#there’s a lot of overarching themes this season

[sacrilegious-skeletal-scribe]

well

Gather round, apostates, blasphemers, assorted disappointments, for my statements return, in their usual fashion, of sprawling wax pressed in bruising poetry, and a slow creeping fog of informality.

But I’ve recently contracted a sliver of time perfectly sectioned to listen to The Magnus Archives? 

And can i just say.

ahhhhhhhhHhghIFHghkGFDSYAS

I’m late. I understand that I’m late. We all have jobs to scream at, voids to cull, deer to pass by on moonlight walks that you could’ve sworn had a lot more animal noises until right then, flat disks staring back at you from this frozen, jarring thing, muscles packed into thin bone and a skull on a swivel. Human life is messy. I digress.

I owe all of you a deep thanks. Every single one that posted fanart, animation clips, psychological profiles, you infrequent sinners of stunning, hypnotic fractals… Cheers.

Because I saw them. I saw these stunning pieces of art, heard clips of audio performances, and I was fascinated. But I didn’t have time. The finale sent people screaming sobbing shaking onto their preferred hellsites, and I couldn’t drop everything I was doing to listen to two hundred episodes?

I was but a fool, and my transgressions are the most fun I’ve had in awhile this series goes so fucking harddd

Let’s start with the easy one. Jonathan Sims. Vocal acting; wholly immaculate. I have heard dozens of voices expressed by one man, wholly diegetic, and each one is a fucking banger! The hard snap back to Profession Archivist Voice at the end of each episode, after twenty minutes of highs and lows and building tension. Stunning. 

All other performances have been very good as well, snapshots of characters given life through some very solid work, but I am just at the end of season one at the time of writing this, so you’ll forgive my unfamiliarity.

Similar thread, the sound editing. It’s so—I’m going to run out of words of praise, the amount of tension built in a story that I know the character telling has to survive, that’s wild. Far more fear comes into play in the space between ‘Statement ends’ and ‘Recording ends,’ but therein lies the knowledge that those encounters need not leave their subjects intact. Subtle where it needs to be, gripping where it hurts.

The writing itself, the substance of the story, the message, the meaning.

God. Damn.

Jonathan Sims, you have the heartbeat of short horror prose wrapped around your pen. I, do not have words. Know that I am clapping in stunned silence. Each story is so carefully tuned for each weird little SCP-Twilight Zone meet cute, engaging in my personal favorite horror vessel: ‘Hey, wouldn’t it be fucked up if some guy who works in a slaughterhouse wandered into an infinitely stretching purgatory of rotting meat and conveyor belts?’ 

And the slow build of the characters! Jon is so mean! He’s so fucking mean, for no reason. He’s rude to Martin for having like. Emotions. He’s mean to the people who left the statements, which would seem much more reasonable if I was not under the impression that Jon knows Well and Good that the preternatural is a real thing that fucks with people because it can. 

If I worked in that space, I would also be a prick to the people claiming the sky ate their son, but I’ve never encountered anything that would impress upon me the existence of ghosts, and he has a malevolent worm infestation. 

But this adds only teeth gnashing twists of emotion when he does start to show kindness, or exhaustion, and most recently. Fear.

So thank you, everyone who’s been gushing over this for the past six years, I rarely consume media outside of recommendation or raised interest by cultural osmosis/spoilers. You idiots got me interested, and I’ve been having a marvelous time. 

Now I’m onto the penultimate episode to Season One finale. I’m very excited. I’ve also seen the comparison’s from S1 Archive Team to S5. And I’m very scared.

[deansguns]

okay i get the whole “i can’t believe the supernatural writers accidentally wrote something that good” is funny but you guys know how writing works right? right??

[literaphobe]

random but that episode where it’s revealed to ms bustier that chloe’s been having sabrina do all her homework for most of their lives -> i truly do not believe that they were trying to make fun of chloe for having a learning disability. in fact I don’t think they were trying to assert that she had any sort of disability at all, to me it was more so commentary on like. corruption. aka how the Rich have so much money and power that it ends up shooting themselves in the foot and they and their children and generational wealth pushes out people who don’t apply themselves. because if you can buy up the inventions of smart poor people, why bother being smart yourself? many easy irl examples that parallel the situation here but yeah I felt marinette standing up being like hey why the fuck are we going out of our way for her is essentially them saying we shouldn’t make excuses for how the 1% operates, and give them concessions when the 99% who actually need it get overlooked. obviously you don’t have to interpret it that way but ngl take one look at astruc’s retweets (or idk the state of society) and tell me he wasn’t trying to make a comment about capitalism

[dullahandyke]

and like sidenote if i can make a post with a target audience of zero. i feel like fhsy was to d20 what aa3 was to ace attorney but aa3 pulled it off better for reasons i cannot explain

[twinsarekeepers]

Reading some of the critiques of pjotv and now I know why y’all are on tumblr and not in the writer’s room 💀💀

[longing-for-rain]

Katara and Mutuality in Relationships

There are lots of conflicting opinions about which characters Katara felt attraction towards, which characters she didn’t, and how long she felt that attraction. I see in most cases, people point to quick clips of her faintly blushing or kissing another character on the cheek as evidence, but I think these kind of takes miss the nuance of the purpose attraction serves in a story.

Most importantly, I see these characters treated as if they are actually people capable of making their own decisions. It’s important to remember that these are fictional characters. They don’t make their own choices; the writers make their choices for them for the purpose of telling a story. From that standpoint, it’s more valuable to examine how a character’s story and narrative themes tie into their relationships with other characters. Animators can shove in a kiss or a blush wherever they want, but it’s harder to demonstrate through storytelling how and why two characters might feel attraction towards one another, and how a relationship between them would develop both characters and contribute to the overarching themes of the story.

In other words, when discussing which characters Katara is “attracted” to, I’m discussing which relationships and actions within the narrative build on her established story and arc. Romance is always integrated into a story for a reason, and considering that reason is important.

Unfortunately, ATLA is very much a product of its time in this way. It’s easy to see what romance adds to the arcs of the male characters—but not so much with the female characters. All three canon relationships (kataang, sukka, and maiko) follow this trend to some degree. The primary purpose of the woman in this narrative is to act as a prize for the man for performing some good deed. Once they’re together, she ceases having her own motivations and becomes an extension of the male character she’s dating. This is pretty blatant with Suki—she barely had a personality in that later seasons; she is there to be Sokka’s girlfriend. Similarly, Katara becomes a completely different character—she’s even animated differently—when the narrative pushes her into romantic scenes with Aang. Her character is flattened.

So what is Katara’s arc, and how do the romantic interactions she has throughout the series contribute to this?

Well, that could be a whole other essay itself, but to put it simply, Katara’s arc is one of a young girl devastated by grief at a young age clinging to hope that she has the power to fight and change the world for the better. Which she does as she gains power and confidence throughout the series—culminating in her defeating Azula in the finale.

But the part I want to focus on here is how Katara connects with other characters. She connects with them over shared experiences of grief and loss.

Take Haru, for instance.

Haru: After the attack, they rounded up my father and every other earthbender, and took them away. We haven't seen them since.

Katara: So that's why you hide your earthbending.

Haru: Yeah. Problem is…the only way I can feel close to my father now is when I practice my bending. He taught me everything I know.

Katara: See this necklace? My mother gave it to me.

Haru: It’s beautiful.

Katara: I lost my mother in a Fire Nation raid. This necklace is all I have left of her.

Haru: It’s not enough, is it?

Katara: No.

This isn’t just a throwaway moment; it’s an important character moment that leads up to growth and the progression of Katara’s overall story, both in this individual episode and in the whole series.

Katara finds her power in the connections she’s able to make with other characters. It’s a powerful driving force for her that makes her a strong character even before her bending abilities develop. Imprisoned was such an important episode to establish who Katara is and what her power is, and adds so much to her arc.

But there is one line in particular from the above exchange that also stands out: Haru says “it’s not enough, is it?” and Katara agrees. Even this early in the series, we’re establishing the fact that despite her drive and hopeful outlook, Katara feels deeply hurt, she feels a deep sense of loss that she opens up about to other characters in moments like these. But unlike Haru…Katara can’t go rescue her mother. Her mother is dead, and we see her grapple with that grief throughout the series.

Another character she reaches out to like this is Jet.

Jet: Longshot over there? His town got burned down by the Fire Nation. And we found The Duke trying to steal our food. I don't think he ever really had a home.

Katara: What about you?

Jet: The Fire Nation killed my parents. I was only eight years old. That day changed me forever.

Katara: Sokka and I lost our mother to the Fire Nation.

Jet: I’m so sorry, Katara.

