#saying that the characters are on point like no!!?? they are not???!!

[infinitelystrangemachinex]

Jayce and the fallacy of the butterfly effect in Arcane's narrative

If Jayce's symbol is the butterfly, then my theory is that we're going into a full "butterfly effect" narrative in Act 2. Either we'll watch it happen, or we'll only see Jayce come out the other side of it changed by the experience, knowing - or more importantly, THINKING he knows - what to do to change the future. Literally, to "defend tomorrow."

tl;dr: Jayce will encounter the butterfly effect in season 2. Viktor and Mel both foreshadowed this in season 1. I think Jayce will fixate on Viktor and will believe that stopping or changing Viktor either in the past or the present - most likely the present - will mean he can save the future. I believe this will lead to an even worse tragedy and may have the same effect as a self-fulfilling prophecy. Ekko's approach to changing the future by sticking closer to the present - considering only tiny increments of time to alter more immediate future outcomes - will be the superior approach. I also think that Jayce attempting to change the future will create the conditions that push Viktor to become the Machine Herald.

One of the most common reactions even the casual viewer had to Arcane season 1 was this: "If [character] had just done this one small thing a little differently, [tragic event] wouldn't have happened!"

Arcane has been called a Greek tragedy for the main reason that because of how well built up the characters' personalities and reasonings are, there's no other way season 1 could have gone. There was no stopping the multiple tragedies that occurred, because with one event leading to another, the chain of seemingly inevitable events goes too far back to identify what one singular event caused everything, what one character made what one decision to put our characters on the terrible paths they walked.

Arcane is about to investigate this idea in its own narrative, and I think that Jayce will be the character to stumble into the flawed idea that you can change one event, or stop one character, and change the future for the better. This is because Jayce struggles with a few very interesting character flaws, one of them being that he believes himself to be the main character, and it is therefore his responsibility to intervene, be a hero, and fix things.

Viktor and Mel both foreshadow Jayce's future encounter with the butterfly effect.

Recall that Viktor said: "There is always a choice."

Jayce sees choices in black and white, believes that he has no other options but to go along with what he's persuaded and pushed into, and acts too boldly with too much power multiple times.

Recall that Mel said: "We can't change what fate has in store for us, but we don't have to face it alone."

Jayce tries to solve big problems on his own, and though he delegates to Enforcers and the like, Jayce relies on his reasoning and his alone to make important decisions if he doesn't simply become persuaded - usually through strong emotions like fear - by other characters. In addition, since Mel is specifically talking about Viktor's plight here, it's worth mentioning that while Jayce did say that he would help Viktor in acts 2 and 3 of season 1, Jayce does wind up leaving Viktor to face his fate alone. When Jayce tries to change that fate in s2 ep1, ep2 shows that only tragedy can come of this as well.

Viktor and Mel's statements here are not contradictory. Viktor makes the point that you can always make a choice. In context, he's literally referring to the classic "secret third option," because given a choice between aggression and passivity, war and surrender, Viktor chooses to defuse the bomb instead. Mel, interestingly, seems to believe that destiny is fixed in a broad sense, and she operates as a politician and diplomat and investor who navigates that line of destiny in the most optimal way possible. In reality, in context, she is referring to the fact that Viktor can't change the way he was born and so he has no way to change his fate and therefore must face it, which is true - she's only missing the information that Viktor actually does have the means to change his illness and his body. Her wisdom still applies however, because he'll have to accept the hand that fate deals him after he makes that choice. Will he face it alone, or not?

There is always a choice, there's even secret third options, because having a fate doesn't mean that you are doomed to make only one possible series of choices. What it does mean is that each choice comes with a hand that fate deals you. It is impossible to know what all of these branching choices and consequences are in advance, and it is just as impossible in hindsight - the branches are too complex and the end outcomes are all equally meaningful, just different. If Arcane season 2 is to be a tragedy, it may show us that each possible outcome is still tragic if you fall for the fallacy of the butterfly effect.

Jayce is counseled by some of the wisest, cleverest characters with the deepest life experiences in Arcane, but he hardly ever takes that counsel to heart. If he does, he still acts on that counsel in flawed ways that have unintended consequences. This will come to a head in season 2.

Viktor and Jayce both have a butterfly following them around in season 1. The butterfly effect refers to one small seemingly insignificant event changing the course of history, and changing that event therefore changes history. Viktor bled over the railing of a Hexgate in season 1:

And Heimerdinger sees what we can only assume is Viktor's blood contaminating (?) the Hexgate in s2 ep3:

This might be the seemingly unimportant "inciting incident" that Jayce (and Heimerdinger and Ekko) settle on as something that should be avoided or erased by changing the past (if they time-travel with Ekko, for example).

I doubt that, if this is what this crew chooses to fixate on, it will be the only event that is considered as something to change. But let's take this and run with it for the sake of discussion.

As silly as it sounds, how do you stop Viktor from allowing his blood to come into contact with the arcane? Stop Viktor's involvement with the Academy entirely? Don't invent Hextech at all? But what if someone else invents Hextech besides Jayce? What if future tragedy befalls Piltover because it didn't invent Hextech?

The possibilities and what-ifs could branch on forever. But because Jayce is who he is, and because his tragedy with Viktor is still raw and recent and frightening, I think Jayce's butterfly effect experience will have to do with Viktor.

My personal prediction is that the timeskip between s2 ep3 and ep4 will be Jayce experiencing a timeline where Viktor, taken over by the Hexcore, brings about an apocalyptic event similar to what Heimerdinger experienced in his past. Either Jayce and co. can't go into the past to change the present, or Heimerdinger and/or Ekko advise strongly against it to avoid a paradox. This will lead to them re-entering the canon Arcane timeline before this apocalypse, but still after the timeskip. Jayce, believing that destroying Viktor and his cult will save the future, and believing that resurrecting Viktor was Jayce's mistake to fix, attacks him. But the consequences don't unfold the way he hopes, because trying to change fate once the cards have already been dealt has led to tragedy before.

The butterfly is a symbol of something other than just the butterfly effect - change, evolution, and rebirth. If the butterfly symbolizes the butterfly effect for Jayce, then I think it has a different meaning for Viktor - the change and rebirth meaning.

I've always found it very interesting that we see a similar-looking butterfly on Progress Day... but made of metal.

