#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.

[spaceyqueer]

Mizora sucks ass and she should be treated with the same contempt that Cazador is by both canon and the fandom, but her abuse is minimised because she's a hot gaslight girlboss, not a racist Asian stereotype (remember when Cazador had a moustache?), and her victim is a black man and people's sympathy evaporates when they have to apply it to a black character.

[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

[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

[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...

[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

[ace-whovian-neuroscientist]

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.

[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 L��nnrot 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. 👀

[fitzrove]

It's actually even more prevalent than that, being used by Franz Joseph at multiple points! It first appears in Jedem gibt er das Seine ("if I could, I would be gentle"; also appears when Grünne describes their non-intervening foreign policy), then in Eine Kaiserin muss Glänzen ("I'd love to stand by your side, but it would be better for us both if you followed my mother's advice"). He also uses it with Sophie later, but there it doesn't fit these themes (the song it appears in was only introduced later as an intro to Bellaria, it's not part of the original staging), so I'll ignore that.

FJ's tone is always gentler than Sophie's, but he leans on what he learned from her all the same. She raised him to act according to her philosophy, and even when he struggles against it like in Jedem, he ultimately accepts what she teaches him. It's a melody that represents failing to act when you should, when taking action would bring about positive change. It's so interesting to think about it in the wider thematic context of the show - especially when Rudolf's central anxieties are about everything going wrong with nobody intervening (and him being rendered unable to act by the court system and his father especially). And then ending up at Mayerling because of lack of support.

Like you said, Elisabeth starts out being hurt by this melody, to the point that it's what provokes IGNM - but by late on the second act, she's the one using it against Rudolf. In my opinion, it really highlights the central argument of the show: Elisabeth achieved the freedom she wanted, but in the context of the oppressive world she lived in, it could only happen if she hardened herself to the point of being unrecognisable as the sweet, idealistic girl that she was at the beginning. She ends up at a point where she can be cruel to others to further her own goals, because she sees it as a necessary, unavoidable evil. Like Franz, she's ultimately accepted Sophie's pragmatic approach.

What happens after Spiegel could be understood as a final result of Elisabeth's tragic character arc - becoming hard and cold like those around her, because it's the only way to preserve her freedom.

Just realized that in ‘If I Were Your Mirror’ when Elisabeth rejects Rudolf she uses the same melody associated with Sophie. The same melody used to tread her into submission and abuse her and make her life hell is the one she’s using to push her son away for the last time. And of course the Mayerling Waltz comes directly after…

[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

[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

[dokidokitsuna]

“Some of us…will always be alone”

Skipping forward a bit in this re-concept, just because I can~ (loooong post ahead)

So one of the many things I found underwhelming about Return of the Mammalians is the lack of villainous impact Mr. Grizz has on his own story.

For starters, he’s straight up absent from 80% of it. =/ Just a vaguely threatening disembodied voice that does weak comedy bits with Cap’n Cuttlefish from time to time…and that’s basically it until we face him in the final battle.

The worst thing he’s responsible for in the story (as in, a successful act we have to contend with, rather than a work-in-progress that we interrupt) is dehydrating Cuttlefish…which is very temporary and played for laughs immediately afterwards. We don’t even get the opportunity to engage with this “tragedy” by actively rescuing the Cap’n in gameplay, we just suddenly find his body during a cutscene.

Compare this to Commander Tartar manipulating the player and lying directly to their face throughout the game, attempting to kill the player during the reveal of its treachery in one of the most memorable scenes of the entire series, brainwashing a former protagonist into fighting the player, and then attempting to destroy an entire city while quietly confessing that it murdered thousands of victims just to get to this point.

I’ll let you guess which one of these antagonists feels like a genuine threat, and which one just feels like a disappointment. ¯\_(ツ)_/¯

Now, I don’t mind Mr. Grizz being less violent and deranged than Commander Tartar…the two have different personalities and slightly different goals, and anyway a body count isn’t really necessary to be a convincing villain. But I DO mind him being so totally uninvolved, despite being a character that we already knew and interacted with beforehand. Like, at the very least…talk to the player. o_O Care about the player. Do something to interfere with the player sometime before the last minute! The fact that Grizz just doesn’t give a damn about our existence for most of the campaign is baffling from a writer’s standpoint, and heartbreaking from a Grizz-fan’s standpoint. ;_; Notice me, Kuma-san!!

…Anyway, there’s a million ways to remedy this, because it’s such a simple and obvious problem that really shouldn’t exist. ^^; And the one I chose for #re_rise (besides having Grizz haunt the game like an ever-present specter, as explained here) is one of my old tried-and-true favorites: using the villain to parallel the protagonist.

