#re: characters being paralleled

[aroaceleovaldez]

in your most recent tyson post, you said something about leo being distinctly autistic-coded and I was wondering if you could elaborate on that? it sounds really interesting (sorry if you've already posted something on this, I couldn't find anything though)

Of course! I do have a specific tag for talking about Leo's autistic-coding/traits - [here], and [one for Nico as well].

The main aspects with Leo being autistic-coded actually have a lot to do with Nico being autistic-coded, because it's the comparisons between the two that most clearly indicate Leo is autistic-coded rather than it just being his ADHD or etc.

So with Nico being autistic-coded, it's very clear in the Titan's Curse that he's intended to be autistic. First, the first series has a repeating pattern of secondary characters being very distinctly neurodivergent-coded in different ways (Annabeth's adhd/dyslexia, Tyson's down syndrome-coding, Nico's autism-coding). With Nico's introduction, he's pretty stereotypically autistic and we're given a lot of descriptors about him that are notably not attributed to him being ADHD, like it would be for other demigod characters. He doesn't register social cues such as people getting annoyed at him, he's asking/making inappropriate or impolite questions/comments, he gets particularly upset about change (such as Bianca joining the Hunt) and generally gets emotional, and one of his most notable traits he's introduced with is the fact that he has a special interest (MythoMagic) - and we're shown that this special interest particularly colors how Nico navigates the world. While ADHD has hyperfixations, we don't really get much acknowledgement of hyperfixations with demigods usually - Annabeth gets a little, but most others don't and it's not nearly as focused-in on as Nico's is.

Then as the series continues we see these traits stick with him and him start to show or voice more traits that similarly indicate he's autistic: He regularly mentions how he doesn't understand living people and prefers the company of the dead (social issues). He has more notable stims than other demigods (twisting his ring, fiddling with bones, etc). He's indicated to have strong sensory preferences (usually wearing mostly black/aversion to bright colors, usually wearing layers/his coat, multiple times he's described as wearing loose/baggy clothing or clothes too big for him). He has specific comfort items (his ring, likely his jacket(s) as well). We later get even more information about his special interests (Mythomagic/mythology/history and an older interest in pirates - the latter he specifically notes likely heavily influenced his feelings towards Percy). He struggles with emotions and facial expressions and tone. He struggles particularly with ostracism and feeling like he doesn't fit in and has something distinctly different about him from the people around him (who notably, all have ADHD, which indicates it isn't the ADHD that's making him feel that way), and other characters regularly describe him as being off-putting because of his strange behaviors - again, different from specific ADHD traits they recognize. And that last point is kind of notable because we have Hazel and Bianca for comparison - we know people are off-put by both Nico and Hazel because of being children of Hades/Pluto and their powers/aura, but other characters get past that general feeling of discomfort way faster with Hazel. And even after characters get past the death stuff with Nico, there's a second thing that they aren't moving past that isn't a factor with Hazel (Nico's autism).

So that brings us to Leo - Leo is paralleled to Nico a lot. And there's some very specific traits about him that we know are autistic-coding because of how they're used with Nico: He similarly struggles with social cues/etc, and in a very similar parallel to Nico describes how he prefers the company of machines to people because machines make more sense to him. He has similar types of clothing/sensory preferences (again some stuff with layers but also - pockets! He likes having pockets and things to put stuff in! He's even introduced as having a jacket with lots of pockets), and he has a distinct special interest (machinery) that we specifically know heavily influences how he views and navigates the world (constantly comparing things to machinery, describing things with machinery metaphors/terminology, etc etc). He even describes his entire general worldview to Hazel and it's a machine metaphor. He also similarly struggles with ostracization like Nico does, the only difference being that Leo specifically puts on a persona to compensate for areas he knows he's lacking in and very explicitly describes it as a means to make people like him, because without it he normally struggles to fit in (He's masking!). We also see notes of characters describing that similar discomfort with Leo's behaviors that they do with Nico, except without the aura of death this time. And when we're in Leo's POVs we see a very stark difference between his masking and his actual personality/behaviors such as his internal dialogues or how he behaves when he's alone. Also, like Nico, he stims more than other demigods, though for Leo it's more attributed to his ADHD. Leo also, more often than most, similarly struggles with tone and reading the room, such as making misplaced jokes/comments or etc.

But yeah! It's really interesting. Also it's just a fun thing that ADHD/dyslexia and autism have comorbidity, so it makes sense that we see demigods who are also autistic. It's also really fun to look at how other characters are coded in the series, what coding looks like in the riordanverse specifically (usually it's tied into the mythological stuff - like Chiron being in a wheelchair but he's actually a centaur, Grover being introduced as having a muscular disease but he's actually a satyr, demigods having adhd/dyslexia, Tyson being coded as having down syndrome but he's a cyclops, etc etc - it's a lot of specific metaphor stuff that I've talked about a bit before), and to look at how characters are compared to one another.

[eliotquillon]

thinking about the intimacy of names in house md. to house wilson is always wilson, occasionally jimmy; never james. the first major character who goes primarily by her first name is stacy; she’s also the only main character to consistently call house ‘greg’. we all know how it ends. thirteen’s real name is revealed in the same two-part special where she tests herself for huntington’s. the first explanation house comes up with for why kutner killed himself was the identity crisis caused by switching from choudhary to kutner. amber’s fate is sealed the moment cut-throat bitch never quite catches on and she reappears as wilson’s girlfriend to call house ‘greg’ with a smile. chase and cameron never quite break out of the habit of referring to each other by their surnames even after marriage and so of course things never work out. Biting at the walls of my enclosure as we speak

[adamnablelittledevil]

Something something about characters that are so afraid of being alone and will find love wherever they can, accept crumbs of it, including being neglected/mocked/bullied/abused and perceive it as banter or even love. Characters who feel like the only way they can accomplish such thing is with their servitude and/or body because they're not used to being loved just for their personality or for free...

[averlym]

pleaaase may i have 28 and 29 aramour angst ✨ i crave it

28: “Move out of my way before I make you.” // 29: “You deserve better.” (prompt list here)

click for better quality!

[waywardsalt]

everything about bellumbeck makes me go insane. i don’t even know how to express half of it. the way everyone is in mortal danger during that fight. linebeck is forced to try and kill link right after saving his life. the one time he’s actually taking part in a boss battle with link he’s the boss he’s fighting. the way bellum seems to take his time grabbing him. the fact that bellumbeck never really pays any attention to ciela and bellum just grabs and restrains her instead of putting her out of commission or straight up killing her. one of his attacks is a spin attack much like link’s and we can assume that linebeck has probably seen link do a spin attack at some point. the way bellumbeck’s helmet is designed to look vaguely similar to linebeck. if bellumbeck kills you when you have a purple potion it plays the same sting as when a phantom catches and attacks you. this is the second time this link has had a sword fight with another human as his final battle but this time he is effectively fighting alone. of the main cast linebeck is the most detached from the rest of the group and is the only one to be an enemy. bellumbeck’s helmet opens after some attacks and right before he’s defeated. linebeck’s character theme utilizes harpsichord and excludes piano and bellum’s boss theme utilizes piano and excludes harpsichord. bellumbeck’s theme includes both and for the first half and near the end of the song they play the exact same melody at the same time. linebeck is suggested to be unable to fight or properly protect himself in battle for the entire game and then in the final boss in a twisted, awful way he finally gets a chance to be a competent fighter capable of defending himself.     does any of this make sense

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[llycaons]

it's a little ironic how much I've been praising novel wx in comparison to hl considering how abjectly miserable I was while I was actually reading the book. all critique for tgcf aside, it IS actually I've been willing and pleased to read more than once. I just don't really know what else to compare hl to. they're written by the same author in the same general genre so it makes sense to place them side by side imo

I was actually trying to remember any other romances to compare them to that are like capital R Romances that are genuinely really good and capture what I like about romances in fiction but I don't think it would make sense to compare them to anything else I like. like I just remembered how much I adore fiona and shrek and I have no idea how to go about that comparison bc it's just so different in every way. anyway I love you fiona

[puddingbrainscientist]

it feels like this season, doctor who is dealing with the fundamental rules changing. it was strictly sci-fi, you could always logic your way out of any problem with technobabble and a clever plan.

but it feels like so much of the plot is wrapped around poking at the medium of being a television show, of being a story. we have multiple characters looking at the viewers, we have the maestro playing the theme tune, we have such clear parallels to season 1 (2005) that it feels like a universal coincidence. like the whoniverse itself is recognizing its a medium and playing with its tropes.

the genre is changing too - we are leaning more and more into fantasy, rules like you would see in stories about fae, not sci-fi. musical numbers out of nowhere that no one seems to question, with rain inside and musical sidewalks. the vocabulary of rope and power in coincidences. hell, even the way that time travel works is changing! suddenly stepping on a butterfly (specifically a trope in scifi that has been mocked/debunked previously) has consequences. the doctor swiping away the translation circuit's effects with the wave of a hand and breathing life back into a creature without breaking a sweat.

not to mention the way that space babies foreshadows to a universe that creates a story with all the ingredients it knows are supposed to be there (re: bogeyman - there's supposed to be a villain so it made one)

something IS going on. there is a bigger player - bigger than tecteun, bigger than the toymaker. could it be rtd just having a grand ole time using canon as is playground? maybe. but i hope it's something cool.

