#s2 was better! much more fun!

[dykeandballs]

!

[cuddlytogas]

So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

[sskk-manifesto]

Bungou Stray Dogs: Dead Apple and how “ability users” (opposite to “normal people”) learning to accept themselves through the acceptance of their own abilities is a queer metaphor of acceptance of own's sexual orientation and gender: an essay by me

[pennybunpirate]

Oh I was absolutely not done after just the seagull, it seems 🙃

Thank you to the art person who did Lucius' sketchbook💚

[sualne]

hi I just wanted to ask who's your favorite arcane character(s)?

ekko!!! he's just the best and i'm so sad he has so little screen time, he literally steals every scene he's in!! my other favs are viktor, jinx, silco and sevika! i actually like viktor and jinx a bit less after season 2, they weren't handled all that good ☹ but they were both amazing in season 1!!

[technicalthinker]

Since I see a lot of reactions on articles/quotes from the Loki crew and cast, here are some general reminders when it comes to stuff like this;

There are so many people working on a show/movie and everyone make decisions creating the final product we watch. Of course they do a lot of work to unite their visions and make it cohesive, but "contradictions" may still happen. We often talk about the obvious people behind a show, the actors, writers and directors, but there are also costume designers, composers and editors, etc. All of these people can have different perspectives and pull things in different directions, that just sort of comes with the nature of making such a big show.

And then it comes to producing a show itself. Productions are messy. Things get reworked on the spot because what might've worked on the page didn't work in practice, props break and need to be changed, actors can't be in for the day, etc. All of these affect the final products in chaotic ways. Sometimes unpredictable things like this may get in the way of or improve the story.

And finally articles/interviews purpose is to provide this one specific person's perspective and promote the show, or engage fans.

So take these things with a grain of salt. You don't need to base your entire view on the show on statements from cast/crew. Is the line less meaningful because it was improvised? Should we consider an episode to be less canon because it was apparently rewritten a lot from its original state?

Your fan experience will likely be healthier and more fun if you try to mainly engage with the art you have in front of you. If you read quotes from creators and feel frustrated that they are inconsistent with the art - first of all, art is subjective, it just comes with the territory. But my main point of the post is that even if a person is working on the show, it doesn't mean that their view is 100% represented within the text. You don't need to go full Death of the Author here, but you gotta remember there isn't just one author and that author's intent at work here, there is a production, with all that comes with it. And honestly? That's what makes it interesting. All of these visions coming together to create art that we get to take part in, and whatever vision we're getting as a viewer might be something completely unique.

[lumiilys]

Ughhh so many external bad things happened today that the newest ofmd episodes have been tainted by it and I can’t go to the ofmd tag for fun and comfort rn :( I guess I won’t rewatch those episodes until I’m feeling better but MAN I was having so much fun while watching them and then minutes after I finished everything fell apart!!!!

[something-about-sunflowers]

Oh, hey, @Arty_Sunflowers on twitter is me lol.

I gotta say, this theory (and variations of it, like my own) is fairly healing with regard to my ability to reconcile with canon and canon-compliant fic (speculative future fic as well). I can't say I think it IS what's going on, just that it'd be nice if it was (nicer than the alternative at least, the 'it was all a dream' trope IS a little tired at this point, though this is a slightly different take on it I think? I digress) and/or it's a good jumping off point for post season 2 fic. (And an easy out that David can take if he needs help with season 3, we promise we won't tell if you take the idea Davey.)

That said I think some people replying to this (or making their own posts talking about this theory and similar) need to kind of. Chill out?

I'm seeing a lot of people be kinda. Mean? About it? 'This sounds like johnlock conspiracy theories lol' like? Don't be the bullies. We've had enough of the bullies. You have an issue? Take it up with David for giving us such an unsatisfying finale that we have to come up with theories like this to make it better or even just to COPE with what we WERE given. Don't be a dick to or about someone who's just trying to find a way to continue enjoying the story they thought they were being told. I KNOW we're feeling bitter. Don't let that bitterness turn you into a dick to people who don't deserve it.

Stede is in the Gravy Basket, Izzy is Alive

The season 2 finale of Our Flag Means Death is odd.  It hits weird. I think I know why. And this is going to sound bananas, but give me a chance to explain.  Maybe you’ll agree.

It has a huge tonal shift. It seems to speedrun Stede and Ed’s romance. It feels like we’ve missed out on something from the end of episode 7.  The fight scenes and pirate plans are nonsensical, even for OFMD. And most egregiously, a prominent character is killed off in a way that feels disingenuous to his story arc, just for starters.

But I’m getting ahead of myself.  We need to go back to the beginning of season 2.  The season opens with Stede looking more piratey than ever. Beard, sash, earring… oh he’s his own fantasy of a real proper pirate.  He’s clashing swords with Izzy Hands and demanding to know where Ed is. He’s dreaming. In the dream he kills Izzy. He and Ed run into each other’s arms while screaming each other’s names. They crash into the surf. Ed says “I knew you’d find me, Babe.  I knew you’d find me, Love.” Stede keeps asking if they’re good. Ed dodges the question. Then Ed asked about the smell. Stede wakes up in a crowded room with farting and shushing roommates.

At first I thought the finale was supposed to be just a “satisfying” mirror to Stede’s dream. Stede and Ed call each other’s names and run into each other’s arms in a display that resembles a more grown up version of Stede’s dream fantasy. There’s some wild sword fighting not unlike Stede’s dream duel with Izzy. And Izzy dies.

