#the fact this is a canon thing Michael would say

[knight-says-nanana]

An analysis on Ed’s comic childhood, how that impacted his OCD*, and how that translated to the Gotham TV show

Alternatively: GTV Ed’s Biography

*(and also how it very clearly gave him cptsd but they don’t explicitly Say that bc DC is full of cowards)

Normally I’d say comics don’t impact tv continuity, especially for a show like Gotham where so many things are changed, but the thing is? Cory Michael Smith specifically went out of his way to read the riddler comics when he accepted the role of Ed Nygma. He acted accordingly and did an amazing job trying to salvage the show’s poor writing. There are many tiny moments where he does things that reference Ed’s typical backstory despite the show, in all its 5 seasons, never bringing it up

Childhood wise there are typically two widely accepted routes

1 - his mom was around but neglectful and off her head with drugs n alcohol

2 - his mom left when he was a toddler due to not being able to handle his father anymore, which kinda kickstarted the abuse being focused onto Ed instead

I will be continuing this analysis with #2 because it is the most popular and explains his abandonment issues

Comic Based Childhood

So this guy basically grew up with Only his father. His father who is a dumbass, an alcoholic, blames Ed for his mother leaving, incredibly abusive physically, and couldn’t accept that 1) his kid is smarter than him or that 2) a kid so Weird cough traumatized and neurodivergent cough is anything but an idiot

A major sticking point was that he always thought Ed was lying, constantly, about everything. This will be important later.

And when Ed finally started going to school and getting A’s?? Yeah no Obviously he had to have been cheating so Mr Nashton just got More angry with him. Could Ed have dropped his grades on purpose to avoid this? Yeah. Did he? Absolutely not. Academic success was the one thing he could be proud of and the only thing that gave him any sort of praise or validation. He was clinging to it for dear life.

No matter the universe, this is a guy who craves attention.

There is difference between academic success and school life itself, because Ed is awkward n dorky n, especially at this point in time, anxious n quiet. So he didn’t have friends. In fact it’s usually written as either him having been bullied or being ignored entirely

The boy was not doing ok at all. So understandably he ran away as soon as possible and changed his name.

Now, this is the first point where Gotham’s canon ties into this in a Very interesting way

We know Ed’s official birth year from the ID card in the show. It’s canon. In season one he is 26. We know this. And it’s is insane for a few reasons!!

He is So Much Younger than his coworkers holy shit

Bullock is old enough to be his dad and he’s not nice, no wonder Ed doesn’t like him

He works in forensics. At 26. And he’s implied to have been working there a year or two before Jim joined the precinct.

Now, I had GENUINELY assumed that he was in his 30s like Jim. BECAUSE HE WORKS IN FORENSICS. But no he’s just actually a botched Spencer Reid because he’s 26 in season one.

A degree in forensic science takes 4 years.

If you want a masters it’s an extra 2 years.

Factoring in the time he would’ve needed to spend interning and working just to QUALIFY for a job at the GCPD???

If we assume he ran away n got into college at age 17 and got his bachelor's he’d be 21 by the time he graduated, 23 if he got his masters which of course he would, and then that leaves us only 3 or 1 year/s for internships and stuff before he joins the GCPD. What. What.

No wonder his apartment is so shitty!!! This is a man with hella student loans

But yeah! Hes only 26 and his 40 year old coworkers are bulling him for being weird. I’d hate my job too.

Bullock is 48 and I’m fully convinced he, like me, thinks Ed is at least 32 (Jim’s age) because. What.

So yeah that’s his general backstory, NOW the ways that plays into his mental state and how his actor managed to fit it into the show

So, you can reasonably assume he’s traumatized.

And!? There are so many subtle moments in the show where Cory acts his character accordingly for this. He flinches when people raise their voice, he’s visibly spooked when men in the GCPD get huffy (usually it’s Mr James Anger Issues Gordon). He’s skittish as a mouse. In the watermelon scene, when Gordon busts into the room, Ed immediately falls over himself to explain what he’s doing in there. The guy was terrified. Of James. Who’s never done a thing to him.

Beyond that? CPTSD -beyond the regular symptoms of flashbacks, triggers, and hyper awareness- also includes difficulty regulating emotions, feelings of shame/guilt, and trouble staying in relationships.

Ed Nygma is a damn textbook case. He has meltdowns, he falls into substances, he does ANYTHING but cope when he’s overwhelmed. He is constantly trying to prove he’s smart, there’s a gut deep shame when he doesn’t hold up to genius standards. And you’ve seen his relationships.

Basic info ab OCD: it’s an anxiety disorder and the two main things are obsessive compulsions and intrusive thoughts, both of which are present in Gotham but not handled nearly as well as they are in the comics

Compulsions first!

These tend to stem from subconscious thoughts and people won’t always know Why they have a compulsion but they’re generally a way of preventing a vague yet all consuming Bad Thing.

Now, with Ed one of his major sticking points in comics AND the show is he cannot tell blatant lies, especially not with yes/no answers.

This is part of why he compulsively leaves clues for absolutely everything and tries to be so vague when he is lying. He also jumps through hoops so that he won’t need to lie.

Lying = incredible all consuming dread and anxiety, so he just Doesn’t and uses his little hints and clues as a loophole. Very obviously from his father’s influence.

In the show this is shown multiple times but just for a few:

Lucious asking if Jim is at Ed’s house and when Ed tries to say no he seems almost forced to correct himself

The compulsive clue in “Tom’s” note, even when no one had asked him if he knew anything he still couldn’t keep it entirely to himself. The note is a loophole. Technically he told on himself. They just didn’t figure it out. (Well. Kristen kinda did but denying it aka lying sent him into an anxiety attack the moment she left. So.)

When Sofia Falcone was torturing him to find out where Oswald was, he told her. He just told her via a riddler he knew she didn’t understand! No need to lie!

In the car ride to the docks Oswald also calls him out directly by saying he’s so predictable because he’s driven by obsessive compulsion. This is the most the show acknowledges it.

Beyond his compulsions he’s got explicit intrusive thoughts regarding a few big things. (Should be noted that these tend to drive compulsions but not always.)

being viewed as stupid

Ergo his criminal history just being a big show to prove how smart he is. Again, his fathers influence.

being actually stupid

Not knowing things stresses him out So Bad and he takes it So Personally. He NEEDS to know everything. The world is a puzzle and he is Going to solve it.

Side note: That’s why I do LOVE that Gotham made him a forensics specialist!! He’s always had, to quote a DC podcast where he’s talking to Batgirl “-and you have that terrible all consuming pathology which comples you to find answers” “AnD i HaVe tHaT tErRiBlE aLL cOnsUmiNG PaThOLoGy wHiCh coMpELs mE tO FiNd AnSwErS- Yes.”

Biggest for last: being like his dad

This one is specifically fun because it was almost represented so well. ALMOST. His entire relationship with Kristen was downright molded by it, as shown in the file room anxiety attack. Yes that’s what I’m going to call it.

He is constantly fretting over being like Tom, even when he clearly isn’t because he is disgusted by Tom. No mysoginist is going to see someone with the same thoughts as gross. No guy who thinks women should be “put in their place” is going to have such a physical reaction to hearing that be said. No abusive pos is going to have that reaction at all. At least, not in the way that situation went down or in the way Ed’s afraid of being. We aren’t discussing emotional harm or Nygmobblepot today. But he frets anyway. And if we chose to interpret his riddler hallucination as a Really poor way of representing intrusive thoughts? Yeah. Yeah. His brain is making him panic about doing exactly what he hates so much.

*it should be noted that compulsions are often reinforced by intrusive thoughts. specific example: if he lies he will be saying something wrong, he can not be wrong, everyone is going to think he’s an idiot if he’s wrong. You can see how the two things connect. This applies to the majority of compilations in some way.

Now, a moment where I deviate from discussing what Did happened because I’ll forever mourn this particular writing fuck up:

His thing with Kristen could’ve been perfect. It could’ve been the best live action riddler origin to date. Because this is a guy with OCD who’s very traumatized and would have a strong personal reaction to finding out a friend is facing domestic abuse. That would make his relationships complicated too because of the thought loop it would create off the risk of “turning out to be the type of person he hates” or “what if I hurt her like I was hurt.” That would have been so compelling? AND? AND YKNOW WHAT? MY BIGGEST GRIPE? HIS FIRST PUSH INTO VIOLENT CRIME BEING STABBING AN ABUSER WOULD BE PERFECT. It would be on point. Exceptional foray into crime and murder. BUT THEY DIDNT PLAY IT LIKE THAT. No instead it’s highly tainted by “who gets the girl” and I just. N o. Ugh. They fumbled it!! They fumbled it So Hard. THEY MAKE HIM CREEPY AS FUCK TOWARDS KRISTEN. Like- physically blocking her into small spaces and imposing on her and talking over her when, if they HAD actually leaned into the OCD on purpose, he would probably be hyper aware of not doing.

[chloesimaginationthings]

Michael Afton is the best at avoiding FNAF lawsuits

[krypticcafe]

any chance for dbd killers (especially myers) reacting to a partner who wants to take the relationship real slow? how would they take it? would they push, or be respectful? patience? bonus for cuddle time 💜✨

DBD killers w/a partner who wants to take it slow

rating: teen

character(s): GN!Reader, Shape/Michael Myers, Ghostface/Danny "Jed" Olsen, The Executioner/Pyramid Head, The Cannibal/Bubba Sawyer, Legion/Frank Morrison

warning(s): suggestive themes, canon-typical violence and behavior, language

a/n: pardon the unannounced hiatus, cue the usual fanfic writer life drama, gonna be dusting off the request box :]

Michael

Thank. GOD. He's not gonna say it, but Michael's beyond relieved because he's just not comfortable jumping into things, or anything at all. He likes consistency, not change, so he really needs the time to even just adjust to the fact that he's actually letting this relationship happen (no offense). Even the first time he let you live, he felt all irritated about it because it just felt wrong. But after he saw you leave med packs for him from time to time, lurk behind him while he was off chasing others, he started to grow a little more lenient towards you, much to your pleasure.

After you see the approval in his eyes, you're relieved, too. It's not that you thought Michael wouldn't take the suggestion well, it's that it was the first time you two were seriously discussing your relationship. Neither of you put a label on yourselves, you just both knew that you liked each other a little more than you did with other people. Kind of like a silent agreement.

But now you take confidence in knowing you can be as slow as you want with him, after all, you both have all of eternity to work it out, or at least until the Entity decides to do something about it. Though seeing as they haven't stopped you so far, you're probably fine for now.

It's a long time until you guys show any actual physical affection. The closest it's been is Michael getting revenge on people who use you as bait and grabbing your wrist to pull you to a safe spot while you help clean his gear during visits in between matches and lean on him or he holds you in his lap while sitting in comfortable silence (you've caught him falling asleep on a few occasions).

Expect it to take a while more if you guys actually want to get intimate, he's just too much of a 'business first' guy.

All in all, mission success.

Danny

"Like how slow?"

You should've expected this. While Michael is relieved, Danny, well, he doesn't take it as well. He's one of the clingiest of all the killers and makes it difficult not to be paranoid all the time of someone finding out. He's a hands-on type of guy and this... is kind of torture for him.

After some insistence and some pleading on your side, he'll give in, but it's not guaranteed. He has to resist his urges like some little kid trying not to open Christmas presents a day early. All day, every day, he's just thinking about smothering you in his touch, and it gets him frustrated (in both ways), so he has to take it out somehow.

You can literally see it in real-time when he's cutting through survivors like butter, not even bothering to act playful or make quips, just snarling and hissing at them like a feral cat. You make a mental note to give him a bit of something after the match, like a kiss or some cuddle time.

Other than that, he whines. A lot. Like it's so fucking annoying please make him shut up with a kiss or something, the killers can't stand hearing him bitch incoherently and you can only take so much of it as well. Also, he's a manipulative ass to expect him to be pushy and try to pressure you here and there.

It's kinda funny though, in a way you sorta conditioned him to feel even more euphoric when you do anything romantic with him. He's asking, no, begging for extra kisses, holding you real tight when you cuddle, and you swear you can feel him melting under your touch. Heart eyes and all, he's so obsessed with you.

Whenever you let him know you're ready to move things forward, expect him to be a little overexcited about it. Like if you finally let him get in your pants, he's gonna work you like there's no tomorrow, all that pent-up energy is flooding out the door.

I'm sorry, but you're literally caging an animal by asking *the* Ghostface to take it slow. He's only gonna get more hungry over time.

Pyra

Don't take this the wrong way, but I don't think he cares. Like he's fine taking it as slow as you want, it's not a huge deal to him, and really, he has no room for judgment outside of killing people. You'll ask and he'll respond with the usual metallic grunt and boom. Problem solved.

In all honesty, it's probably good to take it slow with him if you want a nice, loving relationship with him. Because of his lack of experience, fast-paced relationships might just be too much for him to deal with, but taking your time lets him process how it even works. Dates, kissing, and anything beyond that aren't in his area of expertise, nor did he ever expect it to be, it's not his primary purpose.

This allows him to welcome something new in his life for once beyond the mundane life of Silent Hill and the matches in the realm of the Entity. He's not used to actually having personal priorities, so the adjustment period progresses along with your relationship. He's quick to find out that he really likes physical contact with you, too.

Most likely you'll be taking the initiative with him, teaching him the little things you like to do like cuddling and holding each other close. He really likes that, being able to just envelope you and keep you safe and close in such a comfortable manner.

I don't he exactly has a concept of... 'horny', it's more of a hunger I guess? A hunger to be close and in your presence, so he kinda has times when he'll stick to your side like a big old scary guard dog. If you wanna indulge him a little, go ahead.