[cptrackham]

Taash should have been Saarebas

I'm really enjoying Veilguard, but I hate how they seem to have re-invented the wheel in almost every aspect they can. Wherever there's something established, if it was slightly complicated, they've felt the need to replace it with something simpler that has zero grounding in the past three games.

For me, the most glaring example of this is Taash. I LOVE them, please don't get me wrong, I think Taash is a fantastic character. But why, when the Qunari already have a deep, rich culture already built, are we suddenly being told 'oh yeah, by the way, some of them can breathe fire'. The Iron Bull never mentions this! And you think he bloody well would have!

It provides an easy, cool reason for Taash to have a unique skill and reason for their mum to have fled with them. But that reason already exists in the Dragon Age setting.

Qunari treat their mages horrifically worse than the rest of Tevinter does, with sewn up lips, effectively made slaves who can only do what they're told. They're called Saarebas. We have fascinating encounters with them in Dragon Age 2, and it creates a wonderful parallel to Ander's plight. So if you have a kid that starts controlling fire, demonstrating magic, you would absolutely do anything to stop your child being made Saarebas - an existing, fully-fleshed out and horrifying answer to the newly made-up branch of beserkers who can breathe fire that Taash's mum was apparently so keen for them to avoid.

And it would add so much more weight to Taash's character growth around choosing your identity. In a setting where having magical abilities is an immediate prison sentence, for the most part, having a character who goes, yeah, I have some control over fire, but I choose to hit people with an axe, is so much more compelling. Rather than their mother teaching them to control the flame, it's controlling their abilities so they doesn't open themselves up to possession. With characters from Tevinter, where mages are revered, it could open up fascinating conversations about someone choosing not to be like that. And it draws a fantastic parallel to choosing to go against your 'nature' with a different gender identity.

I'm so mad about this. Saarebas have been morbidly fascinating for so long. And I can't help see Taash not being one as another way that DATV is trying to smooth over and ignore any dark patches of Dragon Age lore (i.e the slaves completely absent from Minrathos) and choosing to make DATV accessible to newcomers over engaging with established lore.

[honeyflashbang]

My theory on Sampo's true identity...

(Minor Spoilers for 2.4) (also, I’m no expert in… anything, really, but these are just my ramblings).

So, this has probably been mentioned before, but I have a teeny-tiny theory about Sampo’s true identity, and it relates to Finnish mythology.

So, “Sampo” in and of itself doesn’t have a set meaning, but it has its roots in Finnish mythology, particularly the “Kalevala” which is a 19th-century compilation of epic poetry. In it, a blacksmith god by the name of Seppo Ilmari(nen) forges the mythical device known as “The Sampo”. It’s never quite explained what The Sampo really is; some versions depict it as a mill, others as a cornucopia from which bountiful creations flow from, and some even have it as being a world tree/world pillar, so what The Sampo really is, isn’t entirely known. But, what is known, is that it brought riches and good fortune to its holder (again, the same as the cornucopia from Greek mythology).

But why am I mentioning all of this? Why bring up the Kalevala? It could be that Hoyo just chose the name “Sampo” for some flavour—befitting of a character who magics up relics from seemingly thin air and is trying to create riches—and yeah, it’s a possibility…

Until I saw these two screenshots from the 2.4 story:

You know what this means, right? 

Kalevala is a real planet in Hoyo’s Star Rail universe, and I find it awfully coincidental that they would use this name for a planet and not have it related to a certain blue haired conman, especially since The Sampo is such a pivotal element in the plot of the Kalevala—there is no way this is a coincidence (I refuse to believe it).

This leads me to believe that Kalevala is Sampo’s real home world, and is where he originates from.

Now, this is all well and good, knowing where “The Sampo” hails from, but I want to focus on its creator—Seppo Ilmari(nen)—and his parallels to a certain blue haired conman. For one, Ilmari(nen)’s name is quite interesting as the ‘Ilma’ part is Finnish for ‘air’ or ‘weather’, and as we know, Sampo’s element is that of ‘wind’ (And also the fact that Ilmari(nen) is credited as “Godlike smith-hero and creator of the sky”. I could go into a whole spiel about Ilmari(nen) and Qlipoth swinging their giant hammers in tandem together for all eternity (Go Sampard! Geppie is Qlipoth's true heir, you can't convince me otherwise!), but that’s for another conspiracy theory lol).

So, ‘Ilma’ means ‘air’, and Sampo wields ‘wind’.

Cool.

If the parallels ended there, I’d just say I was being crazy… but there’s more.

Sampo’s 4th (and arguably best) eidolon is called “The Deeper the Love, the Stronger the Hate”. Two out of his six eidolons refer to 'love', whilst the other 4 are to do with wealth and riches. The wealth and richest aspect leans towards The Sampo of mythology, whilst the ‘love’ aspect, well…

According to the story, Seppo Ilmari(nen) is the unluckiest bastard alive when it comes to love. Like, seriously. His whole storyline is that he can’t find a woman. For one, Seppo Ilmari(nen) is double crossed by his so called buddy, Väinämöinen, into creating The Sampo for the evil witch Louhi of Pohjola in exchange for her daughter’s hand in marriage (which, Ilmari didn’t even want in the beginning), but when the poor guy actually sees the daughter and falls in love with her (and subsequently creates the Sampo—after failing miserably a number of times, mind you—he creates a crossbow, a boat, a cow(wtf?) and a plough, all which are somehow either evil or flawed), she ups and just leaves him hanging! (in the original runes, however, he is successful in gaining a wife, as his ‘unlucky in love’ spiel was later added by Lönnrot in compiling the Kalevala).

As with any mythology and re-telling of it, there’s so many different versions of the same event. In “The Maiden of the North”, a 1898 opera written by Oskar Merikanto, both Ilmarinen and Väinämöinen compete for the chance to marry Louhi’s daughter, who is then mentioned as being “Ilmari(nen)’s first wife” and who later dies to Kullervo’s curse (apparently she was a bit of a bitch to Kullervo by taunting and tormenting the poor boy—who was a child slave mind you!). Distraught, Ilmari(nen) forges himself a wife of gold and silver, but he finds her to be too cold and callous—he forges her out of love but only finds hate—so he tries to gift her to Väinämöinen (who doesn’t want her either, lol), and suggests he cast her back into the furnace and to “forge from her a thousand trinkets”.

Here’s the accompanying poem:

Never, youths, however wretched,

Nor in future, upgrown heroes,

Whether you have large possessions,

Or are poor in your possessions,

In the course of all your lifetime,

While the golden moon is shining,

May you woo a golden woman,

Or distress yourselves for silver,

For the gleam of gold is freezing,

Only frost is breathed by silver.

It is apparently your standard Aesop’s fable of “money can’t buy happiness”, which is something else I see in our dear old Sampo Koski. During our time in Belobog, we see how different he acts with the Underworld and Overworlders. To the poor, he actually seems approachable (albeit a bit of a nuisance), going so far as to help the Underworlders (an example being the questline “Survival Wisdom” in which he and Peak set up a business together renting out his tools to help the miners make a decent wage to support their families). In contrast, we actively see Sampo being very hostile towards the Overworlders, scamming them and putting the nobles in their place or setting them up to be caught by the Silvermane Guards (an example being during the museum questline where you discover his identity as “Mr Cold Feet”. Sampo clearly states to who he thinks is his mark that ‘we are not friends’ in a very hostile manner, something which we’ve not seen from Sampo before as he is usually quite amicable). 

For all Sampo’s showboating and flashing his money around, he helps where it counts. He wants to make money, sure, but not at the detriment of the people who need it the most, only to those with excess.

Anyway, back to him being unlucky in love…

In another rune entitled “Kosinta”, Ilmari(nen) goes on a journey to compete for Hiisi’s daughter, and wins by completing various feats, one of them being “ploughing a field full of snakes”:

And as we know, Sampo is very heavy on the snake motifs (the head of the snake on his shoulders, the spine wrapped around him, the daggers are its fangs…etc.)

So that’s another interesting link between Seppo Ilmari(nen) and Sampo Koski.

So, why have I gone on this long winded tangent about Seppo Ilmari(nen) when I’m supposed to be talking about Sampo Koski?

Well, that’s because I think Sampo Koski’s real name is (or a variant of) Ilmarinen.

In the Hoyo universe, I believe Ilmarinen came from the planet Kalevala and ‘created’ the persona of Sampo Koski, much like how in the Kalevala, Seppo Ilmari(nen) forged The Sampo.

As I’ve listed above, there’s so many links between the two:

“Air” as a name and “Wind” as an element.

Seppo Ilmari(nen) ploughed a field of snakes to win Hiisi’s daughter’s hand in marriage, whilst Sampo Koski relies heavily on snake motifs for his attire.

Sampo’s two eidolon names that relate to love (which are completely different from the other 4 eidolon names), whilst Seppo Ilmari(nen) is known to be unlucky in love.

I’m pretty damn sure Sampo creates his own bombs and tinkers with the old relics to bring them back to life, whereas Seppo Ilmari(nen) is a smith who created the dome of the sky! They’re both artificers!

And now the revelation that a planet by the name of “Kalevala” exists is no mere coincidence.