It does mirror, but I didn’t find it satisfying. All of the characters except Stede feel flattened. Stede gets to make the heroic plan (that we never even hear) while there’s at least five pirates with better skill sets for it in the room. Ed, as Blackbeard, was described last season as “History’s greatest tactician”; Zheng Yi Sao conquered China; Jackie just took out a room full of British soldiers. Izzy and Auntie are right there. You could make arguments that Jim or Frenchie, or pretty much anyone could make a better plan. Then Stede says “It’s only suicide if we die,” which is horrible considering the plan gets Izzy killed.

Stede’s really the only person in that room who thinks Stede should be making the plans.  So I got to thinking, what if it's not just mirroring the dream? What if it is a dream? Last shot of episode 7 is an incoming cannonball. Maybe he’s unconscious.

Huge shout out to @Arty_Sunflowers on twitter (I’m not calling it X, fuck Musk) for pointing out that that isn’t the only episode that ends with a cannonball. Episode 2 ends with Jim swinging a cannonball down at Ed’s head.  Stede’s not just dreaming, he’s in the Gravy Basket!!!! (Stede even screams “Oh my God!” at the end of episode 7 in the same tone he screams “Oh my God, I don’t want to die.” in s1e9.

Stede’s hopes, dreams, and insecurities shape everything in the finale. And it helps explain the absurdities in the episode when you remember that Stede is living out pulp adventure and romance novels in his head. (He even looks like someone on the cover of one in his episode 1 dream.) But Stede can’t be dead, you say. He’s literally the main character. Well, Ed was dead for a whole episode. Let’s take a closer look.

I could and probably will do another essay on Lucius as a POV character and Ed’s mental health and how the threads they seemed to have dropped aren’t as dropped as they appear. But all of that hinges on me proving the Stede is in the Gravy Basket theory. So for this essay I’m focusing on that.

So for starters we’ve got the cannonball scenes. They’re eerily similar even if the method of cannonball propulsion is different. We don’t know Ed is dead and in the Gravy Basket for about half of episode 3. Neither does he. It makes logical sense you can be there without realizing it for a while. Buttons even said Ed didn’t know whether he was in the Gravy Basket or not in episode 4. It definitely messes with your reality.

One of Ed’s issues is self hate. He manifests Hornigold as his companion. Stede is desperate to be a good pirate and have people be proud of him. And he lives in his fantasies a lot.  So his dream shapes his experience. There’s a whole bit about Zheng needing “soft” and Auntie saying she’s proud of her. That isn’t their issue. It’s discordant with the show previously. But it is Stede’s issue. He’s manifesting.

When we first see Stede and Zheng in episode 8, they’re in a familiar spot for Stede, the bridge from episode 1. But why are they alone? When we last see Stede and Zheng in episode 7, several characters are within 5 to 10 feet of them. Did none of them decide to escape with Stede? Izzy, Lucius,  and Jim are closest. But we know Pete was there begging Stede to stay down during his fight with Zheng. Archie was definitely in the bar. That's why Jim entered the fight. So why is it only Stede and Zheng at the bridge? Because, going back to rescue others fits into Stede's hero fantasies. 

Zheng and Stede also argue about who pulled who to safety and how they got there. Stede waxes poetic about being a failure his whole life, but things always seem to work out for him. He’s such a main character mediocre white guy in this scene. He saves Zheng from two random soldiers, then she has to save him from them. Then they fight a bunch more soldiers on the beach until Blackbeard manifests in full leather from the ocean.  It looks cool. But it's absurd, even for OFMD.

Speaking of Ed, he begins the episode waxing poetic about nature and calling fishermen simple.  Those things are more Stede than Ed. Pop pop tells Ed, “You have no skills” which is something Izzy said to Stede in episode 5.  He also tells Ed, “If you were ever good at something, go do that, you bum.” If Stede’s insecurities could be distilled into one sentence, it would probably be that. (He also talks about being like a wave. I’m not 100% sure it's a The Good Place joke, but it would be thematically appropriate.)

Pop pop also tells Ed he “ruined dinner.”  Back in season 1, in Stede’s flashbacks to life with Mary and the kids, Stede thinks he’s ruined dinner. But remember, we also see another version of the scene where Stede is laughing with Mary and the kids.  Stede isn’t exactly a reliable narrator. Even in his own head.

Despite it being beyond unlikely, Ed finds soldiers reading one of Stede’s letters. I know physics in this show is sketchy, but this seems like a good time to point out no one found the red silk. Stede wants Ed to read a letter and for it to fix everything between them. The letter, plus Stede being in danger, make Ed swim out, find his leathers, and emerge from the sea with them on, while the music is the Swede’s solo from Stede’s fuckery in s1e6. Stede wants to be rescued by his handsome pirate in leather, again, just like a pulp adventure romance novel. Little chance of Ed swimming out and finding his kit.  Even less of him getting leather pants on under the water.

Back to the beach… for some reason two squads of soldiers are wandering around out on an empty beach. A visually incredible fight scene occurs. It honestly reminds me of Pete’s story in s1e2, including flips. Ed and Stede yell each other’s names exactly as in the dream. Like I’m pretty sure they used the same audio track. The same song (I Love My Baby, Nina Simone) starts playing. Ed says “I love you.” Stede says “I know.” (We’ll come back to the Han Solo joke in a minute.) They have a bit more absurd fighting then Ed, Stede, and Zheng sit on the beach complimenting each other. And Ed calls Stede “babe”.  He’s never done that outside of Stede’s dream and this moment. He’s called him mate a couple of times.  Babe is exclusively in Stede’s head.