Yeah, I can't really say much for him other than it is what it is.

Bubba

He tries his best to be patient, he really does. Bubba's more than understanding about it, because he's already elated that you love him back in the first place! Though sometimes he just really wants to pepper your face in kisses and smother you in love, pick you up and swing you around in his arms, take you to some of the nicer parts of the Entity's realm, he almost forgets they all live in some sick game.

Horrible advice, but try not to be so... cute around him. I like to think he has cuteness aggression, so it's very hard to keep his hands to himself when you look so... so... nope, no, Bubba, focus, you're supposed to be chasing Ace right now- oooo but don't wanna just eat them up and make them yours!

He wants to do so much with you but it's kind of for the best to keep him from rushing into things. Even he's a little worried that he'll tire you out from his eagerness to get things moving. Hell, he even spooked himself when he found himself daydreaming about marrying you mid-match. He can't help it though, it's the southern love in him that gets him all antsy (he thinks you'd look very nice in a suit or dress if you're wondering).

Yeah, and don't think you don't know either, not when he's humming "Here Comes the Bride" while sawing up Kate in halves in front of you.

Oh, and you thought the wedding fever was bad? Wait until the baby fever kicks up. Since day one of falling in love with you, this man has been dreaming of church bells, vows, cribs, pacifiers, and all that. He's never told you it in full detail but you just know he does. Whether you want it for your relationship or not, he still loves you nonetheless.

Despite it all, you help remind him to appreciate what's in the moment, that you both have an eternity together in damnation to get to that point. So long as time and the Entity are on your side, he's more than happy to take things slow with you and he'll be sure to enjoy every moment you have together.

Frank

"You're joking, right?"

No surprise here either, Frank doesn't take it all too well. He's an impatient bastard and mostly thinks with his dick more than his head sometimes. To be honest, he never even anticipated getting into a relationship with you. He thought most of the survivors were annoying and unlikable in their own ways, he even found you irritating at some point just not as much as the others, or so he'd claim.

You try to explain to him why and unfortunately, it does result in a back and forth between you two, the other members of Legion even chiming in on your defense. It's until you point into his face that you both literally have forever in this endless hell so "what's the big deal about us taking our time" and for him to just think about it for a bit.

And yeah he does, but it takes a while for Frank to wrap his head around it. He's used to just getting what he wants, jumping into things headfirst, and figuring out the details from there. His whole philosophy defies normalcy, defies everything he hates about Ormond and the banal, suburban society it is. He lives for the rush, the excitement, the recklessness. Time and care in a relationship remind him too much of a "normal life".

But the others remind him there's nothing normal about where they are now. Hell, they get to wreak havoc and chaos in the trials, it's everything they dreamed of. Making a statement for themselves. And frankly (no pun intended), he likes you a little too much to let it go. So instead of rushing himself into things, he finds a new thrill in testing the limits. He teases you with lingering touches and suggestive remarks, leaves you wanting, craving just a little more of that.

He clicks his tongue, "I thought we were taking it slow?"

That little bitch. He's got you wrapped around his finger and you know it. But don't think you're the only one aching, no. Call him a sadomasochist because it's practically killing him too, how much he has to hold back. Yet it's such a rush, keeping his hands to himself and itching for the day when you let him do whatever. He. Wants.

[miwiheroes]

Light = Truth

So this whole Byler post is literally just based off something that my friend who has a studies film at school said to me about lighting. Me and my friends do a presentation night like every few months and obviously my hyperfixation atm is byler so I did '10 reasons why I think byler could be canon'. My friends were convinced by the end btw, which is fun (and they kept pointing out yellow and blue things afterwards i loved life), but they also contributed so many things that I have never even considered or seen on byler tumblr before.

For example, my friend who studies film (btw we aren't just kids who like movies or smth, we are adults studying film lmao), stopped me during my presentation because I wasn't talking about lighting choices that were super clear.

I guess you can take what they said with a grain of salt because they aren't like, a professional ig, but they said that so many times during film, light is symbolic to mean truth. And it's like... oh my god. Suddenly, after they said that, everything made sense. Of course, light means truth in all these scenes! So I just want to point out two Byler/ Mike is gay moments that I think are related to this:

Light in the Closet tm

Hello??? Why is there a light in the closet here, not just to draw ur attention towards it, but also to symbolise something. Who tf has a light in their closet unless its massive, and why would it even be on in this scene?

The truth is, you're in the closet, Michael. We've all seen these images before and how he has his eyes open, yada yada, but the light literally means truth here, and its framed on his head, like he's thinking of the truth.

In literally the first scene in season 4 with Mike, as we know, we see a closet. That's almost comical. Not only that, but the light is on. Meaning, the truth is, Mike's still in the closet, again it's framed near his head. (Pair this with the one way sign, it's very obvious what they're trying to say here)

Let's talk about this image right here:

First of all, the light is literally shining out of the closet, not just in a blurry fashion, but it's literally a ray of light pointing at Mike who's standing in front of it. This being in the very first scene with Mike in it sets up the sort of arc he has in season 4, the fact that the truth is he's in the closet, but the one way sign shows he's still in it.

I showed this image to my friends during the presentation and the one I mentioned earlier also said that the set designers put the lamp where it is for a reason as well. The lamp in Mike's room is, of course, lighting up Will's drawings on his notice board as well as the buff guy posters. So, his true feelings are that... he likes men. Yah

2. Lights on Will

In the Van scene, everyone knows about how they spent a reallyyyy long time getting the lighting just correct, and if it was meant to mean truth, it all makes sense. (Also to get that heart in Will's eye lmao)

In this shot, (not particularly this frame but yknow) Will is literally bathed in sunlight, and it could just mean that Mike's seeing him in this light because he's pretty to him or something, or it could mean that Will's literally telling the truth/ Will is Mike's truth. Playing D&D and Nintendo for the rest of their lives is really what he wants, as established in season 3.

(my fave byler scene yes pls) When I showed this photo to my friends in my presentation, my film studies friend literally laughed. Yes, it is very very clear what they are trying to tell viewers here. The light is purposefully shining perfectly on Will only. Mike is completely cut off from the light and is in the dark. Some think that it's because he's 'in the dark about Will's feelings' (and yeah he is) but I think it's because by the end of season 4, Will has kind of admitted the truth to himself. He loves Mike, but Mike hasn't admitted his truth, that he loves Will.

However, we get clear foreshadowing for the next season in this scene because:

Mike reaches into the light, for the truth. It also foreshadows him supporting Will more in season 5 perhaps, but the fact that the next shot is this:

kind of just makes it super duper obvious that he's going to (very cheesy but) 'find his truth' or true feelings with Will/ in the next season.

Okay thanks for listening to me ramble about how light = truth, i would love to hear any other moments that could also mean the same thing :) Anyways, byler endgame.

[marvelfanfn2187a113]

Caretaker

Castiel & Winchester!reader (platonic)

Requested by Anonymous

Synopsis: You get to meet everyone’s favorite Angel, and the two of you become besties.

Warnings: kinda strays from canon in places, I don’t have the episodes memorized guys.

“You take care of her, ok?”

Up to this point, Castiel hadn’t taken much notice of the youngest Winchester; she wasn’t one of the vessels, so she was in no danger, and of little importance.

But at Dean’s words, Cas finally seemed to see you. You were just a kid, growing up around so much danger. And now Dean was placing you in his care.

“I will,” he promised both Dean and himself.

You didn’t say a word as Dean and Sam left. You understood why they had to go, and you had to stay; they were trying to hide from Michael and Lucifer long enough to formulate a plan, but if they were found, you would be a liability. You knew Castiel was the most capable being to protect you, but seeing as you didn’t know Cas very well, you weren’t exactly comfortable with this arrangement.

You didn’t know when you would see your big brothers again; aside from hell and Stanford, rarely had a day gone by where you weren’t with Sam and Dean.

“So what now?” You asked finally, and Castiel seemed to snap out of his daze.

“Now I take you somewhere safe.”

…

The day passed uneventfully, which Cas took as a good sign. What wasn’t a good sign was the fact that Cas couldn’t think of a single thing to say to you, and he could tell the silence was making you antsy. Well, that and the fact that your brothers were on the run from two archangels.

He found a motel in the middle of nowhere to stop at, and he waited rather impatiently while you got some sleep. The further he could get you from Sam and Dean, the safer you would be, but Dean had decided non-angelic modes of travel were safer, as archangels weren’t that familiar with backroads and crappy motels.

Cas woke you up early, surprised when you seemed exhausted—wasn’t four hours enough? That’s what Dean claimed he got. You followed Cas regardless, although your eyes were drooping before he even started the car.

For the next several hours, Cas couldn’t shake the nagging feeling that he was forgetting something. He kept doing a mental checklist—he had you, you’d slept, you’d showered, you had your phone, you had extra clothes—but it did nothing to rid him of the feeling. The last thing he wanted was to mess this up, the boys had been so reluctant to part from you. What was he doing wrong?

“Castiel?”

Cas turned his head to look at you when you spoke. He had barely heard you, as you spoke slightly above a whisper, your voice timid and hesitant. Were you scared of him?

“What is it?” He asked.

“I—um…I-I know we’re in a hurry, but, um…could we get some food?”

Oh no.

“I knew I forgot something,” Cas hissed under his breath, sighing in annoyance. You, who hadn’t been able to make out his words and only saw the annoyance, instantly backed off.

“I-I mean if there isn’t time I-“

“No, no,” Cas insisted. “Of course we have time, you need to eat. I’m sorry, I forgot.” A thought crossed Cas’s mind. “Did you eat yesterday?”

“Um…no,” you replied, still timid.

“Why didn’t you say anything?”

“I-I didn’t want…um, I know that you’re-you’re trying to help me get away so-so I, um…”

You seemed unable to form full sentences, and Cas once again wondered what he was doing wrong to make you so nervous.

“If you need anything, I want you to ask,” Cas interrupted.

You just nodded and went back to looking out the window. Once Cas got you fed and back on the road, he made himself a promise. He had to do better, even though it was awkward and he had no clue how to talk to you. Clearly the silence of the last two days had made you nervous, so intimidated by the angel protecting you that you didn’t even want to communicate basic needs.

“I’m sure we’ll have you back to your brothers in no time,” Cas began.

You smiled weakly at him. “Yeah. And you can get back to your angel stuff.” You ducked your head suddenly. “I’m-I’m sorry you got stuck babysitting. I know you’d rather be finding a way to defeat Lucifer and Michael with Sam and Dean.”

Cas was silent for a few seconds.

“Well, it’s true I would like to help them. But keeping you safe is more important.”

You scoffed, “Me? Why?”

Cas was surprised. “We all care about you. We don’t want you caught in the crossfire.”

“And why would an Angel care what happens to me?”

“Because you’re my friend.”

That brought you up short.

“I…I am?”

“Of course.”

“I-I thought…” again you were unable to look at Cas. “I-I just kinda thought that you agreed to this to placate Sam and Dean…be-because you need them on your side.”

Cas wasn’t sure whether to feel bad for you or be offended. “You thought that?” He could tell that his hurt was bleeding into his tone. You noticed it too.

“I-I mean you’re an angel,” you quickly explained. “You have way more important things to worry about than me.”

“So…so you thought that I didn’t care about you…and you didn’t blame me for it?”

You just shrugged.

Cas didn’t know what to say. He most certainly couldn’t just fix your self image issues, he wasn’t equipped for that, but he could at least assure you of one thing.

“Well it’s not true. I do care about you, and that’s why I’m here. I want you to be safe.”

You didn’t respond, but Cas could see the smile you were trying to hide.

…

Something clicked after that. Cas didn’t know what it was, or how it happened, but suddenly the awkward silence between the two of you disappeared, replaced by non-stop conversation.

He told you all about heaven and some angels that had been his friends, you told him all about your human experience, and explained to him some general human things that he still hadn’t managed to grasp.

“So…tweeting is no longer just about birds?”

“Nope, now it’s an internet thing. I don’t think we should get you into that, though.”

“That’s probably wise,” Castiel agreed.

…

All too soon, things changed again. After a couple of weeks on the run, you again became withdrawn and quiet. A whole day went by without a single word spoken before Cas finally decided to address the issue.

“You’ve been quiet.”

“Yeah.”

When it became clear that this was the only answer Cas would get, he persisted.

“What’s the matter?”

“I’m worried,” you sighed. “And I…I miss Sam and Dean.” Cas heard the strain in your voice when you mentioned your brothers.

“They’re fine, they called just last night. I’m sure you’ll see them again soon.”

“It’s been weeks, Cas, and we’re no closer to an answer. It’s starting to seem like…like we’re just gonna run until we burn out.”

“You can’t think like that,” Cas said.

“Why not, if it’s true?”

“It’s not,” Cas insisted. “We have to have faith.”

“In what?”

“In Sam and Dean. We—you have to trust that they’ll to anything—anything—to get back to you. They’ll find a way, and you’ll see them again soon.” Cas promised as he pulled the car into yet another motel. He stepped out, and you with him. You were quiet for a minute before—

“Hey…hey Cas?”

“Yeah?”

You hesitated, staring at the angel for a moment before making a decision. You lunged forwards, wrapping your arms around your new best friend.

“Thanks.”

Castiel smiled as he brought his arms around you, holding you as though he could hug away all your worries and loneliness.

“Of course, little one.”

[darklinaforever]

It kills me how many people think that the gender of a fictional character doesn't matter.

We are in fiction, where the characters have arcs, or they embody themes. Obviously for some characters gender matters.

Michael is literally named the new heir and freaks out about becoming a new John /basically taking everything he had.