Every time Viktor's situation changes, he adapts and evolves. If Jayce attacks him, if his cult is destroyed, if the Hexcore is causing Viktor to decay, if all of these things happen at once - he'll just evolve again, and I think the Machine Herald is the next step. And the Machine Herald will be a triumph for Viktor, but Jayce will believe that he's created something even worse. The resulting feud will be a personal nightmare for both of them.

I think this still allows Viktor to use his own agency to choose to become the Machine Herald (the MH will probably be the "secret third option" that saves Viktor, or there will be a secret third option that ends the feud) while still allowing Jayce to be offended and horrified at whatever the Machine Herald represents or is trying to do in the undercity. Introducing the element of time travel allows Arcane to explore the meta concept of tragedy and fate that season 1 was built on while showing that you can't "solve" a tragedy, because there are other terrible possibilities lurking behind alternate choices. Especially if what you're trying to change is singular people or events and not systems of power.

This is why Ekko's approach with his Z-drive will be superior to Jayce's sweeping attempt at changing the future. Ekko's goal has always been societal change. He creates his own punk society in the undercity, more progressive and successful than anything Vander or Silco ever created, and a better bastion of safety, hope, and progress than what Heimerdinger founded in Piltover. Trying to change systems by going back in time is most likely futile. But taking what Ekko has already built in the Firelights, curing his tree, and fighting for the Firelights' survival bit by bit by optimizing the present with the Z-drive shows that:

It's more worth it to focus on becoming wise (Ekko's mask is an owl) and making choices you won't regret

It's best if you don't face your fate alone (act as a collective and take care of each other)

Consider every option, not just the obvious black and white choices

Maintain and fix what you've already built instead of abandoning it once things get difficult

Adapt as needed if the choices you made lead to dark consequences, and once again, stick together and take care of each other when the bad times do come

That's my Act 2 but, ultimately, my season 2 prediction based on the butterfly symbolism we've already seen. Ekko's involvement is what will give the series the at least partial happy ending that the creators have referred to. I personally don't think that the Viktor/Jayce feud will end quite so well, but maybe, they will still survive.

[lemurchick]

Today russian government banned "childfree propaganda" with the law fining non-complying citizens up to equivalent of 4k dollars and non-complying organizations up to 51k dollars.

This law prohibits any public (for now; soon it could be used even for DMs) statements where childless life seen as a better or even equal lifestyle to having children. It forbids saying that it's okay for women to have abortions. It bans any advices to not have children if women don't have enough space, money, health (!) or any other reasons (like going-on war hello?) except when you're talking about monkhood celibate.

This is in line with Putin's signed order "to save and protect traditional values" which already led to banning any mention of LGBT people and had people arrested and sentenced just for organising private gay events or heavily fined for posting a photo of you with your same-sex partner holding hands or screenshot of tv characters kissing. Two female police officers friends were fired because they left messsages under each other photos "showing simpathy" (not even flirting).

And now this. Of course it's not going to affect men who proudly say online how women with children are second sort or calling mothers protecting their children crazy "butI'mAMother"s (popular derogatory term), or advocate to cancel child support, or doing anything else that actually turning women away from considering motherhood. It's going to affect feminists first and foremost because it is us who relentlessly advocate how marrying men and having children in this society is a trap.

And they plan to ban feminism next (they were tryng to do this for years at this point) and also... eh... egoistical lifestyle propaganda whatever this means.

Crazy times but I think we will prevail. Soviet feminists refused to keep silent and were called dissidents and extradited. For now not one feminist channel, podcast, page or community I know is planning to close.

[zoe-oneesama]

1. I really just don’t like how you shit on Chloe in your Au considering that she is technically the Main character now because of her having the ladybug earrings.

2. As for unlikable characters exist. Yeah they do but they usually don’t have a really good back story.

Thomas give her a sad backstory, took that away and made her worse ??? It makes no sense. Especially if it was supposed to be a unlikable character. her backstory isn’t an excuse for her actions but yall hate her for the actions and at the same time don’t want her to change.

(Not only that but he ended replacing her with a very boring and rushed character like Zoé.)

Basically what I’m saying it’s just weird for yall to hate a character that much.

I think it's really weird for y'all to be so defensive of a fictional person, yet here we are.

Perhaps you were mislead because her "hero" form was the title of the AU, but uh, Scarlet Lady was never about Chloe. That's why she didn't, like, grow or anything and why we left her several times to focus on Adrien and Marinette. Having the Ladybug Earrings does not automatically make someone the main character, she's the tritagonist at best. And canonically, she's just a side character with too much screen time.

But even if she was the main character, so what? Scarlet Lady's tone is comical, it was never going to go deep (except in the Finale, kinda) and Chloe was never going to get the 5 Hour Youtube Essay Deep Cut in Comic Form about the Wonderful Person She Had the Potential to Become that viewers like you seem to be craving so badly.

And we fundamentally disagree about Chloe's backstory. It's not a good backstory, it's pretty basic, not even entirely unique to Chloe in the very story it's stuck in, and removing it changes nothing about her or her personality and motivations in the long run. It's used as a weak excuse that's only brought up at random to the point where even canon doesn't buy it anymore.

Though I'm not sure why you think that unlikeable characters can't have sympathetic backstories, the point is usually that despite going through the worst and despite the fact that it's entirely possible if things were different for them that the character could've been someone entirely different (and therefore "likeable"), none of those things erase the things they've done or make them more likeable. It just makes them kinda sad on top of it.

But that doesn't really apply to Chloe since taking out her garbage birth giver still leaves her with Andre who did a good job ruining her all on his own.

Anyway, sorry for the rant, but to wrap it up, sorry you don't like how I do things around here, no one's keeping you here if you don't wanna be faced with it or whatever.

[luvlystarr]

·········♡········· Prompt: The moment the 141 guys realized they're in love with you. Content: Fluff! (This was all rushed so don't expect it to be the best lol) ························

Kyle 'Gaz' Garrick - In all honesty, Kyle has probably been interested since the day you two met. But when he decided to bring you along to his cousin’s birthday party, that's when it fully clicked in his mind. At first he just thought it would be a good idea to get you introduced to his family, you were his close friend after all. It just so happened that his nieces and nephews were there and as soon as they met you they were instantly hooked. Kyle never knew you were so good with kids and just people in general. His nieces and nephews kept playing with you, while his other relatives genuinely enjoyed chatting with you. The exact moment he realized he loves you was when one of his nieces asked you, “Do you like Uncle Kyle?” To which you responded, “Yeah, he’s a very special person to me. I like him a lot.” Of course you had to say those words with that warm, kind smile of yours, it got Kyle melting on the spot. Unbeknownst to you, he heard every single word and has been absolutely lovestruck since then.

