#think of the implications throughout each season

[byler-alarmist]

Sometimes it crosses my mind that El must've never forgotten how desperate Mike was to find Will, and how angry and dismissive of her he was when Will was thought to be gone forever.

[uncriticalbunny]

thoughts on season 3. my first and last probably. spoilers ahead.

my least favorite season by far. first things first, there was way too much screen time devoted to the faks. literally unbearable. i was bored a lot of the time and after a certain point, i was watching just to get to the finish line. the episode ayo directed was far and above the best of the season. getting tina's backstory was wonderful. i really hope ayo gets to direct more, and that her, liza colon-zayas, and catherine schetina get some recognition for it.

this season was definitely a win for the "carmy doesn't deserve sydney" camp. after season 3, i really think the chances of sydcarmy happening has decreased heavily, and i'm not even sure i want it to at this point. which was probably the point. storer won *slow claps.* only in that regard though. season 3 has absolutely none of the magic of season 1. i don't think season 2 had it either if we're being honest, only a few moments here and there, but it was still a way better season with tighter writing and a more cohesive story. i wasn't all that optimistic about sydcarmy either way due to all the interview comments from the writers, showrunners, actors, etc. sorry to the sydcarmy peeps. the racists and platonic truthers are truly getting some undeserved vindication this season, and i hate to see it.

it was tough to see carmy continue being an asshole to everyone, but sydney especially. it was upsetting to see her so... diminished. she took a backseat to carmy's ego trip in the kitchen, publicly, and narratively. no recognition for all that she contributed to the restaurant. there was no partnership this season. no meaningful apologies to her from carmy. not to mention the racial implications of his behavior and him getting all the shine. i don't care about her being carmy's "calm" and i sure as fuck did not care for all the scenes juxtaposing her with claire [again]. her conflict of staying vs leaving the bear made a lot of sense and felt forced at the same time considering the 'ever' guy barely acknowledged her contribution when they first bumped into each other. throughout the series, she's been brilliant. the bear literally would not exist without her. and yet it still feels like she's had barely any wins in 3 seasons of this show. i feel like we barely saw her this season. she hardly exists outside of the restaurant.

and there's still zero romance for her character. there are no romantic displays of affection from her or towards her in 3 seasons, sans a botched attempt to ask her out on a date. all the white characters got their romantic displays though. we can always count on that. this season was a slog to get through and now i just feel tired. and also sad for my favorite character sydney adamu.

[gothamcitycentral]

Hazbin establishes very strong parallels between Charlie and Vaggie’s relationship and Lucifer and Lilith’s.

Charlie being as to Lucifer, the fantastical dreamer discouraged and rejected by the world around them.

Vaggie being as to Lilith, someone who failed their assigned role and were driven out of ‘paradise’ (Heaven/Eden) by someone they should have been able to trust (Lute/Adam).

In their most vulnerable moments Lucifer and Charlie find them, love blossoming between each pair because they defied the norm, Lucifer and Lilith being rebellious in a world of order and Charlie and Vaggie being kind in a world of cruelty.

Though at the same time, Charlie is to Lilith while Vaggie is to Lucifer.

“This kingdom was something she really cared about. Something I care about.”

Charlie acknowledges she is the last thread of the hope her mother gave to Hell all those thousands of years ago. The responsibility to her home Charlie puts on her shoulders is born from the love Lilith had for it. She is directly following in her mother’s footsteps, truly believing her people deserve better and that they’re worth fighting for.

Then there is their partners, the fallen angels who don’t share their love’s connection to Hell. Lucifer saw sinners as horrible people who wasted the gift he went to Hell for giving them. Vaggie always kept everyone not named Charlie a spear’s distance away, treating them as people she tolerated but never trusted for a moment. Despite what Heaven had done, had done to them, they were still thinking like angels.

(Though, these mentalities would change throughout the first season, Lucifer choosing to support Charlie no matter what and Vaggie accepting the hotel crew as a part of the in-group which she wishes to protect)

Lucifer’s distaste for his people, not fighting alongside Lilith’s rebellion and instead agreeing to the exterminations, seems to be why they eventually split, despite the love they held for each other. In extreme contrast, Vaggie always supporting Charlie is what keeps them together despite bumps in their relationship. Vaggie always chose to believe in and support Charlie and that means the world and more to Charlie, who spent so much of her life unsupported.

The show also juxtaposes Lucifer’s parental love for Charlie with Vaggie’s romantic love for her, most prominently with Vaggie starting the reprise of More Than Anything to express her love as Lucifer did originally.

(They’re also just. Charlie and Lilith being these tall powerful demon women with Vaggie and Lucifer being their short and tiny fallen angel loves)

What becomes interesting is during the finale when Lucifer (very strongly, very tastefully) implies he ate out Adam’s first wife before fucking his second.

This seems to based on sexual interpretations of original sin. However, in Hazbin we are very much lead to believe the Fruit of Knowledge is a literal apple. Given that Lilith is said to have also offered the apple to Eve, I doubt the implication is that Luci had any sort of one night stand with Eve. Rather, I think Lilith, Eve, and him were once, or attempted to be, in a romantic relationship.

(Considering Eve was made to be Adam’s lesser and Lucifer and Lilith shared the gift of free will with her specifically, I do wonder if Eve had fallen in love with the two, but was unable to leave Adam. The Fruit of Knowledge being given to her so she would be able to be free and join their relationship, but ultimately resulted in their separation as Lucifer and Lilith were casted into Hell)

Which certainly has implications about the future of Charlie and Vaggie’s relationship.

I think the show has actually set very compelling parallels between Eve and Emily.

Much as Lucifer shared forbidden knowledge with Eve, it’s Charlie’s actions that revealed the hidden truth of Heaven’s exterminations. There’s the specific ‘free will’ which Eve was gifted, which fits with Charlie’s influence giving Emily the ‘free will’ to defy Sera and act against Heaven.

I’ve also talked before about the possibility Emily was brought into existence to fill Lucifer’s place in Heaven. Considering the protective relationship Sera has with Emily, along with her looks of genuine horror at her acting against Heaven, it brings to mind the idea Sera has been fearful that Emily would fall just as Lucifer did for Emily’s entire existence, and as such raised her to be more likely to never stray from Heaven as Lucifer did. Which could add to why Sera hid Heaven’s genocide from her despite Emily being a high ranking seraphim; she couldn’t risk giving Emily a reason to rebel.

Which would be a very striking analogue between the two. Both living replacements for the fallen, born into someone else’s shadow to take their place, intended to be the more docile and proper version of Lilith and Lucifer, less likely to stray from the roles they were created to fill. Though, of course, we know Eve fell to temptation and maybe-probably-definitely left or tried to leave Adam, and that Emily is walking the edge.

(Emily having ties to both Lucifer and Eve seems relevant with how Charlie and Vaggie each have parallels to Lucifer and Lilith. Perhaps in her fall, we’ll see Emily ‘thrive in Hell’ just as Lilith did, and similarities between Charlie and Vaggie to Eve will pop up the more we learn about her?)

What’s also interesting is that Eve ‘falling into temptation’ (choosing Lucifer and Lilith over her preordained role) is what separated her from them. However, if Emily were to choose supporting Charlie’s dream over her place in Heaven, then her falling would be what brought her to Charlie and Vaggie. Thereby their situation acts as a foil to the previous generation’s.

And Emily supporting Charlie is very relevant. In More Than Anything we get the exchange of:

“I’ll support your dream whatever lies in store.”

“And who could ask for more?”

Because Charlie can’t think of anything more she could ask. Charlie’s idea of love and being loved is so heavily based on support and being supported. It’s a part of the conflict in Hell’s Greatest Dad, that Lucifer is being genuine and Alastor manipulative, but Alastor is the one actually providing Charlie with what she asks of him, which Lucifer never has. Charlie shows her love for Hell by believing in them, that they can improve, they deserve safety, and they have worth. It’s why Vaggie’s love is so important to Charlie, because for a long time, she was the only one believing in her.

And what does Emily do?

“I don’t know-”

“Yeah, let’s give him a chance!”

She supports Charlie! She believes and trusts her and argues on her behalf. She’s the only angel in Heaven to have faith in Charlie’s dream. Having Emily in the position of a fallen angel, falling right into Charlie’s arms, Charlie caring for her and nursing her back to health, with her being someone who very deeply believes in her, would be the same conditions that made Charlie fall in love with Vaggie three years ago.

Then for Vaggie, Emily also has a lot of the textbook traits that she loves Charlie for. The overexcited-ness, the care she has for others, even the way she doesn’t pull rank. And what she hasn’t expressed, that being seeing value in Vaggie where she herself does not, it feels natural that Emily would express that in the way Charlie does upon learning Vaggie’s history. We’ve seen her sense of justice and her horror at Heaven’s actions, so her deeply sympathizing with Vaggie would be entirely expected, and would be a very easy way for Vaggie to catch feelings for Emily.