Michaela can't really have this arc... Unless we strangely learn that the laws in Scotland are extremely different from England located in the Bridgerton universe (and I speak for the universe of the series, where we have no idea if they will stick to reality where women in Scotland could inherit), and I doubt it for the moment.

So no, Michaela couldn't necessarily have the same arc as Michael.

I'm not even sure she could be a Merry Rake. Can a woman be called Rake in show Bridgerton universe ?

The fact is that Michaela will necessarily differ at certain times from Michael.

Already there are always drastic differences between the show and the book, this time I think it will be even more emphasized. (I even doubt that we will have as many nods to the book as season 3 dedicated to Polin's story did)

In any case, the very basis of Francesca's story is that despite the loss of true love you can always have a second chance, which is a clear originality compared to the other romances in this series of books ; well, is already changed with the way the end of season 3 happened.

It seems that the marriage to John was a mistake, that the physical aspect of their relationship will not prove pleasant in view of the Fran's reaction to their kiss, and worse, that Fran doesn't feel true love for John.

True love in Bridgerton often results in great passion and similarities to the story of Edmund and Violet, and Francesca literally matches Violet's reaction when she first met Edmund, but this time when she meets Michaela.

Whereas Fran is never supposed to have this kind of reaction around Michael / Michaela as long as John is alive. Because she normaly truly loves him.

So how could the story be the same after such a change to the very heart of the story ?

It's not just the gender change from Michael to Michaela that makes the adaptation of When he was Wicked complicated and uncertain for some viewers, including me too, it is above all a whole.

But for some obscure reason people refuse to accept it.

Beyond that, I repeat, Michael Stirling is a fictional male character who has been around for years.

That people are disappointed, including me, not to see this character, as he is basically on paper, be adapted to the screen is not necessarily homophobic, assumed or internalized.

Yes, some are, but not everyone. Some of us are part of the LGBTQ+ community and no, we do not all suffer from internalized homophobia so as not to 100% validate such a change !

We're talking about an attachment to an image that we have formed in our mind about a FICTITIOUS character for fucking years !

Besides, I didn't even say that I was fundamentally against it, because I have already explained several times that a part of me was happy to see a main romance between two women on screen in the television universe for Bridgerton (and the actresses are magnificent and on top of that, I'm sure, will have very good chemistry). Once again, representation is always cool, but, is this really the right place to do it ? I'm not so sure.

And contrary to what some say, I'm not saying that LGBTQ+ relationships should systematically be secondary in fiction. No way. I'm simply saying that transforming one of the main canon ships of the books without which the Netflix adaptation would not exist is perhaps not the right thing to do, since there is already a community attached behind these characters...

And seriously, if the creators really wanted a main LGBTQ+ romance dealing with the Bridgerton universe, they could easily make a spin off dealing specifically with this part of society and how they live.

I'm sure many, including me, will watch such a spin-off ! And damn I would love for something like that to happen !

You see, the opportunity to have an LGBTQ+ romance at the forefront without changing the kind of characters mostly beloved by an audience that already exists. Not very complicated though.

Do you realize how inappropriate it is to insult someone homophobic for that things ?! I don't know what kind of fucking bubble these people live in...

And it's scary to say that you can be insulted by a community of which you are a part, simply for not conforming to everything that is judged 100% morally correct for them.

If you have the misfortune of delay, sometimes there are those who unleash themselves on you to insult you for things that you don't have, simply for a fictional character...

"You don't 100% validate that a fictional male character who has existed for years and whom you have loved for years, with a fairly precise image in mind as a result, becomes a woman in his adaptation ? Well obviously, it's is that you are, at worst, a homophobe, or at least worse an internalized homophobe, and in any case that is not tolerable and you are not a true ally and you are problematic who deserves to be hated."

I don't know if you realize how STUNNING this is ! There really are people on this app who need to get fucking treatment...

And anyway why am I racking my brains ?

There will always be stupid people to come and tell me that what I say is always homophobic because if I have a problem with the change of gender of a fictional character through an adaptation well I'm the real problem.

As they say, you can't change idiots.

So stay stupid if you want, but at least leave me alone.

[yamisnuffles]

I love Aziraphale because he's expected to be hard, to be a warrior, but he chooses to be soft. He's not gentle, kind, and good because he's an angel. We've seen what the other angels are like and many of them are anything but. And there's no doubt that he could be that warrior if he wanted. He was issued a flaming sword, after all. But he gave it away and seemed none to eager to use it when he finally picked it up again. No, he is who he is because he chooses to be that way again and again.

I adore that. In a world that's often so hard and in a system that expects him to be just as hard, he chooses to be soft. To be silly. He learns to dance even though angels don't dance. He learns magic and French the human way. Successful or not, he likes playing parts, living it up as a double agent and newspaperman. He wears glasses because he thinks they're nifty. He enjoys eating food and going to the barber not because he has to but because he likes being pampered. To be fussy and indulgent. Despite strength and miraculous powers, he makes himself vulnerable so that he can be coddled and rescued.

And it's not like it's easy for him. He has to struggle against what's expected of him and against judgment from the other angels. He was worried about doing the wrong thing before the beginning, before there was even really a concept of the wrong thing. He's so terribly anxious but he doesn't let it stop him from trying to do real good. He did his part to save Job's family, even when he was certain he would fall for it.

Most difficult of all, he loves. Is in love. A thing humans do, he says to the Archangels in S2. So that's not just some easy, natural, angelic thing for him. It's very human and very scary because it's not really something he's meant to do and especially not with a demon. But he pushes slowly forward as best he can. He risks small touches and can't help but wear his heart on his sleeve with that all too expressive face. He's the angelic embodiment of heart eyes. Because he wants to love and be loved.

This isn't all he is, of course. He can be bitchy and petty and hard when pushed. He can be the warrior he was built to be. Those aren't bad things. Just enough of a bastard and all that. But just enough also means they also don't define him.

Which is where my frustration comes in. I understand the desire to flip the script sometimes. I like to do it myself from time to time and definitely think Aziraphale should be allowed to take charge. But it feels like, more often than not, large parts of fandom have taken those moments and made them all of who he is. Of the two of them, he's often made to be much more impassive and distant than Crowley. It's Crowley who is more emotional, who is more overcome physically. Despite the fact that it's almost entirely Aziraphale in canon who reaches and touches. Despite Michael Microexpressions Sheen putting so much open heart into Aziaphale's face. He isn't allowed to be soft and needy, comforted, coddled, and rescued. To be the one who yearns and lets himself be weak with it.

Just... let him be soft and silly. Let him be the person he most often chooses to be.

[butchcarmy]

ALEXITHYMIA CH 1: onions, weed, and pizza

Roommate AU: Carmy Berzatto x Reader (R18)

ao3 link ch 2 ch 3 ch 4

Summary: Carmy can’t put into words how he feels about his roommate. It’s only been a couple months, but here he is looking forward to going home and sharing a smoke with them. That’s all it is, though. There are no underlying feelings, none at all, even if everyone around him has something to say about it. 

Or: Carmy is repressed as ever, but through the combined power of vulnerability, weed, and the horny, Carmy too can find love. 

Tags: hurt/comfort, friends to lovers, mutual pining, slow burn, cursing, yearning, repression, SO MUCH REPRESSION, angst, mental illness, canon-typical imagery, unresolved tension, for now, virgin carmy, use of weed, alcohol, all that good stuff, carmy character study, eventual smut, gender neutral reader, nonbinary reader, up to you

A/N: HI I've never posted fic on tumblr before but i deeply love Carmy...please enjoy!!!

CHAPTER 1: onions, weed, and pizza

It always stays the same. 

This is the thought that Carmy has when he wakes up, gasping for a chance to just catch his breath and keep it. It’s a kitchen knife twisting like a lock and key in his chest. It fits just right, as all awful and familiar things seem to do.

No matter how many times he wakes up, he’s never anywhere different. That drowning feeling suffocates him in his sleep and follows dutifully into his waking hours. He can’t remember when that haunting started, only that it’s always been with him.

He hates feeling like a drifter, like he’s lost (even though he is both of those things), so he picks a goal and runs after it like a monster. He’s an animal, hunting and working and bleeding until he fucking makes it work , because that’s who he is, and that’s who he’s always been. He can’t not make it work. Because if he can’t do it, then…then what was it all for? 

What is he even for?

These are the thrilling thoughts that serve as the background music to the swirl of his cheap morning coffee, oils rotating in a slow circle. He thinks about getting a nicer brand next time he goes grocery shopping. But that would mean change. That would mean less money on the restaurant, too.

Yeah, so it tastes like shit, but it doesn’t matter. Even if it mattered once. Less and less matters to him these days.

Mornings in Chicago are not technically quiet by definition, but when compared to other times of day, they are. Especially when most of his day is spent in the kitchen wringing out his throat. It isn’t bad to have a quiet morning by normal means, but for him…

The quiet is dangerous.

It’s not silent, but it’s not enough. There’s distant beeping of impatient cars. The whirring sound of the old AC unit. He tries to listen to them, but his rampant thoughts nonetheless rise above them all, buzzing everywhere with nowhere to land. 

A brief analysis of his thoughts reads as such:

Beef sandwiches eggs flour shipment Michael cigarettes smoking sore throat late shipment so tired not sleeping Michael Sugar Mom coffee tastes bad it’s too early my stomach hurts Michael fucking hates you Michael Michael Michael Michael Michael you piece of shit you fucking ki—

“Mornin’, Carmy.”

Until his roommate wakes up, that is. 

When he moved back to Chicago, there was a fact, plain, simple, and unchanging. He wasn’t gonna make rent on his own, not with the restaurant. Not with everything. So maybe he didn’t need to deal with a new roommate, but it’s not like there was a choice. It seemed bearable, survivable enough.

He keeps waiting for the thing that’ll make him grit his teeth, make him regret not getting a place on his own, but it never comes. They’re easy to live with. It’s so easy, as a matter of fact, that it feels strange. The difficulty that he was so certainly expecting just isn’t there. 

If anything, he looks forward to being at home. For someone who lives at work, that feeling is completely foreign.  

They don’t steal his food (not that there’s much). Instead, they cook him food, leaving heated leftovers on the stove on late nights. In Carmy’s case, that’s most nights. They don’t bring over obnoxious company and keep him up with the noise. Rather, he basks in their company, and they make a ruckus between their laughter. Their presence doesn’t stifle him, it soothes him, just like the candle they leave lit in the kitchen for him when he comes home.  They’re not just easy to live with, they’re good to live with, and that’s…

That’s been a hard adjustment, Carmy would say. It’s too much of a good thing that he’s not sure what to do with himself.

On those late nights, they’re usually fast asleep by the time he’s home. But as he sits and eats the leftovers they’ve kept for him, he wants to say something. Something about how a long time ago, there was once a Carmy who cooked for himself, who looked after himself, but that he’s not that Carmy anymore. That it doesn’t matter that he’s a five star chef and they’re just some guy in the kitchen, as they would put it, because he’s…

He’s grateful. Incredibly so.

And yet, the words will never come out. He feels the words tingling on his lips, but it feels scary. He can thank them as many times as he likes (which he does) but it will never capture what he’s really trying to say when he says thank you . There’s too many words, and it just can’t…it just can’t—

It always stays the same. 

“You’re up early,” he says to them when they enter the room. It’s a rare sight to see them up at the early hours he frequents. He sees the morning drowsiness in their mussed hair and big t-shirt stained with hair dye. They yawn back at him, nose scrunching.

Cute , he thinks, and he stamps it down as soon as it flashes through his mind. 

“Randomly woke up.” They fall into the empty seat next to him on the couch, and they rub at the crust around their eyes. “About to head off to work?”

“Unfortunately, yeah,” he replies. There’s a certain sentiment that lies on the tip of his tongue, something about how he wishes he could have a slow morning with them instead. Of course, he can’t voice it. He can’t even come close.

“The plague of the working man,” they sigh. “Well, I got an idea that might cheer you up.”

“...And that would be?”

“Let me paint you a beautiful picture,” they start. They clear their throat and gesture widely with their hands. He notices their chipped nail polish, the writing callus on their middle finger. “Imagine this—you come home from work, tired. You need to relax —something you need to do more often,” they add with a pointed look.  No comment. “And I have dinner ready. Some sort of soup, pasta maybe. I need to check the fridge.” They pause with a yawn. “And before we eat, we smoke a big, fat joint.”

He snorts as they finish, unable to hold back a laugh. 

“That’s a nice picture,” he admits. He doesn’t remember when he started smiling. “Y’know, I was wondering when the joint was gonna pop in.” 

“You fucking know me, man,” they reply, blooming with his interest, his smile. Not that he can perceive that. “So? Thoughts? Haven’t done that in a while, right?”

“Right, right,” he echoes faintly. His mind is already sorting through the pile of tasks on the schedule. “Well, I gotta go over this new recipe with Marcus, today,” he mutters, partially under his breath. “But before that, ingredient orders. And those invoices before the end of the day—and that, that toilet guy was supposed to come today…I think?”

“Dude, I do like, one task, and the day’s over for me,” they say sympathetically, and the look on their face is so serious that Carmy struggles to hide his smile. “You’re crazy.”

“I, I’ve seen you do tasks,” he argues. 

“Name one,” they argue back.

“You did two loads of laundry and did the dishes all before lunch time once,” he says, the memory clear and instant. “And when I woke up, you were vacuuming the whole place.” The immediacy surprises him, and it seems to surprise them, too. 

“Damn, I said name one , but I guess I’m just that good!” They laugh, a breathy, exasperated sort of thing. “Well, point taken. Anyway, it sounds like you’re not gonna be home early tonight.” 

“It is a Friday,” he says, “but…”

“But.”