Basically, both characters are lonely at heart. Agent 3 left home for the Splatlands in search of a “fresh beginning”, after spending most of their life feeling like they never fit in anywhere. Throughout the story, we get subtle clues that what they want most is belonging and friendship…which they’re clearly discovering through their interactions with Deep Cut and Smallfry, although it’s not until the climax of the final battle that they can truly believe in it and accept it.

And of course, Mr. Grizz lost his home and entire civilization, and even in the midst of a thriving new one (that he actively engages with through his corporation…!) he’s apparently such a massive bigot that he doesn’t consider it worthy of his company. ^^; Fish-people do not count to him, thus his loneliness is self-inflicted and intensified. He believes his only recourse is to transform the world back into something he can accept.

These parallels, plus the desire-manifesting powers of Alterna’s crystals (discussed in this post) eventually brings the two characters to an understanding of sorts. Without having to exchange words, they can see and consider the similarities of their innermost feelings.

This doesn’t have much of an effect on Grizz, outside of something he might muse about while Agent 3 ascends the launchpad (and maybe quietly internalize as proof that fish-people have feelings too, just to give his last-second change of heart at least one leg to stand on). But it weighs heavily on Agent 3, especially since they’re being physically changed by their adventure in a way that makes these parallels even more relevant…yes, I’m finally gonna talk about what I actually drew. ^^

My idea was that spending too much time around Fuzzy Ooze will affect you even if you don’t touch it (i.e. through splashes/aerosols), just to a lesser degree. And since Agent 3 was the first to actually enter the underground lab spaces and spends more time fighting there than anyone else, they’ve had an unprecedented amount of secondhand exposure to it.

Through O.R.C.A.’s files, they can understand why this mild fuzzification is happening to them, and that it may not be reversible, although they press on anyway (I’d like to imply that they’re willing to ignore it to impress Deep Cut~). But Grizz’s offhand comments make them realize that they may be unintentionally setting themselves up to be cast aside again, slowly turning into a repulsive mutant monster that no one will want to be around. The only one of their kind in the world, just like a certain Ursine Anomaly…and if they succeed in stopping Grizz’s plan, that’s all they’ll ever be. 

…On the other hand, if they were to sit back and let him fuzzify the world, then…no, they couldn’t do that. They…wouldn’t…

[sevensoulmates]

Buddie 7x07 "Ghost of a Second Chance" Meta

So sorry for the delay! This one took me a minute due to life/work stuff happening, but here it is! A doozy! This episode had a lot of parallels with the other characters storylines happening so bear with me here! This is mostly going to be about Eddie.

This episode deals a lot with past trauma, specifically bringing up stuff that some of the characters haven't dealt with in a while or seemingly had already dealt with in the past. Maddie with Doug's abduction, Bobby and the apartment fire, Eddie and Shannon. All of these are re-introduced in this episode, but it's important to note that they are NOT resolved, mostly Bobby and Eddie, and will likely continue into the rest of the season. Maddie reacts the most noticeably to her trauma being triggered, and of the three, she's the only one who has actually managed to work through that trauma from the past, so while it does affect her, it does not cause her to self-destruct like Eddie and most likely Bobby will.

As many of us predicted, we theorized that it was going to get much worse for Eddie before it would get better. And this episode has put Eddie on that path that will likely take him towards rock bottom if Ryan and Tim's interviews and teasers for his 7b arc are to be believed.

The first big parallel to Eddie's storyline is the woman and her baby being abducted by a man with mental health problems who allowed a past trauma with his ex-wife/child to reach a dangerous point. While Eddie's actions in this episode are not placing a woman's life in danger, it does parallel how in pursuit of soothing his own pain, Eddie and this man, are prioritizing their own feelings, over the feelings of a woman stranger (Kim) and an innocent kid.

I was already anticipating many many Shannon call-backs in this episode, but the writers dive in immediately by having Chimney intubate Catherine. This is the same heavy choice Chimeny had to make when Shannon was hit by a car, and Chimney was interim Captain. He had to make a choice to either intubate Shannon, effectively taking away her last chance to say dying words or to not intubate and allow Eddie and Shannon to exchange final words. With Shannon, Chimney does not intubate, but with Catherine, he does. This could possibly indicate the need for Eddie to make different decisions this time around if he wants to survive this new catastrophic plotline.

This was an interesting way for the writers to give us a kind of "speedrun" of introducing us to Marisol a bit more. I know that the ENTIRE fandom has been bugging over the fact that we "hardly know anything about Marisol other than DIY and Nunnery", and now they're giving us more information, but notably it's all very surface-level information. It makes the scene feel like Eddie's trying to get to know her for the first time instead of this being a woman he's been seeing for about six months at this point.