However, there is this:

Which suggests the direction of a jealous Vaggie. I think that works, at least initially, with Vaggie feeling insecure in her relationship with Charlie after Emily falling and being cared for by Charlie in the way she was all that time ago. Those feelings heavily changing however, at the realization that Emily is crushing on her just as much as she is Charlie and how deeply relatable to her Emily’s circumstances and trauma would be.

Then on Emily’s side, not only would she have very much been thinking and focusing on Charlie prior to her fall, once she does, she lands in a very emotionally volatile situation where Charlie and Vaggie are supporting her so much and caring for her so deeply. It makes sense that this would translate to her developing feelings for the both of them.

(Now, this is a bit less definitive, but with Emily’s design, the long hair and dress that covers every inch of her short of her fingers, and Heaven being a stand in for the imperialist church, I do read the coming-of-age story the show has set up for her to be one of a conservative christian raised girl striking out of the doctrine she grew up in and finding community in the people her home had demonized, or at least an allegory for such. So having her develop romantic feelings for two ‘vile and blasphemous’ women in a very non-monogamous way would be very thematically relevant I think)

I would say this all works great as an analogue to Lucifer, Lilith, and Eve. Eve being in the unfortunate situation of Adam’s wife but finding comfort in Lucifer and Lilith and falling for the both of them as Emily would as a fallen angel being comforted by Charlie and Vaggie. Lucifer seeing Lilith reflected in Eve and caring for and helping her as he did before being parallel to Charlie helping Emily as she did Vaggie. Lilith initially feeling negativity towards the woman made to replace her bond so closely with her new love, only to realize Eve is falling for her just as much as she is for Lucifer and empathizing with Eve’s situation so deeply, just like Vaggie.

Then, there’s Adam and Lute. I already mentioned that they play parallel with forcing Lilith and Vaggie out of their respective paradises. Their dynamics are built on Adam and Lute punishing, and their domination over, Lilith and Vaggie, because they need to know their place: beneath them. (There’s also the interpretation of that Lute had or has romantic feelings for Vaggie, which is certainly relevant) The show is being very clear with Lute being Adam’s successor I feel, with her taking on his position as leader of the exorcists following his death.

Then, her line: “Your brat is threatening the very foundation of Heaven.” Personally, that makes me think of a sediment Adam would feel towards Lucifer. That’s he is the source of every problem, that he stole his wives (ignoring that Lilith left him before even meeting Luci), and that he destroyed paradise, Eden. Now that Vaggie and Lute’s conflict has seemingly come to a close, I think the show will be shifting to a Lute vs Charlie conflict, much as Adam shifted from Lilith to his hatred for Lucifer.

Now, if the show wants to push a Adam-Eve dynamic with Lute and Emily, what I could imagine is Lute protecting onto Emily in a very one sided way, where she thinks Charlie has ‘corrupted’ the seraphim (threatening heaven’s foundation) and she must personally ‘save’ her, which would very much align with how Adam would feel towards Lucifer’s influence on Eve.

Now, we can tell that Lucifer, Lilith, and Eve’s relationship Did Not pan out particularly well. So I think much like how Charlie and Vaggie have succeeded where Lilith and Lucifer failed, Charlie, Vaggie, and Emily is going to be the successful foil to their attempted relationship. Then for Lute, I think it becomes a question of: does she accept the olive branch Adam did not, does she eventually understand that she is doing wrong, does she accept mercy, or does she continue down Adam’s path, digging her own grave as he did; except that unlike Adam, there won’t be anyone to cry for her?

And y’know, the angel and 3 immortal humans versus the demon/half immortal human and 3 angels serves as a nice counter.

[rollerska8er]

This is kinda old news at this point but I can't stress enough how weird people were about Aabria Iyengar in the first season of Misfits and Magic.

To wit: There is a scene, which was made into a YouTube Shorts clip, in which Brennan Lee Mulligan's player character, Evan Kelmp, is overheard by another character who says "Hey, I can hear you!" Brennan, as Evan, responds "No, no you didn't." To which Aabria, in character as the NPC, responds "You know what we aren't gonna do? I'll whoop your ass. You're not gonna gaslight me." It's a funny scene and played off well by Brennan who is clearly blindsided by Aabria's response (which, again, is in-character).

There is no way to describe the reaction to this moment other than "bizarrely racist". The comments on the YouTube Short paint a picture of Aabria as a crazy person who is unnecessarily aggressive to poor sweet Brennan, just because he said no, the poor lamb. These people read Aabria's in-character reaction to Brennan's joking, in-character refusal to yes-and as an actual accusation of gaslighting from Aabria to Brennan.

People then go on to be outraged that she refused Brennan a deception check (which he did not ask for, and also isn't really possible in the narrative-driven system they're playing because guess what, not all TTRPGs are D&D). The implication is that Aabria is a nasty, unnecessarily aggressive GM who creates an uncomfortable, abusive and oppressive atmosphere around her table.

Except, of course, this isn't what is happening in the clip at all. Aabria is smiling throughout, as is Brennan. Nobody is visibly uncomfortable. Brennan's character becomes flustered by the interaction, but he is supposed to be socially awkward. Did any of these armchair critics bother to learn the context for the scene before making a snap judgement about the GM? Of course not.

Why do I make the racism accusation? Well, because Brennan has also been known to react to PCs goofing around with the same kind of stern, in-character finger-wagging. See Emily Axford-as-Fig's interactions with Goldenhoard and other authority figures, for example.

Were the roles reversed, and Aabria tried to blatantly lie her way out of an interaction with one of Brennan's NPCs only to be told, in-character, "You're not gonna lie to me", I have a feeling the reaction would not be quite as strongly negative.

It is impossible to read the reactions casual viewers had to this moment as anything but specifically racist and misogynist. These people saw a black woman even in roleplay assert a boundary and concluded that she was being aggressive to a white male player for no reason.

I'm just thinking about this now as the second season of Misfits and Magic is currently being released. Of course, it's clear that Brennan and Aabria are good friends and have GMed for each other on and off camera. But I just keep thinking about how fucking uncharitable people were to Aabria two years ago and it does really concern me how normalised this is in TTRPG spaces.

I hope the production team are taking steps to care for their talent because honestly, a small but vocal minority of D20 fans and quite a lot of wider casual actual play fans can be really fucking horrible at times.

[bluebasie]

Hashira Character Analysis Sexuality head canons!!

Since the canon sexualities of the Hashiras were never confirmed and will likely never be confirmed, I have taken it upon myself to come up with a sexuality head canon for each of them based on scenes from the anime, manga, and fan books, etc. This is a pretty large task and analyzing every piece of Demon Slayer media is a huge task so please forgive me if I miss a piece of information that could be interpreted as information suggesting a character’s preference for love! Keep in mind that these are just personal head canon that I wanted to share, and I will include some non-canon ships to show cases of interest. Also, disclaimer, I will not be adding a head canon for Muichiro because I genuinely don't know about him, and I don't think there is enough information about his character loving another and I also don't feel comfortable speculating about his sexuality given his age. But anyways, I will be using a series of quotes, scenes, and situations to come up with each potential sexuality for each Hashira and some may be more detailed than others due to a surplus of scenes or personal bias causing me to pay a little more attention to my favorites. Sorry in advance but I'll try and make it not as noticeable!

Starting with the Water Pillar, Tomioka Giyuu!