Another important note about Jet is that there are explicit romantic feelings from Katara in this episode. Again, Katara empathizes with another character through a shared sense of loss. Sadly, in this case, Jet manipulated her feelings and tricked her into helping in his plot to flood the village…but those feelings were undeniably there.

That was the tragedy in this episode, but it also gives the audience so much information about Katara as a character: what motivates her, and what she wants. Katara is established as a character who wants someone who will connect with her and empathize with her over her loss—her greatest sense of trauma. She wants to help others but also receive support in return. The reason why she was smitten with Jet, beyond just initial attraction, is because he gave her a sense of that before Katara realized his true motivations.

A lot of people make the claim that Aang is good for Katara because he also feels a sense of great loss and trauma. And while on paper that’s true…does he really demonstrate that? I just gave two examples of characters Katara connected with this way, and both responded with deep empathy to what she said. Very early on in the show—the third episode—Katara attempts to connect with Aang the same way. How does he respond?

Katara: Aang, before we get to the temple, I want to talk to you about the airbenders.

Aang: What about 'em?

Katara: Well, I just want you to be prepared for what you might see. The Fire Nation is ruthless. They killed my mother, and they could have done the same to your people.

Aang: Just because no one has seen an airbender, doesn't mean the Fire Nation killed them all. They probably escaped!

Just compare this exchange to Haru and Jet. No effort to empathize, not even a “sorry for your loss” or anything. It’s a stark contrast, and the reason for that is because this narrative entirely centers Aang. Katara’s narrative always seems to be secondary to his when they’re together—which is exactly my point when I say this relationship has a fundamental lack of mutuality. It’s built that way from the beginning of the series. It does not add to Katara’s arc nor establish what about this dynamic would attract her.

And, look, before someone jumps down my throat about this…I’m not saying Aang is a horrible person for this response. I think it’s a sign that he’s immature and has a fundamentally different approach to problems than Katara. Katara is a character who has been forced to take on responsibilities beyond her years due to being a child of a war-torn world. Aang’s approach to problems is avoidance while Katara never had that luxury. It doesn’t mesh well.

This is all in Book 1. I honestly could have gotten on board with Kataang if the series meaningfully addressed these issues…but it didn’t. In fact, they actually got worse in some ways.

Back to Katara’s mother. We’ve established that this is a core part of Katara’s character and like in the scene with Haru, she indicates that this is an unresolved issue that pains her. But then, in Book 3, Katara actually does get a chance to confront this pain.

This would have been a powerful moment. Surely the character who is meant to be her partner, her equal, would have been there for her. Surely he would have understood and supported her, fulfilling her narrative and adding to her story.

But Aang didn’t do that. I won’t go into details because there are a million analyses out there on The Southern Raiders, but Aang’s response to Katara was the opposite of understanding. He got angry with her, insinuated that she was a monster for wanting revenge, and tried to dictate her behavior according to his own moral values. And importantly, from a narrative standpoint, he did not go with Katara. One of the most important events in her arc, and Aang didn’t support her—he actually tried stopping her. He didn’t contribute to her growth and development.

Also noteworthy:

Katara: But I didn’t forgive him. I’ll never forgive him.

Even at the end of the episode, Aang clearly doesn’t understand at all what Katara is feeling. This line demonstrates it perfectly. He thinks she forgave him when that wasn’t the case at all…but of course, he didn’t even accompany her, so he didn’t see what actually took place. His worldview is fundamentally different from hers, and he’s consistently too rigid in his morality and immature to center Katara’s feelings.

Throughout Katara’s whole arc, her most significant character moments, Aang’s character just doesn’t come through the way Katara’s constantly does for him. Their narrative lacks mutuality. When Katara and Aang are together, she becomes an accessory to him. The ending scene is a perfect demonstration of this.

Now, to address the elephant in the room.

Which character does actually add to Katara’s narrative and support her growth as a character?

Correct! I just talked about how important The Southern Raiders is to Katara’s character and story, how it’s a chance for her to finally address the grief she’s been carrying since Book 1. And who stood by her side throughout this pivotal moment? Right—Zuko did.

You can talk all you want about how he’s a “colonizer” while Aang’s people suffered genocide, but you’re forgetting that “show, don’t tell” is one of the most basic aspects of storytelling. The fact is, despite how it looks on paper, Zuko was the one there for Katara at her critical moments. Zuko empathized with Katara more than Aang ever did—as demonstrated in this episode. Zuko never once brought up his own cultural values. Zuko never once told Katara what to do. Zuko’s position was that Katara should be the one to decide, and that he would support any choice she made. He supported her decision to spare Yon Rha, but he would have also supported her if she decided to kill him. I actually found this episode to be a satisfying reversal to what is typically seen in TV—for once, the female character is centered while her male counterpart takes the backseat and becomes a supporting role to her narrative.

Even before this, Zuko is shown to empathize with Katara.

Zuko: I’m sorry. That’s something we have in common.

I think what gets me about this scene is the fact that he’s still Katara’s enemy, and she was just yelling about how she hates him and his people. But despite that, Zuko still empathizes with Katara. She is fundamentally human to him, and he expresses that to her in a way that allows them to connect. Zuko stands to gain nothing from this. It’s true that Azula entered the picture and twisted things around—but in this moment, Zuko’s compassion is genuine. His instinct was to respond to her grief with empathy, just like she consistently does for other characters.

And finally, how else does Zuko add to Katara’s arc?

I don’t think there is any more perfect of an example than the finale itself—the culmination of the arcs and development of all characters.

Zuko and Katara fight together. In a heartbeat, Zuko asks Katara to fight by his side against Azula, because he trusts her strength. She’s his equal—both in his mind, and in a narrative sense.

Then, this:

Both of their roles are so critical in this fight. They both save each other. The scene has such raw emotion to it. These characters were together at the conclusion of their respective arcs for a reason.

This is the perfect conclusion to Katara’s arc. She just played a critical role in ending the war that has caused her trauma her whole life. She just demonstrated her mastery of waterbending (another thing she’s dreamed of throughout the series) by defeating the world’s most powerful firebender during Sozin’s Comet. Even though she had help as all characters do, these are victories that belong to her and demonstrate the growth and power of her character. And to top it all off? She was able to save Zuko’s life. She didn’t have to endure the pain of feeling helpless to do anything while someone else died for her; this time, she had an active role, she changed her fate, and she prevailed. Zuko plays an important role in Katara’s story without dominating it. They perfectly represent mutuality. They add to each other’s stories. Their narratives become stronger when they’re together, without one diminishing or sidelining the other.

So, from that standpoint, that’s why I always see the attraction between Zuko and Katara and why I see it lacking between Aang and Katara. Zuko and Katara’s story doesn’t need some cheap little throwaway moments to shine. It’s integral to both characters’ stories. We are shown not told of the way these characters feel about each other. Given everything we know about Katara, her goals, her values, her past loves…absolutely everything points to Zuko being the true subject of her feelings.

Because let’s be honest. The ending I just described is so much more powerful and so much more Katara than seeing her being relegated back to a doe-eyed love interest for Aang to kiss. It hardly even made sense—Katara played no role at all at the culmination of Aang’s arc. She was relegated back to a love interest, rather than the powerful figure we saw fight alongside Zuko.

[yonpote]

ok heres how i split up the dnp eras (loosely based on dan's timeline in his interview w anthony)

2009-2011: the Sillies era :3 dan refered to it as being a dumb teen just posting cuz he was bored, which is like, thats what all of youtube culture was at this time. they met and like fell in love or whatever you know the lore dont you. phil moved from his parents home to his first apartment in manchester, and dan technically moved to uni but really he moved into phil's apartment to take advantage of his washing machine and ps1 and. yknow. other stuff. they officially moved in together in 2011 yippee hooray, the phanchester apartment holds a special place in my heart

2012-2013: THE SHIFT. they started getting Serious about youtube as a career, doing more stuff w the radio, superamazingproject started in 2011 but THE SHIFT is very easy to observe when you compare the first season of sap to the last season. ALSO. they were NOT A DOUBLE ACT AND NOT GAY 🙄. it could also be called the No Homo era lmao idk this is when a lot of shitty things were happening wrt leaked information, harassment of their families, and just generally becoming more in the spotlight especially while still in the closet being a horrible experience. but also, they moved to london and got cool opportunities with radio stuff and were starting to actually make a living on this shit.

2014-2016: Peak Dan And Phil™ Era. at the height of their popularity. they realized oh shit, we ARE a double act and not only does everyone enjoy us best as a double act, WE enjoy working together. tabinof, tatinof, dapgo, still doing the radio every month up until they start touring, 7 second challenge app, gamingmas, what the hell DIDNT they do during this time period (what they didnt do was uhh take care of themselves and not overwork and not blur their work and personal lives so much to the point where they felt like the whole apartment was a film set.)

