaponry the vehicons could get their hands on when they left.

Hellllllllooooo 👋 :D. Great idea lad.

Yeah Miko is somehow extremely competent but only by accident 99% of the time. She's at this point is half convinced Unicron or something is messing with her.

Anyways I bet her main part of her speech would be pointing out the hypocrisy of Megatron. He started the war so there would be no more caste systems or anyone might be treated as disposable anymore. Megatron now though sees all organic life as below him, treats the Vehicons as disposable cannon fonder, and just overall a cruel dictator. Vehicons are literally working in the mines against their will! Doesn't that sound similar to anyone??! Hint hint Sentinel.

I feel like with Miko now going to be heavily involved in transformers matters she would be taught by the autobots and Insecticons the full story of the war. It would give her a very unique perspective having learned from both sides. She definitely now knows things about the Autobots she rather not know but she has to learn about them.

She ends her speech talking about why do the Vehicons work for Megatron?! Is it out some old loyalty to the cause, they are too scared to, or they just think that's what they are "made" for? Regardless of the answer her feelings are still the same if Megatronous can rise up from the mines and change the status quo why can't the Vehicons? After finishing ranting to I imagine someone on the phone she would notice she was now surrounded by vehicons. They are in shock, after a second of awkward silence the Vehicons start cheering for her and exclaiming their new loyalties. Miko internally is like I did it again haven't I? She is relatively calm at first what's an extra couple of Vehicons?

Then every Vehicon in the mine is now just trying to tell or shove anything relatively useful at her. Which she is grateful for don't get her wrong but calm down guys please. It takes a lot of gentle parenting leadership into cooling everyone down. Miko talks about how Megatron is definitely going to notice 50 missing Vehicons and they need preparations to take them in. So she's like what if a third of you stay with Megatron, here me out and like be spies? You can mess up the deceptions' plans and recruit more bots! Know one wouldn't suspect a thing! You just say the others were destroyed in a cave-in. Not like megatron going to care. The Vehicons happily agree to the plan! After everyone and energon is all gone they set up explosives and detonate the mine. This one of those rare times Miko is competent on purpose.

After everyone is settled she calls the Autobots and explains everything. By the end their jaws are dropped except Magnus who is a little smug (Very much smug) about this whole situation.

[autumnhortsnort]

Hello coauthor! A Residuum reader here. One thing I really like about your comic is how the consequences of the characters' actions feel so plausible, but what stands out to me the most is the pacing in how they're presented throughout the story. Do you have any tips for structuring a plot? Every time I try to outline mine, it feels a bit incoherent, and the scenes don’t seem to flow well together. I’d appreciate any advice 🐢

best advice? Write the whole outline down as much and as far as you can, doesn't matter if it makes sense, that's for editing you to figure out. Then edit the ever-loving daylights out of it, add in connecting actions, and take out things that don't work. Residuum has had Five different drafts, with major tweaking as we go. The outline is not set in stone.

Also don’t share it outside of friends, that can make you feel pressured to stick to (the previous plot) even when it doesn’t work for how your story has progressed. There’s a reason we didn’t share any of the potential endings when we were still trying to figure out where the story was going. When the first arc was being posted we had an idea of the plot til about halfway through arc 4, but we didn’t actually have a concrete ending.

how we structure a plot (and do pacing)

Write out your main plot points and then write what the characters need to do to make that event happen. We basically do the plot mountain structure, but for each arc (there are 4 of them) we tend to make the climax of each arc into turning points or decisions that the main characters have to make that they cannot undo. here's a good article to read about structuring plots. (Note! This is for the broad spanning major plot beats, each update actually gets written as needed, they aren't written into the outline.)

When it comes to character decisions it’s more about, “what would make the character do this?” rather than, “would the character do this?” You can make characters do things they normally wouldn’t if you give them the right incentive.

For the pacing with residuum, because it’s serialized, we try to have something progress with each update. Either you learn something new, the plot has progressed (aka the status quo has changed), or there's set up/foreshadowing for later, most updates actually have all three. When writing in a serialized format (each chapter getting its own release) it’s a good idea to treat each update as a complete chunk. Try asking yourself: what is the goal for this part? are you using this update for anything actually important? are you conveying anything new and/or important to the plot? Is this something you want to focus on? Are you writing this to meet audience expectations or because you want to? There are parts where residuum gets almost no interaction but, importantly, those parts still meet our individual update rules. If you're writing for audience engagement you are going to get discouraged from writing long spanning plots very quickly. The audience doesn’t know whats coming, so they won’t interact with anything that doesn’t have their current blorbo™, even if it’s plot important.

for how we make the consequences make sense

Make things make logical sense? honestly i don't what to tell you.

We read. a. lot. I used to read 400 books over a school year, beaze has read about 13.6K fanfics on Ao3 over the course of 4 years. plus a ton of manhwa and manga, and that doesn’t include nonfiction, stuff from sites outside of Ao3, course assigned books, reddit fiction, royal road. Most of how we understand and structure plots is instinctual because we fire hosed our brains with them for years.