Starting off the bat, I really don't think that Tomioka has an interest in women. Let me explain. A huge example of this can be seen in Tomioka’s attitude towards a relationship between Shinazugawa Sanemi and Kocho Shinobu. From season one we can see Kocho’s attempts and friendship with Tomioka and just how unreceived they are despite Kocho's adamant insistence to the point of annoyance. While one could say that he just doesn't like her, it is mentioned during his soba eating contest with Tanjiro in the anime that he definitely does worry about her. Despite this he treats her like an annoyed older brother with an annoying younger sister who likes to pretend they don't care about each other but actually do. Regardless of this dynamic, Tomioka has made it clear he does not always enjoy her forced company, and he has clearly shown a reluctance to try and form a deeper bond with her. On the other hand, while Tomioka is known for being socially avoidant, he actively tries to befriend Shinazugawa where he genuinely breaks his emotionless mask that he's had on for years at the thought of closeness with Shinazugawa. He is shown to genuinely have a deep fascination with Sanemi as seen in his conversation with Tanjiro in the Light novels where they talk about Sanemi and a situation where he asked Giyuu out to eat and he rejected him because he had just eaten. After understanding why Shinazugawa had gotten angry afterwards, he smiles at the thought of Sanemi wanting to eat with him. There is also the fact that in the fanbook when it shows what each hashira thinks of each other for mitsuri it says that he thinks she shows too much skin implying that he thinks it unsafe for her without regard to the sexual implications of exposing her chest and legs due to the skirt. Also, it is said in an extra chapter looking at what each character was doing after the war, it is said that Giyuu and the Uzui family frequent the hot springs which if you didn't know are common in Japan to soak in without clothes. When in the panel at the hot springs it can be seen that Giyuu sits alone away from all of them. This again shows a small glimpse into his potential disinterest in women. Then there is the entire Sabito situation. While it is not said in Demon slayer that Giyuu and Sabito were romantically involved, it is implied throughout giyuu’s entire character story of the impact that Sabito and his death has had and continued to have on his life for years. Giyuu’s interest and want for closeness for both Sanemi and Sabito throughout the Franchise shows his preference for relationships with men rather than women in general. Because of this I would say that my head canon for Giyuu would be that he is definitely a gay man. I don't really think he’s bi just because of his lack of interest expressed in women at all in the entire franchise so I think he is exclusively attracted to men. However is implied in the final chapter that he had a ‘descendent’ implying that he ended up with a woman, he has other family as seen when we was taken away by extended family after his sister’s death and I frankly don't think it’s in character for Giyuu to find and leave a woman pregnant within the three to four years he has left with the demon mark seeing as he has little to no natural charisma and social skills as well as the fact that it would be terrible to leave a woman alone to raise a baby by herself with no close family in the 1920’s but I digress. Overall, I think that based on character interactions my final head canon for Giyuu is that he is gay.

Now onto my girl the Insect Pillar, Kocho Shinobu.

Throughout the franchise it is seen that Kocho seems to have no romantic attraction to any characters in the entire manga, anime, etc. She also is shown to have no want or need for romantic connection due to her priorities is not only demon slaying but also running a hospital and planning her own death after being blinded by the idea of revenge on the demon who had killed her sister. It is also seen that her character largely revolves around family unlike Giyuu’s character revolving around friendship/love for others. Shinobu’s motives and relationships revolve around her sisters, Kanae and Kanao, as well as Aoi and the butterfly triplets. She also seems to hold a connection with Inosuke as a sort of mother figure. Clearly, we can see that Shinobu places a higher emphasis on family, including found family, which shows her character prioritizing care for platonic relationships. She also seems to not care for romantic relationships for the future because she never planned a future for herself with her plan being to sacrifice herself to kill Douma to avenge Kanae. It is clearly shown that her priorities lay in the family she has collected over the years and creating justice for the family she has lost including her sister and the fact that her reasoning for becoming a demon slayer was the impact of her parents' death. Overall Shinobu does not have any romantic feelings for others being too clouded in her mission to kill the one who had killed her sister, and she never planned to find a partner one day due to the fact that she never planned for another day after the infinity castle. Because of her preference for platonic relationships, lack of interest in romance, and opposition to sexualizing herself as seen when she burns the original female uniform given to her, I think she is aromantic asexual. This head canon is very dear to me despite not actually being aroace myself because of her serious priority to her family that just isn't seen often in shonen media with girls who are never shown to be interested in romantic love and instead have their own story and goal to focus on. If you couldn't tell at this point, I really love Shinobu’s character.

Now I'm moving onto the Sound Pillar, Uzui Tengen.

To start us off with the obvious, Uzui is polygamous. This is cannon and not a head canon so we can add that as a fact so moving on to beyond his polygamous status I guess I am mainly interested in if he is only attracted to women or also men. Right off the bat, purely based on speculation, I would say that he would be open to something like that just due to his openness to ideas that were not common during this time period or in his communities as well as his preference for the extravagant, in his words flashy. This can not only be seen with his polygamous relationship but also with his insistence that his wives put their own lives before others which was practically unheard of in the shinobi communities that they all had grown up in. While this took a long time to adjust to for Suma, Makio, and Hinatsuru, Uzui was open to this new life priority seeing as he was the one who had come up with it. He is also seen to be open to multi-gendered bathing in the hot springs with his wives and Giyuu which could further the point that he has no preference for gender or things like that and that he just wants to have a flashy time. One final thing that could possibly point towards his lack of preference could maybe be the fact that he puts a lot of emphasis on his looks. While during this time period men usually didn't wear makeup, jewels, paint their nails, and wear shiny clothes, Uzui disregards social norms to be the best self that he can so this could possibly point towards his lack of care about love between the same gender because those things just would not matter to him. Because of his supposed ‘lack of care for gender’, I definitely think he likes both genders, but I also do think he has a slight preference for women for whatever reason due to the fact that he has three wives obviously. For Uzui’s final head canon, I would say that he’s bisexual with a slight preference for women.

Now going on to the Flame Pillar, Rengoku Kyojuro.

There also isn't much to see about relationships between Rengoku and other characters but based on his dedication to his family's traditions through Hashira lineage, breathing style, and estate, I do believe that if Rengoku was to stay alive that he would have wanted to find a wife and settle down at some point like his family before him. He is shown to love being around his mother and taking care of his brother so I can definitely see him growing to be a huge family man who just loves his wife a lot. There was a small quip in a fan book where Rengoko refers to Tomioka as handsome, but it honestly just felt like a supportive bro thing where he doesn't feel ashamed to compliment his friends. Rengoku’s relationship with mitsuri could be somewhat evidence that he does not feel much attraction for women but obviously he's not just going to be into every woman he sees, and he clearly views mitsuri as a younger sister. This only proves his family man status even more with his care to those who are younger than him. Due to his constant support of others and traditions of a traditional family I feel confident in saying that Rengoku is the number one Straight ally. He would totally be supportive if any of the Hashira ended up getting together with a person who is the same gender as themselves.

Moving on to the Wind Pillar, Shinazugawa Sanemi.

Shinazugawa is one of the characters who have seemed to show interest, whether romantic or other, but interest nonetheless in both men and women. It is seen in the fan books and the light novels that he was interested in Kocho Kanae when she was alive stating that being with her made him remember his mover and his infatuation with Tomioka over the span of the series with him getting distracted by the sound of his voice, getting visibly worked up over even the smallest of actions that he does, encouraging him in the war, and being seen having a close relationship after the final war arc. Sanemi is shown to be a very expressive individual who feels a lot of feelings towards others and some of those feelings I would say are feelings of attraction, infatuation, and even love. Sanemi is also shown to be very defensive of his feelings as seen when Tanjiro walks in on his and Tomioka’s fight which is seen to be very unguarded and raw with it being a direct expression of everything Sanemi was feeling and everything he wanted to express. However, when Tanjiro views this exchange Sanemi immediately jumps to the conclusion that Tanjiro was ‘spying on them’ as if this fight was meant to be hidden and private not for the eyes or knowledge of anybody besides Tomioka. It seems to me that Shinazugawa clearly knows what he feels about Giyuu and he is scared of it and tries to hide it from others and also himself. He ends up losing this guard after the war though when it is seen that he goes out to eat lunch with Giyuu after sorting out the miscommunication between them over the years. Because of his intense feelings towards people who are both genders, I would say that he is definitely bisexual. I don't know if he has a preference and what preference he would lean towards if he had one but for now I'm just going to say that he is bisexual.

Moving on to the Stone Pillar, Himejima Gyomei.

This one is pretty simple, I think. Gyomei is a Buddhist monk so that means he is celibate. This essentially means that he would not have a romantic partner or have children in an attempt to forward his path to enlightenment. He has never shown romantic interest in anyone throughout the span of the series, so I think it's safe to say that he is Unlabeled? I don't want to say that he is aroace because I don't know if he has romantic feelings but just doesn't act on them or if he doesn't have them at all, but I guess it would make sense if he was on the aroace spectrum. I think either aroace or unlabeled would work here and are headcanons that would make a lot of sense.

Next, we have the Love Pillar, Kanroji Mitsuri.

In connection to her breathing style, Mitsuri is a very expressive and loving person to people of all types. This does also include women as well. In her character introduction in the first season this is explicitly shown where after every character introduction of the other Hashiras Mitsuri would include a small quip about some words of admiration, she has for them including Shinobu. While Kanroji did join the Demon slayers for a husband, I think that she actually does have love for everyone regardless of gender and she just really wants a husband specifically because of social norms and the fact that she wants somebody who is stronger than her and while there are very few men who are stronger than her there are few women who fit that standard as well. Other than that, I don't think that the LOVE Hashira really has a preference for gender, and she just feels a small attraction towards everybody. I think that she could be pansexual or at least under the bisexual umbrella if anybody believes she has a preference towards one gender, but I think she just feels a good amount of love for everybody and everything with a high surplus for Iguro and therefore pansexual!

Finally, we've got the most difficult to understand in my opinion, The Serpent Hashira, Iguro Obanai. 