So, either Sampo is Ilmari(nen) - or! - Sampo is a puppet (like Herta) created by someone called Ilmari(nen). 

(I would love if his 5* version is him with this name).

Right, I’m finished rambling. Gonna go huff some copium...

[ask-whitepearl-and-steven]

Is shattering permanent in the comic (especially with the force fusions and cluster) or can it be fixed down the line like future did? Asking for your opinion on this too bc I found out about it in Future and it makes me feel weird (bc now it feels like any SU stuff and shattering has no consequence or tension, so haven’t been able to read or write stories). Maybe I’m seeing this wrong? Would love your thoughts

Hmm...

So to answer your first question: The comic for WDAU works on the same rules as canon does. I have no intention to over-write anything canon clearly stated to be true.

The ability to put back together shattered gems is definitely a part of that.

So yes, theoretically, even in WDAU, gems being shattered is not 'the end' because they can be eventually re-instated through the work of the diamonds, IF they someday decide to Change Their Minds like they did in the original series.

That being said...

I want to talk a little bit about something you said, because it tickles my brain in an interesting way:

"now it feels like any SU stuff and shattering has no consequence or tension"

And the best way to talk about stuff, I've found, is to ask questions about our underlying assumptions. So my questions for you (all) today are:

For us humans, death certainly IS a constant that remains ever-permanent, and thus it's easy to compare it to shattering and draw that parallel... but is that a fair comparison?

In fiction, death is often circumvented and there still remains reasonable tension in things like magic-heavy worlds, vampire novels, sci-fi where almost any sickness is eradicated, etc. Is this not quite similar to what shattering is for gems?

Is the perceived permanency of shattering the only reason it feels like a heavy consequence?

Are there OTHER consequences of being shattered that make it just as interesting, if not more than, to be explored as a plot device?

Must there be an ever-looming threat of something horrible and permanent happening to make a story good?

There isn't a right or wrong answer to these questions, necessarily. I'm not posing these in order to lead you to a singular, 'absolutely correct' conclusion or way of writing.

For some stories, death DOES need to be permanent in order not to make light of what the characters go through! In some forms of writing, there IS no other way around that consequence.

But I daresay SU is not one of those stories.

Let me put it this way - 100 years ago, medicine had only BEGUN to develop into the thing we know it as today. Sure, there were therapies and treatments for diseases, broken limbs, poisonings, etc. Some of them were quite good, even! But overall, the death tolls back then from basic illness were MUCH higher than they were today.

Pnumonia, Malaria, Syphillis, Smallpox, Bubonic Plague, AIDS.

These were things that people died from, with near CERTAINTY, for the LONGEST time. They were considered the road to a permanent black screen.

And today? Even though they are still, without proper intervention, JUST as deadly, we now have new tools and vaccines to combat them. Hell, if you get vaccinated fast enough you can get bit by a rabid dog and live to tell the tale, unscathed! Rabies used to be a one-stop-shop to the afterlife.

Despite this, we still view these diseases with appropriate fear. They are still dangerous - in the right conditions.

In the right conditions, the consequences for a LOT of things can be permanent. If permanency is what you're looking for.

So alright, the Diamonds can heal shattered gems now. Booooring. How easy it is to fix any shattered gem! What a simple solution to anything tragic.

But................... will they ALWAYS do so?

In fact...will the Diamonds ALWAYS be around?

Will the gems who got shattered always be picked up, piece by piece, and be brought back to them, perfectly preserved? Or will they lose pieces of themselves along the way - literally?

And what NEW consequences can we think of, when we stop thinking of the permanency of death, and start thinking of the Impermanence of those tools that keep us here longer and longer?

Just food for thought. 👀

[eurydicees]

re what they are saying about fiyero on twitter - gosh there is too much stuff. they talk about how uninteresting he is, how his presence has no effect on the leads, how he shouldn’t be elphaba’s endgame and doesnt deserve to be, how they want to delete him from the plot (somewhere along those line), how they want to block anyone making any fiyeraba or fiyero tweets or content and much, much, MUCH more like i genuinely do not understand the obsession?

i of course get not liking him, thats normal about any character lol but the way they just cannot shut up about how they dislike him is so….. like really no one is challenging your gelphie content 😭 we really are not interested to challenge your ship. you really dont need to focus on this guy 24/7 but ig you do you i hope they remain sane amidst all the apparent misery lol

well. you know. disappointed by not surprised. a partial fiyero ted talk under the cut. sorry.

it's like. it's just so frustrating to write him off as uninteresting and as having no effect on either elphaba (or glinda). like guys why is the media literacy not happening right now. also how the fuck would you delete him from the plot???? guys his plan is literally how elphaba escapes dorothy. he's the one who saves her from the gale force, TWICE. he literally sacrifices himself for her escape and its his sacrifice that makes her spiral into "wickedness" during no good deed.

also, fiyero is elphaba's endgame in part because he does what glinda cannot bring herself to do. WHICH IS SO VITAL TO THE ENDING. fiyero is the one who makes all of the sacrifices for elphaba that glinda refused, and he both pays the price for it and reaps the reward of it.

glinda and elphaba have a profound effect on each other, obviously, but it's not like fiyero is left unchanged by elphaba. i dont get where this idea that fiyero and elphaba have no dynamic because like??? that's just not true?????

fiyero goes from refusing to confront the difficulties of life to choosing the more difficult path for the sake of morality and loyalty and love because of elphaba (which is also really interesting given how he's, like, kind of a casualty of war in the book more than he is an actual rebel....mostly fiyero's book to musical adapation is #Rough but that's a cool parallel i hadn't noticed before).

glinda begins to see the flaws in the wizard's society, but she actively chooses to be a part of the system anyway. and she regrets it. that's the whole thing abt thank goodness!!!

fiyero, on the other hand, begins to see the flaws in this society and he chooses elphaba--and the life of rebellion that she's chosen--over everything that glinda admits to being unable to resist.

and GOD. guys that's so interesting. HES SO INTERESTING!!! how are you not interested by all of this!!!!!!!!!!!!!!!

wicked is such a cool study on morality and what the "right" thing to do in such a world is, and what it means to make the decision to do the right thing vs the comfortable thing. fiyero chooses to follow elphaba and he pays the price, but he also doesn't regret it. glinda chooses the "safe" option--but in the end, even if she chooses good then, she's entirely alone in it all.

and that's SO INTERESTING!!!!!!!!! god. whatever. twitter just doesn't get him like you and me get him, anon.

just. it's totally fine to dislike him! i'm not refuting people's right to dislike him. the nature of fictional characters is that sometimes people will dislike them. like that's fine.

but being incapable of shutting up about how much you hate a character just...it stops being "harmlessly disliking a fictional character" and starts being "you are insufferable to talk to." like sorry you're so miserable about fiyeraba but i'm gonna be over here just having fun because that's what fandom is supposed to be about :)

(also, just a major issue with breaking this movie up into two films released a year apart is that any movie-only fans just don't get the point of fiyero's character. it's kind of devastating. ik not all of the people saying that stuff are movie-only but man. the people who are...im BEGGING you to give him a chance in part 2. literally BEGGING you. fiyero is such a good character. he has so many good moments. let the green girl go lives in my head rent free and if they cut that i'll riot.)

tldr; fiyero is SO neat and twitter is just full of cowards.

[pinksmonkey]

Posting my Ultimate Byler Evidence/Analysis List here directly because it probably makes it more convenient and I should have done this a while ago. XD

There is so much proof for Byler being endgame in S5 of Stranger Things. They are so cute together, and so much in the show has been building up to their relationship. I just wanted to share some of my favourite Byler analyses, because they are so cool, detailed, and in-depth. I love reading about all the hints, symbolism, and subtext for Byler, it's amazing how much thought must have been put into all these things. Why go through all the effort of adding these details if they aren't actually going anywhere with them? Mike is so queercoded, and they are truly in love with each other.

🫥 Just gonna leave some good Byler analyses here 🤐

Most of the links go to written Tumblr posts, and a couple of them are Reddit posts. So it's a lot of reading. If you prefer watching videos over reading, I highlighted my Byler YouTube playlist in green so it's easy to find.