“Can’t make promises I can’t keep,” he sighs, and shame melts over him like butter on a stainless steel pain. This isn’t anything new. 

“I know, I know,” they say, gracious as ever. “It’s okay. Such is the life of a business owner, yeah?” He searches for some thinly veiled shred of disappointment, frustration in their expression, but he doesn’t. No matter how many times he lets them down, the explosion he’s waiting for never comes. They remain patient, collected through it all. 

Says more about him than them, he supposes. 

“Yeah,” he mutters, “such is the life.” 

“C’est la fucking vie,” they say, and he laughs with a shake of his head. 

It can feel strange to laugh. He worries that the lightness in his chest will expand like a balloon, and he’ll float away. It’s uncontrollable, foreign. It should be scary, how his emotions lead him when he’s around them, not the other way around, but it’s not. 

It’s not scary to loosen up around them, and that’s the scary part. There are no words to describe why. All he can see is that the fear exists, stubborn and persistent. That fear is what makes him snap out of it, makes him look at the clock. He holds back a sigh. 

“Time to go,” he mutters, and they nod.

“And time for me to go back to bed.” They salute him. “Best of luck with your day, brave soldier. And just shoot me a text if you do end up coming back early, ok?”

“Yeah, sure. I’ll try. And, thanks. You, you too,” he gets out. He stands up, readjusting the waistband of his pants. “I’ll, uh, see you later.”

“See you,” they say through a yawn, waving at him from where they’re lying down. They’ve taken his spot, sprawled across the couch, tangled hair flayed out on the pillows. 

Cute , he thinks again, and hearing the thought in his brain makes him wanna panic. 

He doesn’t wanna panic, doesn’t wanna think about it at all, so he nods, shuts the door, and heads out to work with a cigarette hastily lit in his mouth. 

By the time it’s Carmy’s lunch break, he swears his vocal cords must have snapped by how tight he was wringing them. 

The soreness has never stopped him from lighting a cig, though. As he stands outside in the back, finally forced to go on his 30, he smokes rather than eating. There’s a sandwich in his pocket, one that was bearing the brunt of test ingredients. He can feel the aluminum wrapping at his fingertips. 

Eventually, he does eat, though, because he sees the way his hands are shaking when he flicks his lighter. He doesn’t wanna shake when he uses a knife, so he eats. He tastes it, but he doesn’t really taste it.

In truth, he wasn’t even planning on taking his lunch break at all. Most days, he forgets about it. The kitchen’s always busy, there’s always something missing, there’s always something that hasn’t been prepped that’s ruining everything, the lights in the hallways keep flickering because they need to fixed, Fak’s supposed to fix them, but he can’t, because Richie’s still out getting the replacement bulbs, the pile of papers on his desk are bigger than he remembers, he doesn’t have enough fucking time—

But then he’s in the middle of chopping an onion, and the cutting board slips. The half-chopped onion and its sliced offspring scatter on the floor with the cutting board. The sound of its fall draws Sydney in like a whip. 

“You okay? Need a bandaid?” Sydney’s already kneeling by him, helping him pick the onions off the floor. 

“I, I’m fine, didn’t drop the knife,” he explains, and it feels like an ocean current is rushing by his ears. “Fucking, I just—such a stupid fucking—” He sucks in a breath and goes silent. 

His entire body feels tight, wound like a spring. He can barely fucking breathe. 

“Hey.” Carmy turns his intense stare from the onions to Sydney, and when he sees her searching expression, he remembers himself. “Maybe you should go take your lunch break.”

“No, I’m fine, really,” he repeats, and he feels like he’s heard this before. From someone else. He can’t remember. Who was it? “The onions—we’re behind on onions—”

“I can handle onions for 30 minutes,” she interrupts, decisive and firm. “Seriously.”

Carmy’s about to say something, but then he’s looking at the onion half in his hand. His hand is shaking. 

“Okay,” he sighs after a beat. “Okay, yeah. Sorry. For fucking up.”

“It happens. We all have our moments.” She shrugs. When he keeps standing there, she makes this shoo-ing motion with her hand. “Go on. Take your 30!”

So here he is, taking his lunch break a whole hour later than he’s supposed to. Although it’s better than most days where he doesn’t take it at all.

She wouldn’t have had to tell you to take a break if you didn’t fuck it all up, he thinks to himself, eyebrows knitted together. When the last time I’ve fucked up something so fucking easy?

He thinks about his dream from last night. A familiar sight of red fire and flames up to the ceiling, crackling so loud it sounded like screaming. The only good part is that when he woke up, he wasn’t at the stove burning his place down. It hasn’t happened at this apartment yet. Carmy hopes it never happens. 

Just get it together, he thinks. He aggressively taps the ash out onto the decrepit ash tray they have in the back. It’s full. You’re supposed to be at this shit. So just be good.

“Cousin.” Carmy snaps his head up, and Richie’s at the door, stepping out. His presence yanks him out of his inner whirlpool, a quickly descending spiral. “Gimme one.”

Wordlessly, Carmy hands him a cigarette. Richie plucks it out of his hand like a flower.

“You had a lighter, but no cigarette?” Carmy comments, squinting at Richie pulling a busted up red lighter from his jean pocket. 

“Shut up,” Richie mutters, but there’s no heat behind it. “Got the wrong damn light bulbs,” he explains unprompted. 

“Alright,” Carmy sighs. He has so little energy that the frustration bypasses him completely, diving instantly into deflated acceptance. “Just return ‘em.”

“Can’t,” Richie says, and when Carmy gives him a look, he elaborates, “no receipt.” 

“ Dude .” Carmy opens his mouth, but then he shuts it again. It’s just not worth it. “Thanks anyway, cousin. We’ll get it done.”

“Don’t fuckin’ thank me, you asshole. I didn’t do shit.” Richie nudges him, but like before, it’s not an angry thing. “Also, toilet guy’s not comin’ today.”

“The fuck? Why ?”

“Canceled,” he replies simply. 

“Fucking hell,” Carmy mutters under his breath. “Did he say when he could reschedule?”

“Not yet.”

“Great.”

“Yep.” Richie tilts his head up, blowing out a slow stream of gray cigarette smoke. “Might as well wait for Fak to get his ass back in town at this rate.”

“I guess.” Carmy sighs. He thinks about all the things he still needs to do. “I dropped this onion I was chopping, earlier,” he mentions out of nowhere. 

“Okay.” Richie gives him a look. “And? You bitches chop those things up faster than I could cut one in half.” 

“I dropped it on the floor,” Carmy tries again, but Richie’s expression remains unchanged. “I never do shit like that.”

“Well, cousin, you did.” Carmy feels something in him deflate. “What’s the big deal?”

“Nevermind,” he replies, because he’s a coward. “Just—just forget it.”

Silence. The spark of a lighter. 

“I’m gonna leave early,” Richie says, like he can just do that. Which…he can, Carmy supposes. “If no one’s gonna show up, what’s the point?” He slaps Carmy’s back, and Carmy doesn’t watch him as he heads back inside. 

Guess all I need to do later is get rid of those papers on the desk , Carmy thinks to himself, idly moving the shortening cigarette between his lips. Then that’ll be it, I guess.

He doesn’t remember the last time he’s gone home early. It’s hard to even imagine what he does on days like those. Sleeping, probably.  There’s nothing much else for him to do, not with how tired he is—

Shoot me a text, okay?  

He hears them in the back of his head all of a sudden, and he remembers. 

Oh, he remembers, hands moving to take out his phone. Almost forgot.

“Sorry to bother you, chef.” Carmy’s not sure how he didn’t hear the door opening. Marcus’ head pops out, nose covered in flour. “Just wanted to let you know that we’re gonna need more flour for tomorrow.”

“Order’s not gonna come for a couple days. I thought we had an extra bag left,” Carmy tries, but the guilty look on Marcus’ face explains it all. 

“Dropped it,” Marcus grimaces, and Carmy’s already fucking over it. 

“We’re all fucking up today, chef,” Carmy replies, and the day goes on. 

. . . . .

It’s a strange, delightful miracle, but he manages to get out of the restaurant before the sun sets.

Considering their collective track record, the fact everyone was able to leave early was cosmic intervention. It helps that the toilet guy didn’t come, in an unfortunate way, but still. Standing outside of the restaurant in the evening like this feels…weird. 

It’s not that Carmy’s complaining about a nice thing, it’s just that he wasn’t prepared to have anything good today.

Shower, dinner, and weed, he thinks absentmindedly on the way home. He juggles the three around in his brain. Just the thought of it feels like relaxing. A little.

With company , his brain helpfully adds, and his stomach squirms. 

Self control, he thinks. He needs more self-control. He can’t just keep thinking of them so indulgently. He’s not allowed to think of them that way, because it’s not fair to them. Even if no matter how many times he chastises himself, it never works. Even if they remain in his brain like sun-spots in his vision. Even if it’s not his fault that he just can’t help it.

The thing is, though, it always is. Even when it’s not his fault, it actually is. Always.

You dropped that fucking onion , his brain helpfully adds for no particular reason. Fucking loser.

Fuck off , he thinks back as he approaches his front door. Predictably, it does not stop.

Just as his fingers search for his keys in all of his pockets, he hears something that makes him pause, hands stopped on his waist. It’s music, distant and muffled. They’re probably listening to music in the kitchen. He stands, trying to place the song, but he doesn’t recognize it. 

He does recognize the voice that’s singing over the music, though.

Oh, he realizes. That’s them.

The way their voice clumsily layers over the music shouldn’t make him pause like this. He shouldn’t be doing this, standing in the doorway and listening rather than opening the door. The keys are in his hand. This, this is a breach of privacy, he tells himself, feeling a little dizzy with distress, he just needs to just—

There’s an abrupt, loud clang, and he shoves the door open.

Concern is on the tip of his tongue, but it dies there. The source of the noise lays face-down on the floor—a pan sitting in what seems to be tomato sauce. The matter next to it is what makes the words evaporate from his lips, like they were never there at all. 

They’re kneeled down next to the pan, paper towels in hand, but all they’re wearing is an apron. 

His mind blanks. He thinks he stops breathing. He’s never seen so much of their skin at once. He needs to look away, he thinks, but his eyes keep traveling, traveling, and traveling. It just happens so quickly. He doesn’t mean to look, he doesn’t, but they’re right there and he can see right down their—

“No, I—I’m sorry! I didn’t know you were coming back early!” They exclaim, quickly crossing their arms over their chest, and that’s what makes him tear his eyes away. 

“I—I thought I texted you,” he says quickly, hot face turned to the side, “on my lunch—...“ He stops there, the memory reconstructing itself. 

He forgot.

“It’s fine, I just feel bad about dinner, and, uh—okay, I’m just gonna change real quick, and then I’ll clean this up,” they reply, words rushing out. In the corner of his vision, he sees their bare legs dart to their room.

It seems wrong to just stand here staring at the tomato sauce slowly expand outwards on the floor, so he cleans it up. A couple paper towels later, he’s gotten most of it, and they’ve returned with a change of clothes.

“Sorry,” Carmy starts right as they also go “I’m sorry”. He pauses, meeting their eyes. It’s a lot easier now that they’re wearing leggings and a t-shirt as opposed to, well, nothing. Not to say he doesn’t appreciate the leggings. 

“Sorry you had to see me like that,” they sigh. “I don’t—I don’t usually walk around the place naked, I just—I didn’t think you’d be back—“

“I should’ve texted,” he interrupts. He struggles to not think about them walking around the living room naked. “I forgot. But it, it’s fine. You’re fine. Really. Sorry for not texting.”

“Okay. Cool.” They exhale, a tired noise. “And it’s okay. It happens.” They look at the floor and make a sound of surprise. “Did you clean this up?” The look they give him has far too much gratitude, and it feels like a searing hot iron.

“Yeah, uh.” His hands are moving like he’s trying to explain something, but no words crop up. “Felt weird not to.”

“Well.” They smile, grateful. “Thank you. That was gonna be dinner, but…” They trail off, looking at the floor with a sour expression. “I fucked up.”

“It’s just that sort of day today,” Carmy mutters.

“Shitty day for you, too?” 

“Yeah. Lots of shit went wrong.” Especially me, he thinks, but he doesn’t say it. “You?”

“Gotcha.” They shrug. “As for me—yeah. Really not my best day. It was just, uh, some family shit. You know how it is.”

Carmy makes a sound of acknowledgement. “That sucks.” He doesn’t know much about their family other than that they’re fairly shitty. It’s the same the other way around, too. 

“It’s whatever,” they say, even though it really isn’t, and he knows it. They look at the floor one more time before looking up at him. “Do you just wanna order pizza or something?”

“Yeah, I do,” Carmy replies, his words coming out much more despondent than expected. 

They settle on some pepperoni pizza from a place down the street. It’s a tried and true method—they deliver, it’s cheap, it’s oily, it’s cheesy, it’s good. Just talking about it makes Carmy taste it on the tip of his tongue. 

“You can go and shower if you want. I’ll get the door when pizza comes,” they offer. They’re standing at the sink, sleeves rolled up. 

“Okay, thanks.” Carmy pauses then, gears turning. He’s vaguely worried his memory is going to shit. “Did—did I just say I was gonna shower?” 

“Oh, no, you didn’t, you just always shower when you get home from work, right?” They say it like it’s the weather, like it’s familiar, and that’s when Carmy realizes because it is. After several months of living together, of course they’ve picked up on his habits. It doesn’t need to be a thing. There’s no reason for it to be a thing.

“I do,” Carmy replies faintly, and for some reason, that’s all he can say. 

“Thought so.” They look at him for just a moment, but it makes him feel like his body’s gone transparent. “I notice these things, you know.”

“Yeah.” Carmy looks at them when they turn back to the dishes, back facing him. “You do.” 