Iguro has got quite the history with a distaste towards women due to the trauma he had endured during his childhood. His lack of romantic affection had been carried with him for his entire life until meeting Mitsuri when he fell head over heels for her. Iguro’s love for mitsuri has frankly made it pretty difficult to understand or come up with a headcanon due to his disinterest in literally every one besides her. I don't think he would ever love another woman or show affection to another man which makes it difficult to come up with something. I guess I could say that he is unlabeled because he literally does not love anybody and has never loved anybody besides Mitsuri before. I could also say that he is Asexual because as seen in his entrapment, the fascination the snake demon had of him, her watching him at night, and his family overloading him with overwhelming food he did not want. This could all be seen as an allegory for sexual assault and/or grooming as a child and that might have caused him to want to avoid anything sexual and therefore I think it could be very possible that he could at least be under the asexual umbrella. 

That was a lot of writing so thank you if you read this far! Keep in mind that these are head canons and if you disagree on anything please don't start a war in the comments or anything. Please. Anyways I would love to hear your own head canons and what you think of this small character analysis! 

[illumalux]

Life Series Victors as Tarot Cards

A presentation on why we’ve got it all wrong when it comes to grouping life series victors.

This post will continue on with the implication that ZombieCleo is a Victor, simply because she is. She won real life, therefore she's a victor. Argue with the wall.

Now, I see your celestial trio of the first three winners. This should never change. This feels the most apt, it centers perfectly, and each of the things it represents are present in multiple different categories. Obviously in space, as everyone has adapted to, but also in a Minecraft world, and what I see as more important: in a tarot deck.

Think about it this way.

The Watchers, in whatever form you think they (or we) take, are collecting these Victors. Each one means a different thing, survived a different landscape. While I understand the celestial motif of the first three Victors, and how it fits into their characters, I would argue that many others are far too grounded for that.

It’s a collection, remember? What is better for assembling a set than a deck of cards? Especially ones that meddle in Fate, something the Watchers seem to adore.

So here are the cards each Victor represents, with card meaning and my defense as well. This will go in chronological order of the seasons.

Before I continue, I just want to give a disclaimer. Every tarot deck has a slightly different explanation for what each card means. The definitions I use are a mix of three of my decks and the official Rider-Waite-Smith deck's explanation, so if there are inconsistencies with what your deck says or what you know, please don't come for me.

Grian, Third Life:

XIX. The Sun

Beyond the obvious desert motifs (a whole extra post in and of itself), the Sun is representative of not only Grian's gameplay, but also how the Watchers (those collecting this deck) feel about him. Grian is one of them, so he naturally starts out in their good graces, with a greater level of respect.

Rider-Waite-Smith defines the card as one of success. Of course the Watchers will gloat when their baby wins. Even if he wasn't meant to, it did inevitably mean that throughout his game, Grian was inarguably one of the largest sources of negative emotions, second only to the Red Army. Again. Extra post on its own. When he won, it saved anyone the satisfaction that might negate their negativity, alongside the delicious outpouring of grief that was the final duel of Third Life.

Reversed, the Sun is a card of depression. As I just touched on, one of the most defining moments of Grian's game was his final victory. When the ending came down to himself or his greatest ally, he went about it in the way that caused probably the most pain to both parties involved. It pushed him to the very brink, ending in him defining his own ending just moments after winning.

Scott, Last Life:

XVII. The Star

Even ignoring the starborne origins and headcanons, as well as the crown of stars included in his skin (Void below, these posts write themselves) this one looks like a super simple explanation, but actually requires me pointing out something that may not be obvious to some Watchers: Scott, in every game and Iteration has made it a point to rebel against the rules in whatever way he can. I could go into full detail, but thats a lot of words and I don't need anyoen to get bored. (Void, this series and side tangents that require other posts)

In third life, a game about death and destruction, and the originator of factions, Scott took a very different route: he got married and built a house in a flower field. When grief finally found him, he refused to give the Watchers any satisfaction, literally crystalizing his grief into a part of his character design (and one that would remain for two to three more seasons, depending on your thoughts on the coral pieces). In Last Life, he is the singular person in all five seasons (technically two, but shhh this is more dramatic) to withstand the Boogeyman curse, something the Watchers installed purposefully to make people kill allies. Double Life, obviously, as Scott rejecting the soulmate the Watchers gave him. Limited life, in which kills gave more time, Scott did not die a single time without giving life freely, either to an ally or a temporary ally.

That got long. Anyways. Scott's game has always been one of hope, spreading positivity and refusing to be pushed around by the Watchers. And that's exactly what the Star means. Upright, this is a card about hope and perseverence, pushing through challenges, which is exactly what Scott does. He refuses to let the Watchers' actions upset him and continues to play the game for his friends and for the future and nothing else.

Even reversed it still fits. Reversed, the Star means loss or abandonment. I've already used up too much time on Scott here, so I'll let you pick your favorite instance of that.

Pearl, Double Life:

XVIII. The Moon

This one is far and away the easiest. Like the previous two Victors, Pearl's story connected her with her symbol even before she won. But blood moons and wolf packs aside (as that's a whole different post for a whole different day) when you take a look at the definitions provided, it becomes even clearer.

The Moon is a card of transformation and change, as well as revealing one's inner self. Rider-Waite-Smith attributes hidden enemies, darkness, and terror with The Moon. While I'll happily analyze every single one of Pearl's actions as the Scarlet Pearl, I think this one is plenty self explanatory. After her rejection early on in the game, she immediately isolates herself and latches onto the night motifs, leaning in to what everyone expects her to be.

The reversed meanings also explain Pearl's arc in Double Life perfectly: confusion, mixed messages, and disbelief. This perfectly encapsulates Pearl's feelings at the very beginning of the game via her rejection by Scott and subsequent abandonment by Martyn in an attempt to get back into Cleo's good graces. Her instinctual reaction is one of shock, not understanding why Scott would choose to pick a soulmate when she was right in front of him.

Martyn, Limited Life:

XVI. The Tower

One of my favorite cards, the Tower is instantly recognizable. While most of my analyses aren't about how the card looks, I feel like it's important to share this time around. The most common image consists of a tower and one or both of two elements: lightning, and people falling. As a card, it represents sudden change, destruction, and chaos.

If anyone here is not yet convinced that I'm correct, please go rewatch Martyn's last LimLife episode, then come back and argue.

You're back? Great. We agree? No? Fine, I'll explain.

This fixates mainly on his winning game, but I'll touch on the rest of his games as well. LimLife ended with a huge betrayal on Martyn's part, one characterized by being so insanely sudden. (Of course it's the Watchers meddling. But the Tower isn't always about your own choices being your downfall.) He quite literally snapped as if hit by lightning (see description of the card), and this spells the beginning of the end for him.

Similarly, in all of his other games, Martyn finds himself with one pivotal moment that spells his downfall. The Red King, Betrayal at the Southlands (and honestly his worst move in DL was abandoning Pearl to try and beg for Cleo's forgiveness).

Funny enough, the reversed meaning of this card is almost a perfect match. I don't think this needs too much more explaining.

Scar, Secret Life:

X. The Wheel of Fortune

I adore Scar in these games. Every single season seems absolutely plagued by chaos. The worst season, obviously, was the one in which he gained his crown. Poor guy was just trying to make friends, and it seemed like every new secret was the exact opposite of what he wanted.

The Wheel is just what it sounds like: it's the card of luck, destiny, and fate. I won't add a new paragraph for the reversed meaning here either, as it means the exact same thing as upright, but with negative connotations in the form of bad luck and misfortune.

Scar is plagued by the whims of luck left and right. It seems like, more than any other player, Scar is unable (whether by others, fate, Watchers, what have you) to take full control of his own story and take actions that he wants to take, instead limited to where the current takes him.

But in the end, that chaos is what gives him his win. The lack of alliances and freedom that the game forced on him was what eventually lead him to be unmoored and able to volley his pain wherever he wanted, leading to a mostly painless win.

Cleo, Real Life:

XIII. Death

A little on the nose, I know, but which of these choices aren't? For a series entirely based on improv, there are a stupid amount of coincidences present.

Now, I know this is far and away the shortest series, so I'm going to analyse Cleo as a player across all of her seasons, not just her winning game. Sorry Real Life. You should have been longer.

While the meaning of the Death card may seem obvious, it's twofold in actuality. In some historical decks, even, the card is instead named Rebirth. I know how ironic that is that the zombie is the one who stands for death and rebirth, but again. Blame the stupid narrative, not the poor me trying to make sense of it.

In what my lovely mutual Honor called "phoenix behavior", I'm going to focus specifically on her deaths and rebirths, specifically BigB's betrayal in LastLife. Cleo takes her death hard, as anyone might. But her rebirth comes with change. The minute she respawns, it's with a different understanding of the world around her. She immediately embraces the change that has been given to her, burning down the Fairy Fort and ditching her alliance for a new one.