While 7x05 did indicate to us that Eddie is trying to get to know her all over again, it really does drive home how little effort Eddie has put into trying to build a relationship with her, which is then further proved by the rest of the episode. All of this demonstrated very clearly just how little investment Eddie has had in ANY of his relationships after Shannon's death. It's probably supposed to make us think "Oh, that's because he only ever truly loved Shannon!" but in reality, the Eddie-Shannon onscreen relationship was very tumultuous, and they spent most of their relationship (even during their time pre-military) away from each other. All in all, the topic of how well Eddie knows the women he's with, and how much effort/investment he puts into his relationships (including Shannon) are being pulled into question here. And I think it's being done to show the audience that Eddie has only ever dated and married women as a duty and not something he actually does because he wants to be with the women as people. Once again, this includes Shannon.

Before Marisol can even finish her two truths and a lie, Eddie interrupts, starting to dictate the conversation again, and Chris is the one who has to step in, reminding Eddie that this moment is about Marisol. Eddie has been the one to lead his relationships with both Ana and Marisol, almost to the point of steamrolling over them. A similar thing happened in his relationship with Shannon, where Shannon notes that Eddie is always making decisions for them without consulting her, including going to the military, or moving Chris to a new school, etc. and how that was always a giant issue in their relationship. While this moment is not Eddie purposely steamrolling over Marisol, it does show that again, Eddie has a myopic view of relationships with women, where he's constantly trying to steer them towards something that he wants without really letting the woman have any agency. Shannon had to physically leave him in order to get any agency of her own.

Additionally, the choice to have the get to know you game be "two truths and a lie", inherently implies dishonesty, or at least makes us think of lying. And considering that becomes a theme for Eddie this episode and likely in upcoming episodes, it's also indicative of the general theme of not knowing someone and not being honest with them. It could've been "twenty questions" or something not involving purposely lying, but instead it's two truths and lie, and Eddie is now about to be involved in a whole bunch of lies.

I've seen others point out that this line is clearly meant to compare Marisol and Shannon. Shannon, Chris and Eddie had a tradition involving smores, one that Chris and Eddie were trying to keep alive only last season when they visited Shannon's grave. This line is meant to show us that Marisol is not Shannon, and as Eddie actually gets to know her, this is more and more evident. It's no fault of Marisol's, but it's likely what is sticking in Eddie's head, right before he ends up meeting Kim. Eddie, once again dictating what he wants Marisol to be rather than accepting the truth of who Marisol is, exclaims that obviously Marisol has had smores because Shannon loved smores. But Marisol is not Shannon, and Eddie is always comparing his partners to Shannon in unhealthy ways.

While this line is clearly a joke, nothing is done without purpose in TVland, and this is another one of those times where even though Eddie's joking, it's actually telling of how he actually feels. He's already had one foot out the door with Marisol for the last 3-4 episodes, and now it's the smores that makes him say "we can still leave her" because who Marisol is, does not align with who Shannon was. But the thing is, I have a hard time believing that Shannon was even who Eddie truly wanted, at least not without expectation or pressure. Shannon is an Ideal, and no one, not even Shannon herself, can live up to it. No woman is supposed to or can reach this Ideal, because (in my opinion) a woman is not really what Eddie wants deep down in his most hidden of unconscious desires.

"You two aren't going anywhere". Oh, the dramatic irony is killing me here. Because not even a couple of minutes later, Marisol has lost Eddie for good when he sees Kim. The death bells have already been ringing from the very beginning, but this is the final death knell that has been rung. Even if Eddie stays with Marisol through most of this arc, their relationship will end, as will his relationship with Kim.

Eddie and Kim lock eyes and he's reminded of Shannon instantly. Because of that, this relationship is dead before it even begins. A moment later, Christopher calls out "Dad!" just like he did when Shannon and Eddie were on the beach, interrupting Eddie's thoughts.

Marisol notices Eddie acting weird, asks if he's alright, he says he's fine, and she calls him out, asking "is that the truth or a lie?" He promises he's fine, but we as an audience know that's a big ole lie. This has been the case for years, and it's interesting that it's coming at this point in the season. The early half of the season we saw Eddie the "happiest" he's ever been. And I can't help but wonder how much of that was true happiness, and how much of that was just putting off thinking about it. It's easier to lie and say he's fine, that his relationships are fine, that his relationship with Shannon was fine. It's harder to admit the truth, that he's not okay, that his relationships with Marisol and Ana were unhealthy and his relationship with Shannon was the unhealthiest of all. It's easier to place the blame on his unhappiness on missing Shannon, instead of admitting that it's his own choices that are making him unhappy.

Another theme of this episode is internalized biases and misunderstanding the current situation due to being blinded by the past. Maddie misses crucial details of her call with Catherine because she was looking at it with too much bias about her own situation with Doug. Eddie also misremembers his past with Shannon, but instead of recognizing his mistake like Maddie, and trying to look at it objectively, Eddie lets that bias from the past effect his current decisions, which is already resulting in a mistake by cheating with Kim and will likely result in more mistakes the rest of this season.