John 'Soap' MacTavish - It was quite an odd moment. The moment he knew was when you two were up late at night watching every single Harry Potter movie out there. At some point, about halfway through the third movie, you just started rambling about the characters and story of the whole franchise, even covering little details about the books. Johnny didn’t even know why or how his mind began to think that way, but he just found it so attractive. Even to this day he doesn’t understand why you geeking out about the Harry Potter franchise was so captivating. Maybe it was the way you looked so focused, or how the tv was illuminating your features perfectly, probably your angelic voice too. Either way, he can’t stop thinking about you and he uses every chance he gets to get you talking about any of your interests.   

John Price - He would probably never admit this but the moment he knew he’s in love was when the two of you were fighting. Both of you had a tiny disagreement on something but it ended up growing into a heated argument. For almost half an hour straight, you two just kept going back and forth, gradually raising each other’s voice and becoming more irritated. By the end it got so bad that you slammed your hands on the table and got snappy at John, yelling strings of insults at him. He should be just as angry, but no. In that moment he could’ve sworn his heart skipped a beat. How could he get mad if you looked so cute with your pouty lips, furrowed eyebrows and crossed arms? He mistakenly let out a small chuckle at your attempt to be intimidating but he was met with a slap on his face. At that moment he knew that the only reasonable explanation why he felt that way was because he was head over heels.

Simon 'Ghost' Riley - You were the first person he actually got close with. Sure, he has Johnny and he's an amazing friend, but the bond he had with you was unlike any other. The two of you found solace in one another and always had each other's back. The night he knew it was true love was when you drove all the way to his house after a terrible day. You were sobbing endlessly as you rambled on and on about how crappy your boss is as he intently listened, even rubbing your back while handing you a cup of tea. After comforting you, he insisted that you stay for the night. He let you wear one of his hoodies and even let you sleep in his bed. You were hesitant at first but quickly gave in with how insisting he is. He remembered watching you sleep peacefully, all huddled up beneath the blanket. He had to admit, you looked adorable wearing his hoodie with that calm look on your face. That's when it dawned on him just how much he loves you. ········································································

[imastoryteller]

Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real

Anger can be one of the most intense, relatable emotions to read—and one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the character’s feelings seem overblown, forced, or even cringe-worthy.

So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.

1. Understand What Fuels Your Character’s Anger

To write anger authentically, you need to understand its roots. People get angry for complex reasons—fear, frustration, betrayal, grief, and even love. Ask yourself what’s truly driving your character’s anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.

When you understand the core reasons behind a character’s anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.

2. Show, Don’t Tell—But Don’t Overdo It

“Show, don’t tell” is classic writing advice, but it’s especially crucial in angry scenes. Don’t rely on generic phrases like “She was furious” or “He clenched his fists in anger.” Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.

That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many “flaring nostrils” can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.

3. Use Dialogue to Reveal Hidden Layers

People rarely say exactly what they feel, especially when they’re angry. Angry dialogue isn’t just about yelling or throwing out insults; it’s an opportunity to show the character’s deeper thoughts and vulnerabilities.

Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your character’s dialogue feel genuine, even haunting, without falling into dramatic clichés.

4. Control the Pacing of the Scene

The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesn’t always erupt instantly; it can simmer, spike, or deflate depending on the situation and the character’s personality. Experiment with different pacing techniques to create tension.

You might build the anger slowly, with small signs that something’s brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the reader’s emotional engagement, drawing them in without overwhelming them.

5. Avoid Clichéd Expressions and Overused Reactions

When writing anger, avoid falling back on clichés like “seeing red,” “boiling with rage,” or “blood boiling.” These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your character’s anger might feel specifically to them.

Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, you’ll help readers feel the anger rather than just reading about it.

6. Let the Setting Reflect the Emotion

The setting can be an effective tool to amplify a character’s anger without overstating it. Small details in the environment—such as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughter—can create a sense of contrast or isolation that heightens the character’s rage.

For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe they’re in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.

7. Let Consequences Speak for Themselves

An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters don’t always have to yell or physically react; sometimes, a single choice can convey more than any outburst.

Perhaps your character cuts off a close friend or says something they can’t take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.

8. Let the Emotion Simmer After the Scene Ends

Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?

Allowing the anger to simmer in your character’s mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesn’t just disappear the moment the scene is over, adding emotional weight to both the character and the story.

[senseandaccountability]

the narrative that could have been

Having mulled over the game for a couple of days I have realised that the main problem for me is that Veilguard is good based on the premises they ultimately choose, but not based on the set up and promise of what was there before. I know this isn’t a unique take by any means and yes it’s all about the Evanuris and the Veil and Solas. 

Replaying really emphasises how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

The game actually gives no explanation whatsoever as to why the Veil coming down would be worse than what Rook causes in the beginning and what the escaped gods then do to the entire Thedas. The entire south falls to the Blight because Elgar’nan and Ghilan'nain are let loose. The Wardens are more or less wiped out. There’s enormous political turmoil. The game gives us Solas saying “thousands” would die when he brought the Veil down, but that he had a host of spirits there to help. (Yes, I know, his sole function in this game is to Trick and Deceive so who is to say if he’s lying, HUH, but even so, THE ENTIRE SOUTH FALLS TO THE BLIGHT IN ROOK’S VERSION OF THINGS.)

The game puts emphasis on Solas's questionable methods and past horrors but it doesn't ever explain why his goals are despicable here and now. It doesn't convince us that tearing down the Veil with lots of safety measures in place and after considerations is a bad result, all things considered - save for Varric’s initial yelling about demons. (We even learned in DAI that the Veil itself creates demons because it restricts the passage of spirits, come on.) Because three games have suggested it's not, not ultimately. Trespasser especially nuances this, just as it nuances Solas’s view of this current world state. Right after his long nap he would have nuked it all, I’m sure, but the whole point of character arcs is that things happen in them and what happened to him is that he was shown layers and angles he had not considered and adjusted his mindset and ultimately his plan accordingly. That is where DAV should have picked it up. That's where the build up was headed. But, now he must serve the narrative solely as the God of Treachery and Lies which means that previous build up is washed away for the most part. (In no way do I think he is OOC in DAV, I just want to point that out so nobody thinks I’m a sappy fangirl or whatever. I think he is perfectly in tune with his inner Dread Wolf, but that is also all he gets to be, because of the narrative, and I’m always much more interested in when roles and personas clash.) Again. The main problem is that the narrative cannot explain why bringing down the Veil would be the worse option than the shit we see unfold on screen. Instead it gets a bit lost in the past.  And I have Issues with that, as well.  Like, the dumbing down of the war against the Evanuris. The war that started because the leaders of the rebellion - who previously had to carry out terrible orders so the Evanuris, the upper crust of the Elvhenan, could play gods - decided that the Evanuris was a threat to them all. And the game gives us what, a depiction of how the rebellion ended up crossing lines, too? No shit.