He tells himself he’s not gonna think any harder about any of it. He’s not gonna think about the singing, the apron, the way they just notice these things, but then he does. 

He’s in the shower, and he thinks about everything.

The water pressure is pathetic, but the warmth still feels nice. Between that and the sound of the running shower, it’s usually enough to quiet his thoughts. This time, though, it doesn’t. To his credit, he does try to think about anything else. 

He thinks about work, because he always does. He thinks about flour, about onions, about knives. He thinks about the shampoo lathered in his hair. He thinks about those lightbulbs they still need to get. He thinks about food. He thinks about them. He thinks about pizza. He thinks about the way they sing when no one’s around. He thinks about the way they know him. 

He thinks about them, knees on the floor only in a—

He thinks of bashing his head into the tile wall until he explodes.

“Shut the fuck up,” he whispers to himself, rivulets of hot water trailing down his forehead and dripping off his lips. “Shut the fuck up.”

The soreness is still present in his body, but that never quite goes away. He does feel a bit better now that he doesn’t have sweaty, sticky skin, though. It gets even better when he puts on a clean white t-shirt and his favorite sweatpants. It’s a nice surprise from his past self who did his laundry for him. 

This amount of niceness is okay. This is what he’s used to—a shower and comfortable clothes when he’s home from work. That’s enough.

He steps out into the kitchen with a damp towel on his head. He finds them sitting by their one shitty window that opens, pizza box in front of them and joint lit. It casts an orange glow to mix with the golden light from the window. 

“Hey, pizza’s here!” They slap their hand on the greasy cardboard box. “Just got this joint started for us, too.”

“So you weren’t gonna smoke it all on your own?” He doesn’t mean to tease, but he does. He slips into the seat across them, arms resting on the table they placed by the window. 

“I couldn’t smoke this whole thing even if I wanted to,” they protest. “Besides, joints are made for sharing. Here—now you get to take it. Isn’t that nice?” With their elbow propped up on the pizza box, they hold up the joint to him. The lit end of it sizzles a bright orange, emitting a thin trail of smoke up to the ceiling. 

“That is very, very nice,” Carmy agrees, taking it carefully from their fingers. Their face spreads into that contagious grin of theirs, and he’s far from immune. Sometimes he smiles so much around them that his face hurts, rusty and unused. 

Sure, he can blame that on the weed, but if he’s being honest with himself (a rare occasion), that’s a complete lie. Obviously the weed lessens the tension, the stress that winds him up tight. It’s not just the weed that gets him to relax, though. 

It’s them. There’s something disarming about their presence, something that makes him loose-lipped around them. Even when he’s sober, he finds himself feeling comfortable. He’s not quite sure how that happened, or if that’s ever happened. He supposes that isn’t a bad thing. Just something he’s noticed. 

He wonders if they’ve noticed. 

“You like the new rolling papers?” They tuck their knees under their chin, propping their feet up on the chair. 

“Hm.” Carmy lowers the joint from his mouth to give it a good look. He rotates it around in his fingers. “Strawberry?”

“Yeah, it’s strawberry,” they confirm, poorly hiding the excitement in their demeanor. Not that they were trying to. “Can you taste it?” 

He pulls from the joint, the edges of the paper sizzling red with the weed. It’s an even burn this time. He rolls his tongue around in his mouth after he exhales a cloud of smoke. 

“Still no,” he decides after a beat, and they sigh. 

“I don’t know why I ever get my hopes up.”

“I do taste something else in this, though.” He takes another hit, stews on it. “Lavender?”

“Shoulda known you would’ve gotten it on your first tray. Yeah, it’s lavender. I found some lying around.”

“You made this one pretty nice,” he observes, eyes tracing the shape of the joint. “Between the lavender and the new papers, I mean.”

“Well, y’know.” The smile on their face is small and shy. “I don’t smoke joints often, so I wanted to make it nice, and I, uh…”

They’re paused for so long that Carmy interjects. 

“And?”

“And I—want that joint,” they finally say, outstretching their hand. Carmy has a strong feeling that they weren’t originally going to say that, but he hands over the joint nonetheless.

“Strain?” He asks curiously. He can feel the body high creeping up his shoulders, fluid and light.

“The strain that gets you high,” they reply with a grin.

“Oh, thank god,” Carmy sighs in relief, and the way that makes them laugh… It makes his chest tight. 

“To actually answer your question, though—I dunno.” He likes watching the smoke drift from the tip of the joint as they talk, thin gray wisps in the air. “I think it’s a hybrid? Not sure if it’s more one way or not, though…”

“As long as it’s not the weed that puts you to bed.”

“Um…well, if you smoke enough of it, it can.”

They sit together like this for a while, just sitting and taking turns with the joint. It’s an easy, fluid exchange, flowing between them like smoke. No matter how much they both try to blow it out the window, it always comes back in. The smell of weed is strong in the air, earthy and pungent.  

Although he would never describe himself as a talkative person, sitting stoned across from them makes the words come out. Sometimes, he thinks he likes himself better when he’s high—his mind isn’t running circles around itself, and the soreness of his body just floats away. He feels more like a human than a poor imitation of one like he usually does. 

This weed smells kinda good, he thinks, and when they laugh, nose scrunched up, he realizes he said that out loud. 

“That’s literally what I’ve been saying,” they agree, a bright grin lingering on their face. “That’s how you know you’re a fuckin’ stoner!” 

“Feels weird to call myself a stoner,” he muses. He plucks the joint from their outstretched hand. It definitely looks shorter from when they started a moment ago. “But I guess…”

“If you like the smell of weed, you’re too far gone,” they say with a grave expression. “It’s so fucking over for you.”

“Fuck,” he whispers, equally as serious, and then they’re both bursting out into laughter. He likes the sound of their laugh—it’s unabashed, fills up the space. 

“Dude, I’m high,” they whisper after they both calm down, like it’s some sort of secret, and Carmy can’t stop himself from laughing all over again. “Oh my god. Are you high?”

“I—I think I might fucking be,” he gets out between laughs, and that sparks them straight into another cackle of laughter. He’s not supposed to be able to make others laugh, he doesn’t even make himself laugh—but then he’ll say something, and they’re lit up with laughter. 

“We need to eat this pizza now, ” they yell, projecting over their combined noise. They flip the pizza box open, and it smacks Carmy right in the face. 

“Oh,” he reacts mildly.

“Shit, I’m so sorry—”

“It’s fine, it’s not like you punched me in the face,” he reasons, but their guilty expression persists. “It didn’t hurt, it’s just cardboard.”

“I’m sorry, I’m high,” they sigh apologetically. 

“I know,” he replies with a little smile. His eyes drift down to the pepperoni pizza sitting before them, glorious in its perverse amount of oil. “So, we’re gonna eat this, right?”

“Oh my god, yes we are,” they gasp, and the moment is forgotten. 

When he tears off a pizza slice, the cheese stretches in thin, gooey strings. They grab the slice adjacent to it to snap the strings in half, but they’re both leaned back in their chairs, pizzas in hand, and the cheese is still connected. 

“This doesn’t seem right,” Carmy mutters, eyebrows furrowed in confusion. “We should’ve just cut it.”

“How could we have predicted this?” They pull their pizza further back, and the string still doesn’t break. “Wow. I’m honestly impressed. I don’t think it’s ever been this insane before.”

“I think we’d remember.” He’s not sure why he’s still talking and not just running his finger across the string to break it. 

“I think we would, too.” They snort, shaking their head. “This—this is some spaghetti type shit.”

“What? Spaghetti?” He’s genuinely perplexed.

“I—I mean like—that fucking disney movie. With the dogs.” They pause for a moment, mouth silently moving. “Fucking—lady and the, the truck—”

“Uh.” He has to hold back a laugh. “...The lady and the tramp?”

“ Holyshittheladyandthetramp ,” they blurt out in a rush, and the cheese string finally snaps in half. “…Well, I guess it’s not exactly like the lady and the tramp, then.” They take a large bite of their pizza, and it reminds Carmy exactly how hungry he is. 

“You mean lady and the truck,” he corrects, and he can’t stop himself from smiling. Especially not with how good this hot pizza is, delightfully salty and greasy in his mouth. 

“Shut up, I was trying,” they grunt through a mouthful of food. 

“How exactly is this like the lady and the tramp, again? Or, uh, not like it?” 

“Well, it was just like it, but then the string broke.” Somehow, they’re already halfway through their slice. “Could’ve been a beautiful spaghetti moment.”

“Spaghetti moment,” he echoes under his breath, holding back a laugh. “Remind me how that scene goes?”

They go quiet for a moment. It’s like he can see the gears turning in his head. If he’s being honest, he already remembers how that scene goes, but…he wants to hear them say it. He needs to hear them say it. 

“Uh, well, they’re…eating spaghetti. The titular lady and tramp.”  Their eyes are fidgety, flickering back and forth between their pizza and the window. “And they’re sharing the plate, the two of them. They’re eating together, and, um…” 

“...And?” 

They meet his eyes, mouth hanging open, and then they close it. 

“Um, I don’t remember, actually,” they say, shaking their head and blinking. He sees it for the blatant lie that it is, and yet. “Do, do you remember?”

As he stares back at them, unable to look away, he wonders. He wonders about what this really means. About if this really means anything at all, about if he’s going to find out if it does. 

“I don’t remember,” he answers quietly, cowardly, and neither of them say anything else.

Out of the two of them, they’ve always been better with recovering from awkward moments, so they do. They start talking about something else, and the world keeps turning. But in the back of his head, Carmy remains in that moment, unwilling to let it go. 

Why did you say that you didn’t remember? He wants to say. Why didn’t I say that I remembered how it went? Because I remember. They kiss—they fucking kiss. Is that what you wanted to hear? Is that what I wanted to hear?

But because he’s Carmy, he doesn’t say anything. He just eats.

He’s so hungry that the pizza disappears in minutes. It’s delicious, but he’s so high he’s not completely sure he can taste it. Somehow, it remains the best thing he’s ever eaten. 

The rest of the night is a blur. He remembers getting onto the couch at some point. They both decide on a random movie he doesn’t catch the name of. They finish off the joint on the couch together, sinking into its cushions. It burns hot in his throat as it reaches the end. 

And as it turns out, the weed he smoked is the one that puts him to bed. 

“...Ca…Car…” Someone’s calling him. “...Carmy, c’mon. You’re gonna complain about your neck tomorrow if you keep sleeping here.”

“Mhm,” he replies helpfully. He turns his head into the cushion. His body feels like an abstract blob, perfectly molded into the couch cushions.

“Okay, you made a good point. But. ” They laugh quietly, under their breath. “Movie’s been over for like 20 minutes now.”

“Mhm,” he repeats, nearly inaudible. He doesn’t wanna get up. Whenever he falls asleep, it always feels like he’s never gotten an hour of sleep in his life. There’s nothing he needs to think about, worry about. He’s warm and comfortable, and he doesn’t feel like letting that go just yet.

Everything goes silent again for a moment, save for the cars on the road. He begins to drift away again, slipping back into his dreamless sleep. 

But then there’s a hand on his shoulder, and it’s like a smoking brand on his skin. His eyes fly open and he jolts awake, jerking upright. 

“I’m sorry, I didn’t mean to startle you,” they apologize, fretful. Between the dark of night and haze of sleep, they look pretty different. The blue light from the television is streaked across the blurry planes of their face.

“It’s fine,” he replies, drowsy. Speaking feels…heavy. Begrudgingly, he adjusts to sit up. “Didn’t mean to fall asleep.”

“Weed,” they say with a shrug. 

“How, how long was I—?” He cuts himself off with a yawn, wide with condensation in the corners of his eyes. 

“Only like, 30 minutes.” They yawn back. Typical infectious yawning. “End of the movie sucked anyway.”

“Oh.” Pause. “What was the ending?”

“Love interest died,” they state plainly. “He told her about how he felt, got rejected, and then she died in a car accident. Pretty tragic.”

“Huh.” Carmy makes a face. “That does suck.”

“Yeah, a bit.” They’re idly fiddling with the remote, scrolling through Netflix without reading anything. “I feel like the movie was trying to say something profound about the unpredictability of life or something, but the writing was shit.”

“I guess it’d be too perfect if they got together,” he muses.

“I guess,” they echo. They turn off the tv, and the room goes dark. The only light is from the yellow street lamp right outside their window, wonderful in its inconvenient placement. It illuminates the shape of the back and leaves their face in shadow. “I think I remember how that scene went,” they say suddenly. 

“Oh.” Carmy’s heart feels stuck in his throat. “And how does it go?”

“Well, they’re—both eating spaghetti. Like I said.” They’re not facing him, leaving their face shrouded in shadow. He’s not sure if he’s imagining the shake in their voice or not. It’s beyond him why there would be any shakiness at all. “They somehow get the same noodle, so they, uh, kiss.”

“They kiss,” he repeats for some unknown reason.

“Yeah.” They let out a quick laugh, but it doesn’t sound like they actually find this funny. He wishes he could see the look on their face. 

“I don’t think pasta works like that,” he hears himself murmur faintly. For some reason, he can’t help but think that was the wrong thing to say. But he’s already said it. Maybe it’s the same reason as to why his heart is beating so urgently. 

“No, I, I don’t think so either,” they mumble. He refuses to place the way they’re feeling. 

I can’t fucking do this.

The thought resounds like a gong, hit with a mallet right next to his ear. 

“It’s late, I gotta head to bed.” It feels like someone else is speaking for him, moving his body for him. He can’t stop them. When he stands up, he avoids their face.

What the fuck are you doing?

Another thought resounds. He doesn’t respond.