The reverse captures Cleo as a character over her seasons better than anyone on this list. While the upright meaning of the card is change, reversed it signifies stagnancy, obsession, and immobility. This can be seen almost perfectly with her thoughts on alliances. Scott remains forever in her good books, even over the course fo multiple seasons, simply because he has never wronged her. Even when they aren't direct allies,she still cooperates with him whenever, simply because she retains her previous feelings about him. The same can be said for BigB, but in the opposite direction. From the moment of the betrayal onwards, she refuses to trust him, going so far as to warn Pearl away from allying with him in LimLife.

Bonus: Jimmy Solidarity, the Canary

XII. The Hanged Man

But Moon! you shout, throwing your complimentary bucket of popcorn at me. Jimmy isn't a Victor! He's the exact opposite!

Yep.

That's why he's so soggy and why he goes on this list. You wanna argue that he doesn't have the same lore impact as a Victor? Too bad. Can't hear you. Jimmy gets his own card.

Initially, I was kinda sad that I already used the Tower, because that's the portent of doom and gloom or whatever, perfect for a canary. But then I spied an even better, even more Jimmy card.

The Hanged Man is the card of sacrifice. While I could go on a whole rant about the Fool's journey and how it is represented in the Life Series, that is Extra Tumblr Post Number IDK Anymore. Instead, today I'm going to stick to the basics. To specify sacrifice, the card doesn't just mean giving up. It signifies self sacrifice specifically. And what is Jimmy if not a semi-willing first sacrifice to get the chaos rolling?

How many times has he gone out to stop his friends from being the one who has to herald the change? The canary knows that he will sing the final notes, but so long as he can ensure the miners don't have to, he will descend once more.

Conclusion:

Now. Did I spend more time on this post than I ever did on an English Lit essay? Maybe. But as much as I love the space motifs this fandom has, I fundamentally disagree when we get to the latter winners. Come on, guys. Tarot decks are right here.

If I missed anything, or I misrepresented a player's game, please tell me. I can't be everywhere at once, and I'm always happy to learn more about some of the players I don't watch as regularly.

Anyways, this was way more fun to write than I expected. If anyone wants to see me give cards to the rest of the players who have yet to win, or an analysis of anything a mentioned in my tangents, please let me know.

Special thanks to @honorsongs who kept me company through this whole process and gave me many a suggestion when I lost my train of thought.

[eww-y-tho]

The hypothetical debates surrounding the whole "Lady and Lord Whistledown" vs "Colin and Penelope Bridgerton" make me wither because

Lady and Lord Whistledown.

I'm telling you, this shit would be so fucking funny. I can picture it in my mind's eye: Bridgerton season 4, we get a quick shot of Colin and Penelope talking shit and giggling like crazy in the background, maybe with some PDA to match because Colin can't keep his hands off her, only to hear a male voice actor of a similar calibre to our angel Julie Andrews join in sometimes while Charlotte picks up the paper and cackles. Obviously, the reveal would happen, but I want to believe that our Queen would be down for Whistledown to continue as long as it doesn't get too personal. It would be kind of unfair and a bit indicative of the period, monarchy and all, but Charlotte being in on it would amp up the comedy points. Plus some ~historical cultural commentary~ would just be that final flavouring of spice.

It would kind of feel like Colin's turning to the dark side because we've already seen quite a few scenes where he seems possessed by Lady Whistdown's attitude and I love the idea of him coming from hating Lady Whistledown's guts to protecting her and joining in because it's fun and it activated his little shit reflex. Plus the subtextual implications of just how much Colin and Penelope actually are best friends and are connected beyond normalcy would just be *chef's kiss*

I would also love it because it feels very partner-in-crime vibes, giving another aspect to their relationship that would be fun to see. Combined with the power Lady Whistledown has on the story, we'd be guaranteed to see our beans quite a lot. Also a "Hello, my Lady," followed by a "Hello, my Lord" after a particularly steamy scene would literally have me shaking crying giggling dancing kicking my feet.

As for Penelope, it honestly depends on how you view her character and her relationship with Lady Whistledown. If the person in question thinks that Lady Whistledown is a vital part of her personality, an aspect of who she is, limiting her by making her quit would just feel really, really sad, man. Lady Whistledown has caused Pen a lot of grief, however, and we see it a lot throughout the story, so I think Colin being there, sharing the secret and partaking would make her feel much more comfortable in her own skin.

Anyway. Love the idea, and would perish if it happened, but probably won't.

Colin and Penelope Bridgerton.

This one's more cute than anything else. Two writers as a couple release solo and joint works sometimes while establishing their reputation as respectable authors and leaving Lady Whistledown behind them. I can see another scene in my mind's eye, Colin and Pen are sitting across from each other on their respective writing desks, writing and then handing each other their work to review and give opinions, paired with a kiss after they start teasing each other about their writing. Considering that the designated Sexy Desk Scene has already been taken, this would have to be in a secluded area or in their bedroom. And then shots of people buying their books and enjoying them would ensue.

With the amount of journals and letters and things Colin's done, he's practically primed for an author's role. Maybe they can be more exposed to Colin's love for travel in this version. Having Penelope with him on his trips while writing their little hearts out would be adorable. Sadly, though, this would mean that they would probably have less screen time.

If you see Lady Whistledown as an outlet for the suffering Penelope was going through throughout the story, she wouldn't need Lady Whistledown anymore and abandon the alias because she's served her purpose as Penelope's coping mechanism, and Colin and Penelope would find their fix through other means. Maybe continuing to gossip but only between the two of them, going back to the beginning of the series and the final link to their relationship.

It's been established over and over again that they both love reading, writing, gossiping, and discussing all things philosophical. And each other for enjoying those qualities. So, I think this dynamic would be particularly interesting because it would be yet another way to connect. They could probably also make each other all hot and bothered by leaving random sexy letters sporadically, which would just be so fitting, tbh. However, that would also work for the Lady and Lord Whistledown dynamic so it's kind of a null point. It would be hot, though.

And, yeah, that's how I see those hypothetical dynamics playing out and how that would affect the characters. But now for the negatives. While I love the Lord Whistledown idea, I do think that Colin is a bit too nice and cute for that, and it would probably be a bit OOC, especially because of his personal experiences with Whistledown, it would be a bit weird if his tune suddenly changed to "yeah, I know gossip can ruin someone's life, but I like it now, so I don't care." But I also just can't fathom Bridgerton without Lady Whistledown, and this idea hinges on literally removing the narrator and source of all the tea, as well as making us lose our angel Julie Andrews. At least the Lady and Lord Whistledown idea fulfills almost all fronts of their relationship dynamic.

Again, as the GIF demonstrates, both are good, and I love both of them for the different ways they would take the characters, but let's be real, a combo would be really fun as well. Like Pen keeps up with Lady Whistledown while Colin writes his own books or smth.

Anyway, enough of my rambling. Bye.

[fountainpenguin]

Short Version: I don't even know how to begin explaining this, so take these 'fic doodles with no context.

Wish Fixers, my chronically unhelpful beloved...

Long Version (City Lights AU #ridspoilers beyond the above implication. Mentions of death and trauma; it gets pretty dark)

Nalooksthrough, I tag you below because I cited your co-dependent toxic friendship comic and said it was cool- If you don't want to click, that's all the tag was :)

So I started outlining my Dale backstory 'fic (Lemonade and Papercuts) since I am the most predictable person alive and of COURSE I can't resist 7 years of trauma and intimacy anxiety <3. But planning a 'fic like this requires many pieces and many questions.

First and most obvious- How did Vicky lure in Dale? From previous planning, I've already decided that since they're the same age (maybe one year off), they probably knew each other in school or activities.

Ex: Squirrely Scouts & Cream Puffs... Not unreasonable- Throughout the series, many kids participate and the organizations seem to have a big following in Dimmsdale. Vicky's sister Tootie is in the Cream Puffs and Vicky is seen bossing them around in the Season 0 episode "Scout's Honor" ("Oh Yeah! Cartoons"). There's a comic by the same name depicting Remy in Squirrely Scouts (after "Fairy Fairy Quite Contrary" but before he gets his memories back in "Remy Rides Again" and I always thought it was cute). I mean, look at him:

Pictures courtesy of the FOP Wiki

It's not unreasonable that Dale - who's also rich - might've gotten into that (especially since Doug is big on the cowboy theming and of all the rich parents, he's probably the one most okay with his son playing in dirt). Something scout-related could be an option even if Dale and Vicky went to different schools.

A friendship that gets increasingly toxic until it spirals into full-on abuse sounds really interesting (and @nalooksthrough portrayed this idea beautifully imo in THIS comic I can't stop thinking about).