Maddie heard what she expected to hear. Eddie is seeing in Kim what he expects to see from Shannon. Both lead to really bad outcomes.

Eddie goes back to find Kim/Shannon, and they meet. She looks similar but not really the same (btw, kudos to the makeup team, wow). She has similar facial expressions (nose scrunches, giggles, etc.) and she asks him if he's looking for something specific. And the answer is yes, he's looking for Shannon in Kim, just as he was looking for Shannon in Marisol and Ana.

This is very obviously a sexual innuendo, which is interesting because their first real interaction is showing more of a "sexual" chemistry, than anything really romantic, or soul-connecting. It's a clear harkening back to how Eddie would use sex as a way to stop fights between himself and Shannon. It's also one of Eddie's biggest distancing tools. He used sex to distance himself from Shannon and from Marisol, as an excuse to not address problems, or just simply to not get to know them. And given that Eddie was having sexual dysfunction issues in his last major episode, this is meant to provide a juxtaposition to that. Sort of a "Hey look Eddie couldn't get it up for Marisol the Nun but he can get it up for the Shannon look-alike". On the surface, this might be to show us that Eddie really only has sexual chemistry with Shannon, but if you look below the surface even a little bit, you'll realize that his sexual relationship with Shannon was also deeply dysfunctional, but in its own way.

The answer is no. Eddie does not trust Kim because she's a stranger, but this line is meant to remind us that Eddie very much DID NOT trust Shannon for most of her arc in season 2 and even up until her death. It's a callback to the line in season 2 Merry Ex-Mas where Eddie says he "forgives Shannon but doesn't trust her" and Shannon says something along the lines of "Eddie trusting her enough to have sex with her, but not enough to let her see her own son". Kim is hitting all the lines that are meant to remind Eddie of rose colored "Good times" but are meant to remind us, the audience, of all the issues he had with Shannon.

This moment of Eddie and Shannon on the beach is meant to represent Eddie's "happiest" moment on-screen with Shannon when she was alive. Eddie remembers it that way, as kissing Shannon and finally having his family back together. But in actuality, it was the start of the end for them. Shannon thought she was pregnant, paralleling the time when they accidentally got pregnant as teens and both of them had to put their lives on hold and commit to a marriage that might not have been the ultimate right choice for them. If any of you remember, this is also the moment where Eddie and "signs" and the "universe" are connected for the first time. Eddie asks for a sign, and Shannon says she's pregnant. In my personal opinion, this was supposed to be a sign for Eddie to not get back together with her, given how traumatic it was the first time around, but he ignores it and tries to push down his feelings. "Life is like a vat of chocolate, it pulls you down but it's comfortable". And when Shannon very clearly stated she wanted a divorce, Eddie did not really seem to accept it...and the universe took Shannon away permanently. (Again, I want to reiterate this is all about fiction I'm talking about here not irl, okay? This does not apply to real life) The universe tried to warn Eddie, to bring him a sign, and when he ignored it, as he always does, the universe decided it needed to take Shannon away permanently.

And now here we are again, 6 years later, with Eddie ignoring ALL the signs over and over and over, and setting about down this path with Marisol that literally everyone knows will not make Eddie happy, and what does the universe do? It throws him the biggest wrench it could by bringing someone who looks/acts like Shannon back into his life. Kim was brought in by the universe (the writers) to show Eddie that his relationship with Shannon was not as wonderful and amazing as he remembers it....and he ignores all of the signs yet a-fucking-gain. I get the feeling that this arc with Kim is going to end VERY. VERY. badly for Eddie. I think we should all be preparing ourselves for that.

Eddie is making active duplicitous choices here. He's lying about being in a relationship with someone else, lying about being a single dad. And it's not the first time he's said something like this (see the "taken for now" line in 7x04), further demonstrating how he's always had one foot out the door with Marisol.

I also want to point out that Eddie lying and deceiving Kim and cheating on Marisol is not meant to be the show saying "this is good! this is who Eddie's supposed to end up with!" The writers know how most people feel about cheating. Most people are 100% aware that cheating is morally wrong, and by Eddie making these decisions, they're not supposed to show that Eddie is inherently a cheater or a bad guy. He's acting OOC on purpose. The writers want us to see Eddie lying and cheating and want us to clock that Something is Very Very Very Wrong and that has to do with Eddie's romantic relationships, Shannon, his perception of Shannon, his perception of his past marriage, and his expectations of himself.

We, as an audience, are not supposed to be enjoying this. We're meant to be uncomfortable.

911 is doing something really interesting lately with their pointed use of Full First Names vs. Nicknames. When I heard this my first thought was actually of Ana and how cringe it was to hear her calling Eddie Edmundo all the time. Shannon actually never once called Eddie by his full name. If anything, Eddie calling himself Edmundo here, introducing himself by it, is once again supposed to trigger the audience's "Something Is Wrong Here" mode. I was also going to mention how this is also something a lot of people have felt with Tommy's constant use of "Evan" instead of Buck. Some people like it, some people don't, but everyone can acknowledge that it's odd and unusual.