2017-2018: Gay Softlaunch Era (aka post-baking aka glass closet) the baby steps toward authenticity, moved to the double apartment to separate work and life, ii's whole theme, dan talking abt depression, phil getting the quiff, both of them being gay as hell in every way other than saying it explicitly. important things of note: TRUTH BOMBS dropped, Interactive Introverts happened, still uploading gaming vids and honestly by the end you could feel their fatigue. and then they hiatused dapg.

2019-2022: ok these four years each feel like whole eras in themselves, but also theres an overarching theme. THE GAY ERA.

2019: im gonna futher split this year in half. first half- dad left to buy milk so other dad is taking care of us. rough six months for dannies im sure. important phil thing of note- he changed his film set from his "bedroom" to a fairly basic but cute shelf backdrop. honestly prob didnt wanna keep pretending that was his bedroom considering.... second half- DAN AND PHIL GAY. dan uploads his magnum opus. phil comes out via tweet. they go to japan and its really gay and it's The Trip to japan for them like yes they first went in 2015 and again in 2023, but Japhan 2.0 Was The One. what does this mean? proposal? anniversary? idk exactly but it was gay as hell dude and theyve talked about that trip with such love in their hearts.

2020: Phandemic (sorry that was bad) but also where tf is dan again? even with the big C-word happening, it was business as usual for phil, regular vids but make em gayer, caught a pigeon nbd, and end of the year introduces the Stereo app show Phil and Phriends where he's had chats with pj, louise, his brother, seth everman?????, and finally. dan reappears. they reveal that they bought and FULLY PLANNED a house together and are ready to move!

2021: they don't move house for another like six months! basically their house was (and is??) still being worked on AND they were in lockdown AND turns out at the end of last year, they were kicked from their Life apartment and were now living in the Work apartment so you can imagine what all of this can do to their psyche and lowkey they were getting sick of each other like it wasnt just bordering on phivorce it was nearly Phurder. Phidow. but to fill the time so that DOESNT happen, my favorite fucking thing ever happens: Lockdown Lads (and all the other names). the first taste of what a dnp podcast would sound like, with the added bonus of chaotic listener interaction. oh yeah also dan wrote a mental health guide book whatever (IM KIDDING I REALLY LIKE YWGTTN I WROTE LIKE TWO REVIEWS ON IT NOW) and they finally become Homosexual Homeowners. theres quite a bit more dnp content this year, dan being on phils channel a bit more, the phodcasts, dan's gay and not proud special.... oh yeah and hometown showdown i guess AND TEXT VIDEO 2!!! my favorite and my namesake!!!!!!!

2022: Prophecy Year..... but they didnt get married. dan returns with another longass video to say: hey i hate being a youtuber and also youtube majorly fucked me over. but also fuck that im gonna do a weird talk show and ALSO GO ON TOUR WITH THIS APOCALYPSE THEME! phil actually... slows down this year. more dan uploads than phil somehow??? but also Dan Is Leaving me is posted and i go completely insane and become the deranged individual you see today. WHICH FINALLY LEADS US TOOOOOO

2023-present: The Unhinged Era. dan's tour was a huge Emotional success for him but uh not without its hiccups due to management and all that and i think he and phil finally realize. Fuck It Who Cares. dan flies back to england FROM AUSTRALIA to make sure he can be with his future ex-husband on his birthday. CAKE HEART EMOJI. YELLOW PLAID SHACKET. they go on a gamer date and post a picture of playing footsies in a cab. THE PHUDE HAPPENS. they go to japan again and while this one will never be The One it was still a well earned holiday this time with bryony! and they took a bunch of very cute film camera pictures.... THIS IS ALL JUST THE FIRST HALF OF 2023 BTW. in phil news, he talks about going to therapy and figuring out how to manage his anxiety!!!! he changes his hair again!! he hires an editor, phan is his otp, he teases about the gaming channel a couple of times but so many of us already dropped any hope of that returning- OH WAIT WHAT THE FUCK?!!!? HUH!??!? they returned, and more chaotic than ever before. the gayness upped to the max, the Weirdness on full speed, the Horniness at Very Scary Levels Oh God Stop Talking About Dogging, phil can swear uncensored now???? and this energy has continued into today...

[smolbean-17]

Hunter is probably going to die this season.

You know I’ve theorized this if you’ve been following me since Season 1. As the season keeps rolling out, the more and more I really do think this will happen.

We know that the ending will be bittersweet, and we know that the emotions behind the ending has a lot to do with fatherhood in particular (according to DBB)

They are putting a huge emphasis on Crosshair and Omega’s relationship. Particularly how he could fill a paternal role for her. Omega mirroring Crosshair is a huge sign to not only us as the audience, but to Hunter as well, that Crosshair can (and will) become a father figure to her. They didn’t have to show us that Hunter noticed Omega mimicking Crosshair. But they did. They’re masterfully crafting that something is going on in Hunter’s head. He’s thinking about Crosshair and Omega’s relationship, and what that could mean.

Crosshair still has a long way to go in regards to his guilt. They could easily have him sacrifice himself at the end to ultimately quell all of his guilt, but I believe that they’re going the route of subverting everyone’s expectations. Crosshair could sacrifice himself for full redemption (like they do with most Star Wars characters) and he probably would given the chance. But story wise, he doesn’t really need to.

If they were planning to go that route, he wouldn’t have been reintroduced to and accepted by the group so early on in the season.

They are actively showing Crosshair paving the way to his redemption. He’s putting in the work. He is protective, helpful, and actively putting himself in danger for the benefit of his family. He’s redeeming himself already. Him dying isn’t necessary to resolve his story. In fact, I think it would diminish the power behind his change. People can make bad decisions. They can hurt others. They can change. And they can live to see happier days. That is hope. And that is always the overarching theme of Star Wars.

Hunter, on the other hand, has been incredibly uncertain and indecisive throughout the entire show. Where Crosshair knows and acts on his decisions, whether good or bad, Hunter has been unsure of himself and his role in everything. His path is way less cut and dry. It almost feels like, in many ways, he has lost his leadership. And he feels it. He regrets his decisions. He probably blames himself for everything bad that has happened. He clearly doesn’t fully trust himself to keep his family safe.

How can his story be resolved, short of him simply finally deciding to take a stand and fight for the other clones?

By giving up his life for his family, for a cause he never wanted to be a part of, as a leader should. So they can go on and live the life he so desperately wants for them.

I don’t think at this point in the story Hunter would allow anyone else to sacrifice themselves. He would stop it from happening. He’s learned from his mistakes.

My theory is that we will see more and more instances of Hunter recognizing Omega’s growing relationships with others, especially Crosshair. And when the time finally comes, he’ll be able to let go of needing to be her primary protector. He’ll see the growth in her, and in his brothers, and finally trust that they’ll be okay. Whether he sacrifices himself or gets mortally injured in a fight/accident, he will be at peace.

I don’t know if his death will be ambiguous or unseen, like him dying in an explosion or something like that, or if it will be more obvious.

I could see him having a Fives-esque death. Where he can say goodbye to his family, and finally pass off the responsibility he held so close to his heart to Crosshair and his brothers.

And if Tech really is dead, he won’t have to be alone anymore.

They’d put Hunter’s helmet above his grave, the last real symbol of the Bad Batch, and a last goodbye to the Clone Wars (since his helmet resembles the regs’ helmets the most)

They’d leave Tech’s goggles on his grave (if Tech stays dead) along with Lula. Omega would leave a bouquet of flowers from Pabu. What a powerful image that would be.

Omega could then go on to lead her own little batch. She’s made the friends and connections to do so. Crosshair and the others wouldn’t be too far behind.

It would be a touching resolution to Hunter’s and Crosshair’s and Omega’s arcs.

Other clues I think they’re dropping that support this theory:

-Omega’s new hair design. It’s perfect for her to wear Hunter’s bandana.

-Batcher joining the squad. She fills the tracking role.

-Crosshair’s increased screen time with Omega.

-Hunter’s increased desire to do whatever it takes to keep Omega safe, and the hints that he becomes reckless upon doing so.

-The Marauder exploding. Something about losing the home and the head of the home making for great storytelling.

-The idea of passing the torch of leadership to the next generation. From Clone Wars (TBB) to the new SW content (Omega)

-The fact that Jen Corbett said Hunter is her favorite character, and I’ve never known a female writer who doesn’t whump the hell out of their favorites the most (fr one of the most compelling arguments lol)

[breathlesswordsbloodyknees]

Narrative Doom

Introduction

I've been playing around in and exploring this space where Sauron as Halbrand was genuinely seeking redemption, trying not to manipulate events but merely nudge them.