Sounds fun to write, so let's go with that. What's next?

Hey, remember when 7 years ago, I headcanon'd H.P. as Dale's godfather because of this doodle in Da Rules that specifically refers to Pixie godparents and depicts a fluffy-haired kid in a purple shirt?

I recently found out I still had Dale listed as a godchild of H.P. on his full character profile on my fanfic sideblog. I was waffling over whether to retcon that (since I hadn't yet done anything with it), but I started brainstorming whether I COULD do anything with it.

I've always written Wish Fixers in 'fic [e.g. Origin of the Pixies] as a therapy business run by H.P.'s dad (which H.P. bought off him out of spite despite not being licensed for therapy) but, like...

Does Jorgen know H.P. isn't licensed? I can't see why he would... As far as he knows, H.P. owns and runs the place- especially given my lore that Wish Fixers has been in his family for many generations. Sounds qualified to me!

In "School's Out! The Musical" (episode that Da Rules screenshot is from), we learn Pixies are at the back of the line for godparent work, even under creatures like unicorns (Hence the Musical's plot requiring them to remove magical creatures from earth before they could assign themselves to Flappy Bob).

I said in a recent liveblog post that I'd always imagined this was a punishment given to them due to H.P. absolutely failing as godfather to Dale- Thus, the origin of the doodle on the page for that rule. But... I never decided what happened.

See, Dale SEEMS like a guy who would qualify for a fairy. He was probably pretty miserable under Vicky's 7 years of torture and he's still holding onto that trauma in his adulthood.

DID he have a fairy?

I'm just saying, we know from S4's "Wish Fixers" that H.P. is legally(?) allowed to make contracts that swap a fairy godparent with a pixie one if godkids choose to sign of their own free will... Hmm... I'm connecting dots I don't think I like... (I am lying).

I mean?? Dale clearly did not get out of the pit due to magical interference. If I'm committing to the doodle being Dale and reflecting an actual godfather-godson dynamic between him and H.P., then something sure went wrong there. I can't NOT make Dale suffer...

What on earth could've made Dale sign a contract for something a fairy couldn't give him? We know from "Nectar of the Odds" canon that he wished to see his dad, and thanks to previous liveblogs, I DO already have a headcanon of Dale being extremely desperate for his dad's love... Hmm... I can work with that.

I went down a rabbit hole trying to answer the question of how Vicky secured lemons for 7 years for Dale (and other kids) to work with. Here are some lemon tree facts:

- Lemon trees bear fruit after only a few years - They can bear fruit multiple times a year (depending on variety) - A single lemon tree can produce 1,500 lemons in one growing season - Dimmsdale is in California - a state known for lemon orchards.

That feels likely... An orchard of even a few trees can keep you going for a while.

But lemonade doesn't sell for much compared to other things Vicky could've set a kidnapped child up to do (Ex: In "Microphony," she has kids doing a bunch of other tasks like answering phones for her babysitting service, painting houses, and washing cars).

So... WHY lemonade? What is going on that makes this the thing Vicky has Dale do for 7 years?

And who owns the orchard? I need Vicky to obtain lemons without being stopped for 7 years.

Is it a Dimmadome orchard? Maybe, but several episodes imply Vicky's not familiar with the Dimmadomes - and she probably would have turned Dale in for cash reward if given the chance - so those are two things I need to keep in mind.

Does the orchard belong to her family? That's a possibility- Vicky is shown drinking lemonade after "Nectar of the Odds." She definitely could've bought it - It can't be too expensive unless prices were jacked up after she lost her cheap labor - but it's a drink she's seen with in multiple episodes. She definitely likes it.

And we know from "Timmy's 2D House of Horror" that Vicky's parents are terrified of her. It's not likely they'd stop her from taking lemons from the family orchard.

One problem... If Dale goes missing when he's about 9 (Closer to 7 or 8 in my planned timeline), Vicky is also 9 or younger. Are her parents scared of her when she's that small and inexperienced in the ways of the world?

In "The Switch Glitch," she's 5 and seems mild and sweet until 10-year-old Timmy mistreats her- She clearly didn't have memories of Timmy, implying she totally regressed to how she acted when she really was 5. Worth pointing out she goes off the deep end and chains up Cosmo and Wanda, so... she IS mean even at age 5. But also, she's 5. She wears the same purple hair bow in "Switch Glitch" (at 5) that she does when Timmy drains the meanness out of her in "Vicky Loses Her Icky," which is interesting.

So that begs the question... Can I turn my Dale backstory 'fic into a double story of Dale abuse AND Vicky going from a pretty innocent child to Totally Messed Up? Keeping in mind that according to Vicky in A New Wish, Vicky IS the one responsible for abusing him and he "spent 7 years' worth of Saturdays in a factory underneath a lemonade stand."

If that's the way I want to play it... Something happened to send Dale and Vicky down the dual victim-and-abuser path, destinies intertwined. And for some reason, Vicky stuck with the lemonade theme.

Dale just says he spent his Saturdays "in a factory underneath a lemonade stand." It's not out of the question he and Vicky made more lemon products than just lemonade, especially given Vicky's love for money (and those 600 lbs of lemons one tree can produce in a year). We can assume they changed locations a few times or someone would've found the trapdoor on Timmy's lawn. Plus when Dale started his abuse, Vicky hadn't started babysitting Timmy, whom she only met when he was 8.

So, I've set Dale up to be lured in by Vicky because they were friends. I like the idea of things gradually getting worse as Vicky slowly morphs from a friend into a very cruel person. If Vicky was bullying him, what stopped him from just... leaving?

Vicky's transformation was probably subtle if he stayed for so long..... I also pointed out in a recent post that Doug's underground milk empire where he uses hypnotized people for labor bears a striking amount of similarities with Vicky's lemonade stand, even down to the general vibes of "trapdoor entrance" (although it's implied there's another entrance in small building).

And if we want to be technical about things... We don't know if Doug and Dale pressed charges against Vicky. She clearly continues to babysit Timmy and other kids after "Nectar of the Odds" (Season 2).

In Season 4 ("Channel Chasers"), Doug remarks that Timmy's parents should've guessed Vicky was evil because of the Chip Skylark song "Icky Vicky," but he doesn't mention Vicky kidnapping his son. That's.... sus. He even offers to buy a car from her in Season 3's "Engine Blocked" (after Dale's escape).

Why would such a powerful guy let all of that slide? Did they just not have enough proof? Did Vicky wipe the place clean? Did Dale "not want to make a big deal about it" because he was so exhausted and grateful, he just didn't want to think about it or struggle with the legal system? Was he covering for her?? Was he scared to speak up?

... Did Dale not tell his dad the whole truth about where he was?

What if Dale was - in some vague and early concept way - in on the lemonade scheme from the beginning, back when he and Vicky were friends and she wasn't so cruel? Maybe she turned on him and sentenced him to the pit before long?

Why the underground-ness of it? Why the lemonade, which probably doesn't turn much profit... as lemonade. Unless you have unrestrained access to tons of lemons that you can turn into multiple products - Dale DID call it a factory - and no one is stopping you from accessing them...

... but how do you set up a situation where kids have access to a whole lemon orchard - presumably carefully maintained - and the adults don't take it away from them (Because... surely they would've found Dale and multiple other kids if they strayed close).

And Dale didn't leave. He does in "Nectar of the Odds" - apparently of his own volition - but not before. Was he kept there mentally as well as physically?

We KNOW Vicky can't be monitoring him 24/7 because "Nectar of the Odds" is the only episode depicting her paying attention to him, while others show her doing many other things in many other places (though it's worth noting Dale says in that episode that "Vicky's kept him locked up for so long").

Did he stay so long because it was the perceived better fate up until he miraculously crossed paths with his dad (via fairy magic) and took the risk? Would he have gone back in?

Maybe it wasn't supposed to get this out of hand. Dale and Vicky were young when this started... Somewhere between 7 and 9 (given that Dale was kept there for 7 years and Vicky is 16 when he escaped and he tells 9-year-old Dev this happened when he was Dev's age).

Maybe there was an accident. Something not just Vicky, but even Dale felt the need to cover up, especially in regards to the orchard and the fact that it needs to be Vicky's consistent source of lemons (and not something she lost out on before Dale's escape... an illusion of ownership maintained. Kids can't own the orchard, but what if they fooled people into believing it wasn't owned by kids?)