Even as he's flirting with Kim, talking more about "stimulation", Eddie is holding an "S" for Shannon. I think when Kim told Eddie her name, a sharp K, very far away from the soft S of Shannon, it was a slight shock to him. If her name was something similar like Sherri or Sheila or something, Eddie could've lived in the fantasy more. Her name being Kim momentarily broke the illusion, hence him looking down at the S for Shannon.

Eddie is remembering the first time he slept with Shannon after she came back into his life while he's sitting at the table with Marisol, completely ignoring her. But not only that, as many people have pointed out, he's misremembering. The walls in the background are recent, with the new teal color and his new bed. Shannon's hair is a cross between dark and light, almost like a mix of Kim and Shannon, and--and this one rocked my world--they had sex right side up.

Many have pointed out how it's odd that Eddie and Marisol's sex scene harkened so similarly back to his one sex scene with Shannon, where they both ended up at the tail end of the bed, upside down. People have often discussed Eddie and his upside-down sex as a metaphor for unhealthy sexual connection, for misconnection, and right side up sex to be healthy sex. To find that he is thinking of him and Shannon in his memory of being right side up has been pointed out by others to be yet another example of Eddie's rose-colored memories of his past with Shannon. In his memory, he views his relationship and sexual relationship with Shannon as this Amazing and One of a Kind thing, hence the right-side-up sex, but in reality, it was upside down, it wasn't healthy.

He's looking at his relationship with Shannon through a veil of the present, chock full of regrets, would've/could've/should've's, and two almost-failed relationships. Not to mention that he literally was just having extreme sexual dysfunction with Marisol not even two episodes ago it's very likely that his remembering this passionate, voracious, unquenchable thirst for Shannon is also brought on by the fact that he's having sexual issues with Marisol. It might also be him wanting to remember that he does and did have desire for sex with women...as long as they're Shannon or reminding him of Shannon. This is not at all supposed to be something that is represented as healthy for Eddie, and I don't believe the show is trying to put across that message.

Eddie remembers his sex with Shannon, and when he decided to "bring Shannon home for Christmas". Even in this scene, the focus is not on the two of them as a couple. He doesn't talk about how much he missed her, or how it feels good to be close to her again. He talks about how he wants to reunite her and Christopher. "Santa" in this present day and age is bringing "Shannon" home for Christmas, by bringing Kim into Eddie's life.

Bringing it back to Maddie's storyline, with the Big Bad Kidnapper of this episode. He was encouraged by his sister to move across the country for a fresh start after his wife and baby left him due to his own abusive actions (assumed, but the sister did say they were "afraid of him"). We don't know too much of the details of this man's story, but it does show a clear parallel to Eddie too, with his wife leaving him to move across the country too (though she left their son with Eddie because obviously, Eddie's not abusive like this man). But the man's sister was hoping that this move would mean he would "stop looking for them". Eddie ends up doing the same thing with Shannon metaphorically. He never stops looking for her in all of his romantic relationships, hurting other women like Ana and Marisol, in the process.

The man is so clearly a parallel to Eddie but in the worst most devolved way. Eddie has been seeking out a Mom for Chris for years, even when Shannon was alive. It was never about Shannon, wanting her, loving her, needing her because he's so deeply in love with her. No, it was, and still is, always about the mother she could be for Chris. It's the same thing he did with Ana, and with Marisol. I'm not sure if this thing he's doing with Kim will eventually lead there too, or if it won't make it that far before it gets blown up in his face. But Kim cannot be a new mother for Chris, even if she wants to be. Christopher would clock that she looks like Shannon, and might feel betrayed, like Eddie is actively trying to replace Shannon, which I doubt Christopher would take well. So what is Eddie's endgame here? In my honest opinion, I don't think he has one. I think he's acting on pure emotional hurt, and desperately seeking out a balm, and not considering the consequences of his actions.

Just like that man was hit dead on with the literal consequences with the police, I think Eddie's gonna be hit HARD as a result of these mistakes. I feel like it might be something really bad, possibly involving Christopher. If "isolation" is going to become the thing he might have to contend with Christopher being really really angry with him in whatever way that takes form, and the rest of the firefam not being happy with him either. I think Eddie's going to be going through another arc similar to where he was emotionally in season 3a with the streetfighting arc.