“Right, I—didn’t even notice the time.” He pretends he doesn’t hear the strain in their voice. No, he didn’t word that right—there is no strain in their voice. “G’night.”

"Night,” he murmurs back.

This is enough, he tells himself as he falls into bed. His sheets are tangled. This is enough , he repeats, and it’s not because he’s scared, afraid, anxious, or any other stupid synonym. It’s because he believes it, needs to believe it. 

He tells himself, this is enough , even though he wonders, what is supposed to be enough? He doesn’t listen. He stamps down the protests, the thoughts that are out of line. The high usually helps with that, but it’s worn off, now just leaving him in a weary, sleepy state of things. 

This is enough, he thinks, and he falls asleep looking at their shrouded face behind his eyelids.

[swiatloanjo]

It's so interesting to think that Henry technically lived for William.

(even if it's to kill him)

And the reason is that he had nothing left. The only thing that kept him there breathing and living is William. The guy who started it all, the guy who was once his partner, coworker and best friend, the guy who destroyed his life irreparably, the guy who killed innocent children and the guy who until then never died... I truly believe that If he didn't learn about the ''paranormal'' he would probably end up like TSE! Henry.

I suppose that William was missing and no one had heard from him because he had died, but Henry still believed that William was somewhere, It's been 30 years and he still trusted his instinct that it was still necessary to look for him or be alive to stop William from doing something stupid.

He was just waiting, just like Michael (but Michael is a living dead man), wanting for some sign of 'life' that William was back. And when he showed up, Henry simply put the plan into action.

My point is...

HOLY SHIT. These two are crazy, insane and I'm almost this 🤏 to say that they deserve each other but I won't go out of respect for Henry. Imagine living more than 30 years of your miserable life to hunt down someone you don't even know is alive so you can end all this shit and finally kill yourself in the process.

In The Silver Eyes, it is mentioned that William has personal diaries about Henry that ranges from jealousy to near-worship AND I assume it's canon that William is in fact the same way in canon (If not, Charlie's death would have no motivation at all)

The research and quest for immortality that William was after comes from his obsessive envy of Henry and his desire to create something for himself, and he technically died because of it.

And Henry spent years and years chasing William to kill him once and for all, he literally lived for William.

He lived all this time just to kill William.

Henry lived for William.

William lived a good part of his life solely to satisfy his obsessive envy of Henry. He KILLED because of it and then they killed him because of that.

One died because of his obsession.

And the other lived by his obsession.

[nofomogirl]

Good Omen's problem with having two canons

They're fundamentally different. That's the problem. That's my point.

For quite a while I focused almost exclusively on the new season of Good Omens, but now I am slowly delving into analysis that takes the entire show into account, and I've encountered a little obstacle. Namely, things from S1 can be really tricky to interpret.

Fair warning: this post is going to zig-zag between various points but I want you to trust me and take this scenic route with me. It will take us somewhere eventually, I promise.

The Arrangement

It's one of the core elements in the Good Omens universe and at the same time a perfect example of the issue I want to discuss. So let's have a closer look together.

In the book, the Arrangement is presented to us in two passages:

the first one, where it is first - very briefly - mentioned:

Aziraphale had tried to explain [free will] to him once. The whole point, he'd said - this was somewhere around 1020, when they'd first reached their little Arrangement - the whole point was that when a human was good or bad it was because they wanted to be.

and the second one, where it is properly introduced and explained:

The Arrangement was very simple, so simple in fact, that it didn't really deserve the capital letter, which it had got for simply being in existence for so long. It was the sort of sensible arrangement that many isolated agents, working in awkward conditions a long way from their superiors, reach with their opposite number when they realize they have more in common with their immediate opponents than their remote allies. It meant a tacit non-interference in certain of each other's activities. It made certain that while neither really won, also neither really lost, and both were able to demonstrate to their masters the great strides they were making against a cunning and well-informed adversary. (...) And then, of course, it had seemed even natural that they should, as it were, hold the fort for one another whenever common sense dictated. Both were of angel stock, after all. If one was going to Hull for a quick temptation, it made sense to nip across the city and carry out a standard brief moment of divine ecstasy. It'd get done anyway, and being sensible about it gave everyone more free time and cut down on expenses.

In the show, the Arrangement is presented to us in two original scenes in the cold opening of S1E3:

(I am quoting most relevant dialogues only)

537 AD, Wessex:

C: So we're both working very hard in damp places and just canceling each other out? A: Well, you could put it like that. It is a bit damp. C: Be easier if we both stayed home. If we just send messages back to our head offices saying we'd done everything they'd asked for, wouldn't it? A: But that would be lying. C: Eh, possibly, but the end result would be the same. Cancel each other out. A: But my dear fellow... well, they'd check. Michael's a bit of a stickler. You don't want to get Gabriel upset with you. C: Oh, our lot have better things to do than verifying compliance reports from Earth. As long as they get paperwork they seem happy enough. As long as you're being seen doing something every now and again. A: No! Absolutely not! I am shocked that you would even imply such a thing. We're not having that conversation, not another word!

1601 AD, The Globe Theatre:

A: I have to be in Edinburgh at the end of the week. A couple of blessings to do. A minor miracle to perform. (...) C: I'm meant to be heading to Edinburgh too this week. Tempting a clan leader to steal some cattle. A: Doesn't sound like hard work. C: That's why I thought we should... Well, bit of a waste of effort, both of us going all the way to Scotland. A: You cannot actually be suggesting what I infer that you are implying. C: Which is? A: That just one of us goes to Edingburgh, does both. The blessing and the tempting. C: We've done it before. Dozens of times now. The Arrangement- A: Don't say that! C: Our respective offices don't actually care how things get done. They just want to know they can cross it off the list.

S2 doesn't actually reference the Arrangement. But it does reuse the dialogue about free will where the 1020 date is dropped. We will get back to it.

The challenge of adapting Good Omens

Good Omens shares a certain characteristic with all of Terry Pratchett's solo books I've read - it couldn't care less about "showing instead of telling". Which I love, just to be clear. A book is a written medium. It's made with words and one of words' major strengths is that you can use them to just tell things point blanc.

Good Omens does it a lot and it's fantastic.

Look at that second passage from the book I quoted earlier.

From just those few sentences we learn a lot about the relationships between:

Heaven and Hell (opponents and competition)

Aziraphale and Crowley (two individuals in the same position and in direct contact with each other)

Aziraphale/Crowley and Heaven/Hell (field agent and a remote HQ that are not in direct contact)

Aziraphale/Crowley and Earth (two individuals and a space they live in)

Heaven/Hell and Earth (a board where the game is played, only winning or losing matters, what actually happens on a board does not)

It's really an extra condensed worldbuilding gem sprinkled with humor, so it's no surprise it's become one of the most iconic passages from the book.

I mean, just browse through some interviews with David and Michael - especially the ones from 2019 - where they explain what Aziraphale and Crowley are about. You'll be hard-pressed to find any where they don't reference that specific paragraph, consciously or otherwise.

But it's only this neat on the pages of the book, where narration like this takes mere seconds to absorb. It's impossible to convey the same information in a visual medium with anywhere near the same efficiency.

The fact that the majority of Good Omens is like this was, in my opinion, a main challenge the adaptation faced. The book is very narration-heavy. It's full of fun facts about characters, side jokes, hilarious comments, etc. Some of that precious material was salvaged by introducing God as a narrator, but there was only so much of it you could squeeze into a TV show. The rest had to either be fit into dialogues or lost in translation from the written medium to the visual one.

Obviously, in the case of the Arrangement, it was the dialogues.

Book canon and show canon

We all know they're not the same. Neil Gaiman also pointed it out several times. But I think our mistake is that we still tend to think about them as complementary.

Look at the Arrangement again. The show canon seems to merely expand on the book canon. Add extra details and fill in the blanks. The Arrangement works the exact same way, except now we also know more about how it started.

If we compile what we know from the book with what we know from the show, we get a more detailed timeline:

Crowley first proposes the Arrangement in 537 (show).

The Arrangement starts in 1020 (book), ie. Aziraphale finally agrees to it (show - deduction); we don't know for sure if it's a "basic version" (not getting in each other's way), or a "full version" (doing each other's jobs) but we can assume it's the former.

In 1601 "full version" of the Arrangement is in place for some time (they've done it dozens of times) but Aziraphale still objects and needs convincing.

But read that description from a book once more.

Does it really fit into the version of events shown in the TV series?

The Arrangement in the book is something that just happened. A natural, and in a way inevitable result of Aziraphale and Crowley's circumstances. We are never told who came up with it first because it doesn't matter. Because it could have been either of them. Because after five millennia on Earth, they were both ready to do it. They were both of the same mind. For all we know it might have been an unspoken agreement all along!

But for the show, the creators had to come up with a good reason for the Arrangement to be discussed out loud. And what could be a more natural situation for someone to describe and explain an idea than trying to sell that idea to someone else?

For that practical reason - among many others, no doubt - the Arrangement is not only explicitly Crowley's idea, but an idea Aziraphale vehemently rejects at first. He needs to be convinced and even when he finally relents he's never entirely comfortable with it. He keeps objecting and it requires Crowley's constant effort for them to keep cooperating in any way.

The fact that Aziraphale is reluctant gives Crowley a perfect reason to keep convincing him ie. talk about the Arrangement. But the fact that he needs to explain and keep convincing Aziraphale means that Aziraphale is no longer a person who understands the same things and feels the same way.

That is a huge change.

Of course, you may say that what I've written about the Arrangement in the book is just my interpretation. It's true that technically there's nothing there that would contradict the events from the show in any way. The thing is, the events in the show aren't very compatible with the overall characterization of the ineffable duo in the book.

Evolution of Aziraphale and Crowley

You might have read that our leading pair was originally conceived as a single character that Neil and Terry eventually decided to split into two separate individuals.

My reaction when I first learned about it was: "Of course they were! That makes so much sense!" Because honestly, as a person who watched the show first and then read the book, I was surprised at how few differences there were between the two in the original text. If you squint your eyes really tight, you can see how book!Aziraphale and book!Crowley are two versions of the same character. They're far more similar than their show versions.

Most importantly, their attitudes toward Heaven and Hell are pretty much identical. Perfectly mirrored in every regard. What Hell is for Crowley, Heaven is for Aziraphale. What Hell is for Aziraphale, Heaven is for Crowley. In. Every. Possible. Way.

Allow me to present some evidence from the book.

Exhibit #1: the end of the scene where Crowley convinces Aziraphale to interfere with Warlock's upbringing

'You're saying the child isn't evil of itself?' he said slowly. 'Potentially evil. Potentially good too, I suppose. Just this huge powerful potentiality, waiting to be shaped,' said Crowley. He shrugged. 'Anyway, why're we talking about this good and evil? They're just names for sides. We know that.' 'I suppose it's got to be worth a try,' said the angel. Crowley nodded encouragingly. 'Agreed?' said the demon, holding out his hand. The angel shook it, cautiously. 'It'll certainly be more interesting than saints,' he said. 'And it'll be for the child's own good, in the long run,' said Crowley. (...)

When Crowley first points out that good and evil are just names for sides, and then insists it's something they both know, Aziraphale doesn't react in any way. That's because these aren't things that book!Aziraphale disagrees with. He does indeed know it and doesn't deny it.

Also, please note just how cynical the angel is here with his comment that influencing the Antichrist would be a more interesting project than influencing saints!

Both would be rather OOC for show!Aziraphale.

Exhibit #2: the scene just after Warlock Dowling's birthday party, when it becomes evident he is not the Antichrist

'You said it was him!' moaned Aziraphale (...) 'It was him,' said Crowley. (...) 'Then someone else must be interfering.' 'There isn't anyone else! There's just us, right? Good and Evil. One side or the other.' He thumped the steering wheel. 'You'll be amazed at the kind of things they can do to you, down there,' he said. 'I imagine they're very similar to the sort of things they can do to you up there,' said Aziraphale. 'Come off it. Your lot get ineffable mercy,' said Crowley sourly. 'Yes? Did you ever visit Gomorrah?' 'Sure' said the demon. 'There was this great little tavern where you could get these terrific fermented date-palm cocktails with nutmeg and crushed lemongrass-' 'I meant afterwards.' 'Oh.'

Can you imagine this kind of exchange in the TV series? Can you imagine show!Aziraphale being this realistic about Heaven, and show!Crowley so naive about it? There's no way.

Show!Aziraphale genuinely believes that Heaven is good at its core.

Book!Aziraphale knows Heaven isn't any different than Hell and would punish him just as ruthlessly and unfairly as Hell would Crowley.

Show!Crowley understands both Heaven and Hell on a very deep level and is highly aware of their true nature.

Book!Crowley buys a piece of celestial propaganda about ineffable mercy and actually expects Heaven to be forgiving.

Let the magnitude of that difference sink.

Exhibit #3: same scene, a bit further

'So all we've got to do is find it,' said Crowley. 'Go through the hospital records.' The Bentley's engine coughed into life and the car leapt forward, forcing Aziraphale back into the seat. 'And then what?' he said. 'And then we find the child.' 'And then what?' The angel shut his eyes as the car crabbed around the corner. 'Don't know.' 'Good grief.' 'I suppose (...) your people wouldn't consider (...) giving me asylum?' 'I was going to ask you the same thing. (...)'

This is just a cherry on top, really.

Yes, in the book, when things go pear-shaped, both Aziraphale and Crowley consider seeking asylum on the opposite side.

Do you need more proof that book canon and show canon really aren't as compatible as they may seem?

Free will

As promised, let's get back to that dialogue because while it may not be obvious at first glance it really illustrates perfectly the problem arising from balancing between two canons.