Hmm... some kind of accident that got two mostly innocent kids into huge trouble, thus setting up a horribly intertwined fate where if one of these toxic co-dependent friends backs out and squeals, even the squealer might suffer worse compared to trucking along on the cruel existing path.

tl;dr - if Vicky and Dale accidentally killed the orchard owner but they were kids and terrified to tell an adult lest they go to jail for life so they hid the body in the basement (or like ?? threw it to the coyotes or hyenas that inexplicably lurk on the fringes of Dimmsdale??) and are trying desperately to wipe their hands of this by pretending the lemon orchard is still operational so no one investigates until they can figure out a plan, and then Vicky hardens herself as a trauma response and manipulates Dale into believing it was solely his fault and she'll pin him with murder charges if he gets cold feet and turns her in, and he's miserable and gets a fairy (then loses his fairy via Pixie contract through Wish Fixers, presumably in an attempt to negotiate a way to protect himself from Vicky and somehow not gaining the ire of his father) and then H.P. (lawyer and unlicensed yet de facto therapist pulled two ways) is suddenly Dale's godfather and trying to comprehend what the flip is going on between misery and manslaughter while he's also juggling Gary, Betty, and Flappy Bob at the same time in preparation for the Musical because we know he spent 37 years on that plan...

... Would that be one messed-up yet hyperspecifically canon-compliant 'fic or what?

These thoughts have been haunting me all weekend and I HAD to get my "I'm not that kind of lawyer or therapist" joke out of my system, so there's your context. #Sorry. Is this the direction the actual 'fic will go? ... It's not the direction I really had in mind, but ?? It's off the wall and therefore I must shake it in my teeth. I can't not write Dale backstory this horrific. what. hey.

[lurkingshan]

We Need to Talk about Love in Translation

I caught up on Love in Translation this week at @bengiyo’s behest, as he’s been talking about how good it is. It’s a Thai bl on iQIYI, and in this current deluge of shows, it’s flying mostly under the radar. But this week’s episode convinced me this is a show we should be prioritizing even with so much to keep up with, and I wanted to talk a little bit about why. 

Ben already covered some of the basics about the show, and I agree with all of that, but what is really blowing me away is the confidence of the writing and the control the writers have on the pacing of this story. Because this show? Moves, and it moves fast. The relationships are evolving rapidly, and our leads are moving closer every week, and yet nothing ever feels rushed or unearned. They start out adversaries, but it’s all based on a misunderstanding, and once that gets cleared up and they get to know each other, they come to like each other rather quickly. The narrative gives us good reasons for their rapidly shifting perspectives, and crucially, this is a story that is fundamentally about kind people with emotional intelligence, so their openness to changing their minds about each other tracks.

So in episode four, we begin with a classic drama set up: Phumjai, our inexperienced but enthusiastic protagonist, is finally going on a date with his crush, Tammy, and he asks his new friend and business partner, Yang, to go on a practice date with him. Yang is, of course, already half in love with Phumjai and this set up is torture for him. And so the “fake” date commences, and of course the two of them have a fantastic time, forgetting Tammy exists for long stretches before Phumjai inevitably brings her up again and Yang’s face falls. Before the date ends, they end up lounging alone under a tree, Phumjai asks Yang about what kind of lover he would want, and Yang takes the opportunity to make his feelings clear. 

Their almost kiss is interrupted, but here’s the important part: Phumjai is extremely aware of what almost just happened, and what it means. He knows Yang was about to kiss him, and he was going to let him. And he knows the implications of that, unlike the typical trope where a character like him would remain confused about Yang’s intentions or his own feelings. Phumjai is inexperienced, but he’s not ignorant. Still, he has committed to a date with Tammy, and so he goes. And the whole time he’s with her, he can feel that it’s not right. He’s not feeling the same things with her that he was with Yang, and his mind wanders back to Yang continuously throughout his time with Tammy. He is not doing the typical drama thing of sublimating or ignoring his feelings. He notices what is going on with his heart and what it means. 

And here is where the show wows me again: Phumjai does something about it immediately. He ends his date with Tammy without kissing her despite a clear invitation to do so and runs straight to Yang to talk to him about what he’s feeling. He tells him with total honesty that he’s been thinking about him all day, and that he didn’t feel the way he thought he would with Tammy, and that he wants to understand what is going on between them. Yang listens to him patiently as he works it out, and once he’s given an opening, he doesn’t hesitate to lean in and finish the kiss he started earlier in the episode.

Let me just emphasize again: all of this happened in one episode. This show deftly covered the emotional groundwork and character development that most dramas would take several weeks if not half a season to unpack, and it all felt organic and authentic to who these characters are. I sat up and stared at my screen in awe several times throughout this episode because I was so delighted by what was happening and how confident the underlying writing was. We are now halfway through the show, and we have ample time to work through the fallout of Phumjai’s realizations and see him and Yang actually figure out being in a relationship together (my favorite thing in any romance drama). This is a new screenwriting team (it’s literally their first credit) and they certainly have my attention. I can’t wait to see what they have in store for the second half of this story.

[considerablecolors]

⚠️ SPOILERS FOR S4 & DISCUSSION OF SA ⚠️

hey so umm THEY NEVER ADDRESSED ALLISON TRYING TO ASSAULT LUTHER IN S3 WHAT HAPPENED HELLO. I KEPT WAITING WITH BATED BREATH TO SEE HOW THEY COULD POSSIBLY ADDRESS THAT TOPIC WITHOUT FUMBLING IT AND THE ANSWER WAS JUST. TO NOT EVEN TRY. I GUESS.

"everyone in the family is mad at me because i changed the timeline" ok yeah sure but I CAN THINK OF ANOTHER REASON TO BE MAD

and before anyone says any shit this is 100% not an excuse to be racist and sexist or to hold allison to different standards than your favorite white male characters. part of what made that scene in season 3 so disturbing to me was the fact that the writers chose to have the only black woman main character in the show do that to a white man. she's one of two women in the core siblings cast at this point. she's also a character that initially, while prone to making mistakes and abusing her powers, always loved her family. in fact, her love for viktor and insistence on not giving up on him even when he was hurting the others was one of the main themes of the first season.

why did we have her do that of all people. why did we have anyone do that at all. it was completely unnecessary to do (and to SHOW ON SCREEN) but to have the gall to do... that... and then not even address it and have allison and luther act completely normally to each other...

ALSO UM. luther canonically not remembering his first time having sex because he was under influence, getting mind controlled by his sister to almost get sexually assaulted, and then becoming a stripper despite showing basically no interest in the actual aspects of it... girl am i going crazy or is this not a coincidence, in a competently handled show this could be an exploration of the way sa victims will end up sexualizing themselves but no. instead we get jokes about him wearing thongs 24/7 and A FLASHBACK TO HIM AND HIS SISTER THAT TRIED TO ASSAULT HIM DANCING TOGETHER LIKE THAT'S CUTE. HELLO. ARE YOU THERE LITTLE GIRL ON A BICYCLE IT'S ME I JUST WANNA TALK.

also here's the deal. luther is also not perfect at all. none of the siblings are, that's the point, but specifically, luther was incredibly shitty and abusive to viktor in season one. but the show took the time to properly address it, have characters act differently towards each other as a result, have luther explicitly apologize to who he hurt and show genuine remorse, and throughout the next three seasons they took time to have him make up for it.

allison didn't get that chance, and that leaves such a bad taste in my mouth, and not even in the context of the show itself as much as the real life implications. im white, so i can't really give much of a genuine perspective and may be looking into things too deeply, but... the fact that allison consistently tends to be one of the most villainized characters in the show and portrayed specifically as manipulative and abusive and selfish... as the only black woman in the show since season 1 (unless i am forgetting someone)... feels so so so gross. (also having ray leave her and her child offscreen like come the fuck on)

everyone is talking about the treatment of five's character lately (and RIGHTFULLY so, believe me), but... allison AND luther i am sorry i am so so sorry they did this to y'all omg

[biceratops7]

… let’s talk about “Arrival”

So I was fully intending on making a more general but thorough peruse through the new Good Omens title sequence, because my FUCK aren’t those always a gold mine. But then I thought to myself, “hey wait a minute, I can be even more unhinged and on brand.”

Something I’ve seen nobody talk about yet is that the movie that the procession is marching into is The Arrival, which is a 90’s movie that draws a pretty straightforward parallel. But I think if it doubles as a reference to 2016’s Arrival, THAT has some much more interesting implications. Either way this reference is doing some heavy lifting.

For those who haven’t seen the movie (or that one philosophy tube video about it lol), the basic plot is that a group of aliens later named heptopods arrive on earth scattered across the world, and just kind of invite humanity to check them out. Each country hires a team of linguists who are all tasked with figuring out what the visitors are here for. But the thing is, it’s only about aliens on the surface level. This is really about communicating, cooperation, and how language holds the power to alter your very fabric of reality.

Spoilers for the movie:

Two major revelations occur towards the end of the movie. The first is that an element of fluid time is revealed. Throughout the movie, the main American linguist has been having flashbacks to a daughter that passed away of an illness. But since the heptopod language has no regard for chronological order, we learn that these are actually flash-forwards when she becomes nearly fluent. In other words, learning heptopod, having a genuine curiosity and even compassion for these vastly different beings. has given her the ability to perceive reality in ways thought previously impossible.