And apologies for any of the links that aren't working, I know some of the posts have been deleted now sadly, but there's no way I'm re-numbering all these so I'm just leaving them in. My fellow Bylers, please stop deleting your amazing posts. ;-;

So anyway, here is the list of some of my favourite Byler evidence/analyses of all time (not in any particular order):

1. Mike's Season 4 Monologue To El

2. Camera Roll Byler Proof Part 3

3. Mike's Monologue and Milkvan

4. Mostly Byler Post Index

5. Dawson's Creek Parallel

6. "My Experience With Stranger Things"

7. What Ollie Learned From Film School

8. Byler Music Analysis

9. Why Don't The Duffers Discuss This?

10. ST Theories Masterpost

11. If Byler Isn't Endgame Then Someone Screwed Up

12. Byler Crumbs From The Cast and Crew

13. Favourite Combination of Endgame Byler Proof

14. I Doubt Byler Then I Remember This

15. The Fact That We Have This Interview

16. You Know Your Ship is Endgame When

17. Mostly Byler Post Index 2

18. Losing Hope Of Byler Endgame?

19. Why I Think Byler is Endgame

20. So Many Thoughts on This

21. Mike's Wall Art

22. Painting Miscommunication Leading to Mike's Monologue Coded

23. Yes, That Scene Did Foreshadow Mike's Monologue as Disingenuous

24. Mike's Monologue Didn't Sit Right With Me

25. Blue And Yellow Pen

26. That Tweet Is So Sweet

27. Heart Eyes, Literally

28. "My Process of Realizing Byler is Real"

29. Looking at Will, Not El

30. High School Musical Parallel

31. Said It Before and I'll Say It Again

32. Delusional Milkdud?

33. ST Writers Twitter Analysis 1

34. ST Writers Twitter Analysis 2

35. For When You Are Doubting Byler

36. Is Mike Bi or Gay?

37. Fully Convinced

38. The Ultimate Byler Playlist (my Byler YouTube playlist)

39. 100% Confident

40. Mike in S4 and S2

41. Mike Is Angry With Himself

42. It's Been A Year, Mike

43. Rink-O-Mania Remodel

44. The Development Of Will And Mike's Relationship

45. Mike's Lies

46. El Was Holding So Much In

47. Flickergate + Lettergate

48. Did Mike Ever Like El Romantically?

49. Mike Is Stupid

50. Byler Won't Write Itself

51. What's The Alternative Explanation?

52. Comparing Mileven and Byler

53. It Was Always About Them

54. Mike Is Not Ok

55. He Has A Love Interest

56. Will's Happy Ending

57. Trying To Be Normal

58. It's Not That Milevens Are Homophobic

59. Byler Is Reality

60. A Proper Look At El's Shrine To Mike

61. Mileven Through The Seasons

62. Suspicious

63. I Can't Doubt Byler

64. D&D Soulmates

65. Let's Talk Phones

66. Not Delusional

67. What Do They Want?

68. The Main Character

69. Mike's Mental Health

70. So Close

71. This Look Confirms Byler Isn't One Sided

72. Mileven Is Bones

73. They Don't Care About Mileven?

74. The Airport Hug Will Always Be Famous

75. The Monologue Mystery, Why Did They Lose?

76. The Cabin Scene

77. Why Couldn't Mike Say It For 2 Seasons?

78. He Was Trying To Find Will

79. Mike The Surfer Boy

80. Mike Definitely Shows Attraction To Girls

81. The Cast Knows

82. Mileven Loses On All Fronts

83. The Bouquet

84. 53 Minutes And 5 Seconds

85. Pink Panther

86. El And Choice

87. Will's Spotify Playlist

88. He'll Come Crawling Back To You, Begging For Forgiveness

89. Mike's Character Arc Prediction

90. It's The Same Look

91. Will's Truly Happy Ending

92. That's The Same Look, Right?

93. You're The Heart

94. Mike And El's Relationship In S4 Was Really Weird

95. Fireworks Parallel

96. Mileven Has Been Built Up For 4 Seasons

97. Not Stupid: The Fate of Mileven and Byler

98. This Suddenly Makes So Much Sense

99. Metaphors In Filmmaking

And unfortunately Tumblr will only let me add 100 links per post, so when I've posted part 2 of this list, I'll link it here: Part 2

[greenfiend]

Why I’m confident that El was willed into existence…

In a show that frequently references superheroes, alter egos, clones, “subs”titutes, and swapping places…

Is it truly that far fetched to believe that our main “hero” is actually the boy who likes to hide in disguise all along?

In other words, let me explain the evidence that Will created El and what it means for the ending of the show.

I’ll begin by saying that even back when I was a GA watching the show, I sensed that there has always been a supernatural connection between the two of them.

Think about it. Will vanishes, El first appears then El vanishes and Will re-appears. They “swap places”. Will is “good at hiding” and thus El takes over as the lead.

El is a masculine girl (at least power-wise), while Will is a feminine boy. They are connected but yet within the show they aren’t that close? Sure they’re “siblings” now but the writers made a choice not to focus on building up their relationship/bond. In fact, we see them continuously being separated from each other. This conveys a subtle message to the audience:

They cannot co-exist.

They both take up the same role within the show. Let me explain…

Let’s start with similarities between Will and El

Both are around the same age

Both are quiet

Both have a mother who is loving yet distant and both mothers are implied to have mental health issues and are heavily paralleled.

Both have a complicated and ab*sive relationship with their father/“papa”

Both are associated with powers

Both have been victims of bullies

Both have trauma and struggled with their emotions

Both are associated with repressed memories

Both are romantic love interests for Mike

Both are heavily connected with the supernatural

etc etc…

Let’s talk symbolism…

I’ve mentioned this many times before but the writers have subtly used the explosion of “Little Boy” the atomic bomb as a metaphor for Will’s disappearance.

“Little Boy” is Will Byers himself. The real “Little Boy” bomb caused a nuclear fission reaction. Fission means to “split in two”. We also have the Phineas Gage metaphor that conveys splitting of the brain.

On top of this, in the flashback of El opening the gate for the first time, we see the Demogorgon feasting on an egg. When El sees this, we see cracks appear and the gate opens. The egg cracks. This is further implied with this line:

If the hair is a nest, the egg is the head. The head “split”/cracked open. Like an egg, the head hatched… which implies a birth!

Notice how they chose an “owl” out of all birds? Owls are associated with wisdom, and the Greek Goddess Athena. How was Athena born, you ask?

Zeus had a “splitting” headache and then Athena was born from his head.

”Splitting” is also a term within Dissociative Identity Disorder when a new alter/personality emerges. Alters are often seen as “superheroes” as they often protect the host/the system from experiencing trauma. They take over, and “swap places” with the host/other alters. There are common alters roles within a DID system, and one of them is called “The Gatekeeper”.

“The Gatekeeper” controls access to the gate, and to the memories (sound familiar?)…

To add to the “splitting” analogy, we have multiple references to El being “half” and not “whole”. Notice how she’s “twice” as happy with Will present, after being “half”way happy? Two halves = a whole.

Another planet/different species

We have many references to the UD being another planet. If the UD is another planet, all those who inhabit said planet are a “different species” or rather, aliens.

As we all know, El is heavily inspired by “E.T.”, a famous alien character. When she comes to “Earth”/the right side up, she is, essentially, an alien. She doesn’t fit in because this is not her world.

El was even paralleled to D’Art who, as we know, was a “new species” that literally came from Will’s head!

D'Art is a "new species" and El and Max are a "different species" aka "material girls". This implies that they all were created.

They aren't from Earth but instead they're from "another planet". We are given a hint to this in the shot above on the left. A globe (Earth) near another round sphere (Will's head...)

Relevant Media References Within the Show

Within the show, we have many references to other media- specifically media that contains a character with an alter-ego.

Superman is the simplest one to explain, so I’ll start with that. As we know, Mike said El was “Superman”, and that he was “Lois Lane”, prior to Will expressing his love for Mike using El’s name. The writers chose to reference Superman for a reason and it’s not just because El has powers or that Mike is gay. We are supposed to connect the dots and conclude that:

Will is Superman’s alter-ego: Clark Kent. The seemingly nerdy ordinary guy who loves Lois Lane but who is (secretly) Superman.

(Read the line from Lois above, it is incredibly relevant to Will and El)

Another commonly referenced movie within ST is The Neverending Story.

(Atreyu looks into the mirror and sees Bastian…)

The similarities between Bastian (bullied bowl cut boy) and Will are fairly obvious, as well as the similarities between Atreyu (the hero) and El. Well, it turns out that Atreyu was actually Bastian the whole time.

X-Men has also been referenced within the show.

Will asks Dustin for "X-Man 134" in the very first episode. This comic is significant because it was the first appearance of "Dark Phoenix".

In the book the Dark Phoenix is accidentally unleashed by the Mastermind who is tinkering around in Jean's brain trying to unlock the full potential of her powers. x

I argue that the "Mastermind" is actually Will himself who unleashed El into the world. He cast "fireball" unleashing El, the phoenix.

That's not the only X-Men clue however...

In the original Montauk script, it was X-Men 269 that Will asked Dustin for.

@threemanoperation made an excellent post about that here.

There are clear references to gateways and "splitting" which are incredibly relevant to this theory.

Karen's Novels

In this scene, Karen is reading a book called “Tender is the Storm”. In that book, there’s a surprise twist at the end:

These two "twins" that the main character is torn over end up being the same person.

Now keep in mind, the previous novel Karen reads also has clear relevance/foreshadowing. Credit below goes to @/kaypeace21, her post is here.

Sound familiar?

Hawkins Lab/Tunnels

Tunnels are something that we see a lot of... especially in Will's drawings in ST2. He draws tunnels from his mind... it's his mind map.

So... El came from Hawkins Lab, and escaped through these tunnels.

Hawkins Lab...

There's lots of subtle clues that "Hawkins" is metaphorically Will. Let me explain...

"Hawkins" is still healing from the gate being opened = "Will" is still healing from the gate being opened.

"But some of him is here, too. In me. It's like... it's like he's reaching into Hawkins [me] more and more." - Will

"Hawkins" isn't the same without Will because "Hawkins" *is* Will!

So El came from "Hawkins" lab = El came from "Will's" lab.

A laboratory is a place where things are created.

The mind is a "prison" as Papa states. Then we have Hopper and Henry comparing Hawkins Lab to a "prison"/El being a “prisoner”.