Just how like the man who abducted her was a parallel to Eddie, Catherine herself is also a parallel to Eddie. She's clearly in pain, but she refuses drugs that will make her feel better. She feels she has to stay awake and endure the pain as a comeuppance, similar to how Eddie felt he had to endure his pain like a man because he deserved it. She feels her husband will hate her, just like how Eddie feared Shannon would hate him for what he did. He fears Shannon would never forgive him, but just like Catherine, even worse is the fact that Eddie has yet to ever forgive himself. No matter how many times people tell her it's not her fault, no matter how many times people tell Eddie he's a good father or a good person, they will never believe it. That guilt still rocks them, and for Eddie, it's been the monkey on his back every day LOONNGGG before Shannon even passed. Likely he's been dealing with it from the second he found out he got her pregnant. Even though Catherine's daughter was returned to her, she will still likely feel guilty, just as Eddie's guilt has lingered and festered and turned to rot the longer it's gone unchecked.

It'll only be once Eddie can let go of that guilt, let go of Shannon, and forgive himself, will he ever be able to actually start healing, and making the right choices for himself.

Many people have pointed out how this parallels the scene in 3x03 with Christopher and Eddie coming to Buck's house after the tsunami. That was a moment where Buck was feeling "lost at sea" and Eddie and Chris came in to be his "life raft that gets you home." And now Eddie's the one lost at sea. He thinks he has to find Shannon when really all he really needs is here with Buck and Chris. Eddie and Chris are "late", but eventually, they will find their way home to Buck.

Have y'all ever heard the phrase "where there's smoke, there's fire"? It means that if there's a rumor or something being said about a topic, there must be some back story/truth in it. It's what I point out every time the show "jokes" about Eddie's sexuality or lack thereof to women, Eddie ready to leave Marisol, etc. They're in the script because there's a kernel of truth to them, even if it's still nebulous (or smoky) at the moment.

Additionally, Buck is making a new lasagna recipe (a metaphor for his new found bisexuality and MM relationship with Tommy) and something about it is not working. In the same way that I've been theorizing that there is misalingment in his relationship with Tommy, we're now seeing that lasagna (like in 6x01 where the couch theory was introduced) is yet another metaphor for Buck's relationships. He had 3 at that point in time (as well as 3 failed attempts at lasagna) and now he's here in a new relationship, and something about it isn't working, he just doesn't know what. I'll reiterate, it's not the bisexuality, but rather the person he's in a relationship with. This being told once again to Eddie, in Buck's kitchen, with Chris present, is driving home the point once again.

Eddie, on the other hand, is aligned with Buck. He knew ahead of time to order a pizza for them. This isn't usual, given that Buck's a good cook, and has cooked for Chris and Eddie many times. Eddie being attuned to Buck right now is meant to show that he can sense these things about Buck, even when it's not conscious.

"To be seen… to be found… isn't that what we're all searching for?"

Buck assumes Eddie's meeting with Marisol, and Eddie does not correct him. I've seen other people mention how this feels like Eddie is cheating on Buck, and not really on Marisol, and in my opinion, that all comes down to who is Eddie more emotionally intimate with. He already feels super disconnected to Marisol, even more so in this episode, but we've spent the first half of this season establishing how Buck and Eddie are closer than ever. So Eddie lying to Buck feels like the real cheating here, because Eddie has only ever given himself fully to Buck, in all his messed up glory. He's never given that to Marisol, or Ana. And he most definitely never gave that to Shannon.

Side note, I loved the cologne line because it implies that Buck knows how Eddie smells, and that smelling him now is something Buck is enjoying. Him saying they won't wait up for Eddie further cements the domesticity of the scene. Buck has a full relationship with Chris outside of Eddie, but they also have a strongly established bond all three of them. In an episode where Eddie assumes Marisol must love smores despite her never having tried one, Eddie inherently knows that Buck's struggling with lasagna and needs to order a pizza.

Eddie and Buck's flirting--because that's what it is-- feels natural. More so than the flirting with Marisol in the beginning of the episode, and more so than with Kim-Not-Shannon that was moored down by the reality that Eddie is severely projecting all of his major issues onto her. Buck and Eddie have an easy rapport filled with mutual support, inside jokes, gentle ribbing, synchronicity and above all, friendship and trust. THAT is why the betrayal of Eddie with Kim only a few moments later feels so stark and like a huge blow to the audience.

Eddie sees Kim, and all he sees is Shannon's face, but I have to give MASSIVE kudos to the hair, costume, and makeup department here because they couldn't make Kim look ANY more starkly different from Shannon. In the scenes at the store, Kim is dressed more professionally, in lighter more inviting colors. And then here, when Kim can take off the customer service mask, and be fully herself, we see that she dresses in darker clothing, pants, and jackets with her hair up in almost an alternative-punk style. It's a MASSIVE contrast to Shannon who was almost always dressed in lighter, warmer colors, in shades of orange, yellow, and warm pinks, with minimal makeup and long flowy dresses or soft sweaters. Shannon's hair was almost always down and flowing around her face with her bangs. Kim's hair is completely up, totally out of her face in a severe bun look, without any bangs. She could not look father from Shannon if she tried. And yet, Eddie is not seeing Kim, he's not seeing the individual woman who's probably really lovely, the woman he's inherently hurting by using her to be reminded of his dead wife. No, all he sees is Shannon, and he's 100% willing to tank his whole life just to get a bit of that feeling back.