Here is the full quote from the book:

Aziraphale had tried to explain [free will] to him once. The whole point, he'd said - this was somewhere around 1020, when they'd first reached their little Arrangement - the whole point was that when a human was good or bad it was because they wanted to be. Whereas people like Crowley and, of course, himself, were set in their ways right from the start. People couldn't become truly holy, he said, unless they also had the opportunity to be definitively wicked. Crowley had thought about it for some time and, around about 1023, had said, Hang on, that only works, right, if you start everyone off equal, OK? You can't start someone off in a muddy shack in the middle of a war zone and expect them to do as well as someone born in a castle. Ah, Aziraphale had said, that's the good bit. The lower you start, the more opportunities you have. Crowley had said, That's lunatic. No, said Aziraphale, it's ineffable.

And here, for comparison, is how it was reused in S2E3:

A: There is a stolen body in that barrel! This is wicked! C: Oh, I'm down with wicked! Anyway, is it wicked? She needed the money. A: That is irrelevant. Look, I am good. You, I'm afraid, are evil. But people get a choice. You know, they cannot be truly holy unless they also get the opportunity to be wicked. She is wicked. C: Yeah, that only works if you start everyone off equal. You can't start someone off like that and expect her to do as well as someone born in a castle. A: Ah, but no, no. That's the good bit. The lower you start, the more opportunities you have. So Elspeth here has all the opportunities because she's so poor. C: That's lunacy. A: No, that's ineffable.

I'll be honest with you - I didn't like that scene in the show. It felt jarring and off. Aziraphale was acting like it was his first day on Earth and it was frustrating to watch.

Then, on one of the rewatches, just as I was rolling my eyes at "that's ineffable", a bulb lit in my brain. That line didn't work there because it wasn't created to be there! In the book and in S1 "it's ineffable" was kind of Aziraphale's catchphrase but in S2 it only appears this once. More importantly, in the book and S1, the fact that the angel would say that was all a build-up to the scene when he threw it in Heaven's face at the Tadfield Airbase. Using that word in S2 was like trying to make a running joke that has already reached its destination run again.

And just like that one line the entire dialogue didn't fit because it wasn't meant to be there. It was created for an entirely different context.

What's the difference?

Firstly, book!husbands' conviction was very shallow and it wasn't uncommon for both of them to spout slogans without meaning them. Therefore, book!Aziraphale's words didn't carry that much weight. The very fact that the conversation took place at the same time they formed the Arrangement tells us something about how serious he was. But show!Aziraphale's relationship with his beliefs is different, so when he says things like that it's a much bigger deal.

Secondly, the book explicitly states that Aziraphale and Crowley only developed free will on Earth, due to extended exposure to mankind. The show never really makes a stand on the matter but based on what we've seen so far I think we can safely assume that angels and demons are capable of making their own choices as much as humans do.

In other words, in its original context, the conversation was just Aziraphale talking about a concept he didn't fully grasp, quoting propaganda he didn't fully subscribe to. He was being ignorant and mildly obnoxious in an endearing way.

But using the same dialogue verbatim in the Resurrectionist carried a completely different meaning. Aziraphale who utters it in the show has no reason to be so ignorant about free will. Aziraphale who utters it in the show genuinely tries to defend Heaven. Most importantly, Aziraphale who utters it in the show, doesn't just idly bicker with his friend about general things but is judging an actual human individual that's right in front of them. That, more than anything else, makes it sound heartless and ignorant.

What is the problem with having two canons, exactly?

It's time to wrap things up.

In the opening paragraphs, I've mentioned that I've noticed the issue while interpreting scenes from S1, and yes, that was the case and I do believe that the existence of two canons is especially problematic for S1. That's because pretty much every scene in S1 is potentially like that dialogue about free will in S2, except subtler and harder to spot.

A grand majority of what we see and hear in S1 comes directly from the book. But while words and actions were kept, in some instances things that gave them their original meaning might no longer be valid in the show universe. Sometimes they easily take new meaning, and we don't even notice. But sometimes there's this dissonance that's not as easy to work around.

S1 deviated from the book and created its own canon. But the difference didn't seem to go very deep and it seemed perfectly reasonable to use some trivia from the book to shed some extra light on the content of the show. I used to do it in my head, even though I was aware of the changes that were made.

But S2 expanded the show canon so far beyond what was in the book that I'm really not sure it makes sense to compile them anymore.

There are a lot of things that were only explicitly stated in the book that I keep clinging to. But perhaps it's time to let go...

Thank you for your patience.

I know all of the above isn't exactly a revolutionary discovery, but I needed to get it off my chest before writing anything else.

[driedlillies]

What do we think about Gerry instead of going for the beholding aligning himself with the spiral to hide/get away from Mary?? Traditionally it would probably be easier with the lonely, because of the invisibility, but the thing is, if he’s running away from Mary, abandoning her, he loses the closest thing he has to an anchor, and he doesn’t trust himself to pull himself out in time, so spiral it is.

The tattoos are spirals of course, he draws them on with sharpie the first time and they just don’t go away after that😭 also they change placements all the time.

He runs away successfully before she kills herself with the catalogue and still hunts leitners. Spiral likes him more than beholding does in canon but he still doesn’t give himself to it fully, it’s very much balancing on a fine line

He never gets accused of murdering Mary, so he doesn’t have any reason to start working with Gertrude, he’s very much a solo act. He focuses on burning the books and helping people, as much as he can. It’s harder without the eye, but he’s been doing this for a long time. I’m sure Mary is aware he’s somewhere out there — he’s certainly a popular gossip topic amongst avatars, but she can never get a trail on him, and neither can anyone she sends

He’s not a fully realized avatar, but his powers aren’t half bad — he’s confusing to look at, it’s basically impossible to pin down his eye color, and his flat is full of abstract paintings that make you dizzy when you look at them.

Eventually someone catches wind of his skills, so he sometimes gets commissions from avatars. It pays for the food, at least.

He meets michael in a library — for once, he’s not hunting anything down, and he likes to read fiction; if for nothing else but the reminder that books aren’t inherently evil. A door appears in the fantasy isle, between the bookcases, and out steps the distortion. They’ve never been introduced, but Gerry would have to be stupid or ignorant not to know about them. Nobody can ever agree is the Distortion is an avatar or something else, but the fact remains it’s one for the entities you don’t want to get on the bad side of.

They play for the same field, but Gerry has been known to play by his own rules, so he immediately gets ready to run — would that do anything to a being that can open doors anywhere they want? — but Michael doesn’t attack or even seem displeased with him.

“Hello, bookburner,” they say, smiling. “Would you like to come in?” they gesture towards the yellow door that wasn’t there when Gerry came in.

Gerry would have to be a fool to agree. Sure, the infamous hallways would most likely be harmless to him, perhaps even make him a bit stronger, but it doesn’t mean he would be able to come out on his own.

“At least take me to dinner first.”

“Would coffee be satisfactory?”

So, they go for coffee.

(Months later, Gerry would ask if that was meant to be a date, and Michael would just laugh.)

[thecomicsnexus]

TMNT: 40TH ANNIVERSARY COMICS CELEBRATION

July 2024

By Kevin Eastman, Edgar Alan Poe, Jim Lawson, Tristan Jones, Gary Carlson, Chris Allan, Erik Burnham, Lloyd Goldfine, Ciro Nieli, Andy Suriano, Tom Waltz, Ronda Pattison , Tom Napolitano, Steve Lavigne, Paul Harmon, Frank Fosco, Adam Guzowski, Sarah Myer, Luis Antonio Delgado, Shawn Lee, Khary Randolph, Emilio Lopez, Michael Dialynas, Pablo Tunica, Freddie E. Williams II, David Petersen, Ken Mitchroney, Aaron Hazouri, Dan Duncan, Sophie Campbell, Jodi Nishijima, Stan Sakai, and Emi Fujii.

Come and enjoy stories that will remind you of the 40 years of turtle history.

SCORE: 10 *

* Assuming you are familiar with these iterations.

This is a strange read, and curiously, there are three or four highlights for me, and they are not exactly the ones you would imagine.

Spoilers after the break...

The first story by Kevin Eastman is in the Mirage section of the book but... well... I'll leave at that... I wouldn't call it the Mirage we knew.

There is a story by Lawson and Lavigne with the Rat King that... it's fun. But, you know... I wouldn't even try to fit it in canon... the amount of continuity physics you need to bend to place this story is not worth the time. Just enjoy as a new story by these two iconic Mirage artists.

This other story by Tristan H. Jones and Paul Harmon requires more analysis. I'll revisit it on my gang wars video and try to give it more context... but unfortunately... it's just too vague. All I can say for sure is that it happens in the future of that incomplete saga, but the narrator just takes too many artistic choices to be taken at face value.

Also... I believe this is the first official (frontal) appearance of Agent Bishop (unless I got the character wrong, but Jones already tried to introduce him in this saga). I think he is still holding on to it, and I really hope he gets to tell his story. I wouldn't mind a mini-series... just saying!

The Volume 3 story was... not for me. The dialogue alone felt tired.

The Archie adventure was short, eventful, and funny... and it looks amazing too!

In just four pages a new character was introduced and... a new love story was implied! And it's not just a gratuitous cameo... this is a funny sequence.

The Saturday Morning Adventures (the de facto 87 story) looks amazing as usual, but I didn't find the story that interesting. However, it started a theme that would run across most of the stories in this special after this one: Master Splinter.

The 2003 story is a... loose canon?

Hun is Slash, and Shredder is back... so make of that what you want. All I'm going to say is that this felt a lot like watching the beginning of a 2003 episode, with the narration setting the tone.

The 2012 story was one of the least interesting in the previews, but I have to say... it was probably one of the best. It brought back a villain and it technically serves as an excuse to continue the series?

But to me the best thing about the story is the art. I am surprised Ciro Nieli didn't do more comic book work for the Turtles all these years. In fact, if they somehow decided to continue the 2012 universe in 2D in this style... I'm all in. Well, who am I kidding... I would be in anyway... but this looks amazing.

Andy Suriano did probably the most interesting story in the book. Now, I am not sure if his style doesn't translate well to static panels or what the problem is with the comic format... but it doesn't matter... this small story brought in a lot of things that ended on the editing floor after the show's second season was reduced to a few more episodes. There was a rumor about a female turtle, and not only it is here in all its glory, but there is also a brother?

And come on... it's so Lou Jitsu to die with a cliffhanger.

There are two IDW stories. One is another Splinter story, but the other one is perhaps one of the best in this book.

The Ronda Pattison story takes place just before the Armageddon game, and it shows the five turtles in full sibling dynamic (even Jennika). It was refreshing to see these turtles having fun for a change.

There are no stories by the new team, but... well... that's just starting.

[nerdy-frog98]

I have been deeply entrenched in shipping culture since I was 11 and rooting for Aang and Katara (I wanted Zuko for myself so I’d get mad at everyone suggesting Zuko and Katara. I have since seen the light. #zukka4ever), but I don’t remember ever being as invested in characters love lives (or, rather, sexualities) more so than Michael Wheeler and Edmundo Diaz.

Mike (Stranger Things) and Eddie (9-1-1) are very similar. A few examples:

- they both are incredibly complex characters that make poor decisions when it comes to their female love interests.

- they both have a canonically queer best friend! And both of their best friends (Will and Buck) are often infantilized by their respective fandoms when, in fact, both are incredibly capable and smart.

- they both seem to have this intense need to conform to societal standards (though they come from different places because of how different their circumstances are).

- both are extremely queer coded.

Stranger Things is a brilliant show. The fantasy horror is the first of its kind and something that has paved the way for many others. 9-1-1 is one of the most watched network television shows currently streaming, and though it’s not the first of its kind, it is certainly unique. Both are great shows, and both have EXTREME potential to make queer media history. Byler and Buddie.

I’ve been thinking about this a little bit, but in a way, Stranger Things AND 9-1-1 have written themselves into a corner with Mike and Eddie. See, a lot of what they do doesn’t make sense unless you view their motivations with a queer lens. Mike treating his breakup with El as a joke, but his fight with Will as something dire. Eddie saying dating feels like a performance (and breaking up with Ana, hottest woman ever, because he had panic attacks imagining their future? So unserious). There’s so much more evidence, but my point is that if Stranger Things makes Mike straight, it will automatically make Mike the ultimate asshole of the show. If 9-1-1 makes Eddie straight, well…most of his actions with Shannon, Ana, and Marisol will not have made sense (or at least not to me). Genuinely, the only way these characters can make it out is if they are gay. Not just gay, but also deeply in love with their best friends.

I’ve never felt this with any other show, but Eddie and Mike have this one major similarity, and it’s that they are either the most well written, beautifully complex characters ever to exist, or they are the biggest disappointments any show will ever have. And it’s weird, but that difference hinges on whether or not they have feelings for their best friends.

[also, yall are welcome to disagree with me, but pls be respectful. I don’t mind disagreements, but i would prefer name calling not be part of it. This is MY opinion, I don’t expect everyone to think the same as me]

[blobmanwhotries]

SEE, I TOLD YOU I CAN MAKE ART

information below bc trust me y'all probably confused lmao

The character in this drawing is Viktor, a character from the Five Nights at Freddy's Dating Simulator "Five Nights at Flirting." The game is more of the Rebornica style (using Vincent, Chris the Janitor, etc). I highly recommend the game, it's free!

That being said, spoiler warning for that game's content, in case you haven't seen it.

Key:

OG = Original

AU = Alternate Universe

RWQ = RWQFSFASXC, Shadow Bonnie's "Name"

FNaF = Five Nights at Freddy's

FNoF = Five Nights of Flirting

"The Crew" = Day/Nightshift Guards

Viktor is one of the protagonists in the game. Not much information is out there on him, other than him being the father of another more major character, Barbie, and him being dead. He was either a day/nightshift guard or he was the owner of the building, I can't remember.