El is a prisoner of the mind…

Thus we can conclude: Hawkins Lab is Will's mind, and that is where El came from.

She was a prisoner of his unpleasant and traumatized mind who managed to escape into the real world.

El's Memories

The biggest question is... if El came from Will's mind, how does she have her own memories?

The answer to this is fairly simple:

El has Will's memories...

A major clue of this is in ST2. In a flashback, we see Hopper teach El Morse Code. Later on within the same season, we see that Will knows Morse Code...

Now I know this sounds like a stretch for some, but the major reason why is because we know so little of Will's past explicitly.

We have never seen Will and his father Lonnie directly interact. But through many many clues we can infer that Lonnie had a profoundly negative effect on Will. Not only was he obviously homophobic and a deadbeat father... but many clues point to him being so much worse. I talk about much more in this post.

"Papa" may not be real, but rather a manifestation/altered version of Will's father.

In one of the comics, we see a clear parallel here between El and Papa and Will and Lonnie. The father shutting out the child and ignoring their cries.

Perhaps the biggest clue of El having Will's memories, however, comes from 4x02.

Lets break this down:

In ST1, Jonathan tells us that his father forced him to kill a rabbit on his birthday and it was traumatic for him.

In ST2, March 22 is established as Will's birthday and we are told by Owens that "The anniversary of an event can bring back traumatic memories."

In ST4, we are told that "our brains protect us from trauma" by repressing memories.

In ST4, Will's birthday (the anniversary) is forgotten (repressed memories).

In ST4, on March 22, El has flashbacks to a massacre... and the song "Wipe Out" plays. "Wipe Out" can mean two things: to kill (a rabbit?) and to eliminate something completely (memories).

So... with all of that knowledge... wouldn't you say that it's interesting that El has traumatic memories on Will's birthday?

I think it's fair to conclude that:

Will experienced something very traumatic related to his father on his birthday (March 22), and he has repressed the memories. El, as the "Gatekeeper Alter"/superhero protecting Will/the system, has access to Will's memories.

Gatekeepers control access to specific memories or protected alters and can, in some cases, prevent unwanted switching. These alters aid in preventing traumatic memories from escaping from the alters who control them, thus throwing up amnesiac walls to protect the whole system. x

Which is why in the NINA plot line, it was all about El retrieving back memories... Will's memories. Or rather, altered versions of his memories.

Just to re-affirm the point that Will does not have his own memories... we were gifted with this subtle clue.

"Larry" is a nickname for Lawrence/Laurence. Lonnie is also a nickname for Lawrence/Laurence. So basically:

Will doesn't remember Lonnie. Or rather, he only vaguely remembers Lonnie.

El has Will's memories of Lonnie, and we see them through her flashbacks with "Papa".

This is exactly why we never see Lonnie or rather rarely have any direct mentions of him within the show. He is a deeply repressed memory.

I could go on about this because there are tons more hidden clues but this post will get FAR too long.

Why did Will create Eleven?

Wherever you go, the number 11 seems to find you - this is an angel number. x (credit to @thestrangestthing89 for pointing this out).

To answer this question very simply: Will created El as a replacement for himself. She was his "guardian angel" to protect him from his trauma, but also to erase him.

We really do not discuss this enough, but Will has crippling self-esteem issues! That's why he's so selfless and that's why he always tries to hide. He doesn't believe he's worthy of... anything.

El is a strong, brave, and socially acceptable version of himself. She has superpowers and she can be with Mike, because she's a girl. It'd be acceptable.

But over time we see that El could never replace Will, nor does she want to! El replacing Will causes everyone to be miserable. Will, Mike, his family, and El herself.

How it may be explained within the show

So, DID itself was not a term that existed within the 1980s, it was called "Multiple Personality Disorder". My guess, however, is that they will not use any specific medical term. They will, instead, use a DnD term:

"Changeling" x

According to folklore, a changeling was a substitute left by a supernatural being when kidnapping a human being. x

After Will vanished, El, a supernatural being, appeared in the same place. This whole time El was a "changeling"/substitute for Will.

El's Ending

El's ending has been a hot topic as of recently, for a good reason. People are scared she'll be killed off and express their discontentment with that. Will she be killed off?

Not exactly. Let me explain.

El is E.T., an alien who ends up returning back to their own world. The same thing will happen to El. As I explained, El came from Will's mind, and she will return to Will's mind! This will be her own choice, because she's not adapting to the real world. It's been a constant loop for her, and she's not happy. She hasn't felt like she belonged.

She's tired of being forced into roles that aren't her own.

El and Will will "combine" via fusion. This is where the "Little Boy" metaphor for Will returns. El came into the world via "fission" (splitting) and will return via "fusion" (combining back into Will).

The important thing to note here is that she will not "die".

As Henry states, she will live on in the mind. Most likely, a much more pleasant version of the UD. My guess is her ending will be similar to Frodo's at the end of Lord of the Rings.

(Notice how she disappears into Will? That's obviously intentional visual foreshadowing).

I have even more to say on this but this post has been long enough!

What are your thoughts?

[kyoteugly]

Disclaimer: This may be a bit chaotic (also sorry for my English), I never done this type of post before and I assume you know the show so I don’t go into details of every event - you saw them, you know what they’re about. And it all comes down to Buddie going canon. Here we go, enjoy! (warning 3,6k words)

If we take a look at 911 from a distance some things fall in an interesting pattern. I believe at least part of it is intentional. And if this theory is correct - standing ovations for the creators are in order, because they kept the continuity of the previous seasons while simultaneously re-launching the series. We have introductions of the main characters, we revisit big moments from their lives (sometimes in a more flashy way, sometimes more subtle), and we get a new perspective from them (those big moments) to show the character’s growth.

Ok, what’s the theory?

You should watch seasons 7 and 8 as seasons 1 and 2 on abc.

But Tim isn’t simply retelling the story. He takes the core emotion from a big event and puts it into new scenery with inclusion of how the character had changed over the seasons 1-6. 

Before I jump into Buck and Eddie, let's look at a few examples. 

ATHENA:

Introduction of Athena in season 1 goes with her marriage problems. The same in season 7 (it’s one-sided, because it’s her story, not Bobby’s).

May suicide attempt -> in season 7 there is this unnerving vibe around Bobby’s retiring actions, especially when Athena is talking with him (at least I felt this suicidal vibe and we all thought for a moment Bobby is responsible for their house burning down).

The reason why Athena became a cop, the tragic story of her fiance -> bringing back Jenkins in season 8. This plot could work without him, there could be just some no-name prisoner and Athena could simply get the order to escort him without any deep explanation - but the main core of this plot was to revisit Athena’s past.

She was attacked/in mortal danger on the job -> the whole plane disaster in season 8 (and I’ll get back to that because this is the key moment in Bathena story, this is their core).

BOBBY:

His alcoholism is haunting him and it leads to his house burning down while he’s trying to save his wife (and all of this is the result of his actions). His arc in season 7 covers his past.

And also his relationship with the 118 get’s the familiar spotlight - him being a father figure for the team. Everyone comes to him for advice while he’s forced to be away from his firehouse - and during those conversations he’s in the middle of planning his future with Athena (previously their wedding, now it’s about their new home).

As for them as a couple it’s the plot lines of Athena being attacked and her landing the plane. She is in danger, doing her job, he is the one watching/listening. But while in the past he was powerless, merely an audience to her fight, now he is her partner, he’s in danger with her and it’s his choice (with the cruise ship they both were thrown into the danger, this wasn’t the parallel to the past). And yes, this is their characteristic, but when you’re new to the show, you started watching it with season 7, you may not know this about them… so here, Tim is showing you what Bathena is about, ride or die partners with unwavering faith in each other.

Again, the core element of the big moment and the emotional growth/journey of the characters (introduction while keeping the continuity - revisiting the events, not retelling them).

HEN:

She has a very big plot line that includes a few big events from her life.

The plot with Ortiz’s son reminds me of the girl Hen hit with an ambulance. Back then Hen was a mess, doubtful about herself, and people around her reminded her that she did everything right. Now she doesn’t doubt, she’s sure, even when there is not enough conviction from her team. 

Following this plot we have the whole thing with Ortiz and Mara - which basically is covering the same core aspect we saw with Eva and Denny.

For Hen, family is the most important, actually for her and Karen - and this part also shows their journey as the power couple - because now they’re fighting together for their child (against Ortiz) and not with each other (like it was when Eva was threatening their family). They’re much stronger now, after all those years, family love guiding them through life.

CHIM & MADDIE:

They both have their respective episodes in season 7.

Chimney: Why put Doug there? Why Kevin and karaoke bar (the backstory of how Chim became a firefighter) if not for the introduction of the character, for revisiting his big moments…? 

Maddie and the call with the abducted woman -> we learn later it was her stalker not her husband, but Maddie assumes it’s the husband because of her own trauma. And in the same episode her postpartum depression is also addressed -> the abducted woman is separated from her baby - it’s symbolic but it’s there (like I said, not everything is flashy).

As for Madney - it’s all in the way they’re looking for each other when their mental state is in question (past - Maddie in Boston, present - Chim being sick). Their emotional journey lies in the way of how sure of their love they are. Again, in the past they were taking things slow, finding each other but giving each other space and time, careful “i love you” etc - Now they speed things up by getting married right away, right there in the hospital - because they’re sure.