In my view, at this point he's in survivalist bed-rotting mode post-goo-form when he meets Galadriel. (I think he's more of an opportunist than a schemer in this era. Not that he doesn't have those schemes, but I think he's pushing those bad bad urges down. I have a web of scenes that I consider in this view for some other day)

I’m building much of this piece on these previous work: (link) (link) (link)

It's led me down some interesting philosophical rabbitholes, and I'd like to share.

Now, important to note, Sauron is a Maia—not a 'human' by any means. He's an ancient spiritual being who doesn’t feel the way us teeny tiny mortals do.

But on a broader scale: Tolkien’s work, like fiction as a whole, reflects and explores the human experience, so we’re riding that train.

All this with the framework of not absolving him for anything that came before or comes after. I plan on expanding into his evil alongside Morgoth and his actions in Season 2 at a later date.

But right now, we’re just exploring this blip of a moment where I consider Sauron could be genuine in repentance.

This is more an analysis of Sauron, but I feel like it has a lot to explore for Haladriel fans. There's some critique of Galadriel's choices here, but I want to make it clear: I'm not assigning blame. More just digging into the complexities.

And, well, I don't think this ship would be as compelling if it didn't have complexities.

Spoilers:

All of TROP S1

Vague themes/lines in TROP S2, mostly from S2E1.

The Good Place spoilers for overall theme and a few season 4 lines, but nothing outright about the plot.

Trigger Warning:

Be warned, I’m going to delve into some dark themes in a very personal way. Including but not limited to abuse cycles, personal trauma, harmful behaviors, and empathy within all of that.

I won’t lie, this work was hard for me. Painful to untangle. I would encourage you to have empathy and compassion for yourself, as well as me, while you read. I tried to put warnings before I go into these themes. Please take care of yourself.

---

To start

Sauron’s narrative, at its simplest, is a cautionary tale: If you let your ambition and drive for power go too far, you turn to evil. Higher values over sinful pleasures. Pride goeth before the fall.

But on a deeper level, being solely a cautionary tale, an overarching villain, a lesson to learn, what does that mean for the complexities of Sauron in The Rings of Power?

Charlie Vickers puts so many layers and so much emotion into his character. Yet he keeps it to a lot of imperceptible movements that, I found out last night, get almost completely lost in low resolution. I can see that being a part of some of the stricter interpretations of Vickers' Sauron. But there’s a vulnerability there that touches on some deeply raw thoughts.

—

So the relentless question in fandom: Does he mean any of it with Galadriel or is he just the Great Deceiver?

I'd like to ask, how much of it is just some deeply relatable ‘human’ behavior? Deflection, defensiveness. Half-truths, twisted truths, fibs.

Because as he says on the raft, he did tell her the truth, that he had done great evil in service of Morgoth. He never lied to her.

(An aside: I personally don’t give the “my ancestor” thing much weight as a true lie, I mean it’s his backstory and he had more reason for it than the Darkling did imho)

But really, who doesn’t try to hide and smooth over the worst ugly evil nasty bits of themselves and their past? We want to shine in the eyes of others—it's a fundamental desire to most.

—

On the other side, touching on influence and ambition:

Aren’t we all trying to sway events and leave an impact in whatever way we’re capable? Don’t we all attempt to sculpt the world like clay? Isn’t that really all we can do in this world?

And don't we often tell ourselves that we’re doing it for a better outcome? Even actions deemed ‘good’ and ‘heroic’ create ripples that have negative impacts, if only just for the orc babies.

I’ve been thinking a lot about orc babies.

—

Galadriel, from their first conversation on the raft in S1E2, backs him into a corner. She’s relentless in her quest for revenge against him and he’s whoops—sitting right there, doing the side eye meme. He’s gotta be self-preservational. And that rings true to me more than outright deceit. (At this point)

But I think over the course of the season, playing as Halbrand, “Lost King of the Southlands”, he’s trying. Trying to be “the hero she seeks”. Trying in the only way he knows how, which is…well, not great, he really toes the line. But he’s trying to ‘choose good every day and choose it again tomorrow’, while he’s on the path she set him on. So it’s a step by step journey towards the light, but the path is ever slippery.

And inevitably, as we know, he fails.

—

TW

So what does that mean for those of us who feel like we’re trapped in the narrative, hurtling toward a doomed end through harmful behaviors we can’t escape? Tied onto the train tracks, staring down what feels like an inevitable fate.

When all you’ve known for ages is subjugation and torment and abuse, what do you become? (Which makes Mairon even more painful, with his origin of beauty and light. Like a whisper of I was once admirable too)

I keep coming back to the image of grooves, well worn. And well, under the influence of an abuser and beyond, I too have done evil.

Holding the good you’ve aspired to and the evil you’ve done in one space; it’s a sharp, heavy feeling like holding coals, like touching a hot pan, something to run and hide from. And looking at my deeply ingrained behaviors from childhood, along with trauma that’s happened throughout my life...I see those grooves echoing in jagged bloody ways that feel comforting, even natural.

For a long while, it’s been the only way I knew how to self-soothe, these behaviors that can cause harm to myself and others. So I’ve been twisting around the question: Can we ever truly be free of the evil we’ve done? If it’s all we’ve ever known, baked and beaten into our bone marrow?

In Sauron’s case, the answer is no. His story unfolds the way it was written. The bad guys perish, the good guys win.

(though there’s the “they meet in Valinor” after canon theory, hope ever shines through)

—

That all brings me into The Good Place and that show’s moral thesis.

Spoilers for The Good Place:

More or less, the show states “people improve when they get external love and support. How can we hold it against them when they don't?” and “What matters isn't if people are good or bad. What matters is if they're trying to be better today than they were yesterday.” (S4E8)

Scanlons’ What We Owe to Each Other and the rabbithole of contractualism that I haven’t fully delved into.

I resonate deeply with what The Good Place says. All with the understanding that you have to put on your own air mask before you help others, don’t set yourself on fire to keep other people warm.

But I do believe we should help each other in what ways we can, rather than writing people off entirely.

So, I struggle with Galadriel’s moments of “shutting the door” being considered wholly empowering. Light prevailing, resisting the allure of darkness and the draw of power. It is indeed all those things, especially for her journey. Don’t get me wrong, I don’t blame her.

But there’s an itching here for me and I have to scratch it.

—

In S1E8, if we’re assuming he’s genuine, he put it all out there in the raft illusion. It was his biggest, his all, his hope. A leap of faith. Real vulnerability with an internal truth that was like holding coals.

He did what was ‘right’. He reached for support, for understanding, for community, What We Owe to Each Other.

(though we can’t ignore the scene before that where he’s wearing Finrod’s face. But I haven’t followed that thread yet).

He made a play for a better future.

And she—light and goodness and holiness in her hair, denied him.

“You are Morgoth’s friend”, “There is no such future.” Boiling him down to his worst parts, reinforcing his worst fears.

Is that all we ever can be?

---

TW

When do we write off people like Sauron, with all his history of wrongdoing? People like my abusers or even myself? When does the potential for redemption become irrevocably lost?

How much empathy should we show, and what are we obligated to offer? What do we owe to each other? All of this while carefully balancing the line of not condoning or becoming an apologist, along with taking care of yourself first.

It’s mind-boggling.

---

The answers are out there: self-compassion, self-forgiveness. Change comes from within. Balance. But it's the same way people say go outside, exercise more, drink more water to fix depression. When you're in the throes of darkness, those words feel hollow, trite. And that glossy sunlit path is more than treacherous when you walk it, especially alone.

So again, I say, I scream: Should we not still help each other?

It's not just internal and external separately, we need both. I have to believe that. Internal change and external support.

—

Conclusion

In the end, I'm really only left with more questions. This barely scratches the surface of what I've been brewing on, I could go round and round for days. I mean, that’s what I’ve been doing this week.

Regardless, all the typical takeaways feel hollow. Choose light, choose hope, every single step, no matter how hard.

It’s never quite that simple, on a very visceral level. And for some of us, like Sauron, it never materializes.

It all just eats and scratches and twists inside me. Ultimately though, I think Caitlin Seida said it best about hope and redemption and the struggle in her poem, Hope is Not A Bird, Emily, It’s a Sewer Rat. Which I greatly hope you’ll read and find what I have in it. (link)

So I guess we keep being scrabbly little sewer rats, hoping to claw our way out of the dank dark cave. And y’know, it may not mean much, but I’ll be here, down in the muck. Right there with you.

Maybe that’s all we owe to each other.

Follow-up

[maximumqueer]

In lieu of the second season of OPLA starting production, I want to talk about my mixed feelings on the first season of it.

Because I got into the anime and manga through the live action. So I will always like it at least a little bit for introducing me to honestly my favorite piece of media ever. But now that I'm caught up with the anime and manga, and know the characters and story better, I find myself having more criticisms of it.