Back in the Republic of Pirates, the crew are locked in a cell that is actually the “vista suite” at Spanish Jackie’s.  Izzy gets a heroic entrance. It’s as cool as Stede thinks Izzy is. And he gives a speech that sounds like what he probably told Stede to get him to relinquish the suit in episode 5. Piracy is about belonging to something. You can’t ignore the wishes of the crew.  Izzy also knows details about Captain Kidd and Pinocchio. Not impossible, but not exactly Izzy’s wheelhouse. It is Stede’s though. He’s obsessed with pirate tales and he read Pinocchio to the crew.

Stede, Ed, and Zheng show up just as Jackie has poisoned a bunch of soldiers. Stede makes a plan, despite everyone else being more qualified. Everyone disguises themselves as soldiers. Now we’ve seen the crew of the Revenge wear disguises. They never do the weird free styling they do here. Only Stede actually looks like a British officer. Zheng at least wears the disguise properly. Suddenly Ed has a multi gun bandolier like Blackbeard in the books. Pete ripped the arms off. Izzy is still wearing his vest. Doesn’t make sense if we’re going for stealth. Neither does not checking hostage Ricky for weapons or putting Izzy and his wooden leg at the front of the group.

If I'm right, Stede wouldn't know Ricky was behind the explosions. However,  Ricky is basically evil Stede. He's Stede's perfect foil. All of this is reflecting Stede's psyche. So, of course, it's Ricky.

Izzy gets shot and says quite a lot of nonsense in his death scene. “They love you, Ed.” Um, 3 of them were going to leave like five minutes ago. Ed has made some progress with the crew, but we’re not at “they love you Ed”.  The only person who thinks the crew loves Ed is Stede. Stede who weeps for Izzy while most of the crew aren’t showing much emotion. Stede can barely deal with his own big feelings. His fantasy doesn’t give the crew room to have them. Also, given the rest of the season, having Jim just let Ed be the person cradling Izzy doesn’t fit. The crew is also pretty stony at Izzy’s funeral.

I feel like it should be noted the last shot of Izzy in episode 7, he’s got one are around Jim and a hand on Lucius’s shoulder. He sat in Wee John’s lap in episode 6. Reactions to his death don’t make sense.

Also, Izzy’s terrible grave marker is very … Stede. He’d think it was a brilliant idea.

I didn't understand at first why Izzy had to die, even in Stede's dream world. Stede clearly likes him a lot better now. Why kill him? Well, it's because we're supposed to think Buttons is there to go to the Gravy Basket for Izzy. When actually he's already arrived in the Gravy Basket and he's there for Stede. Also, mentors die in pulp adventure novels. Stede sees Izzy as a mentor.

They go aboard the Revenge for Lucius and Pete’s wedding. It’s cute that the crew performs the ceremony, but I’d venture a guess that’s because Stede doesn’t know a captain should do it if it's legally binding. Stede does love the romance of it all.  The sudden uptick in monogamy is also very Stede. He barely understands monogamous relationships. Polyamory is beyond him.

Then Stede and Ed, who earlier told Zheng they’d help hunt Ricky, go back to the island where Izzy is buried to start an inn in a run down shack.  Stede knows Ed wants to do this because Ed told the (Taika’s) kids that they ran an inn.  We hear Ed ask “Jesus, what is that smell?” Now, at first, I thought Izzy, because Ed “knows the smell of my rotting first mate”. But what was the last thing to happen in Stede’s dream? A fart joke.

Last scene is Buttons landing on Izzy’s grave. To retrieve Izzy from the Gravy Basket? No, Izzy’s not dead. He’s with Jim and Lucius, probably watching over Stede’s corpse. Buttons is there to retrieve Stede.

This theory fixes the plot holes and dropped threads problem. We’re coming back to them next season. Ed's amends making should be far from over. And we see several moments during the season where he acknowledged that. And yet here on the island they've set up a horror movie and called it a happy ending.  Well, Stede is the type of boss who thinks things are fixed with a pizza (Calypso) party. In Stede's mind, this is a happy ending.  But really Ed is still off finding himself,  Stede is (temporarily) dead, and Izzy (who is not dead!) is probably guarding Stede's corpse.

They haven't resolved the domestic violence thread, but they haven't dropped it, either. Izzy is alive. Stede and Ed aren't together (yet). There's still time.

This also explains some of the freewheeling nonsense David Jenkins has been spouting in articles. Ed doesn’t see Izzy as a father figure and mentor, Stede does.  Stede almost turned to mush when Izzy approved of him. And David is writing a three volume adventure novel. Han Solo (Stede) is in carbonate (the Gravy Basket). The perfect end to the second act. See, I told you we’d get back to the Han Solo joke.

I still have problems with the season.  I really think they need a sensitivity reader. Even just implying a newly disabled character was fridged is certainly a choice. Especially given the amount of time devoted to how the character handled the disability. The DV scenes were brutal, as well as the suicide attempt, and the Human Puppet joke. I think they need someone trauma informed and disabled in the writer's room. (David Jenkins hit me up!)

Overall, I liked season 2. Especially once I realized Izzy wasn't dead. I'm looking forward to season 3, the conclusion of the Gentle Beard arc, and hopefully 6 seasons and a movie of Izzy (to be clear, he's not captain) and the kids sailing up and down the coast being gay and doing crimes, occasionally checking in with Stede and Ed.

Seriously, David, call me.

Historical Note: IRL Blackbeard died on November 22, 1718, killed in a naval battle off Ocracoke Island in North Carolina. IRL Stede Bonnet died December 10, 1718, hanged in Charles Town, South Carolina for piracy.  IRL Israel “Izzy” Hands survives piracy, death date unknown. I know this show doesn’t actually care about historical accuracy, but this lends a little support for my Ed died, then Stede died, and Izzy isn’t dead theory.