There are more core things (and revisits) to all characters but I won’t go deeper into this because I want to talk about Buddie (with more details)... so…

All 3 power couples got introduced and redefined anew for the new audience, but the core of what makes them Bathena, Henren, and Madney remained the same - just bigger, bolder, stronger… What remains, in the spectrum of main relationships, waiting to receive the same treatment, is Buddie.

EDDIE:

Through season 7 and 8 so far we got to see main aspects of Eddie - soldier, father, widower, best friend (yes, there are elements of them being more, of some deeper feelings, especially from Eddie’s side - this is the part of the continuity from previous seasons… but because seasons 7 and 8 are new seasons 1 and 2, Buddie is leaning a little more to the “best friends” side - for now… it just started to change with episode 8x05).

We learn about Eddie’s character - he’s caring but also sassy, he works great under pressure, he’s not superstitious, he panics when relationships get too serious (not full blown panic attacks this time, but catholic guilt plays the same role here).

The big moment from Eddie’s past is Shannon’s death. The show can’t tell this story again, can’t kill Shannon again, but they can show the new audience the impact Shannon had (and still has) on Eddie’s life -> and here we have the whole “Kim plot”. 

One more thing worth mentioning about Eddie and parallels is that he left Chris and his wife in the past -> now Chris is the one who left him, and the only relationship his son has to offer to Eddie is a glitching facetime video in a moment of the day when he’s busy (Chris) - sounds familiar.

Yes, there are more big moments in previous seasons, but each of them is intertwined with Buck, ergo can’t be discussed without him. So let’s jump into Buck now.

BUCK:

Just like with Eddie we get the reminder of main characteristic of Buck in form of: infodumping, ingenuity, thinking outside the box, being good/capable on a job, abandonment issues (Eddie spending time with Tommy), craving for approval/affirmation (he hates Gerrard and still seeks that pat on the back and “good boy” comment), his spiraling and believe in supernatural, and he’s like a kid in 118 family.

I feel like we got all of his aspects (and the same with Eddie’s) that we know from previous seasons in an easy to swallow pill, coated with a bit of comedy.

Big moments in Buck’s life include Eddie, but there are few relationships that are very important to this character that are highlighted in seasons 7 and 8). 

Christopher. For now we don’t really see the depth of Buck’s and Chris' relationship. New audience can safely say he is somewhat of a “fun uncle” for Chris (right now Chris is his best friend’s son) - this is because we still haven’t seen the equivalent of what created the bond between them - the tsunami (I believe we will get that when Chris comes back from Texas or his return will include scenes related to their bond and this big event from their lives).

Maddie. This one is simple for now, they’re great siblings, they support each other, the upcoming scene with Maddie should add more.

Best friend Eddie - partners on a job and in crime, knowing each other so well they can read every small signals (it’s mostly visible in 7x01 and 8x01), showing up for each other etc - you all know what I mean - Eddie jumping into idea of bachelor party, Buck confronting Eddie about Kim, Buck’s coming out, Eddie asking for help with Chris (twice) - all of that have (mostly) subtle Buddie themed moments (smiles, looks, wording) but what screams loudly is that they’re best friends (like you’ve never seen better friends than them). Like I said before it started to change in 8x05, and even earlier we see a little bit more of Eddie, like he’s kind of in the background - just remember this, I’ll explain in more details later.

Bobby. This relationship is highlighted the most, and after the first 3 episodes of season 8 nobody has any doubt that Bobby is like a father to Buck (in case somebody missed it in 7x10). In previous seasons we saw how this father-son thing evolved between them (whole season 1, lawsuit, Buck spiraling because of radiation Bobby “absorbed”, coma dream, etc), and now we get the speed run through it to establish how it works.

There is one more very important relationship in Buck’s life that also counts as Buck’s big moment. And it’s Abby, who is represented by Tommy. Older, more experienced love interest, who shows Buck he still has something to learn about relationships, who changes his perspective. It goes further. Remember the guy who was catfishing girls with Buck’s photos? Remember when he was in a meeting with Abby and a girl came up to them? Abby didn’t like what she heard and left Buck cold in that cafe/restaurant. Sounds familiar? Yeah, it should. His first date with Tommy, interrupted by someone, where Tommy didn’t like Buck’s behavior and left him on a curb. What’s important, none of them (not Tommy nor Abby) told him it was over, they were disappointed, of course, but left with the vibe “contact me when you grow up”/”I don’t do dramas”. Again, this is parallel, the revisit to the past event (core of the scenes remains) but the point here is not to tell the same story again but show something new, so Buck’s relationship with Tommy goes in its own way.

I would like to address the lightning strike here, because I believe this event won’t get “the revisit” treatment. It was mentioned in background in season 7 - the locker room scene with Eddie and how Buck tells Tommy the night they met was the best one he had since he died (or something like that). So the lightning strike exists already in season 7 and 8 narrative for the new audience.

Ok. In previous seasons we saw all main couples dating and getting married - basically becoming what they are now. And we saw how Buck’s and Eddie’s relationship grew and evolved throughout the seasons - but they never reached the status of a couple.

So we are now at 8x05, we have all main characters introduced, all power couples redefined by some huge events that made them stronger. We have Buck and Eddie - best friends for life - now is the time to show Buddie of it all.

BUDDIE:

Believe it or not, episode 5 is about Buddie in so many ways, but not in a way you think it is… It’s about retelling their emotional journey, their bonding path and what makes their relationship so special. Yes, I’m using “retelling” here, because the story of their feelings never reached the conclusion, it was always between the lines, and now it can be told anew. Tim already had the perfect recipe for them, so now he is using the core ingredients, to once more reach the point where making them a couple will feel natural. It’s not only about making them canon, it’s about telling beautiful love story - patience is important, their emotional state is the key and has to be set up just right. 

Ok. Masks. This title is a red herring in itself. If we talk about who is wearing a mask the answer is simple - everybody, it’s a Halloween episode. Going deeper we can say - it’s Eddie with his ‘fine’ mask. Let’s go even deeper, it’s not a noun “masks” (in plural), it’s a verb. The whole episode is masking itself, and it’s masking who the story is about. We have two major plot lines here, Buck’s (a comedy) and Henren (drama), both very loud and over the top, making the audience look in one way when in the background another story is unfolding. Red herrings everywhere.

What are the big moments from Buck’s and Eddie’s life that are hidden in this episode? When did Buddie truly start? Firetruck, tsunami, lawsuit, fight club, divorce era… yes, it’s all there… well, tsunami is only mentioned there because it’s Buck and Chis arc, but the important moment for Buddie after the tsunami is still represented in this episode by Karen’s words “You saved him”. Let’s break it down.

BUCK:

Firetruck: the event itself is represented in Denny’s accident. He’s pinned by the vehicle, Karen is holding his hand while others are trying to save him, there is and audience to his tragedy, a lot of people (in this case firefighters) are working together (building the construction) to get him out, the accident was caused by a man who was driven by vengeance/seeking justice, in the end Denny has his leg in cast - the same leg Buck had.

Lawsuit: The whole Buck’s curse plot - injury on a job (to his limb), aftermath of which he ends up with a medical condition (boils = blood thinners), which causes him to focus solely on himself. Buck is so self absorbed in this episode he doesn’t notice his own boyfriend, let alone his best friend (if you want me to write a longer post about Buddie in corelation to Buck and Tommy and why imo Buck is a lame boyfriend in this episode let me know - I won’t do that in this post).

The things above are like playing with the form of what I mentioned before - revisiting previous events. What’s important here is the emotional state of Buck. He learns very quickly he can come back to his job (Eddie is asking about it, because he knows how important it is for Buck) but the boils ultimately send him on a spiral and right back to the self absorbed state of mind - and the reason for it is to make him blind on what’s going on with Eddie.

EDDIE:

Fight club and divorce era are played out here only in Eddie’s emotional state because the show is putting Eddie in the background on purpose so we can’t have big moments played out in a form of parallel scenes. 

But just like with the fight club, Eddie is distancing himself from the firefam. I said already that Eddie is kinda in the background - this is the part where we can see Eddie isolated and alone, in this episode it screams the loudest (compared to the previous ones). 

The haunted house - Hen is terrifying, Chim is scary, even Buck, whose job was to give out candy, managed to freak everybody out (including himself) - only Eddie is this lame and cringe werewolf wannabe. This is a metaphorical, subtle way to show he stands out from the rest of the team. He’s with them but he is alone in the crowd. They have to ask him about Chris, he’s not talking about him himself and he’s keeping his ‘i’m fine’ mask on (pun intended). In fight club era Eddie is grieving after Shannon, now he’s grieving his relationship with Chris. He’s hiding his pain just like he was hiding his bruises.

Divorce era can be seen in a way Eddie interacts with Buck. He’s losing his patience sooner than usual, is meaner in his comments because he’s running on fumes, getting closer to his breaking point (it could escalate, we know he can snap when he can’t deal with his emotions). He doesn’t look at Buck - and I know, it’s because of the things on Buck’s face, hiding behind the magazine, sucking on lollipop… but honestly, do we actually believe that? Or the comedy of those scenes masked that they’re disconnected right now (actually they’re disconnected since Gerrard made them work separately. How they miss each other's eyes in the courtroom - it started there). The episode ends so blatantly showing us Buck talking bullshit with his head so far up his behind he doesn’t think for a second that Eddie needs him. And Eddie, well, he’s fighting alone, just like he was when he stepped into the ring.