In FNoF, agony and remnant isn't part of the game. Neither is the OG Afton family. A lot of canon FNAF things is not part of the FNoF universe. If it is, it isn't explicitly said - but in my and my friend's canon, we added a LOT of FNaF lore into it. Doing this gave us the opportunity to build upon the characters and really expand the universe.

In FNoF, I believe Viktor was killed in the Fazbear's establishment. This didn't change.

What did change was the motive and the method. Dave and Jack, the murderers of the children in our canon, killed Viktor by putting him in the spring bonnie suit. Think FNaF 3 Springtrap but on a different guy.

He, alongside the dead children, haunt the building as ghosts. One major thing:

He's not malicious during the nightshift.

(here on out are ideas, headcanons, fanon lore, etc)

Viktor actually just watches. Hangs around. He feels awful for the kids and that he can't do anything to stop their rage - so he usually lingers around the night guard in the office.

I like to think that he kind of has a role on causing the hallucinations in the night guards - more specifically Mike Schmidt (NOT Michael Afton).

Only after the first establishment (FNaF 1) closes down and the crew moves to the next establishment (FNaF 2) can Mike able to see Viktor's ghost properly. He's the first one of the crew to meet him after his death, with the exception of maybe Vincent (who in our original canon, did NOT kill the kids).

Hopefully that makes sense? I might go back and edit this when I'm more coherent but this is what you're getting for now lmao

With that out of the way, let's get into the shadow bonnie thing.

Let's start off with the fact that in the beginning of this, I just wanted to spice things up. I blurted out the idea of Viktor being RWQ to my friend and have been building off of that since.

1) RWQ is never outright malicious. Not in canon games, at least. In FNaF 2, the worst he would do is crash your game. Otherwise he just existed in the office.

Viktor, like RWQ, is not outright malicious. He just watches the security guard in the office. Hoping that they'll make it through the night in peace.

I considered the original "game crash" as maybe the guard passing out from sudden shock - which leads to,

2) In our canon, Viktor slowly becomes a being of agony over time. This is going to be hard to explain.

To sum it up, agony in our canon is the lingering emotions after a major event - emotions that cannot leave and can build up over time.

I think we can agree murder would stir up some very strong emotions from the victims, right?

This explains why the children are so vengeful - because of the agony from their emotions. And, of course, the fact that they're children and aren't able to regulate such powerful emotions, taking it out on any night guard. Blinded by rage, you could say.

Viktor isn't vengeful in comparison only because he can regulate his own emotions better. He knows that the night guards aren't the ones who killed him. He knows who did, but he's trapped at the building since he died there. And because the agony of the dead children latched onto him, making him unable to leave on his own.

Over time, the agony grows more and more potent. Even if he's still passive, the first form you see of him will not be human - it will be the silhouette of what he died in. What he was killed in. A forever reminder of what happened.

I've considered the "fainting" thing because I'd imagine looking to the side and suddenly seeing "bad vibes" personified is going to give someone quite a shock.

3) When coming up with this idea, I didn't make the connection of Viktor being RWQ and the FNaF 3 mini game until way later. When I did, I must say, I pat myself on the back for finding another way to validate and explain my idea. One of the theories for that mini game was that Shadow Bonnie was an employee who got springlocked, probably forcibly. You know who else got springlocked forcibly?

Viktor.

Viktor's death is a HUGE deal in our canon. Who killed him, whether he lives or not, the method - we've considered a lot of outcomes. The most common thing of all of them is the fact that Viktor always plays a role in being a reminder of what happened at Freddy's.

Even after FNaF 3 events, he still remains - only now he's attached to Vincent (who may or may not have killed the children depending on the AU).

My friend and I are super proud of this interpretation of FNoF. We've put a lot of thought into it - and we're nowhere near done with it. A lot is subject to change. But for now we're satisfied.

Sorry for such a long ramble. I'm sure this is barely comprehendible. Feel free to comment or send in questions on anything you want to know more about; other characters, more background information - don't be shy, I don't bite :)

[impactrueno]

I don't think the crew's comments about Lydia and Beetlejuice being endgame should be taken seriously. If that was seriously considered I feel like the movie would have gone on a different direction, they were pretty consistent with Lydia being disgusted by Beetlejuice and he's the villain all the way to the end

yeah that's kiiind of how i feel too. i would not say he's the villain though? i think he's more of an anti-hero type of character in this one. definitely not a good guy though lol not by a long shot

ultimately the cast isn't the one who's making the story here, however they do have some insight the audience might not have. like i feel like they know something we don't and that's why they feel that way, because they were all VERY sure about it.

this is just my guess so take this with a grain of salt, but i feel like the cast might be a little biased because they know michael personally and he's nice to everyone behind the scenes, you can tell everyone has a lot of love for him. i don't like assuming stuff like this so AGAIN don't take this as fact, but i remember winona saying something along the lines of like, him making sure she wasn't uncomfortable while filming the first movie, so maybe that kinda stuck with her and she conflated it with beetlejuice's character. she speaks of the whole thing in a very shy fangirl manner (which is honestly kind of adorable winona youre 52 and acting like this) like she knows it's silly and she knows she shouldn't want them to be endgame but she does anyway. so THAT feels like it really is her own personal opinion that hasn't much to do with what's planned for them (if there's anything planned at all because we don't know anything for sure, we can only guess and hope there'll be a third one)

tim burton has talked about how he wanted the whole macarthur park scene to be straightforwardly romantic and emotionally intimate, in its own fucked up beetlejuicey way of course. i think it can be all that and still be pretty one-sided idk i personally enjoy the one-sided aspect? macarthur park IS a breakup song after all. so i think i kinda see where he was going with that. it's uh. kind of an enigmatic scene once you stop laughing at the ridiculousness of it all and try to analyze it lol

sorry i lost my train of thought there i got interrupted many times while typing this

i think what i was trying to say is that, even with the one-sidedness and breakup song and all that, there could still be a possibility that things take a strange turn in a third movie if it happens. it's just. wow. how would they even make THAT work, you know? because this movie didn't push hard enough in that direction. it's not impossible but if they do go for it, it will be insanely hard to pull off successfully. fics are one thing, you can do whatever you want in fanfiction, but canon can't be approached like that.

who knows man. lately i've been thinking about how i would've reacted to learning about the events of the sequel if i hadn't been eased into it with trailers and promos and through the movie and its storytelling, and i just know i would've thought "that's insane and would not happen, ever, come on" and now here i am. accepting it. breaking it down and analyzing it. enjoying it! i love this crazy ass movie.

at this point i think anything could happen even if i'm also very skeptic about everything. i won't believe anything until i see it.

[peachi-blossom]

My thoughts on Hazbin Hotel as a non HH fan

Originally, I was just here to watch people criticizing Hazbin Hotel. But when the recent controversies came in, I feel like I have to step into the fandom rabbit hole.

As a non Hazbin Hotel fan, I've watched the pilot, read the prequel comics, watched the ADDICT music video, and finally the show itself. (I've watched the show on March 15th.)

NOTE: I didn't watch the show on TV so I watched it on a pirated website instead and read the transcript because no way am I watching this in front of my parents, my siblings, or Grandma. This is my personal opinion on the show.

Pilot: So Hell is basically Earth except it's painted red and inhabited by demons. The background has too much red, but not as bad that it makes my eyes bleed. I don't like how the female characters have the same color scheme except Vaggie and Niffty (pilot only). For example, Charlie, Katie Killjoy, and Cherri Bomb. The only two funny parts of the pilot is when the top hat demon says "Wow! That was s***!" after Charlie sings Inside of Every Demon is a Rainbow and when Angel pokes his head in as Vaggie is giving Alastor a warning. I didn't like the daddy joke. It just sounded bad. Also, why is there a joke about harlequin babies?

Prequel comics that are no longer canon: Basically the prequel comics focuses on Angel Dust and Alastor.

For Dirty Healings, it shows how Angel Dust first met Charlie and Vaggie. I knew that Vaggie's name was named after a uh, you know. Ugh… Why did Vivienne Medrano had to name her that? Also I hate Valentino.

As for A Day In The After Life, it just shows why Alastor is the most feared demon in Hell. Also he swears after seeing Vox.

ADDICT music video: I genuinely have no thoughts on this music video. I think this was just bait for the SA and CSA victims. Sorry for those who like the MV.

Episode 1: This is worse than the pilot. I did NOT like the beginning part. It's biblically inaccurate for multiple reasons, but I feel like a few people only talk about this one thing. Sin didn't exist until Adam and Eve ate the fruit of knowledge of good and evil. Not only that, but it's also misogynistic too because it was just Eve who ate it. What makes it misogynistic is that it implies that all women would have to bear the sins of Eve ALONE. There's rampant swearing and sex jokes. Also, isn't Archangel Michael supposed to be the leader of the Army of God? Anyways I'm siding with the angels.

Episode 2: The red is so bright that it hurts my eyes. It doesn't help the fact that Alastor blends in the background. Oh yeah, when Vox tells Sir Pentious to kill himself, it made me feel sad because it reminded me of the Shay incident. The time when the stans drove Shay to kill themself because they were uncomfortable with the large age gap of HuskerDust.

Episode 3: Why? Why is there a BDSM sex dungeon?! I know that was Angel's idea, but still. Why?! I seriously have no words. When Zestial says "What troubles thou?" I was like "Huh?". It should be "What troubles thee?". I think his Old English has grammatical errors. The Egg Boiz, Carmilla, and Zestial are bearable because they never said a swear word. Off topic, but Velvette's swirl streaks on her hair makes me think of a swirl ice cream.

Episode 4: Before the show came out, I saw SlayQueenArt's post on Twitter (X) that says Vivienne Medrano hired Raphielle II, aka R2ninjaturtle, who has a rape fetish and isn't a SA victim. As someone who is formerly addicted to porn, this episode is insulting on so many levels. I didn't watch the whole Poison sequence because of that. And don't get me started on Loser Baby. I hate this song so much. It felt like it is blaming on SA and CSA victims for being SA'd. Like it is blaming me for being addicted to porn on and off when I was EIGHT. I know there are some victims who like episode 4 so I will leave them alone. I seriously hate how Charlie behaves like a toddler at the end. No grown adult should behave like a toddler like she did because being raped isn't a silly thing to cry over. Like, hello? She is the supposed to be the main character. Oh yeah, there was NO warning for the episode when the show premiered and it triggered the victims who watched it. SA and CSA victims are not losers. Former porn addicts are not losers. Nobody is a loser. I am NOT a loser.

Episode 5: Wow, Vivienne Medrano really turned Lucifer into King George from Veggietales. I guess this is what happens when King George gave in into his obsession with rubber ducks. I didn't like Hell's Greatest Dad because of the unnecessary rivalry between Lucifer and Alastor, but at least Mimzy ended the song. Oh boy, this is where I hate Alastor now. No really, he is Vivienne Medrano's first edgelord oc. He has gone full edgelord and is basically a Bill Cipher wannabe now. His full demon form is not even scary compared to Bill's final form. He no longer stands out from the main cast even if he rarely swears. Mimzy is basically the embodiment of the hooked nose stereotype. Wow, the embodiment of a Jew stereotype. How racist.

Episode 6: That was an absolute slap in the face at SA and CSA victims and me when Sir Pentious got SA'd! Seriously, Vivienne Medrano doesn't even care for the victims at this point! What's worse is that he is based off of her old ex-friend, DollCreep. Why did she whitewashed St. Peter?! I know there are white Jews, but he was born in ancient Israel so I wouldn't think he'll be looking like a white man with blonde hair and blue eyes. How come angels don't know how souls get to Heaven?! We got the Ten Commandments! We got Jesus Christ who took our place to die for our sins so we wouldn't have to bear these sins! Emily and Sera are bearable because you know. I hate how Niffty is being treated like a child when she's NOT. What's worse is that Niffty is supposed to be Japanese because of how people INFANTILIZED Asian people, especially women.

Episode 7: My issue with Out for Love is that when Carmilla tells Vaggie that she should fight for love and not for vengeance. Well, Vaggie always fight for love and never for vengeance. In Whatever it Takes, she literally says that she'll always protect Charlie. Where is the vengeance in that? That is poor character writing. Rosie is basically the blood libel stereotype where the Jews are cannibals. Again, that's just racist against Jews.

Episode 8: I thought the finale was pointless because there were no stakes and Sir Pentious' heroic sacrifice was comically anti-climatic. Like, why did Sir Pentious's so called friends cared about him when they didn't help him at ALL in episode 6?! I'm not a fan of the CherriSnake ship because Cherri only becomes interested in him because he has two "joysticks". Not to mention he kissed her without consent and she thinks it's hot after that. The problem with More Than Anything (Reprise) is that Vaggie reassures Charlie that she changed many lives, but she only changed one. I'm so glad Adam defeated Alastor first. There is absolutely no way Lucifer slept with Eve. Oof for Lute and Adam. You both fought well until the end.

The character designs are awful. Every male character basically looks like The Once-ler from The Lorax 2012 movie except for Adam (I know Alastor doesn't have a top hat, but still gives off the vibes. Zestial is more Burtonesque.). Not to mention they are all skinny twigs except for Adam (I think). The female characters in Hell have the same color scheme except Vaggie (again). For example, Charlie, Katie Killjoy, Mimzy (though her dress is a little darker), Cherri Bomb, and Niffty (show only). They have too much pinks, reds, yellows, whites, and blacks. I love pink, but this is too much. What's worse is that they blend in the background and again it hurts my eyes. There is NO color variety and I feel like my eyes are burning.

That's my thoughts on the show.