The overall narrative is rushed in a way that leads to important character moments being glossed over. Syrup Village in OPLA is a good example. Usopp does a lot less in the live action, most of his big emotional beats cut for what I can only assume were time constraints. Reducing Gin's role to a one time appearance, and the Don Krieg Pirates to a cameo also feels like a product of the limited runtime, and cheapens Sanji's reasoning joining the crew, as we never get that moment where Luffy witnesses him feeding a starving man, and decides then that Sanji will be is cook. Replacing it instead with Luffy seeing him fight and tasting his food. Which in my opinion kinda misses the point of why Luffy wanted him to join. And that was because of Sanji's kindness, which is not nearly as present in the live action.

OPLA also removes a lot of side characters from the islands the main cast visit, making the world feel smaller, and the stakes lower. Like, the reason I personally cared so much about Luffy and Co. helping out places like Orange Town, Syrup village, Cocoyashi Village, is the people that live there who we get to know (in the anime and manga). I feel far more invested actually knowing the names of several of the people and the village, and knowing that their lives will be better after the big bad is taken down. It's not just a fight for the sake of having a fight, but a fight to help out a group of people who need it.

These characters also end up trying to free themselves from the big bad. Them playing an active roll, and not just being used as hostages (like they were in the live action) is just so quintessential to One Piece in my opinion. Having characters native to the island already willing to stand up to the force controlling them, and Luffy's involvement being to aid them, and not just swoop in a save a group of passive bystanders who were simply waiting for a hero to save them, is subversive for shonen (hell just fantasy in general) and having the live action remove that just feels wrong, as characters having freedom and agency is a big overarching theme in One Piece that has been there since day one.

Then there is the characterization. Zoro is probably the most egregious change. Zoro (bur especially pre-ts Zoro) was far goofier than his live action counterpart. And I do think that that level of goofiness is essential to him as a character. Like, I cannot picture OPLA Zoro attempting to cut off his feet, fail, and then decide to strike a cool pose while he is slowly turning into a wax statue. I cannot picture that version of the character beefing with a bird while lost, when said bird is LITERALLY a compass. OPLA Zoro just feels like your stereotypical stoic cool guy, when he is very much not. He is a bit of a loser (affectionate) and to see him be treated like he isn't feels off. Nami and Sanji are closer to their anime/manga counterparts, but are still different.

OPLA Sanji is not pathetic enough. To use an analogy, OLPA Sanji would take off his coat to place it over a puddle so a pretty woman didn't have to get her shoes and feet wet. Anime/manga Sanji would hurl his body onto the ground, and have the woman use his back to prevent getting her shoes and feet wet. They said this change was to dial down the more pervy parts of his character, which is fair. But that aspect of his character only really starts up in a bad way in Thriller Bark. The part of the series that adapted was when Sanji was pretty much only presented as a hopeless romantic who worships the ground all women walk on and would do anything a woman asked of him.

Nami is similar to Zoro, in that she is just to serious. They both lack the whimsy their anime/manga counterparts have. And she just feels a bit more one dimensional in the live action because of it.

As for Luffy. Him referring to himself as a "good pirate" just feels all sorts of wrong. He has never shied away from that label, and never has had any issue with being lumped in with "bad" pirates in the anime/manga. He never was angry about being framed for crimes, but I get the feeling that OPLA Luffy would be more likely to be angry about that, because he is a "good" pirate. This Luffy doesn't feel like he would go on a rant about not wanting to be viewed as a hero. They also made him nicer overall, and this sounds like a weird thing to complain about, but Luffy not holding his tongue and just telling people how he feels about them, positive or negative, is what makes him as a character work. Is what separates him from a typical run of the mill shonen protag. Him being a kind, but not nice and overall blunt in conversation is pretty integral to his character, and I can't help but feel that the writers and directors of the live action were afraid of keeping this character trait because it could make him unlikeable. (despite that fact that he as been #1 in literally every One Piece popularity poll)

And obviously this is not a critique on the actors, I think they did a phenomenal job portraying their respective characters. This is more about how the writers/directors/producers decided to adapt and change the characters.

I kind of suspected that when I watched the anime (a more one to one adaptation of the manga) as well as read the manga (the source material) that I would end up having more issues with the live action. I do still like it for what it is, and I'm planning on watching the second season when it comes out, I just wanted to share how my opinion on it changed after reading/watching and catching up with the anime and manga.

[eriexplosion]

So the main reason I think that TBB will have a reasonably happy ending is multifaceted but I think the biggest one is that a lot of the series it's compared to have entirely different focuses but only one requires minimum the majority of the characters to be alive.

It comes down to the central question of the work. Let's look at TCW - this one is super broad because it's essentially an anthology rather than an overarching narrative. It's literally just "what happens between attack of the clones and revenge of the sith." The only thing needed to bring it to a satisfactory close is to go up to the end of the clone wars and segue into ROTS. Which, as a tragic film, does necessitate a bit of a downer ending. But, the ending feels fulfilling even with the tragedy because it satisfies the central question.

Rogue One is much more narrow, how did the rebellion get the death star plans? The reason you can do a total cast annihilation in this one is because the central question isn't character focused at all, it's mission focused. As long as they move the mission forward, the characters dying doesn't make the ending less satisfying. The central question is answered.

So what's been TBB's central question? It hasn't been mission focused, it's not "how do we fight the Empire" and its not as broad as TCW's filling in a multi year gap between movies. It's asking "who are these clones if they're not soldiers" it's asking "how do you heal this family that's been broken by tragedy."

And killing off most of the main cast answers these questions as "nothing" and "You don't." It's like answering "what happened between these two movies" with 'nothing' or 'how did they get the death star plans with 'they didn't.' It negates the central question that we're introduced to, it would render the entire endeavor pointless. Why would we need three seasons to get Omega from 'alone' to 'still alone' why would we build up the desire for the family to heal just to say they never will? Why would we watch them go from broken to more broken to absolutely shattered in a trauma mill? It doesn't answer anything, it just trails off.

I don't even think that the question of how to heal the family can be satisfied if Tech is actually dead. MAYBE if we had more time we could soothe away the trauma of that and still resolve everything. Maybe if his loss was the only one that needed to be wrapped up and processed we could resolve that in the time we have left.

But needing to bring Crosshair home, bring Omega home, AND heal everyone from Tech's death in fifteen episodes that also require enough action to keep ten year old boys interested? Yeah, I don't think that's happening. I think the only way that this gets wrapped up in a way that actually holds to the themes of the show is an ending that has the family together, an ending that actually answers the questions we started with, one that said *they're not soldiers, they're family* and that the family is in fact capable of being healed.

[ineffable-endearments]

I was rethinking the bookshop meta I wrote a while ago and realized I was not thinking big enough.

The bookshop has always been Aziraphale's version of Crowley's plants (his trauma reenactment), but also, absolutely everything Aziraphale does in Season 2 is a re-creation of Heaven's role. Crowley's behavior also encompasses everything, not just his plants.

I've seen it suggested that centering Aziraphale and Crowley's trauma histories is reducing their characters to behaving like just reactive victims instead of survivors with agency. Or worse, it's "excusing bad behavior." I don't agree with either of these, because I feel that part of Good Omens is about how large, powerful systems affect individuals, and so the context of every character's decisions matters a lot to the overall themes of the story. Everyone starts out working within a system they believe to reflect reality and then has to learn how to break free of it. You cannot really illustrate that without having the characters start out being genuinely trapped with different ways of coping with their reality.

This is an attempt at a pretty big-picture meta. Although it isn't a plot prediction, it's how I think some of the series' themes are going to progress. It starts out perhaps a little grim, but in the long run, it's how Aziraphale's character growth and relationship with Crowley can simultaneously be massive for them as individuals, a crucial part of the overarching narrative message of the series, and symbolic of a change in all of Heaven and Hell, all while allowing the themes to continue to prioritize human free will.

In short, it's about Aziraphale's problems, but it's also meant to be an Aziraphale love post.

All of the below exists in tandem with Good Omens as a comedy of errors. Just because there are heavy ideas does not mean they will not also be funny. Look back on how much of Season 2 seemed silly until we started to pick it apart! One of the amazing things about Good Omens is how it manages to do both silly and serious at once! (I feel like that's maybe a little Terry Pratchett DNA showing through. "Laughter can get through the keyhole while seriousness is still hammering on the door," as Terry himself said.)

Aziraphale has really embraced his connection to Crowley in Season 2, and he has also become considerably more assertive toward Heaven and Hell. These are both major growth points compared to the beginning of Season 1.

However, again, we have the concept of growing pains...Aziraphale is starting to re-create Heaven's role in his relationship with Crowley and humanity. It's really obvious with the Gabriel argument and the I Was Wrong Dance, but I think we see it all over the place: he seems to feel any serious dissent is a betrayal. He also seems to assume there's a dominance hierarchy and he, of course, is on top. Now that he's decided to take control of his own future, then surely that does mean he's the one in control, right?