[angelltheninth]

Arcane Characters Dealing With Problems Badly

Pairing: Jinx, Vi, Caitlyn Kiramman, Ekko, Silco, Sevika, Vander, Jayce, Viktor, Mel x Reader

Tags: angst, fluff, comfort, getting into fights, working late, protectiveness, massage, fake smiles, lack of sleep

Ko-Fi | Rules | Fandoms and Characters

A/N: Arcane S2 is approaching and with it my emotional breakdown.

JINX

Bites her nails a lot out of nervousness

Relentlessly tinkers away at her desk, hardly even eating or drinking anything to make sure her body doesn't shut down

Talks with the people she sees but you don't and then tells you that she's fine because she's not alone, clearly she isn't fine, she doesn't want you to worry

Gets angry when you ask too many questions about her problems

Feels bad right after but there are just some things she's not ready to talk about, family things that she needs to sort out, but are free to stay by her side if it will make you feel better

VI

Pretends that there's nothing wrong

She learned in prison that showing any weakness if a bad thing so she tends to avoid it if she can

Hopes to distract you with kissing and flirting

Says that one of the best ways to get over things is a good fight so she seeks those out until she feels better

Of course this means that she comes back with a lot of bruises and maybe even a broken rib or two, but hey at least she got everything out of her system

CAITLYN

Obsesses over her problem to the point of losing sleep

Knows this is a problem for her but doesn't know how to fix it, she only knows how to fix other problems, and always before her own

Fell asleep at her office desk quite a few times

Doesn't even come home some nights but greets you down at the Enforcer HQ and gives you a kiss when you hand her the morning cup of coffee

Takes very short breaks to spend some time with you

EKKO

Includes you in solving most problems he needs to solve but doesn't give up until it's done

Takes a few unnecessary risks in the process

Risks his own safety, never someone else's, least of all yours

Call him stubborn if you must, he will admit that he is but everything he does is for a better future of you and all of his friends, for that no risk is too great

There's not a job dangerous enough to keep him away from it, he will try to keep you away, for your safety

SILCO

Can get a bit worked up when things don't end up going his way

Maintains a calm exterior when dealing with other people

In his job he needs to seem like he's in control of things even when he's not

Always tells you when he's gonna stay late so you don't worry that something happened to him, not realizing that you worry because these long nights have been getting more frequent

Finally has people who he can call h

SEVIKA

Good luck with trying to get her to open up with anything that's emotionally taxing on her

Blunt when she needs to threaten or insult but extremely slow when revealing her emotions

Would much rather drink, fight or fuck them away than give them a time of day

She's always been like this, you shouldn't expect her to change any time soon

Gets very guarded with her emotions if you try to prod at them, yet she's careful not to let her anger out on you, she likes you more than most people, you're fun

VANDER

Tries to avoid dragging you into his problems if he has anything to say about it

He knows you notice that he's more on guard, more careful when the bar is open, his eyes scanning the crowd for danger

Does tell you to keep your eyes open for anything suspicious but no more than that, he can deal with it when the time comes

Cracks a lot of jokes to make you feel better, safer

Promises that nothing will happen to you while he's still in charge, and he will keep it that way too

JAYCE

He's had to put on a fake smile more times than he can count, he can do it now too

Usually he's very honest with things that bother him, it's easy to open up to you

Yet this time he's closed off, working away on his blueprints, furiously writing things down in his notebook and even forgetting to eat the sandwiches he loves so much

A massage does help relax his pent up shoulders, he knows it's not good for him

Only when he's at the end of his rope does he admit what's been bothering him and let you help him

VIKTOR

Usually he closes himself up in his lab to work late nights so it takes a few nights for you to notice there's something wrong

He hasn't been sleeping at all, not for a few days

Barely keeps his eyes open yet insists that he's fine and that you don't need to worry about him getting sick from lack of rest

Takes short rests when you're in the lab with him

Needs to be dragged away to bed if he's gonna get any real sleep

MEL

Really good at pretending to be fine and being in control of things, even when she's pretending in front of you

Being in the Council for as long as she has she had to learn how to keep her guard up

Kisses your cheek when she tells you that her problems are her own, not for you to worry your pretty head about

Will spend the night with you but be gone first thing in the morning

Her nightmares get worse the longer this goes on

[melrosing]

also if there is one thing i'm finding grating about S2 so far it's that they're having a bit of fun with the headspaces of Daemon/Aemond/Aegon etc, like the freudian stuff, the inferiority complexes, etc etc, but when it comes to Rhaenyra/Alicent/Rhaena/Rhaenys etc it's just like 'it's hard to be a girl in man's world' like I feel as though I've seen Rhaenyra complain about a dozen times re. feeling dismissed by her vassals and stuck in passive role, and it's just not fun. it makes her less interesting as an individual character, and more of a symbol of How Things Were For Women And Kind Of Still Are Really Makes You Think. asoiaf is a lot more deft w this. characters like Cersei, Arya, Brienne etc do constantly grapple with the whole 'it's a man's world' shit and it's important that they do, but you've still got Cersei wrestling with the legacy of her father's violence/the mad complexities of her incest with Jaime/her complex relationship w trauma and Arya's got the impact of war/her wolf visions/her complex relationship w home and Brienne has her relationship w knighthood/her gender trouble/her romance w ole jam, and all of that is complementary to 'god does it suck to live in an uber patriarchy'. Rhaenyra and Alicent etc have so much scope for this stuff as well but the writers just clearly aren't having as much fun w it as they are the guys. the writing of the women is a lot more 'worthy'. i want them to get weirder with it!! Rhaenyra is married to her goddamn uncle and they're only exploring how deranged that is from Daemon's POV! Rhaenyra's kind of just sighing at the sidelines like 'i guess men will be men even my uncle'. Alicent's sons with their burgeoning oedipus complexes and Alicent meanwhile just like 'it's hard having such crazy sons when you only want peace and prosperity'. like i could go on. I am glad HOTD is trying to wrestle more meaningfully with these questions than GOT did but we're venturing a little into Barbie 2023 territory here of the ole Patriarchy 101 and wouldn't it be better if girls ruled! anyway

[starryinkart]

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NEXT PAGE (COMING NEXT SUNDAY!)