WHAT’S NEXT:

If I’m right about all this, and not just insane, we will see 4 more big events - or rather the emotional state those events invoked. 

Kitchen scene - Buck being sorry for not being there for Eddie, when he needed him (the tension aspect of the scene would be nice, but the actual core of this scene is Buck admitting he failed Eddie and Eddie actually listening and accepting Buck’s words).

Well - Eddie has to save himself, deal with something on his own (with only briefly mentioning Buck, mostly Chris).

Will - this has to be addressed at some point. We know about the will but people who started watching from season 7 don’t. This will be clear, no red herrings, no telling story in the background.

Shooting arc - Buck being scared he may lose Eddie. It doesn’t have to be a near death experience, it can be Eddie deciding he’ll move to Texas - the core is fear of losing his… right, what? Best friend? When we reach this point they’ll be more, and “best friends” term won’t be enough, not even to the general audience. 

After that we can start talking about Buddie canon.

Of course there will be more scenes, new scenes, the characters are still growing but in my opinion Tim is trying to set up and show similar emotional journey for them, right up to the point when we should have had Buddie… and he will pick up where he left them, messed up and vulnerable and so in love with each other it’s overwhelming (shooting arc)… then we will go in a straight line to the Buddie canon.

I don’t want to make predictions, I’m bad at it. I prefer to analyze. But in my opinion and what I know about the next episode, I think the well call will serve as a reminder about Eddie Begins, the actual connection between past and present will be in the mustache scene (or right before the mustache scene). 

Final thoughts.

We all see the parallels between different characters and between previous seasons and new ones. We get frustrated about some plot lines and episodes (Bobby episode, Kim plot line)... But if you take a few steps back and look at season 7 as season 1 it makes sense to show these threads again. If you look at all the elements we talk about as a fandom you will see it’s one huge project, not just hints placed here and there. And it’s not just for the benefit of long term fans, it’s for the new audience to get to know these characters, to fall in love with them, to make them curious enough to watch previous seasons.

We all feel it, this carefree vibe from season 1, we’re all falling in love again, saying season 8 has what’s the best in 911, has it all. And I believe it’s because of what I wrote above, these new introductions of characters and relationships. 

One relationship remains to be shown in all its beautiful and unhinged glory - Buddie.

And I believe once we get the equivalent of a shooting arc we will get Buddie canon - this time Tim will tell their story how he wanted - with Buck and Eddie together, as a couple, as soulmates.

Wow, this was long. Sorry for the chaos, I never done this type of post before, but I hope you got the gist of it and enjoyed it. Remember, it’s only my opinion, I could be wrong (honestly, I probably am xP) but I wanted to share my thoughts because I got very hyped up about it. Feel free to contact me if you want.

Tagging some people who may be interested (if you want me to remove you from this post let me know): @buddiebeginz @stagefoureddiediaz @lemotmo @inell @jackwhiteprophetic @lover-of-mine @loveyourownsmiilee

Part 2, episode Confessions - HERE

[inchandescence]

How Minho is hinted to be endgame since XO Kitty S1?

(And they didn't randomly change the direction of S2 or suddenly made Minho important in S2)

Because since the very beginning, it is emphasized that Kitty has 3 main love interests, Dae, Yuri, and Minho, she will end up with one of them. XO Kitty is not very very obvious from the start like TATBILB and not back to back between brothers like TSITP.

Disclaimer: I have a job, I'm writing this on the weekend, please

1. S1 episode 1 Kitty-Minho-Yuri-Dae Relay

Series, or at least kdramas, always introduce the characters that will be the focus of the season in the beginning of the 1st ep of S1.

In 1x01 first 15 minutes (half the ep duration)

-Kitty is re-introduced: her current situation, her background aka family, her next goal, how to get to her goal, her first step to reach the goal which is arriving in Korea and then KISS

-Yuri is introduced: her current situation, daughter of a rich family, influencer, famous, potential to be a close person to Kitty cus she drove Kitty to KISS

-Dae is introduced (properly for the first time): his current situation, smart student, scholarship, not from a rich family, still in love with Kitty

Then the 2nd half of the first episodes, minute 15 until 28, Kitty and Minho and Q introduce themselves to each other, then Kitty meet Dae and Yuri again.

But the ODD ONE out of this formula, the first character Kitty met in South Korea was not Dae nor Yuri, but Minho. He bumped into her at the airport and then she bumped into Minho again at the party. The full introductions that we got were Kitty, then Yuri, then Dae, no Minho and yet Minho is the first person Kitty met in South Korea and they bumped to eo TWICE, at the airport and then at the party. So in this case, Minho's presence is also very important to the story, foreshadowing that with the focus being these 3 characters: Kitty, Yuri, Dae first, Minho will eventually "bump" his way in to the story, he is not just Dae's friend or side character bcs he had the FIRST INTERACTION WITH KITTY.

and this whole relay in S1E1 parallels the airport relay in S1E10.

2. S1 episode 10 Kitty-Dae-Yuri-Minho Relay

In the last episode of season, we know:

1. Kitty is over Dae, but Dae still has feelings for her

2. Kitty likes Yuri who is in a relationship with Juliana

3. Minho likes Kitty

So this brings us to the obvious airport relay, first Dae runs to the airport to confess to Kitty that he still has feelings for her but when Kitty meets him, she turned him down without him confessing and they officially break up. But they both said they are eo's first love, so they still care for eo.

Then Kitty turns back and meets Yuri, she wants to confess to Yuri but they get interrupted bcs Yuri is waiting for Juliana. Yuri and Juliana reunite and Kitty walk in to the boarding gate. Yuri called her mom to convince her not to expel Kitty, showing that Yuri cares a lot about Kitty (but she ofc loves Juliana very much yes).

Then Kitty arrives at her seat, sitting down while reading her mom letters and seeing the name "Simon" but then suddenly someone beside her nudged and it's Minho. Unexpected for both Kitty and the audience. They both talk and laugh showing their good relationship, a development from their 1st meeting at the airport. This scene is pretty long and has the longest duration compared to Kitty-Dae and Kitty-Yuri at the airport earlier. Then Minho confessed his love to Kitty. Kitty was shocked and the season ends.

This last ep relay scene is actually enough as proof that Minho will be endgame and how XO Kitty will do their love triangle/hexagon/rhombus or whatever.

XO Kitty is not the usual balanced love triangle but instead, the main character (Kitty) will experience a "relay" in her love life with the 3 main love interests, to simplify it they basically gonna take turns. First love is Dae, second love is Yuri, third love is Minho.

And this concept was actually mentioned in one of the episodes in season 1 by well.. Minho himself.

3. S1 Ep 9 a reason, a season, or a lifetime

Second to last episode. Before we have that episode 10 airport relay. Opening scene.

Minho:

"A reason, a season, or a lifetime. Every relationship fits into one of those categories. I read this in a magazine. The point is, Madison and I are over. And looking back, I believe I was with her for a reason. No, she showed me I was ready for something real."

This is one of the biggest foreshadowing ever in new TV era like... ok when people watched this scene the first time they prob didn't think too deep about it, including me, because the convo is random and not that necessary? Minho can just talk about him and Madison being over without throwing a relationship quote. BUT THAT IS THE POINT. The point is that quote is random yet it was the opening scene for Ep 9. If we compare it to other opening scenes in the 1st season, the opening scenes always indicate something important for the characters' story. And most opening scenes in Season 1 are about Kitty, Yuri, and Dae then in 2nd half Minho start to show up in opening scenes.

Ep 5 opening: Kitty Dae start officially become friends and roommates

Ep 6 opening: Minho Kitty (Minho's dream)

Ep 7 opening: Kitty Yuri (Kitty's dream)

Ep 8 opening: Kitty Dae start dating

Ep 9 opening: Minho's quote

Ep 10 opening: Dae cornering Minho about Kitty

Minho said being with Madison made him realize he was ready to commit into a relationship not just hook ups or one night stand, he was serious with Stella despite her being a rebound, but sadly his first committed relationship was "fake".

While with Dae and Yuri, Kitty fell in love with Dae first and dated for more than 4 years, a season, then she liked Yuri and discovered more about her being bi, a reason.

Minho's a reason is Madison, season is Stella, lifetime is Kitty

While Kitty's season is Dae, Yuri is reason, lifetime is Minho

All left is a lifetime for both Minho and Kitty.

So Minho's quote is definitely an important foreshadowing. And Ep 9 really shows how Minho is over with Madison, but actually he went through a failed rebound, and still cares so much for Kitty.

4. The whole episode 9 of Season 1: Kitty Dae, Kitty Yuri, Kitty Minho altogether

-This ep is meant to emphasized how these 3 are Kitty's main love interests like Kitty keep having moments with them in this ep but there is this specific scene:

Foreshadowing can be through many things, characters' lines or actions are two of them, but then it's better if cinematography supports it like in this scene where Minho is standing up alone facing Kitty sitting with Yuri and Dae while calling out Yuri and Dae & defending Kitty.