I'd recommend watching watching Overly Sarcastic Production’s Trope Talks, and reading stuff that's not rise related, as well as researching nonfiction stuff that's relevant to what you want to write we are at a place where we aren’t writing the outline anymore, just editing it if needed. We use the outline structure to make each update because it gives us a objective for the update, and gives us a road map for when to place the set up for future updates. But if you struggle to use outlines you can just… not use them. Garden writing is a valid writing strategy, I use it for one shot AU’s of residuum.

For long spanning stories written garden style the first draft can be your outline. Just edit and flesh it out once you’ve written it.

[ittybittyremy]

All the details Bells Hells know about Cyrus' death & everything surrounding it

I've been seeing people wondering/forgetting how much Dorian has told Bells Hells about the circumstances of Cyrus' death. So I've decided to go through the episodes!

A couple disclaimers before I start:

Orym shouldn't have made that comment to Dorian. Even if he didn't know all the specifics, knowing Dorian's brother died recently (and at all for that matter) should have stopped him from making that theoretical. Even if Cyrus' death had nothing to do with the gods, it would still be an inappropriate thing to say. He could've made that theoretical to anyone else in that group but he said it to the person with a recently dead family member.

Even though it would be beneficial for Dorian to tell BH (and for BH to learn/understand) everything about that day, he doesn't have to (and` shouldn't be forced to). Plus, it's very in character for Dorian not to tell them.

I don't want to see any comments saying "well it's implied," "BH should be able to connect the dots," or "BH should get the hint because of how Dorian has been acting." I'm bad at picking up hints irl so I won't fault BH for not connecting those points.

This post is about what Dorian has explicitly said (even though I did add a couple parts where he implies what happens).

This is all under the assumption that Dorian has not told BH everything off camera.

All timestamps will be based on the YouTube VOD.

I may miss a couple tidbits so sorry in advance.

Now to the actual information

Episode 93

Cyrus died (3:43:24)

Two of Dorian's best friends became the champions of the Matron of Ravens and the Spider Queen (3:43:28)

It all happened yesterday (3:43:38)

Opal is "not really" okay (3:43:45)

Cyrus died in battle "if you can call it that" (3:53:36)

Until that day he never thought real evil existed (3:53:46)

What he saw in the previous couple days does was "irredeemable" (3:53:55)

They tried to help Opal (3:54:59)

Dorian knows that there are forces enacting on the world that go "deeper than [he] imagined" (3:55:05)

Fy'ra Rai stayed with Opal (3:55:16)

Dariax is "all right" (3:55:20)

Opal is alive but corrupted (3:57:04)

Fy'ra Rai may be walking down the path as Opal (3:57:12)

Episode 94

Dorian doesn't explicitly mention it this episode but there is a moment where he hints that the prime deities may have somehow been involved.

"If you are relying on the help of the gods, champions, I can't say that I trust them anymore" (2:30:17)

Episode 102

No explicit mentions here BUT we begin to get Dorian's opinions of the gods. That's not what this post is about so I will move on

Episode 103

More of Dorian's views on the gods and we finally get another (sort of) explicit mention

"The last I conferred with a god, they cared very little about the feelings of anyone around us." That god being the Spider Queen (1:37:01)

The reason I say "sort of" is because Dorian doesn't say this is in regards to Cyrus' death (even though we the audience knows this). Orym and Fearne could've easily assumed that this was in regards to their EXU times.

Episode 109

Get an idea of what "getting dark" means. Matt describes Opal as "a humanoid shape of white hair and a black crown dripping and black oil and ichor. Opal stands dark and still" (2:19:13)

"Opal the Twice-Crowned, born a fractured, dual soul. A being of unknown potential, manipulated by cult and betrayer gods alike to walk a violent path without agency, a pawn for the gods and their whims." Raven Queen describing Opal (2:19:32)

Opal has a spider form (different from three-armed Opal) (2:49:20)

Episode 110

Dorian remind Bells Hells that Opal is now the champion of the Spider Queen (51:29)

Laudna says "hang on, because didn't, the last time you saw Opal, wasn't she trying to brutally murder you?" (52:22). I guess BH knows it was the Spider Queen? I'm a bit confused because Dorian never explicitly told them this but maybe it was an off screen thing

Dorian: "I'm not certain any information we would get from her would be particularly reliable" (52:30)

What does Bells Hells know?

As far as they know, the day before Dorian reunited with Bells Hells:

Cyrus died in a (sort of) battle.

They tried to help Opal but she is corrupted, she is still alive though

Fy'ra Rai stayed with Opal

Dariax is safe

Opal and someone else are now the champions of the Spider Queen and Matron of Ravens.

Dorian discovered real evil existed

The title "Opal the Twice-Crowned"

Opal's spider form (but different the three-armed Opal that Dorian saw)

Opal is not a reliable source of information right now

What does Bells Hells not know?

Wildmother refused to help

Matron refused to help

The Spider Queen killed Cyrus (? tbh i'm confused about this one)

Dorian came here because Opal casted mass suggestion

Dorian abandoned Dariax

Opal's memories are either gone or altered

Opal with three arms

The whole Ted thing

And much more