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Hey guys! Welcome to the next update of MD:Totality! Things are about to get fun in a few more pages, so hold tight, our boy N isn't looking so hot...is he...:P

Are you guys excited for the finale of Murder Drones? 2 MORE DAYS LEFT!!! The quality looks absolutely BONKERS GOOD in quality! Im so scared for all the characters, I've grown to love all of them so much, but hopefully we get a decent ending or cliffhanger! I know alot of people are upset they aren't announcing a S2 and the show feels rushed, but who knows, maybe it'll end in a cliffhanger and the show will be picked up someday again after TADC and GASLIGHT District come to a close! Don't give up hope yet!

In the meantime, the comic will be aiming to do the characters justice that 8 episodes couldn't give them on Glitch to the best of my ability! Just adding more characterization and info/personality of the universe/The Solver/JCJenson/characters etc. So I hope you all enjoy my spin on things!

(P.S Sorry for the late upload guys, real life stuff got in the way, got super sick and am feeling a bit better, but I'm aiming to have this comic out on time, minus exceptions!)

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Here’s the synopsis!:

Barely escaping the mass destruction of Copper 9, as well as losing Uzi to the Absolute Solver, N, V, J, Khan, Lizzy and Thad find their way through the galaxy to the Earth-like planet “Jericho”; where they look for refuge and plan to fight back. Their new goal, stop the solver from destroying the last remaining human colonized planet by any means necessary, find JCJENSON and report their findings. It shouldn’t be THAT hard…right?

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The idea is to have pages coming out @ around 7 pm US EST or every 2 Sundays (if life gets busy lol, I will let you guys know!)

I hope you guys really enjoy this comic, as well as the character development I have planned for it! Enjoy! <3

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< COMIC CONTENTS >

COMIC COVER < Get Comic Synopsis HERE!

The ASTRA Family INFO

SNEAK PEAK #1

ASTRA REFERENCES #1

(MORE COMING SOON!)

[alien-bluez]

raahhhh guh. another lineup, s2 kiddads. i love them so much they're rotating in my mind like a rotisserie chicken. god.

design notes for them under the cut if ur interested!

Grant

blue sweater bc blue is symbolic of titanic ep (something borrowed, something blue)

his tie color is the same color as Darryl's hat in my design

Wears Frank's watch that Darryl gave him, even if it's broken he doesn't take it off.

Green creeper socks because it's a Must. He wouldn't be Grant without them.

Sparrow

curly hair he got from mercedes' genes. he grew out his hair like lark

has a pink flower tucked in his hair like my henry's design

his jewelry and clothes are mostly borrowed from mercedes, he got really into crystals and other things like that growing up and got closer to his druid roots.

earrings are a feather and an oak leaf maybe i dunno i'll figure it out later lol

tattoos! there's supposed to be a bird outline there and other plant/nature related stuff on his arm. I'll draw it out better in the future mayhaps.

colors are brighter, more lifelike cuz he's closer to nature and all that jazz.

Lark

his hair has strands of white hair because of stress/trauma/Everything going on

hair is messier, unkempt because he cares less about appearances and doesn't have time anyways.

darker forest colors, less in tune with nature than sparrow.

his pants are the same color as my Henry's shorts :0) i needed a connection somewhere to his parents, and it just had to be henry.

Terry Jr.

purple shirt because his color is purple to me

fish motifs!! everywhere! i hc that when he and ron get closer bonding thru fishing they'd get each other fun fish printed shirts or something. This was Ron's gift to Terry. The colors of the fish are color picked from my Ron's design.

Fish tail tie and the shirt is also split like a fish tail maybe.

he's the tallest of the kiddads forever and always

Nicky

he wears glenn's sunglasses on his head

he grew out his hair long like morgan's because it's like the one thing he still really has of her. has her hair type and he takes very good care of his hair.

still has the ripped leather jacket from his time as nick and various patches of bands he likes (didn't want to draw them out yet.)

blue shirt because of his time as nicholas/reminder of jodie. blue holster belt and pants are also blue for jodie association

[warblogs17282]

Still thinking about the Truth Seekers line where Loona said,

"Blitzo was using a total of zero euphemisms, innuendos, or swears. That means it was serious, which means I don't open it until--"

And now, I'm thinking about all the different emotional and heavy-hitting moments from Blitz, but from the lens of that statement, and I'd like to explore that in a little more depth.

Because I feel like looking through some key moments of Blitz through the lens of that statement helps to add another layer of depth to what Blitz has been saying.

S2 E9:

Blitzo: No, I just- This was the final stop on the apology tour I've been on today.

Stolas: Oh, yes, I recall. Everyone but me is getting your cheap apologies tonight, hm? Well, you certainly have your work cut out for you.

Blitzo: Look, how I acted this morning... It was fucked, okay?

Stolas: This morning? Ugh, why did you show up there? Why'd you show up here?

Blitzo: You already asked that, but look, I-I just really need to... To talk to you, to- to explain.

Stolas: Oh?