Eddie is on his way towards rock bottom, and this episode is only getting started. The glass is going to shatter extremely hard, and I worry for what the consequences will be for Eddie for all this, because there's no way he's escaping this without deep cuts. He will likely lose Marisol and Kim in one fell swoop. As for Buck, Chris and the rest of the 118, that's yet to be seen. But we know Eddie's parents show back up later on, so they could be coming in with the steel chair, likely to hit Eddie harder when he's already down. After all, the originator of "Don't drag him down with you, Eddie" is none other than Helena Diaz. This season is giving very strong season 3/4 vibes, and if that's the case, it's possible Helena and Ramon are going to pose a problem by the end of the season like they might've done in season 4 if things had gone as originally planned.

I'm worried, scared and excited to see how this ends up for Eddie. But I'm also hopeful. I see a light at the end of this tunnel. After all, it's always darkest just before dawn.

Thanks for reading my meta!

[violetasteracademic]

What do you think about the passive language used in azriel’s bonus chapter? Azriel says he found himself entering the foyer right before elain comes and then he finds himself in the library at 7.

Oooooh my darling anon. You have me giddy and kicking my feet with excitement to talk about this! Once again, a simple anon ask has spiraled into a deep crack theory post. This is a long one!

I love this bonus chapter so much. The prose are some of her loveliest work and the treasure trove of details is simply masterful. And I'm so excited about where I think the story is headed.

I definitely understand what you mean regarding passive language: there's a sense of everything happening without intention. In fact- he is explicitly acting against his "every intention." but the devil is in the details. As you said, the bell chime for the seven pm service. The exact same bell chime from when Nesta attended a service and was lulled into non-con scrying session with ancient songs. Ones Clotho just happened upon below level seven of the library one day in a random stack of books. Azriel giving away Elain's necklace to G/wyn or any other priestess who would like it after meaning to return it to the store. There's so much to get into but for the sake of keeping this post a reasonable length (which I still failed at anyway), I am going to hone in on what is, in my opinion, the most important line in the entire G/wyn section of the bonus chapter:

For whatever reason.

One of the most difficult parts about writing is that it is so easy to get hung up on a catch phrase or a certain way of describing things. Whether it is through our subconscious minds, or more intentional developmental edits, there are phrases that invoke something very specific and it is hard not to re-use them. I struggle with this. SJM has definitely come under fire for this as well.

For whatever reason has been used 13 times in the entirety of ACOTAR including the bonus chapter (it takes .5 seconds to type it into the search bar on Kindle and it displays the number count up top, this is not as unhinged as it sounds 🫣) and two of those times were regarding G/wyn, three were regarding the Priestesses, and every single time it was used to express that there is hidden information at play- be in magic, motivations, or machinations- something out of character, or something we do not yet understand. It essentially means that there is a reason, but it is not being revealed.

All of Azriel's passive actions and the little parallels between Azriel's experience with G/wyn and Nesta's experiences in the book (hearing G/wyn's song calling to her, her power rumbling in response to G/wyn, the glow, so on and so forth) are also connected through this line:

Azriel:

Nesta:

If we trust that for whatever reason does in fact indicate that there is a reason, there is an oft overlooked detail that also connects Nesta and Azriel's experience on page: G/wyn's breath.

In Nesta's for whatever reason moment, G/wyn is guiding her through the Valkyrie breathing technique. Nesta continues to focus on G/wyn's breath, which leads her to feeling this rush of thinking about how amazing G/wyn is, how she is good at everything, and somehow nothing about it irks the easily irked Nesta. G/wyn's breath settles her and leaves her content to be there:

Contented. Calm. Distant. Stilled. Resting. These are all of the sensations listening to G/wyn's breath creates. Now let's look at Azriel:

Azriel's shadows hear the silent music in G/wyn's breath. Suddenly, Azriel and his shadows are calm. Content. Stilled. Resting.

Even more interesting? Both of these moments occur after deeply painful moments with Elain. For Nesta, this takes place after Elain calls her out for focusing on what Elain's trauma did to her. Azriel is obviously wrecked from being ordered away from Elain. Then they both find themselves with G/wyn, there is a pointed experience of them interacting with her breath, and they are suddenly distantly removed from the situation that was ailing them mentally. Settled, calmed and feeling abnormally giddy over thoughts of G/wyn and how amazing she is and how happy they are to make her happy- for whatever reason.

Now, if you are still with me, we are REALLY going to get into some crack theory.