With all that said, he still seems to have trouble being direct about the feelings that make him most vulnerable. He manipulates people and engineers situations in which he can try to get his emotional needs met rather than saying things outright (case in point: the Ball).

Like I pointed out in the bookshop meta: subconsciously, he's playing the role of God, modified with what God would be if She were everything he wants Her to be. He's generous, almost infinitely sweet, always does what's best for people...or, at least, what he believes is best for people. During the Ball, Aziraphale influences the people around him to be comfortable and happy even when they're not supposed to be, and he limits their ability to talk about things he thinks are too rude or improper for happy, formal occasions.

Doesn't this pattern sort of make sense for an angel who's just discovering free will? Like, at the end of Season 1, he made an enormous choice to stand against Heaven and realized he could survive it. Now he's gone a bit overboard with exerting his own will. Unfortunately, while he's learned to question upper management, he's still operating on a fundamental framework of the universe where there have to be two sides and there has to be a hierarchy. Also, since Aziraphale is on the Good side, he of course has to gear his desires into what's Good rather than just what he wants, so he sometimes thinks he's doing things for others when really he's doing things for himself. (For example, matchmaking Maggie and Nina started out as something he wanted to use to lie to Heaven, but by the time he was commenting "Maggie and Nina are counting on me," he seemed sincere, like he had genuinely convinced himself this was for them and not for himself.)

Aziraphale knows Heaven interferes in human affairs, ostensibly on God's behalf. He thinks She should be intervening in ways that are beneficial. What I believe the narrative wants him to learn is that God and Heaven shouldn't be manipulating people at all, not even for Good, and in fact there is no real meaningful hierarchy.

Anyway, a top-down, totally unquestioned hierarchy is the primary social relationship Aziraphale has known, and it's certainly been the dominant one for most of his existence: you're either the boss or the underling, and if someone seriously questions you, they don't have faith in you - they don't respect you.

No, his relationship with Crowley has not always been like that, but they've been creating their relationship from whole cloth, so how would he know it shouldn't become that way, now that it's "real" and out in the open?

No, human relationships aren't like that, but Aziraphale clearly does not see himself or Crowley as human. As the relationship approached something that seemed like it must be "legitimate," Aziraphale would naturally look for a framework to fit it to. And again, the only one he has is the shape of "intimacy," or what passes for it, in Heaven. What has "trust" always meant in all his "legitimate" relationships? It has always meant unquestioning obedience, of course. What have the warm fuzzies felt like in Heaven? Well, praise from the angels above him is nice, so that must be it, right?

Aziraphale even describes being in love as "what humans do," separating out that relationship style. Someday, I think he'll realize he favors the shape of love on Earth, something that's more inherently equal, more give-and-take. Look at how he idealizes it from afar at the Ball. But I think that, like Crowley before Nina pointed it out, Aziraphale maybe hasn't 100% grokked that it can and in fact should work that way for him and Crowley, too. Just like people can desperately want to dance without knowing how to dance, or can desperately want to speak a language without knowing the language, Aziraphale does not instinctively know how to have the kind of relationship where he can be truly vulnerable and handle Crowley's vulnerability as well.

Aziraphale is downright obsessed with French, known as the "language of love." He's trying to learn it the Earthly way. He's not very good at it, but he wants to be.

This pattern is still present during the Final Fifteen even if we assume Aziraphale is asking Crowley to become an angel again out of fear (and I find it very hard to believe that fear doesn't factor in at all). He's still building his interactions off of that Heaven-like framework: he asks Crowley to trust him blindly, he tries to assume a leadership role with a plan Crowley never agreed to and couldn't follow anyway, and he tries very hard not to leave room for an ounce of doubt. He also suggests making Crowley his second-in-command and obviously does not register that this could possibly be offensive. Again, I think this is because for Aziraphale, there has always been a hierarchy in Heaven, it's started to transfer to his relationship with Crowley, and breaking out of that assumption about relationships is going to take more processing than a single argument can do.

As I mentioned in another post, I don't believe Aziraphale had a real choice about whether he accepted the Supreme Archangel position. I think he could sense that he was not getting out of it and chose to look on the bright side, to see it as an opportunity. And instead of looking realistically at how that would feel to Crowley, he tried to sweep Crowley up to Heaven with him using toxic positivity, appeals to morality, and appeals to their relationship itself. Again, mimicking what Heaven has done to him.

To me, "they're not talking" is a big clue that Aziraphale's approach with Crowley is going to be the mistake the narrative really wants him to face. "Not talking" has, thus far, been presented as the central conflict of Season 3! After losing the structure and feedback Heaven gave him, Aziraphale started creating Heaven-like patterns in his relationship with Crowley, and breaking out of those patterns is what he needs to do. Discovering first-hand that Heaven's entire modus operandi is bad no matter who's in charge is how he can do it.

Look, either you're sympathetic to Aziraphale's control issues or you're not. Personally, I am. He's trying so, so hard to be good. I think trying to figure yourself out (which Aziraphale is clearly doing) is hard enough, and when you start balancing what you want for yourself, what you think are your responsibilities, and what other people are actively asking of you, you're bound to fall into the patterns that have been enforced for your whole life or for millions of years, whichever came first.

It is very easy to assume that people should Just Be Better, but it's not actually that simple to be a thinking, feeling person. My anxiety tends to move in a very inward direction and Aziraphale's moves outward. But I'd imagine the desperation and exhaustion are the same.

Unlike Nina, Aziraphale became a rebound mess. I don't think it occurred to either him or to Crowley that there could be any soul-searching, anything but carrying on with the new normal after their stalemate with Heaven and Hell.

Now, instead of getting rejected by Heaven and surviving it, Aziraphale needs to be the one to reject Heaven. It needs to be a choice. And that choice is going to come from realizing that Heaven isn't just poorly managed but also represents a bad framework for all relationships.

How could this happen? Good question. We're obviously not supposed to know yet, although I think picking at existing themes within the narrative could possibly give us hints.

It's possible Aziraphale's character development trajectory will be akin to Adam Young's in Season 1. Please see this stellar post by eidetictelekinetic for more thoughts about it, but basically, in Season 1, Adam saw that the world was not what he wanted it to be and decided his vision was better; as he ascended to power, he took complete control over all his friends and then soon realized that's not what he wants because there's no point in trying to have relationships with people who can't choose you. It's that realization that leads Adam to conclude he doesn't want to take over the world and to reject the role he's expected to play as the Antichrist. Maybe Aziraphale's trip to Heaven is an attempt at a control move during which he'll realize he's defeating his own point.

Aziraphale clearly wants to be chosen. From the very beginning, he's wanted to be special and cared for - just like Crowley has.

Incidentally, I think Aziraphale and Crowley are going to represent pieces of the bigger picture here, and this - first imitating and then rejecting Heaven's relationship style - can both symbolize Heaven's transformation and directly start it (probably in an amusing, somewhat indirect way, like when he handed off the flaming sword to Adam).

If I'm right - which I may very well not be - I think this would all be so, SO cool. Like, "An angel who is subconsciously trying to be a better God" is a concept with so much potential for both tender kindness and incredible darkness. Add to that the comedy-of-errors aspect of "...but even deeper down, he'd much rather just be super gay on Earth" and you have, in my opinion, a perfect character.

I think this could work for Crowley as well. It's obvious that in the Good Omens universe, at least so far, Hell is all about detesting humans and punishing them; Satan seems to genuinely hate humans (unlike in some of NG's other works). Our perspective on this could change, but it potentially puts Crowley in a complementary position to Aziraphale, as a demon who is trying to be "better" than Satan. But this isn't about being "morally better." It's about things having a point. Crowley's exploits usually have a point: they test people. And you can pass his tests! He sincerely likes making trouble, but Crowley doesn't live to punish.

But, once again, the above paragraph would describe a transient phase for this infinitely charming character. Because, again, I think the point will be that in the end, Crowley's deeper-down desire, moreso than testing Creation, is watching it grow with a glass of wine in hand.

[stagefoureddiediaz]

Costume meta 8x01, 8x02 & 803

Life is incredibly busy for me at the moment, so I’m not able to spend as much time on things like writing Costume meta as I’d like, so, while I am planning on writing a meta for each episode, these are likely to be shorter and I will only be guaranteeing to do Buck and Eddies costumes. Any other character will be entirely dependent on my time and if there is anything interesting to point out! That being said, because I’ve combined the first three episodes into one meta (because they spent most of it in uniform!), it is on the longer side!

So, let’s get this season 8 costume meta show on the road!