Blitzo: I've always been real shit at sorries, 'kay? They're for pussies and no one fuckin' deserves them anyway, but I felt maybe you actually needed one.

Stolas: Ooh, lucky me!

Blitzo: Oh, shit. Okay, what I mean is, I said sorry a lot today and, honestly, didn't really mean any of it. Because the only one I wanted to say it to... Was you, Stolas. I just... This whole thing we had going... I'm- I mean you're a fucking prince. How could you ever actually care for an imp... Me? How could anybody?

Stolas: Blitzo. There is a crowd full of people here, who cared so much, they'd throw an entire fucking party about hating you, every year! Do you know how much you have to care to do something as stupid as that?

Blitzo: Stolas, you are better off without me. 'Kay? You deserve so much... I don't even know why you would want to be with me.

'I mean you're a fucking prince.' Blitz is technically correct here, but if we consider the Truth Seekers statement, I believe it tells us that Blitz, at least subconsciously, sees Stolas as more than just a prince during this scene, he sees Stolas the man here, not just Stolas the prince. And honestly, that probably makes it hurt more to Blitz, since he's still in disbelief/denial that Stolas has these feelings for him at this point.

Especially considering what it's followed up with, which I'd like to mention doesn't have a single swear word in it whatsoever, telling us even more just how sincere Blitz is when he said that final line.

Verosika: How do you think I felt? When the fun guy I was dating decided to just bail on me because I made the shitty mistake of saying I love... Ugh! It was the most embarrassing feeling. To be vulnerable for once and... you really just know how to send a message in the shittiest, fucking way.

Verosika: The worst part is you still make me feel like a bad person for being angry at you now.

Verosika: But, hosting this party, for everyone else you've dicked over? At least I can help others cope with the shit you did. What? No snarky comeback?

Blitzo: No. You're right. I actually am, ya' know... sorry. I-I don't want to be this way. Not forever.

Verosika: Looks like Stolas is having a good time.

Blitzo: Yeah, well. He needs it.

Again, just pay attention to the fact that Blitz didn't swear once during the part of the conversation I just showed, showing once again even more just how sincere Blitz is being here, to not be the way he is forever, to let Stolas have his good time at the party.

S2 E8:

Blitzo: What?! FUCK you, Stolas! You spring this feelings bullshit on me, are you fucking kidding? Can I get a FUCKING minute to think after everything you put me through, you pompous, rich ASSHOLE?!

Blitzo: Treat me like one of your little butler imps?! You can't just dismiss me like that! I mean, you royal fucks think you can do this EVERY TIME, like you can just play with our feelings because we're smaller and not as IMPORTANT! Well, I'm not letting you, BITCH! LET'S GO!

Stolas: Blitzo... I think so very highly of you... I didn't realize you think so low of me...

Blitzo: Stolas, wait! I'm s-

You know, the amount of swearing in that part of the episode tells me something, that what Blitz said during the peak of his outburst was exaggerated a little. Does Blitz make some completely valid points during that outburst? Yes. Is what Blitz said during said outburst a bit exaggerated because he was in the heat of the moment? Yes. Both of these can coexist, and I do completely understand why Blitz said what he said during that argument. (I'm not choosing a side on who was in the wrong in the full moon argument here, btw)

And, the lack of swearing when the realisation hits to Blitz of what he's just done, right as he tries to apologise to Stolas just further tells me that Blitz did genuinely mean that 'I'm sorry', he said right before Stolas teleported Blitz out.

S1 E8:

Blitzo: Fuck, Fizz was right. I'm gonna die alone, aren't I? Just a wrinkly, old, withered, waste. Will you be there, Loonie?

Loona: Be...where?

Blitzo: I dunno, jus- ...lonely... Die alone...

Loona: I'll be there, Dad.

Loona: Now go the fuck to sleep... okay?

Blitzo: Millie... Moxxie... Stolas...

Again, pay attention to the lack of swearing in that part of the conversation, minus one 'fuck' at the start of it, it just adds to showing us just how raw and genuine Blitz's emotions are during this scene, showing us that Blitz genuinely believes that he's gonna die alone, and also showing us just how much Blitz still cares about Fizzarolli, Loona, Millie, Moxxie and Syolas.

S1 E7:

Stolas: You know, I have some more wine in the house. Octavia's with her mother this weekend. So, we could--

Blitzo: I'm not fucking you tonight, okay? I'm really just I'm really not in the mood, Stolas.

Stolas: We could talk, or... watch a movie, or... maybe cuddle?

Blitzo: Stolas, don't act like what we have is anything but you wanting me to fuck you, okay? You make that really clear all the time. But, I just, I-I can't do it tonight, okay?

Blitzo: I'm sorry.

Stolas: Okay. Goodnight, Blitzo.

Blitzo: Night.

What I find interesting here is that the two times the word 'fuck' is used throughout this scene, it's used to replace the word 'sex', so thinking about this scene through the lens of that statement, it shows us even more just how much Blitz believes in what he's saying, especially when he says "Stolas, don't act like what we have is anything but you wanting me to fuck you, okay? You make that really clear all the time."

Finally, S1 E6:

Moxxie: Do you remember what you said to me after my first day with the company?

Blitzo: ...Not really.

Moxxie: I remember. You told me I did a good job and that you were proud to work with me. I feel like you wanted to say something more judgmental, but... you said that because I needed it... And it helped.

Blitzo: Look, I'm hard on you, because I know what you're capable of, Mox. You care too much about what everyone thinks except for... me, because, y'know, my opinion is correct, but just... keep doing a good job. 'Kay? You shoot 'n kill good, you escape things easy... you can be strategic and cold-blooded when you need to, aaaand don't expect any more compliments; I'm maxed out.