I do not believe that it is a coincidence that in a book where Nesta and Cassian were the two POV's, only Nesta and Azriel experienced G/wyn's lulling effects. We are dipping into major HoFaS spoilers here, so stop now if you don't want to move ahead!

In HoFaS, we learned the Cauldron has been corrupted by the Asteri. They pooled their power into it so that it would work their will. I think there is likely a push and pull for power within the Cauldron itself between the dark corruption of the Asteri and the original power of fate and creation by the Mother. Both entities exist within the Cauldron, if you will. We also learn that Truth-Teller was made in the Cauldron as a weapon against the Asteri. But we also learn that Azriel himself was a weapon crafted by the Asteri:

I believe this is in reference to Shadowsingers, but either way, there is a suggestion that whoever- what ever- Azriel is, it was crafted by the Asteri.

I also believe that whatever Nesta stole from the Cauldron was not the power that the Mother had gifted to Elain when it recognized her, perhaps the Archeron bloodline (let's not forget the Bone Carver's words about salvation laying dormant in a human bloodline), but the dark corruption of the Asteri.

No longer just a tool of creation, but a deadly tool of destruction. Nesta's power of death. And Silene's parents turned the horrors it produced to their advantage. I assume this is in reference to Truth-Teller, the knife that can unmake things which was created the Starborn bloodline to defeat the Asteri:

A tool not of creation, but of destruction. Unmaking.

I absolutely love Azriel and Nesta's friendship, but I also think there is something deeper going on here. I think Nesta and Azriel both experience the weight of the darkness of the Asteri's powers. Yes, they both have trauma. But they also are deeply unsettled people who fight incredibly hard against the darkness that weighs on them.

I believe both Nesta and Azriel carry the literal corruption of the Asteri, and it is something only they, and not the rest of their family, has to fight. They are doing it. And they also lean on each other in a very deep and beautiful way.

UGH. I love them, Your Honor.

I also believe that Nesta gave back her corrupted powers at the end of ACOSF (hopefully). And the mother interrupted her giving back all of her power, leaving only what the Mother intended remaining. Nesta seems much calmer and more settled in HoFaS, and while we can attribute it to her emotional growth, I think again it is extremely important that Nesta and Azriel, the only two characters to have been affected by G/wyn's luring, were also the main characters in the crossover where the corruption of the Cauldron is revealed.

Okay- but what does this have to do with G/wyn? I know, I know, G/wyn's lightsinger theory is the most accepted theory. And it might be true. But I also don't think it is everything. There is more going on here, and something that specifically leaves Nesta and Azriel susceptible. Nesta was also welcomed to the library to work with the priestesses in ACOSF for whatever reason.

I have made a few posts now about the Priestesses as the likely next mini villains in the upcoming ACOTAR book in alliance with Vallahan. You can read those here and here if you are interested. But I believe the invoking stones of the priestesses might come into play. In this case, what is occurring isn't specific to G/wyn, and I don't believe that she is the only one that could have this affect on Azriel and Nesta. Or maybe it's both, her lightsinger abilities allow her to lure while the invoking stones allow her to lull. Either way, there is a wider picture of the Priestesses and the secret powers they hold involved.

G/wyn believes that the stones are filled with the power of the Mother, and can only be used to protect and not harm. However, Ianthe also used her invoking stone (that was my interpretation, anyways) to lull guards to sleep. Feyre also questions if the invoking stones contain power far deadlier. Lucien confirms that the power the priestesses hold can be utterly lethal if they choose it.

If the invoking stones are also Cauldron Made, then they too carry both life and death. Creation and destruction. Protection and harm. I truly believe that G/wyn is completely ignorant to her own power, what the stones are capable of, and what the intentions of some of the corrupt Priestesses are. To destroy the rule of the High Lord's and regain their power:

The feminist in me is like yes queens, get off your knees and take your power back. But in this context, I think we can safely assume this is not a good thing, as we know many of the High Priestesses are also corrupted and do not have good intentions.

I think there is a lot of evidence that the like calls to like occurring very specifically between Azriel, Nesta, and G/wyn, might have less to do with the (very fair and again possibly correct) theory that G/wyn is a light singer and much more to do with the warped power of the Asteri. I think it is most likely Gwyn is not a villain, nor has any impure intention in her heart. But she does believe in her religion, in the Priestesses, and that they solely enact the power of the Mother for good. That leaves her in a position to be easily manipulated by the "promise" of greater good. The sole fact that she doesn't even think the invoking stone or power of the priestesses is capable of harming when we know otherwise says a lot about her indoctrination.

I also don't even know if G/wyn will specifically play a role in what I assume will be the future luring and lulling of Azriel, or if she was just a deeper representation of the power the priestesses hold. Either is definitely possible.

So yes, Azriel was acting out of character, a bit dazed and passive and almost in a trance. Just as he and Nesta had both experienced around G/wyn before.

For whatever reason.