Last season I pointed out the show was going heavy on the pink colour coding and suggested it was being employed to signal an overarching theme for the season - innocence and naiveté and the loss thereof. This proved to be correct  and we saw the show weave stories across the season about innocence and naiveté and we then watched characters experience the loss of those things.

So I was intrigued to see what colour they would be using this season and had been contemplating over hiatus what I thought they’d go with. I regret not making a post about it back then, because my thoughts had been focused on orange, and early indicators suggest orange is indeed the colour they’re using - along with a second colour - brown. 

I have spotted a lot of both colours in both episodes of the season so far, and very often they are using a sort of burnt/rusty orange/brown, that combines both colours I’ll be keeping my eye out for both colours in the upcoming episodes as well.

rest below the cut!

Examples of it in these opening two episodes that I’ve spotted are;

The light aircraft had orange and brown detailing on the tail. 

The truck has a brown logo, the driver who ran up to the car on the highway was wearing an orange check shirt, and his co-driver is wearing brown

Tori and her assistant Sheila are wearing orange and brown and Sheila is wearing brown trousers with and orange check when the bees attack. 

Hen’s jacket has a lot of orange and some brown in the plaid, and Denny’s shirt has a dark orange text on it.

Eddie and Buck are wearing brown shirts and Eddie is wearing an orange hat - the orange balloons and streamers are also fairly dominant in the party decorations.

Denis is wearing a light brown zip front hoodie (he also has his orange prison jumpsuit but I’m not including it as its standard prison uniform and would’ve been included regardless!)

Tia is wearing an orange/brown shirt under her white and coloured design jacket

Amy the manager of air traffic control is wearing both brown and orange

the toothbrush Dennis makes a shiv from is orange

several crew members on set are wearing brown

the workman who removes the blade fro the firetruck is wearing brown.

Orange means enthusiasm optimism and emotional strength. It’s also a colour of positivity and progressive thinking as well as creativity and success in endeavours! Orange can also be impatient and can also symbolise insincere personalities or intentions.

Brown meanwhile is stable and reliable, honest and supportive. It is also seen as protective and it is the foundation from which new things can grow. It also means honesty, wisdom and strength and it is a dependable colour. It can also have meanings such as loneness isolation and sadness, as well as being seen as boring or dull.

They are two colours that have intertwined meanings and to me this is suggesting an overarching theme for the season of positive stable progression. The idea of letting go of the past and moving forward. Everyones arc’s so far this season seem to be setting up the exploration of all our mains having to deal with aspects of their past (or connected to their past) be that something that happened to them or their behaviour, something they haven’t let go of that continues to impact them and that is preventing them from being able to progress further than they have. It feels very much like the show is setting itself up for making some changes to things for season 9 onwards (not saying people are leaving I want to make that clear - just that I think we might see some changes to what roles people fill within the show)

Check Theory

Check theory was out in force in these two episodes as well - and it has yet to fail me! The small aircraft pilot,

the truck driver,

the first passenger we see on the plane (whose shirt also happens to be that rusty orange/brown colour), one of the attorneys in LA, Sheila the PA, Amy the air traffic controller, all wearing check patterns along with Hen and Tommy. If you haven’t read my theory before - you can find it here, but basically check generally means the character will be the one in danger in some way (not always physical, it could be emotional) and in the case of the passenger on the plane - he is a signifier for the entire plane being in peril by virtue of being the first passenger we see.

Hen’s check came in a scene where we start to see the jealousy she feels towards Chim and Mara’s relationship (while Karen isn’t reacting to it at all - beyond seeming happy that Mara is happy) and is foreshadowing the upcoming issues with Hen and Chim’s relationship and their fight to get Mara back. the use of two different types of check is perhaps hinting at the fact Hen will be facing issues on two fronts - the Ortiz front and the Chimney/Maddie front. The raw edged denim also helps to play into the idea that Hen is reaching the end of her capacity to deal with things - she is feeling raw and frayed.

Tommy’s check is serving a similar purpose - we get a continuation of Tommys dismissive comments when Buck is telling him something about his life and it is clearly foreshadowing the issues and hurdles Buck and him are going to face. Interestingly the colour of the check is hard to figure out - I'm pretty sure its black, but it looks dark green in some moments and navy blue in others. The black and white colouring in a check pattern is giving us hints - telling us that in the case of Tommy things are very black and white - that there is little nuance to his character.

It's telling us what we see is what we get and that all of his behaviour up to this point can be read for what it is and t hat what it is isn't good because of the check. the other thing about black and white is that it suggests a lack of change - things being black and white in costume terms generally means that the character in that moment a a minimum can be read very plainly - they are how they are and how they have always been.

The fact Tommy is wearing it in a scene discussing Gerrard really is implying that things on that front are going to be black and white and that plays into the theory that it is his problematic past at the 118 (that the show deliberately chose not to address last season) is at least one of the issues that’s going to come up this season and that it is a black and white issue - as in not one with grey areas.

Tommy's blue party hat is also pretty interesting, and telling, blue is very much a Buck colour, its one he wears a lot of - far more than any other colour, this, along with the fact the black check on the shirt appears blue or green depending on the lighting and camera angle, fits with my theory that Tommy is meant to not only be similar to Eddie, but also and alt version of Buck. The fact he is wearing an open shirt over a henley also plays into this theory as they are items of clothing associated with Buck (open shirt) and Eddie (henley). 

Navy blue as a hat colour is an interesting choice to have Tommy wearing in this scene because it is a colour associated with several things, its supposed to be a symbol of peace, commitment and honesty, as well as authority. It also means fragility, depression, impersonality and coldness. 

We saw various shades of navy blue on Buck a lot during his relationship with Taylor - especially during the more fractious periods - moments such as the ily scene - seemingly a moment affirming commitment and honesty, but also revealing the fragility and coldness of their relationship.

So on Tommy it seems to be conveying a similar concept - the juxtaposition of the commitment of Buck and Tommys relationship and the idea that Buck is at peace with himself in relationship terms right now, but it is also revealing the fragility and coldness of the relationship - its supporting the textual clues we get in the scene and setting up Bucks arc for the season and the instability of his relationship with Tommy.

On to Eddie and Buck now we've dealt with the more general costume things!

I’ve already written above about the meaning of brown and how its meaning is stable and reliable, honest and supportive. It is also protective and it is the foundation from which new things can grow. It also means honesty, wisdom and strength. It is a dependable colour. It can also mean loneness isolation and sadness, as well as being seen as boring or dull.

The thing with brown is that it is made up of all of the colours and can therefore have different coloured undertones. In this scene, Bucks shirt is red toned and Eddies is yellow/orange toned and this means we should look to those colours for additional information about the potential meanings.

Eddie

The yellow and orange undertones for Eddie means his brown is connected to communication and enthusiasm as well as the meanings of brown I’ve described above. the meaning that particularly stands out to me in this scene is the idea of support - of being supportive. It’s a theme that plays out in different ways in this scene especially for Eddie and Buck. For Eddie specifically it is the idea of being supportive of what he thinks his son wants - what he i being told his son wants. 

Eddie is trying to communicate with Christopher but Chris is not communicating back - Helena is the one that communicates the information we get about Chris - that he is happy in El Paso and has lots of new friends and is visiting the pool a lot etc. Eddie tries to be supportive of what he is being told, despite it making sure his broken heart stays broken - because he thinks it’s what Chris wants because it is what he’s being told. 

We also have eddies orange party hat - picking up the orange undertones to the t-shirt, it emphasises the emotional strength Eddie has to employ to keep persevering with Chris - even when he is getting barriers thrown up at him. He’s being creative - throwing the party in LA even though he’s not with Chris - trying to make himself a part of things and show Chris that he’s trying to mend the bridge he broke. The orange is also playing the long game with Eddie as well - the lack of orange in the El Paso visuals is telling us that Eddie will be successful in his endeavours - he just needs to be patient and keep trying.

It's also worth noting a couple of things about Eddies clothing - firstly that Eddie is back to wearing slightly oversized tees again - calling back to season 5 and his breakdown and mental health struggles. and secondly the choice of putting him in olive drab cargo pants and his mom in jeans of the same-ish colour (its hard to tell exactly what shade of olive drab they are as the colouring through the computer screen is wildly different!) is an interesting choice - its hinting at where Eddies battles lie - an indication of both going into combat with one another!

Buck

For Buck his brown has reddish undertones (these are much less obvious than the yellows and oranges of Eddies undertones), and there his also the red party hat bringing the red aspect into focus. Red is a symbol of anger, danger, impulsiveness, aggression, passion, sacrifice, and courage. 

Again the concept of support comes into play with the brown - Buck supporting Eddie, being a source of strength and stability at his back, as is visually shown with him never leaving his spot behind Eddie (unlike Tommy who moves away and out of camera in both the video call and the way the scene is shot - its costume and directing working in tandem to relay information about Tommy to the audience). 