Like, I am fully on board with the individual theme of regret on Solas’s part and he ought to be wrecked with guilt but I wish the game could be less all over the place with what sort of things he ought to be wrecked with guilt over. Saying fuck you to the Evanuris is the best and brightest of his character, I suppose I just don't want it dragged down to the same level as him breaking the Titans. I suppose I would have wished for a narrative that also worked on a systemic level when depicting things like, you know, war and revolutions and subjugation. But we don't have that, because DAV is only about personal choices. The Lighthouse crew flippantly writing the hierarchical and violent power struggle off as being about love and betrayal is on my shitlist forever. 

No, Taash et al, it was not about pussy, it was about feeling compelled by superiors to commit heinous war crimes and being lied to about the actual purposes of your damn war in the first place. The elves shouting at Elgar’nan and Mythal in this painting aren’t driven by love and sex they have been lied to by their ruling class. It was never about freedom or ending the wars, it was always about Elgar’nan jerking off to ultimate godhood. The writing even suggests betrayal here is to be understood as Netflix drama betrayal, maybe some juicy porny plot but it’s ABOUT THE BETRAYAL OF THE ELVES BY THEIR OWN KIN.  ((ETA: I would have wanted my Dalish mage to be allowed to be furious, NOT WITH SOLAS, but with the fucking Evanuris for betraying her people and being so fucking vile that the only option that remained was to create a world where she's a second-class citizen. I would have wanted the game to recognize that not all causes are equal and that Elgar'nan's cause for godhood was objectively more vile than Solas's cause for freedom because as it stands now, there are some really iffy vibes of "both sides are equally bad" and other things authorities tend to say when comparing destructive regimes with uprisings.)) I’m sorry, this shit hits me on a personal and political rage level. 

I also can’t help but mourn a game where the Trickster God fulfilled his trope’s duty and shook the stagnation apart with his actions - for good or ill, the way trickster gods are wont to do - and where Rook was tricked into helping and then, a more complex game about its consequences could have unfolded. The Evanuris could still have been the bad guys, if they wanted big villains frothing at the mouth. There could still have been numerous unplanned consequences, like all of Solas's plans have. Maybe other ancients awake as well. Maybe ancient evils who aren’t elves, who knows. Point is - the Veil should have come down, at least in some form, at least in some outcome. THAT is what they've been building up to. In this game that never was, Rook could be an actual interesting character where we could mold her as either accepting of this trickster role (which fits perfectly for a blank slate with no ties) or set to overturn it and enforce status quo, with some vanilla option in the middle. Maybe the Veil doesn’t come down until the very end of the game, ancient magic takes time after all, maybe a lot has happened by then. But ultimately, Rook’s choice in the end should not have been about siding against Solas because he’s lying to you or because he did horrible things in the past or siding with him because you want him redeemed. The narrative should have provided those options either way. The narrative should have been brave enough to suggest that hey, maybe Solas isn't wrong at all - his methods maybe, but his goal, no. If they truly wanted mirrors between Rook and Solas, Rook should have tackled the issue of actively bringing down the Veil herself, not because it's a roses and sunshine-outcome but because it might very well be the lesser of two evils. Gods, that would have been interesting. It should have been a choice about what sort of world Rook and the Veilguard wants to see in the future. It should have been about the people, the world, not how angry Rook is that an ancient elf has tricked her. 

That would have been the game I wanted to play.  This story doesn't really give anything new to the world of Thedas, which a world without the Veil would have. It accomplishes closure for our favourite trickster god and bless them for that, but as for the plot and the world-building it ends on a meh because the narrative isn't about the people unless they're brought up as being endangered. This is why I can feel satisfaction regarding the thematic conclusion to certain character arcs, the trickster becomes the healer with the bloodiest hands, the wolf submits willingly to his trap and so on and so forth, and I can have fun with the characters and their arcs but also really mourn the game that was there, in subtext and build up over three previous games and in several tie-ins.

[kerricaine]

Y'know, the thing I remember most from other world stories is that the point of the fantasy world was supposed to help the main character gain a new perspective on their everyday life; giving them the experience and knowledge to deal with issues problems they were facing there, or a new appreciation for the life they had back home. Even older stuff like the.hack// series were about solving a problem in the real world via a VR MMO. Modern isekai just say "your life sucks and can't be fixed. Wouldn't it be better to go somewhere you could be cool?" And that just...feels like insidious marketing towards the target audience. It encourages the worst part of themselves; shut in and escape by watching our product.

I remember how many people said "one punch man" inspired them to start working out. This feels like the opposite of that.

Isekai just seems like a profoundly sad genre of fantasy by design. Yes you have rad JRPG powers now and you get to hang out with big tiddy elves who love you but do you not have like. Friends that you mourn. Family that you miss. Habits that you can’t practice now without tripping. Familiar sounds and smells you’ll never know again

Either you did and you don’t care in the face of JRPG powers and elf tiddies, or you didn’t, and both options are profoundly sad in their own ways

[ryescapades]

*ੈ‧₊༺ “YOU’RE SO GORGEOUS I CAN’T SAY ANYTHING TO YOUR FACE!”

— karasu and his shy girlfriend!

characters: karasu tabito x fem!reader contents: fluff, teasing, reader visibly blushes a lot notes: i feel like this is my first time writing for shy!reader wth <900 wc | requested

“you’re starin’, babe,”

you’re snapped out of your reverie, gaze clearing out of your daze to look at the man in front of you. your cheeks burn, turning pinkish when a small smirk is thrown your way. “s-sorry! i was just, uh - yeah…” you trail off, deciding not to voice out your thoughts when you realize how weird it’d sound.

your boyfriend raises an eyebrow, skeptical at your deflection but he continues rummaging through his closet in search for a piece of shirt to wear nonetheless, fresh out of the shower after the grueling practice he’s had.

unfortunately for you though, that means he’s only clad in a pair of sweatpants, strutting around in the room with his torso bared for you to ogle at. which also means you have to amass in all the self control inside you and resist from drooling at the sight of all that naked skin.

you failed, obviously.

forcing your gaze down to the book you’re holding, you try to focus back on the printed words to avoid looking his way. suddenly the little bookmark that you’ve put aside on the nightstand appears in your vision, sliding into the space in between the pages before the book is pushed close by a set of fingers.

you look up to see karasu— unfortunately thankfully already dressed— sending you a knowing look, “you’re not even readin’ it,” he points out, making you sheepishly smile as you rest the book on your lap.