Moxxie: Thank you, sir.

Blitzo: You know my name... Use it.

Moxxie: Thanks, Blitzo.

No euphemisms, innuendos or swears, showing us that when Blitz was talking to Moxxie in this scene, that he was 100% being serious in what he said.

So in conclusion: I have shown multiple examples where if you think about them through the lens of the statement "Blitzo was using a total of zero euphemisms, innuendos, or swears. That means it was serious, which means I don't open it until--", you start to see more depth within those examples I have shown in this post.

[variousqueerthings]

(hope this isn't hijacking a post, lemme know, I just get excited): I think s2 becomes better upon rewatch. not that it was ever bad/it has some of my favourite episodes/when I was a kid I wanted to be rose/disclaimer that I am Very Fond Of Rose -- but the real pay-off is in the backhalf rtd's run imo, kinda what you're saying

because s1-2 does the work of establishing the pain nine/ten came from and then them ostensibly healing, only for the person on which they put their happiness to be ripped from them, so that they can experience the soup x100000 in s3-the end (and then for rose to continue to haunt the narrative + there will always be a bit of godlike power about her/the bad wolf), because if the doctor had started at a s3 point, we wouldn't have had the meat behind the fucked uppedness to really prop it up, and one really appreciates that upon rewatch. it's a very "oh so this is why ten is Like That when they meet donna for the first time, setting them on that course of destruction (not helped by the master's whole Deal) of s3 and 4, and we know how that inevitably ends, but for now, for a second, they're okay, they're pretending they can travel around with a mortal person forever/can just keep on running," and one can really pinpoint moments of importance/things that come back in some way on the rewatch (the joy of rewatching the end of the world and seeing the face of boe for the first time, knowing new earth, then gridlock, which leads into utopia etc. is going to happen.... just! satisfaction!)

and of course we get a whole bunch of the core team: jack, jackie, mickey, sarah-jane, harriet jones, torchwood, etc. (re)introduced during those first two seasons, so all the legwork is there beyond rose and the doctor as well

(also idk if you noticed or not, but it's so fascinating to me that rose never really asks much about gallifrey -- the doctor never even tells her that's what their planet was called, it's not until s3 that timelord Backstory properly comes into play outside of the daleks. I tend to read rose as the doctor deciding to leave behind everything that happened, because with rose there it'll all be fine, and willfully ignoring the fact that Rose Will Not Always Be There, until rose suddenly... is not there anymore. and then. woops)

and then to have rose come back, only to choose ten's other-self, because that self is alloromantic/allosexual human/able to have a monogamous single life with rose... so the second time the doctor leaves, it's not even technically against her will entirely/it was avoidable/she made a choice and that choice was not the doctor, whereas the doctor way back in s1 and especially in s2, chose rose over and over -- when rose in s2 says that she'll travel with the doctor "forever" first it's tragic because she can't, but then it's tragic because... she actually wanted something else in the end. knowing that that's coming makes it all hit differently, knowing that the doctor's whole journey of s3+4 ends with the doctor concluding that actually everyone is better off without them

and for martha to become a soldier, which is the last thing the doctor would have wanted for her, but she's so so like the doctor in so many ways, she takes up the defender of the earth mantle, and so the only thing to do is to allow her the agency of her choices, when that wasn't possible for her and her family during the year that never was, off the back of the doctor's original pain from losing rose and treating martha as if she could shoulder everything

and all of that being a domino effect, finally leading to:

donna being ripped from them, when donna would have stayed forever!!! she really would have I think, for as long as was possible, and she never asked for more from the doctor than what the doctor was

all in the space of a single episode

so the s1+2 seasons ostensibly give the doctor everything, and s3+4 start tearing it away (which, also when the doctor met martha and donna, but crucially they're both much more serious overall narratives about the "cost" of travelling with the doctor, and then that culmination...)

it's just very satisfying in a full puzzle kind of way. also in a treading on hot coals kind of way. also in a "rewatches s1ep1 and thinking oh no the narrative has got me again in its cruel loop" kind of way.

like see . i don't HATE ten/rose at all they r cute sometimes and they are like doomed yuri to me however i also tragically think that ten's character becomes more interesting in series 3 and 4 because he was being put in the soup and also his dynamics w martha and donna are soooooo

[hotdaemondtargaryen]

OLIVIA COOKE IN THE INTERVIEW FOR ELLE MAGAZINE.

TALKING ABOUT ALICENT'S RELATIONSHIP WITH HER CHILDREN IN S2.

She must handle her sons “as the power goes to their head and they see her as irrelevant.”

“She’s terrified of Aemond and what he’s become, and she can’t access Helaena.”

As Alicent slowly becomes invisible, it’s also strangely liberating, “because all of a sudden eyes aren’t on her and she can sort of do whatever she wants.”

ABOUT FILMING THE SEX SCENES IN S2.

When it came to sex scenes, Cooke worked closely with House of the Dragon’s intimacy coordinator, Vanessa Coffey. Given Game of Thrones’ reputation for nudity, she had originally braced herself.

“I thought there’d be way more, and so I’m relieved that when it has been used for me, it’s showing Alicent being pleasured, which is amazing and doesn’t feel gratuitous.”

“It feels like we’re telling a story.”

She recalls one bedroom scene she filmed that was cut: “It was messy as fuck. It wasn’t beautiful, and that was really fun to do.”

It was “carnal” and even “animalistic.”

“I think Ryan [Condal, the showrunner] said we weren’t learning any more about the characters, which I disagree with slightly, but it’s okay. It’s his show,” she adds, with no hard feelings."