The reddish undertones play into the other aspect of the scene - the conversation (if yo can call it that) between Buck and Tommy - its foreshadowing Bucks anger towards Gerrard later in the episode, and also his impulsive and courageous actions to save Gerrard. I think the honesty and wisdom of brown is also important here as well. Buck may be questioning his motives and actions - if he intended to hurt Gerrard or save him, but the brown is giving him stability and suggests that ultimately he will figure things out in a positive direction.

I do want to quickly talk about the fit of Bucks shirt as well, because it is important in relation to what we've seen with Bucks costuming across the seasons and from the bts pictures we've had from Oliver showing a couple of Bucks costumes for upcoming episodes. The fit of this shirt is really really good on Buck and that is important.

I spoke quite a lot in my season 6 and season 7 meta's about the fit of Bucks clothing - in particular his trousers, but in his tops as well, how we've seen his clothing seemingly shrink and become to tight, right through to ill fitting and slightly oversized clothing.

The wardrobe department have been clearly showing Bucks character growth through the fit of his clothes - to tight and too short in the leg when he's uncomfortable and has outgrown his current situation - playing into the idea that Buck is trying to make himself smaller - make himself fit inside a skin that doesn't really represent or fit him any longer.

Then we've had the other extreme where his clothing is baggy and ill fitting - suggesting he doesn't fit in to the new him he's trying on - it is a perfect way to visually show that Buck is growing but not yet comfortable or at ease with this new version of himself.

His clothing settled into fairly well fitting through the latter half of season 7, and it was really interesting to see which scenes he was dressed slightly oversized or slightly too small in. Interestingly we tend to see clothes being slightly oversized now with Eddie and pushing towards too tight with in Tommy scenes, the ones where there is cross over (such as the greyish brown and light blue vertical stripes which we saw in scenes with both the fire fam and Tommy) we tend to get a good fit.

Right now we're in a period where Buck is the most content within himself that he as been and this brown shirt echoes that. It fits him well and it is a scene which features both Eddie and Tommy. WE know that we're going to see Buck wearing a range of fits of clothing, the up coming golf scene with Gerrard for example has a return of the fit being too tight and too short in the leg- emphasising Bucks discomfort. It will be really interesting to see which way things play out when it comes to costumes soley associated with Tommy, compared with costumes that are connected to Eddie or connected to the wider fire fam. I'm not quite prepared to pin my colours to the mast on this front just yet, but I do think we'll either see a slow shrinkage connected to Tommy and things being sightly oversized when it comes to Eddie - as a way of exploring his diminishing feelings for Tommy and expanding knowledge of his feelings for Eddie, or we'll see the reverse - oversized with Tommy as the relationship starts to run into problems (in much the same way we saw Eddies oversized clothing during his break down in s5 and now again in s8 connecting to Christopher's absence and his struggles with that) and to small with Eddie as a sign Buck no longer fits into the status of their relationship - that his feelings for Eddie don't fit the concept of friend any longer - that they are more than simply friendly.

So yeah - its going to be very interesting to see which way it plays out!

I'm finishing here as I'm already so much later posting this than I intended (thanks tumblr for being a pain and not letting me upload pictures into this post no matter how many times I recreated it - but I won the fight in the end!) hopefully 804's meta won't take so long or be such a technological pain!

I'm not tagging anyone this time as I didn't have time to ask if anyone wanted tagging in my costume metas - so this is your chance - if you'd like to be tagged in future costume metas for s8 - please drop me comment and I'll include you in the 804 meta!

Thanks for reading and I hope you enjoyed - its good to be back talking costumes! 💜💜💜

[pixelbumblebee]

actually addition to this post about wanting to see the next season deal with Charles' grief about dying - grief/letting the past go in general could work as the overarching theme for the season. Edwin doesn't have Niko anymore. Crystal lost the hope of having a warm and welcoming family to return to. Wherever Niko is, her arc about grieving her father is very much not finished either. Jenny lost her butcher shop. There's a lot to process and learn and it could be a really beautiful, bittersweet experience.

[yourhighness6]

Quite honestly I have to say that I actually really like Aang. Him being a happy-go-lucky, sweet kid is extremely important to the story, as bringing back a sense of fun to the people who have been experiencing war for so long is basically his narrative purpose. There's a purpose behind his personality, just as there should be in any narrative. However, I think anyone who engages critically with media has to aknowledge that he makes some bad decisions, especially when it comes to his treatment of Katara at the end of season three. Although I would personally argue that this is sexist writing and not congruent with the Aang we have seen for the entirety of the show leading up to DoBS (although people are also right when they point out the amount of emotional labor his position as the grand hero of the story and as a rather immature kiddo put on Katara), these are still mistakes that the character canonically makes. His treatment of Katara in previous seasons is still toxic behavior that I would argue is actually congruent with his character. The mistakes he makes throughout the series in other areas, such as hiding their father's location from Sokka and Katara, are canon decisions the character makes that are also definitely congruent with his character. But for whatever reason, a lot of the fandom refuses to recognize this. Most Aang/ Kat@ang stans put Aang on a pedestal and argue that nothing he's done throughout the series is exactly wrong. Nothing was wrong in his treatment of Katara, and if it is, he's naturally extremely sorry about it and should be forgiven despite the fact that we see no expression of guilt or remorse from him for, what I believe is the most glaring example, the EIP noncon kiss. So again, to restate, I don't hate Aang. I've never hated Aang. I like Aang. But unfortunately, because of the fandom representation of him, I have no interest in engaging in fan content about him. I have no interest in talking about the good things he does or the great decisions he makes outside of his decision not to kill Ozai, which, although greatly contested in the fandom, I completely agree with because of the narrative significance of Aang choosing to stick to his beliefs and the overarching theme of mercy, which we also see built up in many previous episodes such as TSR. Aang is the character that I would argue has been corrupted the most by the fandom. He's either viciously hated or hoisted into a position of perfection and frankly, I can deal with neither. Aang is a good character, but we should be able to have conversations critical of his actions. Aang is an extremely flawed and relatively underdeveloped character, but he is by no means evil incarnate, and I just wish that more people could recognize that both of those statements should and do coexist.

[walker-extended-universe]

Celebrating Walker event

Though the end of Walker isn't exactly something we're looking forward to, I do think there is something to celebrate. Walker was a fantastic show that got four seasons and a spin-off in a very constricting entertainment climate. It brought the fandom a lot of joy and gave us a great story with a lot of new characters to fall in love with. As much as I mourn the loss of one of the best shows on the CW, I'm happy to have been here for it.

So, in honor of the greatness that came before, I'm proposing a "Celebrating Walker" event! Four weeks gushing about our favorite aspects of this show. Each week will have an overarching theme such as "Favorite Character" and each day will have a specific sub-category such as "Favorite Antagonist".

Anyone can participate in this celebration event and there's no limit to what can be submitted for the celebration. Gifsets, fanfic, meta, fanvids, photo edits, anything goes! Your only limit is your imagination. I'll be using the tag #celebrating walker but if you want to make extra sure I see your creation, feel free to tag or DM me.

Ready to celebrate? Because I am!

Here is the schedule I've put together for the event:

Week 1 (August 5-9th): Favorite Dynamic

Day 1- Friend dynamic

Day 2- Family dynamic

Day 3- Enemy/antagonist dynamic

Day 4- Romantic dynamic

Free day- Unexplored dynamic

Week 2 (August 12-16th) : Favorite Episode

Day 1- Season 1

Day 2- Season 2

Day 3- Season 3

Day 4- Season 4

Day 5- Favorite finale

Week 3 (August 19-23): Favorite Character

Day 1- Regular cast

Day 2- Side character

Day 3- One-off character

Day 4- Villain/antagonist

Day 5- Character we should've seen more of

Week 4 (August 26-30): Favorite Plot

Day 1- Season arc

Day 2- Family plot

Day 3- Ranger plot

Day 4- Singular episode plot

Day 5- Plot that should've been explored more

You don't have to participate in every single day to be a part of the event, but you're certainly welcome to try! I know I will be :D

Now let's get to celebrating!

Taglist below the cut (if you want to be added to the taglist, see this post)

@theladywyn, @jaredwalkertexasranger, @laf-outloud, @aborddelimpala, @mysterybeau, @sweet-sammy-kisses, @kickingitwithkirk, @rhl74, @peachparakeet, @dumb-fawkin-bitch, @loveforwomenstuff, @low-soduimfreak, @ihavepointysticks, @waywardmaslow, @arte-mishuntress, @the-slythering-raven, @deeranger, @duo-kun, @inafieldofdaisies, @not-your-housekeeper98, @nancymcl