‘give it to him to notice even the littlest things,’ you huff at the thought.

he takes a seat beside you on the bed, shoulders brushing each other’s as he rests back against the headboard, throwing you a sideway glance. “ya gonna tell me what’s on your mind, pretty?”

your chin tucks inwards at the nickname out of habit, your teeth absently gnawing at your bottom lip. “you’re gonna laugh at me,” you mutter.

karasu smirks at your reluctance, “try me.”

you take another minute to contemplate before gathering your confidence, turning to sit facing towards him. “can i, uhm…” your fingers shyly fidget with themselves, eyes seeming to find the loose thread on the blankets more interesting than ever. “can i wear your jersey…?”

your voice is so small, so timid that karasu almost couldn’t catch what you’re saying. a flash of confusion crosses his face and he sits up to face you properly, about to reply when you abruptly burst out in a flurry of stutters.

“i-i mean…!” you squeak, “like, i-it’s completely fine if i can’t! i know you always give it to me during your games but - uh, y-you know! i also wanna wear it at home or to bed o-or like—“ his growing smile and glimmering eyes short circuit your brain.

heat creeps up your neck, your face flushing red as your voice dies out of embarrassment. if it were possible, there would’ve been puffs of steam coming out of your ears from how hot your body is becoming.

seemingly unable to control yourself anymore, you let yourself comically slump onto his chest to hide from his view. karasu reaches a hand towards your cheek, uttering out your name in a gentle call.

he does a second try when you don’t budge, sensing the amusement in his tone. you shake your head petulantly against him. “you’re laughing at me,” you grumble.

“what? ‘am not, promise!” the chuckle he’s been holding in seeps out through his breath. “are so,” you counter quietly.

you’re internally praying for your body temperature to go down fast, but his next set of words deems it impossible for it to do so.

“you’re so cute like this, ya know that?” karasu sighs, and your heartbeat quickens a tad bit.

“are you not going to give me an answer?” you mumble, still leaning into his space as you feel him playing with the little strands of your hair, the air around you becoming still yet comfortable.

“and here i thought giving you my jersey during my games already means full custody over it,” he muses. “why would i let ya hold on to it for as long as ya did if it’s not to wear it anytime ya want, dummy?”

another rush of embarrassment washes over you as you think over his explanation. “…you’ll never let me live this down, will you?” you groan.

karasu laughs, hearty and fond. “nah, you look too pretty all red like that for me to stop,” he drawls before grabbing your face in his hands, holding you in place when you make another attempt to hide your blush, overwhelmed at how close and attractive and good-looking and cocky and sexy—

you give yourself a mental slap on the face.

he drinks in your scrunched expression, the warmth from your flushed cheeks flows to his skin as he gives you another lopsided grin. “aw, did i fluster ya that much?” he teases.

“s-shut up.”

©🅁🅈🄴🅂🄲🄰🄿🄰🄳🄴🅂. do not steal, translate or repost my work anywhere else !

[buckleythoughts]

I think what is being shown from the past few days is a turning point in the 911 online fandom. For years it felt like buddie shippers had a choke hold on the online fandom and for the show, that’s all they knew outside the GA. It’s why so many of the journalists cater to them. This level of backlash was unexpected and that’s why we’re seeing so many lash out and act oblivious as to why the show is getting backlash. They’re starting to realize that they are NOT majority of the viewership. This is not me saying that BuckTommy is at all because they’re not. However they ( both buddie shippers and the show) have clearly severally underestimated how much of a fandom they’ve built and how much many of the GA likes them and Tommy as a character.

My advice is to continue to let your hurt and frustrations be known. Through the official posts and through the ABC programming feedback from if you have not already done so. Please keep it respectful and professional as that is the BEST way to let our voices be heard. If the show wants us to continue to invest our time as viewers, well then they need to show that they’re are willing to invest into the show as well. You’re not wrong for being upset and hurt.

[tpwrtrmnky]

representation

[ID: Three panel comic with crudely drawn stick people. Panel 1: A grayscale person and a blue person are conversing while a green person watches.

Blue: "Did you watch the new episode? The green character was really interesting, I think."

Grayscale: "They were so brave. I'm really quite impressed."

Panel 2: Cut to the green person (leaf green) on the couch in their apartment, with a lime green person and a moss green person also on the couch with them. The green person is excitedly pointing a remote at the TV opposite, which is displaying a streaming app.

Leaf: "Ok let's go! Let's see it! Let's go!"

Lime: "What's it called again?"

Leaf: "Um, 'transported to another world as a lukewarm glass of water, i must manage the supply chains of a colonial empire?"

Panel 3: A view of the TV screen with leaf and lime watching. On screen is a glass of water on a table, next to a person whose body is a bright magenta, covered in splotches of green paint and wearing a green jester outfit, as well as a small top hat. A translator's note that fails to distinguish between "they're", "their" and "there" reads:

"Osoroshi midori no henshitsu-sha are not green people, stop saying they're supposed to be anything like green people, they're like a distinct cultural construct from a completely incomprehensible foreign understanding of color theory, shut up about misoviridy in this show already god fucking damnit"

Midori: "Thank you for tolerating me despite being an irredeemable perverse freak."

Glass of water: "It's okay, I benefited personally from it."

Leaf: "I uh."

Lime: "Did you forget to research the show beforehand again?"

Leaf: "…yeah."

End ID.]