"Maybe we’ll see it in the bloopers, she says, laughing."

ABOUT THE CAST OF HOTD.

OLIVIA COOKE:

“They’re like my family, and we adore each other.”

TOM GLYNN-CARNEY:

“We put the wigs on and the costumes on, and all hell breaks loose.”

TEAM GREEN TALKING ABOUT OLIVIA COOKE.

FABIEN FRANKEL:

“She’s a dear friend and a great giggler.”

PHIA SABAN:

Who shared many scenes with Cooke this season as Alicent’s daughter Helaena, remembers their antics while filming an otherwise somber procession scene.

“We just got really hyper, and it became a little bit of a chamber of music actually.”

“Lots of singing.”

EWAN MITCHELL:

“I think Liv’s performance this year is one for the gods.”

TALKING ABOUT RHAENICENT.

“They practiced proper adult relationships on each other” Cooke says of the severed friendship.

“When you break up with a friend, it’s so much more heartbreaking than breaking up with a lover a lot of the time, because they know every single part of you and it’s so much more vulnerable.”

And of course, parts of the fandom ship Rhaenicent, a.k.a. Rhaenyra and Alicent as a couple.

“Don’t they ship everyone together, though?” Cooke asks when I bring up the imagined romance.

A fair point, but wouldn’t things be better if the old pals just made up and ruled the kingdom together?

Cooke humors me. “Absolutely. Matriarchy now, please.”

EMMA D'ARCY TALKING ABOUT HER FRIENDSHIP WITH OLIVIA COOKE.

“It’s funny to talk about a friendship that is so fundamental in your life.”

“The thing I find strange is to realize that I suppose we haven’t known each other that long in broad terms, but she’s a pillar in my life."

"I would have found this a challenging experience if Liv was not on it.”

[fireflysummers]

Good Omens S2

Okay so.

Excellent Job, Gaiman

Ouch???

I don't like to publicly talk about my personal life. My academic life is my professional life is my artist life. But my personal life? Not so much, outside of vignettes.

But for the past several months, I've been deconstructing a lot of personal baggage and trauma surrounding both family and religion, after leaving the cult I was raised in (mormonism).

It's terrifying to realize that the framework you built your entire self on is false. It's exhausting and painful to deconstruct that framework, to disentangle your identity in the way that won't destroy you.

And it's slow.

Nobody ever tells you how slow it is to heal. You can't control the rate you heal either. You just have to be patient with yourself, and give yourself an environment where that healing can occur safely and naturally.

Anyways.

Good Omens, and its weird tendency to be exactly what I need when I need it.

I first read Good Omens in high school. And honestly, I didn't quite get it, at the time. I only knew it was different from every other book I've ever read, one that didn't treat religion as stupid or trivial, but also one that called out the blatant hypocrisy and control tactics involved. It helped me safely challenge a status quo I hadn't even realized existed.

I first watched Good Omens partway into my Master's Degree. It was everything that I could've hoped for. I understood the book a lot better, but the TV adaptation captured my struggles with mental dissonance, trying to understand and accept the parts of my identity that I was taught God didn't want.

I watch S2 a year into my doctoral program. I'm out of the cult, and it's exhilarating and painful and scary and fun, but I can still feel the scars its hooks left when they were torn out.

I feel like S2 Aziraphale is in about the same place. He's exploring his freedom, but also trying to reorient himself. He's trying to let himself be. He's healing, but his boundaries got overridden due to circumstances out of his control (naked Gabriel). He's been pulled back into the gravity of the abusive system he tried to escape, given a carrot on a stick, and isn't yet healed or strong enough to resist.

On top of that, Aziraphale is still holding onto the hope that the problem was bad individuals, not a corrupted system. He thinks if the leadership is different, things can change. He thinks if he had more authority in the system, he could make things change. And... that's not how it works.

And Crowley. Dear Crowley.

He wants Aziraphale to be farther along in his healing than he is. Honestly, Aziraphale wants it too. But again, you cannot force this kind of healing, even when it results in a loved one making some truly stupid decisions.

Crowley sees the system for what it is. He's already deconstructed that part. But he hasn't really started addressing his own trauma. He's hinged his entire existence on Aziraphale, on being what Aziraphale needs, that he hasn't allowed himself to heal either. And Aziraphale, who is vulnerable and healing, is not able to provide the support that Crowley would need to recover safely.

Which is why them separating is probably the best thing for both of them.

It won't be permanent.

But they don't communicate, and their relationship while delightful and beautiful risks unhealthy codependency that prevents either from really growing or healing.

Anyways, what I really hope to see next season is Aziraphale's realization that the system never had his back. That the system is what's wrong, and that he can't win by playing at respectability politics or gaining a higher status within it.

I want Aziraphale to get angry.

He deserves it. He's tried so hard. He thinks he's lost Crowley over it.

I want him to feel the gut-wrenching despair of realizing how conditional and fleeting the system's version of love is, and I want it to turn into a rage.

But not a destructive rage--the sort of anger that Pratchett ascribes to himself and many of his works. The sort of anger that fueled Discworld and Good Omens. The sort that can be finessed into a weapon and a shield, that can be used to protect the people who truly love you.

For millennia we see Crowley fighting for Aziraphale.

For Season 3, I want to see Aziraphale fighting for his demon.

For him to apologize, without the expectation that Crowley will come back, but because he was wrong and Crowley needs to know it. To not expect forgiveness, not even think he deserves it.

And then for Crowley--who is trying to hide his heart eyes at seeing his avenging angel coming to save him for once, who he can tell immediately has changed, and is finally going Crowley's speed)--for Crowley to give that forgiveness, without strings attached.