It's in 1x09 where Kitty already likes Yuri while still forcing herself to date Dae and Dae still loves Kitty, means these 3 are in a love triangle rn and Yuri sitting on the floor in between Kitty and Dae, makes their sitting formation like a triangle. In 1x09 Minho alr broke up with Madison and still very much in love with Kitty, meaning we now know he IS one of Kitty's 3 main love interests.

And he is standing up while Kitty is sitting down with Yuri and Dae as a foreshadowing that Minho will have the "upper hand" after S1. And ofc he will get the "upper hand" by treating Kitty better (he defended her in this scene which is right).

"I wouldn't do that to a friend or someone I care about."

And in S2 Minho still cares so much for Kitty and also 2 of them become closer as friends.

5. More about Dae Yuri Minho as the 3 main love interests and their "relay" with Kitty or "switch up"

First half of season 1 Ep 1-5: Kitty loves Dae but Dae is fake dating Yuri and

Second half of season 1:

Ep 6 (the middle ep of S1, the first switch up)

1. Minho dreams about Kitty

2. Minho realized he fell in love with Kitty at the party (Minho switch up from not liking Kitty to loving her)

3. Kitty fell in love with Yuri at the party (Kitty switch up from Dae)

And that's why in S2 Ep 5 (the middle ep of the season) there's another switch up from Yuri-Minho to just Minho

Part 1 (Dae):

S1 Ep 1-5: Kitty liking Dae

S1 Ep 6-9: She still dated Dae while being denial about Yuri

S1 Ep 10: Kitty tells Dae the truth about her feelings for Yuri

Part 2 (Yuri):

S1 Ep 6-10: (switch up) Kitty start liking Yuri

S2 Ep 1-4: Kitty still likes Yuri

S2 Ep 5-6: Kitty and Yuri trying to fix their friendship

Part 3 (Minho):

S2 Ep 5-6: (switch up) Everyone ignoring Kitty and she spends time with Minho only, rain scene

S2 Ep 7-8: Kitty realized her feelings for Minho

6. The Families of the 3 Main Love Interests

Many people complained 💀 "why S2 is about minho's family and everyone else's families suddenly don't have problems"

Let me break it down for you sweetheart... the keyword is "family home"

Season 1:

Focus: Kitty, Yuri, Dae families + Minho's mom cameo

-Kitty: We saw her parents, Dan and Trina, opening scene of Ep 1 is at TATBILB house

-Yuri: We saw Yuri's mom right away on Ep 1 (Jina), then her dad (Sungjin Han) in Ep 2 and then her house, and throughout season 1 there are scenes at her house

-Dae: We saw Dae's father (Mr. Kim) on Ep 1 bcs well he is Yuri's driver and he works for Yuri's father, later on we saw Dae's little sister (Bora) and just like Yuri, there are scenes at his house too

-Minho: There are 2 scenes of him face timing his mother (Dami) and we saw Minho's mom face, and there is a scene where Minho telling specifically about her mother being an actress, there are scenes of Minho telling details about his family not just "my parents are divorced"

Juliana: mention of her parents, no faces

Q: told about his conservative family background, no faces of his fam, no names

Florian: told about his family problem which is the divorce of his parents, no faces of his fam, no names

Season 2:

Focus: Kitty, Minho families + a few scenes of Dae's father, mentions of Jina

Kitty: Jiwon, her great aunt Soonja, Margot, and Peter appearances throughout the season

Minho: Minho's dad (Young Moon) appearance from S2 Ep 1, one episode of the characters at Minho's dad ski cabin, one episode of the characters at Minho's dad house, Minho's step brother (Joonho), mention of his step sisters (Bianca, Soojin)

Dae: a few scenes with Mr. Kim as Yuri's driver then the accident/hospital scene, Bora cameo

Yuri: mention of Jina (i feel like Jina actress was planned to make a cameo but maybe scheduling problem)

Juliana: mention of her parents

Q: mention of his family being doctors who are strict, no names, no face

Jin: mention of his dad being athlete too, he got pressured from his dad in being athlete, no face, no names

Stella: mention of her parents wanting her to come back to Ohio, no face, no names

Praveena: mention of her parents and their job

Then in S2 last ep we know that Han family is going through lawsuit and Mr. Kim is affected positively by the lawsuit. Then Kitty is joining Minho's family summer tour.

So... Kitty, Yuri, Dae families are the focus of Season 1 and Kitty and Minho's families are the focus of Season 2. With Kitty's 3 main love interests: Dae, Yuri, Minho families are being introduced in details with their names and faces and background and specific jobs since SEASON 1. And of course in S1 we got Kitty, Yuri, and Dae houses and S2 Minho house and Kitty's family's house in Korea :)

7. The Family Plot

Season 1:

Fake dating between Yuri and Dae are related to their families, Yuri's Dad saving his face by using Dae and Dae is trying to help his family by paying tuition on his own (and his job is fake dating Yuri) and also so he wants to be a good son and brother.

Season 2:

Minho's father Young Moon is helping the school by being the new donor and opening art classes for the students, hold a kpop competition at the end of the season.

Kitty helping Dae, Yuri, and Minho with their families:

Dae, Minho, and Yuri all 3 have their family stuffs they can relate with Kitty's....

-Dae lost her mother like Kitty, Kitty gave him her mom's necklace permanently

-Yuri knew nothing about her mother like Kitty, together they found out about their mothers' friendship and Kitty helped Yuri reconcile with her mother and find her step brother

-Minho felt rejected by his family like Kitty feels rejected by her great aunt and Jiwon at first but then Minho helps Kitty and Kitty also helps Minho reconnect with his family

All 4 characters' (Kitty, Minho, Yuri, Dae) families are important to the story

8. Fate vs Minho-Kitty natural development

Kitty always talk about love as this big grand thing, sparks, MEANT TO BE, FATE.

With Dae and Yuri "fate" keep being mentioned, how she met Dae during her first Seoul trip and turns out he goes to her mom's school, how Yuri's mom is Kitty's mom best friends.

They made Minho and his family don't have any direct connection to Kitty's family. Minho and Kitty can relate to each other without having direct past connection. In Season 2, Minho understands Kitty's feeling of being rejected by her family because he felt that throughout his life. That's also one of the reasons why he keeps helping Kitty especially in the market scene. And at the end Kitty also help Minho reconcile with his dad and brother.

When Kitty met Minho, no fate no sparks. No direct family relation. They don’t have a crazy connection that forces them together because it happened naturally just based on their time together and their own values. And they both can relate to each other's family issues which bring them closer.

Minho and Kitty happen naturally and that is the whole point. He's the only one who doesn't have a specific perception of her. They met, they misjudged each other, they disliked each other, they got closer and knew more about each other through daily lives, they became friends, they finally understand each other, they fell in love.

No strings of fate, just their choices leading them to where they are now.

Minho and Kitty are breaking the kdrama's past connection trope 🙂‍↕️🙂‍↕️🙂‍↕️

9. Minho for Kitty Moments

Minho is already written as a character who helps, saves, and do sacrifices for Kitty since season 1.

See this list I made:

-He also once again kept defending Kitty when he found out how Dae and Yuri fake dated and lied the whole time in S1.

-Minho will always be in love with Kitty. He had two rebounds (Madison and Stella) and at the end, he realized he will never be over Kitty.

-Minho's long plane confession scene with the iconic line "a little bit or a lot" which Kitty used as her line when she realized her feelings for Minho.

-Minho always hosting events in both seasons, 1st season is his party and 2nd season is the ski trip so he has always been an impactful character since S1. And both times Kitty kinda "ruined" his events and yet he still cares so much about her.

10. Mooncovey Direct Parallels with TATBILB in SEASON 1

-With Covinsky

Minho calling Kitty "Covey" like Peter calling LJ "Covey"

The Kitchen Scene

The Preference

-With Eve & Dan

The first ever parallel was in fact in S1, Kitty-Minho Chuseok and Eve Song-Daniel Covey March Thanksgiving.

Minho fell in love on Chuseok (Korean Thanksgiving, emphasized by Kitty too on 1x05) just like Dr. Covey fell in love with Kitty's Mom on Thanksgiving.

1x05 XO Kitty is lit the episode that changed everything about mooncovey and it's a whole parallel to Kitty's parents love story, Minho made the homemade food and Kitty brought the odd one, mashed potato, her canned green beans.

Then the parallels continue until S2

11. CHUSEOK EPISODE

Other than the crazy parallels in 1x05 chuseok episode. Audience who often watch kdrama must have known how impactful is Chuseok as a Korean holiday. And they gave this whole important event episode, 85% of it to mooncovey. Like..... I don't even have to explain. They literally gave the whole Chuseok to mooncovey??? And people watched this ep thinking oh they prob just gonna be closer as friends at the end??? Mind you there is no episode special whether in S1 or S2 where 85% is Kitty-Yuri or 85% Kitty-Dae like they will always be mixes with other Kitty pairings. But this Chuseok ep is lit here you go Minho with Kitty and Yuri with Dae, done. And even in this ep Dae said Kitty hasn't contacted him at all during Chuseok, like damn girl enjoying time with Minho much??

12. Lastly, Kitty-Minho having their own theme, or The Mooncovey Leitmotif

All these songs have the same leitmotif in it and they have been played for mooncovey scenes since S1 until S2

(Kitty-Dae's leitmotif only in S1 is sad/bittersweet, Kitty-Yuri don't have any)