Start - Previous - Next

[r0semaryt3a]

Teenage Cherry lore. Teenage Joe and Adam. Fannon matchablssom. Tadashi and Ainosuke’s relationship. Tadashi. Anything to do with Joe, Cherry and Adam. Adam. Tadashi being a “good” person or even remotely “better” than Adam. TEENAGE CHERRY LORE

Oh right, one more thing: the watering down of villains into their base form and their bad actions and making those actions SO. MUCH. WORSE! So much so actually, that it’s gotten to the point that you’ve created an entirely new vile and horrendous thing, that is completely unlikeable and lacks any substance aside from the washed up mess you’ve forced upon them. But, obviously this is fandom purity culture here, you then feel like you have your own little twisted right to force that variant of a character onto everyone else unfortunate enough to be in the same fandom space as you! And, when I say force: I mean shove down their throats till they’re literally gagging from the sheer amount of mischaracterisation and are practically coughing on the absolute insanity of how you water down genuinely horrific irl terms to apply to fictional settings, until the original (and usually VERY severe) definitions have lost their meanings, and now if anyone with even a spec of common sense tries to point out that, that isn’t actually the term for it: you. Go. Rabid. Then, if they dare say they like such characters (you know, the actual cannon and not the Frankenstein creation you’ve concocted) you’ll accuse them of the most vile things Earth has to offer and go for the jugular if they dare speak on their own defence <3

If I hear another person online go “there’s literally no reason to like a villain unless you condone their actions :/” I will eat another thumbtack.

tfw "popular" fanon becomes so embedded in a fandom & discussions within fandom spaces that people just start treating it as the default and all interactions with others are coloured by this interpretation. have you considered that I actually don't subscribe to this take, which is nowhere in the source material? wait nvm, clearly not.

[halfhoursonearth-writes]

I try not to read anti-Zutara takes because like, help, I'm literally here to escape the dark divisive real world. But one point that I see over and over is that there's no time between when Katara forgives Zuko and the end of the series for the dynamic to shift between them.

I always found this kind of a surprising argument (leaving aside all the narrative and thematic groundwork already laid between these two characters, and also the in-show precedent for compressed romantic timelines like Sokka and Yue) because of the Ember Island of it all.

Between the scene where Katara forgives Zuko and the scene when he jumps in front of lightning to save her (both romance-coded visuals), they're living for weeks as unsupervised teenagers in beautiful beach house, emotions running higher than ever as they face down the end of the world as they know it, in a location the story has already told us "has a special way of smoothing even the most ragged edges."

It's kind of hard to imagine a setting or situation with more romantic potential. Except maybe the moment after Katara saves Zuko after he risked his life to save her.

I'm not saying the show cashed in on that potential, obviously. I just mean that one scene with the two of them having a heart-to-heart on the beach late at night or flirting in the surf would have been pretty much all it took.

[redflowersociety]

Reacting to you getting hit on - Mouthwashing HC

Includes all characters. Pretense of you being their partner (excluding Swansea, though he is included).

Jimmy

He is beyond pissed off. Both at the person hitting on you for coming anywhere near what’s supposed to be his, and at you (as if it’s your fault for being perceived). He curses the person out, making it clear to them and everybody around that you’re HIS partner. He makes a show of it in front of this stranger to repair his ego after the event. He’s the type of guy to drag you away, and forcefully make out with you within eyeshot of the person. He made a point to push all the right buttons to get you melting into his touch and meeting all his demands. He knows how to get you subservient, and that fact reassures him of his control.

After this, though? Expect him to be extra insecure for the following days. He’s completely convinced that you’d try to wriggle out of his grasp given the chance, and he just couldn’t let that happen. So he doesn’t let you go out the house without him, and when you both *are* out, he’s always got a hand on you, never allowing you out of his grasp. He needs both you, and everyone around to know that you already belong to somebody: him.

Curly

Curly trusts you. For him to settle with you, he must have a connection strong enough to reassure him that he won’t be used for his kindness, so of course he trusts you. He watches as you gently turn down the stranger, standing by but never once moving his gaze off of you two (mostly you). If he notices the stranger doesn’t take the first no, he steps in. He doesn’t mean to make you feel like a damsel in distress in need of saving, but he can’t bring himself to stand by and watch you get harassed. He promised to himself he wouldn’t stand by instead of protecting those he cares for, so he won’t.

Overall, it doesn’t stick with him in a negative way. Instead, your handling of the situation reassures him that he’s your only interest.

Post Crash

Although he has the same mentality as pre-crash Curly, there is an extra piece: He is horribly insecure of his appearance, and all that it represents. He shared to you the events that transpired on the Tulpar as a way of holding himself accountable. Every moment that passes, the guilt and hatred of his body plants seeds of doubt into his mind: Anybody is more attractive and could provide for you better than him. His past with Jimmy doesn’t help these feeling either.

So, it’s safe to say that the situation sticks with him. It makes it harder for him to accept reassurance. It takes a long time, and a LOT of reassurance for him to move on from it.

Daisuke

Daisuke is completely trusting of your love for him, but not of his own abilities or accomplishments. So, when he sees a guy with expensive jewelry or a well-kept appearance trying to get your number, it stings his heart. It’s not jealousy, as he knows that he’s the only one you want: it’s shame. He feels shameful that he can’t the perfect guy for somebody so perfect (you).

It’s not hard to notice that he’s feeling down when you hurry towards him after the interaction. You pull him somewhere a bit more private and cup his squishy cheeks, asking him what’s got him so upset. He hesitates for a moment, but soon leaves his emotions in your hands with the tears in his eyes that he just can’t manage to keep back.

He’d spill his guts to you about his worries, how he feels inadequate. You would have expected this, seeing how hard he tries to impress Swansea for approval. With a whole heap of kisses all over his face and neck, and soft spoken reassurance and words of encouragement, he’ll be back on his feet in no time.

Anya

Anya struggles to accept that others may see her for more than her body. So when she sees a woman with a more conventionally attractive body or face than her own hitting on you… she can’t help but feel a twinge of fear. Watching you reject the stranger kindly, however, reassured her again: she knew you weren’t that kind of person. You were never that shallow.

If a man happens to approach you, and won’t leave you alone, Anya pretends to be your sister or something similar to try to drive the man away. Safety in numbers, as they say. She’ll pull you away, and when times get desperate, it’ll be the first time you found out Anya never leaves her home without pepper spray!

Generally speaking, seeing you hit on doesn’t make her jealous or anything! She just wants you happy, letting your actions do the job at reminding her why she decided to give her heart to you.

Swansea

Who you share time with isn’t Swansea’s concern, he’s not your dad (or at least that’s what he tells himself)! But, if he did catch a glimpse of somebody making you uncomfortable…? Yeah, he’s stepping in and intimidating the shit out of the other person. Like hell he’d let some creep treat you that way when there’s something he can do about it!

If he caught you flirting back with someone, knowing you’ve got a partner… he’d definately be dissapointed.

Unless your partner was Jimmy. If it’s Jimmy, he’s hoping this stranger plays their cards right.

[louisferrignojr]

i have all sorts of criticisms for 911 as a show overall, for the 8x06 bucktommy storyline specifically, and for tim minear as a writer and showrunner. all valid criticisms and things I'm allowed to do as a queer viewer, because it relates to the writing choices, regardless whether they are influenced by external factors such as actor availability, budgets, or network demands and restrictions.

but you won't see me turning on oliver stark like a fucking rabid delusional buddie shipper.

using my logic and basic knowledge about the world of television, i can't put any blame on him for this shitfest. you won't see me coming up with ridiculous theories that he hates lou (#1 buddie talking point since the beginning) or that he got tim to write the episode this way (he's just a bloody actor ffs), that he hasn't done enough to champion the ship (you want him to be a bucktommy warrior?), because guess what?

say he promoted the relationship on his personal instagram, say he hyped it up more in interviews, say he interacted with shippers online or showcased more bucktommy fanworks... and the pair broke up in 8x06? because he doesn't write the show? you could then argue oliver engaged in queerbaiting, because the show did not deliver the queer content he promoted.

and isn't that what he was accused of anyway, before he deleted his twitter? doesn't it make sense that he might want to be careful about this?

and given the harassment he's had to endure from buddie shippers, i find it perfectly acceptable to answer buddie questions diplomatically because we know what those people are fucking capable of. it makes sense to me that he doesn't want to anger them.

at the end of the day, i'm not defending him. i've said before i'm deeply disappointed with his comments in the TVline interview and the way he doubled down in that instagram post. he has lost my respect and i no longer think he's a good ally to bisexual people specifically, because when you are playing a bisexual character, you have the bare minimum obligation to listen when real bisexual people are telling you that you fucked up. yes, i would like to see him acknowledge his wrongdoing and show that he understands the issue and why the things he said were biphobic. no matter how badly he fucked up, he should be allowed to reflect and make amends... because he's a human being and that's what the weewoo show is about. redemption arcs and second chances all around, folks.

but - he's literally just an actor and a celebrity. i expect nothing. i'm not holding out hope. i spare him no mind. i don't hate him and i'm not angry with him because i never idolised him. because i don't know him beyond the persona he shows the world. no one does. we can infer things based on what we see and hear, but there's really no way to know how much of that is his authentic self.

anyway. just my two cents 🫶

[writers-potion]

How to foreshadow? Like a big thing is going to be revelation after few chapters so how can I drop subtle hints about it? Lots of love 💗

Foreshadowing Creatively

If you are trying to build up towards the 'big moment' throughout a few prior chapters,

Let's assume that we want to reveal the the fact that Character A's husband is cheating on her. The big moment here would be when she witnesses them kissing in the parking lot.

To drop subtle hints about it, we could:

Have the husband doing things that are just slightly out of the ordinary, but not enough to attract serious suspicion: taking call outside the bedroom, being more tired after work than usual

Insert direct evidence that Character A could've picked up on, but she doesn't because she thinks it's ridiculous to start having doubts.

Use symbolic motifs. The husband informs her that he lost is wedding ring - a complete accident. But this indicates a 'break' of their marriage vows.

Similarly, you can use color/animal/location that subtly hints at secrecy, infidelity and dishonesty.

It may even be enough to have seemingly unrelated bad things happen to her. Maybe she cuts her finger while prepping dinner for her husband, or suddenly starts feeling that their bed is uncomforatble to sleep in. There's no logical link between these details and the eventual realization, but the mood gets established.

Think about the big moment from two different points of view: someone who knows about it all along, and someone who doesn't. How would it look from an outsider's POV?

I find it helpful to think about howI tried to justify the bad events that has happened to me.

For example, I messed up on a math test. The logical reason for this was that I didn't study enough. But my brain would: - blame it on the weather: it was raining! And I hate rain! - the supervising teacher, Mrs. G, was my least favorite and that had affected my mood. - I always eat an even number of chocolate before tests, but I could only eat 3 that morning because that's all that I had left. - the bus came late

Drive your character's mood slowly towards the revelation. If it's an emotional one, I'd say the atmospheric/symbolic elements would be more important; if it's puzzle pieces finally clicking in place, you could provide a brief overview of how past events are finally put together by your main character at the end.

─── ･ ｡ﾟ☆: *.☽ .* . ───

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[buckleybltch]

Why Tommy is Different to Buck’s Previous Love Interests

and Why it Doesn’t Make Sense.

This is going to be a long and (primarily) impartial post intended for all audiences, whether you like Tommy or not. However, this is not the blog to be airing grievances on. I’m not here for that. I am going to put some opinions of mine through here, but that’s all they are, and I’m going to try stick with facts with a side of interpretation. And Please, for the love of God, read till the end before commenting.

If you want to think I’m nitpicking then go ahead, but every scene of this show gets analysed to death and back for varying reasons. This will be no different.

The Hospital Scene

For the first time, we see one of Buck’s love interests sitting with the 118 at the hospital while they wait to make sure one of their own is okay. In regard to the group chat that appeared on that scene, form your own opinions. We don’t know if Karen or Maddie is in this group chat either. Opinion: I personally don’t think it’s that unusual to have a work group chat, and I also think Bobby showed Athena his phone. I don’t believe that was meant to reinforce the idea that Tommy is an ‘outsider’- if he was an outsider, he wouldn’t have been at the hospital altogether.

Never before has a LI shown up for the 118 at the hospital with Buck. Ali and Abby turned up at the hospital for Buck because it’s him who was hurt, and Taylor was at the hospital with her camera man for the story (s5 May Day). When Eddie got shot, Taylor showed up at the hospital because she thought it was Buck who got shot. Tommy showing up is a unique situation- they were sat in their civvies as a group in the waiting room, and Tommy is there with Buck for Denny. Tommy was part of the 118 waiting room crew; we’ve never seen this before; Buck’s partner showing up for his team(family) at the hospital.

The closest we’ve had before is Abby showing up to Chimney’s return to work party, but at this point they weren’t actually together, and obviously Chimney was okay by this point, it’s not a hospital scene.

The Firefighter Life

When Ali breaks up with Buck, she says it’s because she can’t handle the firefighter life, waiting for him to get hurt. She says it’s not what she wants. This issue isn’t present with Tommy because he is also a firefighter. He knows what he signed up for with Buck, he’s perfectly and intimately familiar with the risks they take everyday and the risk of getting hurt. While it’s a perfectly reasonable assumption that this might still be an issue to some degree, no one wants to see their boyfriend getting hurt after all, they both understand the life and what it means. Tommy solves the reason Ali broke up with him.

The Bobby Approval

This one is a key one. When the scene first aired, I strongly believed (and still do) that this line was also intended for the audience. We have Bobby’s explicit approval of Tommy as a person and for Buck. He’s good people, he’s good for you.

Bobby and Buck never spoke about Natalia or about Ali. I hold the belief, like many, that Bobby never particularly liked Taylor because of how she tried to exploit Bobby in season 2. However, Bobby did help Buck decide on a Christmas gift for Taylor and vice versa. Yet, he never said on screen that he thought they were good together. Hen and Chimney do also come to Taylor for help (s5) with Jonah, but even in that scene they’re shown to not trust her with what they’re telling her.

Abby is more complex as she was a main character in season 1 and her relationship with Buck was a full-season arc. Bobby helped Buck tie his tie and gave him genuinely good advice before their date. Bobby even talks to Buck about having a serious relationship and how to handle it, about how to treat her with respect. Other characters definitely aired their reservations about Abby in season 2 (Is it the age difference? More like the time difference). I believe Bobby gave his implicit, but not explicitly said, approval of Abby through the way he treated and spoke to Buck about their relationship. Despite this, I do think it’s poignant that for the seven years after Buck and Abby broke up, we never saw Bobby approve or like another one of his relationships until Tommy.

The Future Talk

In 8x06, Josh straight up asks Buck if he can see a future with Tommy. This of course follows up Josh already asking “do you care about him, do you think about him when’s not around”. The discussion between Josh and Buck is unique, because Buck has never spoken to a friend about this before. His relationships with Ali and Natalia weren’t developed or long enough to warrant the discussion, he never talked about the future with Abby, and he said “no” at the prospect of proposing to Taylor. For the first time, Buck is asked on-screen if he sees a future with his romantic partner, and Buck says yes. This is explicitly said for the first time. Yes, he made a confused face when Josh asked if he loved him, because clearly Buck hasn’t given it that much thought until he’s confronted with it. Either way, Buck, for the first time, says he wants a future with his romantic partner.

This further prompts Buck to ask Tommy to move in with him, which, different to his motivation for asking Taylor to move in with him, is fuelled by wanting a future. Buck even brings up marriage in his discussion with Tommy, which he’s also never discussed with a romantic partner on screen before. The content of both discussions is something we haven’t seen Buck talk about or admit before.

Eddie Friendship

All of Buck’s love interests, bar Abby, have screen time with Eddie. However, Ali and Natalia only share screen time with Eddie when they first meet because they meet on a call. As Buck’s girlfriends, they don’t share screen time with Eddie.

Taylor once has dinner with Buck, Eddie, and Christopher, and she compliments Eddie’s cooking. Correct me if I’m wrong, but I believe this is the only main time they’re seen together. It’s civil, it’s fine. However, they aren’t friends.

Tommy is a unique situation again; because he’s a guy, it might be easier for Eddie to form a friendship with him. They’re very fast friends, they do Muay Thai together, Tommy works on Eddie’s car, they play basketball together, Tommy went to Eddie’s house 3 times in two weeks and met Christopher. Christopher likes Tommy, he thinks he’s cool, and Eddie invited Tommy to Chris’ virtual birthday party. He’s the first love interest to not only get along with Eddie, but become friends with him outside of Buck (emphasised by 7x04 where Tommy tells Buck that his friendship with Eddie has nothing to do with Buck). The show makes their friendship very clear.

I’ll fully admit that Eddie’s friendship with Tommy was needed for the plot in 7x04, but beyond that, why was it relevant? It already made Buck realise he wanted to be with Tommy. They might’ve needed it for a plot reason but they’re friends afterwards too. Maddie calls Tommy “Eddie’s friend” in 7x05 and they’re laughing together in the hospital and getting alone fine in 8x05. Why?

Fitting Into Buck’s Life

Of course, this all culminates by saying Tommy fits into Buck’s life extremely well.

Tommy doesn’t have to go through the awkward phase of meeting all of Buck’s friends, because the only one he hasn’t met is Eddie. Tommy was previously friends with Bobby, Hen, and Chimney, they already know him. He’s already met Athena. Sure, they might have some catching up to do, but they already have a good history. They’re familiar. Again, Tommy already gets along with Buck’s friends outside of Buck.

Why was Tommy at the hospital for Hen’s son if he wasn’t integrated? Why feel comfortable going to Maddie and Chimney’s wedding? Even Buck makes the point of saying that Tommy is already going to know everybody there; he’s not just his date, he already knows them.

Tommy is friends with Buck’s friends already, Tommy understands the demands of being a firefighter and what it entails with the risks and the commitment. Tommy understands Buck’s friendship with Eddie and Christopher, and his dynamic with Bobby.

Intention (Conclusion)

This is all to say- this is intentional. If the point of the relationship was always to breakup, why have Tommy included in these scenes? Tommy didn’t need to be there at the hospital for Denny, but they wrote it in for him to join the 118 waiting. Bobby didn’t need to give his approval of Tommy on screen. It didn’t further his relationship with Buck nor the plot. It was written this way for a reason, and I think anyone can admit the actual breakup in the scene was abrupt, and it’s all of the above context that makes it even more abrupt.

I know it makes his relationship with Buck more meaningful, sweeter, more heartbreaking for Buck, but we never saw these moments with his ex girlfriends, particularly Taylor, and their relationship was solid until it wasn’t. If this unique treatment of Tommy was meant to put Buck through heartbreak then I offer a second question: what is coming up for Buck that requires him to go through heartbreak?

Why go through the effort of writing Tommy to fit in so well with Buck’s life if he’s only there to further a plot? None of Buck’s other LIs were treated like that, and they achieved the plot they needed to. So why was this different? Buck’s relationship with Taylor was a lot longer, and they lived together, but we never saw these types of scenes with her. Why? Why was this different? What was the point of making the relationship meaningful and different?

Again, this post is not here for people to argue. It should be clear to everyone, regardless of why you think so, that Tommy was treated different by the show than Buck’s other love interests. There must have been a reason, even if that wasn’t clear. Is something big coming up for Buck that he needed to be heartbroken for? Is it poor writing? Is Tommy coming back? There must be some reason that Tommy was treated differently by the writers other than “just because”.