Even before noticing the Arrival reference, I’ve been side eyeing these “flashbacks”, but this and the image above confirmed it for me. Any instance of the word “becoming” when talking about the past indicates some sort of fluid time nonsense. The past is fixed unless something ✨happens✨. I don’t think these are simply memories, I think something rather cosmic instead is afoot.

But it’s more than just “there’s probably time travel in this” though. Simply having Aziraphale as a companion has changed Crowley. It’s given him an ability that he’s not meant to be capable of as a demon. He already had it in him to be good and have mutual relationships based in trust and kindness, I’m sure all demons can if given the right nurture… but Crowley is experiencing love. In the show, something tangible to the senses and distinctly angelic. I’m very much hoping that that whole element of things is going to somehow be a driving factor in what’s occurring over all, and possibly involved in time going screwy.

The other element of Arrival’s ending that’s of import, is the heavy emphasis on the importance of cooperation. First of all, we learn at some point that not every country has the same message to decipher, they each have one piece of a whole. Some of the countries begin using games to communicate with their heptopods, and this poses a problem because it causes messages to be more easily interpreted as hostile. For example, the phrase “we brought a tool” can be easily misconstrued as “we have a weapon.” Eventually, the world gets impatient and scared, and a war is imminent. What finally leads to everyone putting down arms and cooperating, is the American linguist sending a message to the Chinese linguist saying “in war, there are no victors, only widows.”

Something noteworthy about this particular march is that the procession never splits like it does at the end of the first season’s. Not only are both angelic and demonic figures marching into the light atop a mountain as a United front, but this actually seems to be a theme this season. Heaven and Hell aren’t working together as far as we know, but they are at least working towards the same goal, which for some reason is getting Gabriel’s ass. There is also a heavy emphasis on mending broken relationships, with Crowley and Azirphale trying to fix a (probably) lesbian couple literally being the B plot.

Now this is where we bring in what’s actually on the movie screen, which is that damn box. So at this point we know basically nothing about it accept for it probably being a Mcguffin. But we DO have the imagery of three feathers, a black one, a white one, and a bluish grey one, falling into it… and it sure as fuck looks like a moving box. So back to arrival, what actually was the message? The heptopods told the linguist that they’re here to help humanity (via giving them a tool or new tech I think?) because in 3,000 years, they will need humanity’s help. So with this and the world eventually being inspired to stand down and share their pieces of the message, it’s this over arching theme of setting aside fear of the other and cooperating indefinitely for the benefit of the whole. The black feather, the white feather… and then something that is somehow both yet entirely unique.

I think… somehow, someway, this season may culminate in Heaven and Hell reconciling. Whether it be against a common enemy, for a shared goal, or in love, there seems to be many clues both symbolic and literal that show them learning to be one again. Learning to understand eachother’s language and see new ways of being neither before could fathom.

[morsesnotes]

Morse and Joan in S5

Before I go on I just want to say that although I have a lot of feelings on Morse/Joan, they're as much based in wanting good writing as having shipper goggles on.

I've been re-watching S5 for the first time, and purely from a writing perspective I really feel something definitive should've happened between them at that point.

Throughout the season there's an arc of Morse learning to lighten up a bit about sex and being told it's ok for it to just be fun and about physical desire without a bunch of emotional baggage attached.

Alongside that is the return of Joan, and the whole will-they-won't tension is at its peak.

Then at the beginning of Passenger there's this curious angle used which seems to be Joan watching Morse from her window.

It's reminiscent of when they first met each other in Fugue, and Joan was again at the window, as pointed out by @to-be-frank-i-dont-care here.

Both scenes are followed by her swiftly greeting him at the door. It's an interesting choice given the deflated ending of her housewarming party. Yes it's a nice bit of cinematography, but we never see Joan's POV, and the audience would take it as significant we're seeing it now. There's an implication of feelings there, and every interaction leading up to this has had sexual tension on both sides.

In the last two episodes you have the weird almost moment in Quartet which confirms Joan still wants Morse despite effectively turning him down before, and in Icarus Morse tells Trewlove he'd give his career up if he found The One. Finally, Trewlove leaves Morse with the message not to wait around because life is too short.

I think it would've made a lot of sense for all of this to lead to a night of passion with Joan at the end of Icarus. It would've made a great little bookend to start with a tightly-wound horny Morse in Muse and end with him gaining the courage to take that big leap, with Joan of course accepting.

Everything from there could've remained more-or-less the same, except the flashback in Pylon is a Graduate-esque scene where they both have a sinking feeling they've made a mistake, and perhaps a crisis over how real their love was, and it ends awkwardly. That would've made S9 hit so much harder imo.

[0aurelion-sol0]

Stranger Things 5 Episode Titles - Reactions & First thoughts about them.

So here are the episode titles for Stranger Things 5, they don't give much away in and of themselves unless you've probably been like completely into set pictures & possible leaks which I have not, so don't bring that over here!

Some of them sound a bit corny like "The Rightside Up", it's so Reddit-ish and uninspired, ugh... 🙄 Whatever that may mean, new place, real world, The Upside Down changing into something, whatever else... For the time being, I have no idea.

And using "The Vanishing Of..." again feels a bit... tacky but given they are going to explain and go back to what Will experienced in 1983 more clearly, they might explain the weird elements of his dissapearance compared to what other characters experienced after that with whoever or whatever may dissapear. Though it won't be a vanishing to me, a missing is more accurate to what any character or multiple characters may be facing this season since compared to Season 1, they have more of an idea of what's actually going on. Which is why it feels a bit tacky to me.

"The Crawl" has already been explained by everyone already in the fandom, which is probably referring to a dungeon crawl in Dungeon & Dragons, whatever that may lead them into. Possibly metaphorical implications too but I'll leave that for another time.

Some other titles are interesting though like "Sorcerer" which almost sounds vindictive to me for some reason. It's episode 4 so trust that we are going to get the launching main plot points for the rest of the season in that episode, just like with all the other seasons, after the dramatic ending point of episode 3: "The Turnbow Trap", no idea what that is, sorry. "Shock Jock" episode 5, same thing, no idea.

And "The Bridge" as well, but for the moment I have no idea what that may be about. It could mean so many things like a bridge to the Upside Down, maybe how the bigger portal in the middle of Hawkins is called by the characters, it could be something related to a platform, who knows... I would like a tragic bridge moment under the rain but that's just me projecting my drama bias & wants on this episode which is probably not going to about anything like that. It could be both but I think it's likely going to be the former.

However, this episode becomes interesting in the context of the one that comes right before it: "Escape From Camazotz" which is Episode 6, I will elaborate on this further down the line when I actually get to post my posts I've written but Episode 6 in ST1 & ST3, given that ST5 is likely going to parallel those before parralleling ST2 & ST4, is likely going to be the "big revelations episode" of that season which usually reveals what's been going on this whole time during the season and Episode 7 gives us more context and explanation to understand it fully while setting up the final episode with those explanations. It's usually also the episode where all the characters reunite and makes sense of what they've learned or discovered throughout the season.

In ST2 & ST4, it's not the same obviously and is a bit more loose and complicated around that part of the season. They parallel with themselves but not exactly but overall, that structure is present in Episode 7&8, with Episode 7 largely being a revelation episode for those 2 seasons just not done the same way as ST1 & ST3 and also not exactly similar with how ST2 & ST4 parallel each other. ST2's episode 7 being largely a side story centered around El which answers questions only for her characters, ST4's episode 7 is largely tied to the bigger plot points of that season with the important element of the Numbers being the main element of those episodes. However it's in ST2's Episode 8 that we learn more about elements of the main plot of that season while ST4's Episode 8 is more similar to ST1 & ST3 in it's purpose but the characters don't all group up or are aware of what's exactly going on during the story.

Anyway just to say that Episode 6 is likely going to be an important episode with Episode 7 being the conclusion of that while setting up the final episode. However, given it's the final season, I could see the Duffers saving some revelations for the last episode just like Episode 9 of ST4.

As for the "Camazotz" part of it all, well, it depends on which inspiration they're going to use since Camazotz, which is basically a bat god, has been used in so many stories now that it could be referencing so many things. It could be an entity, it could be someone, it could be a creature, it could be a place, it could even be a program or a weapon... Just know that given the elements that are linked to that name, it's probably something bad.

I kinda wished for more episodes because I just don't see how they could pull off a satisfying ending for everyone and everything with only 8 episodes but I'll have to settle for that at the moment.

Remember that the titles can change though, like with ST2 & ST3, probably not all of them but some of them.

Well, here it is, day by day we are coming closer to the last season. Hoping it turns out well for the most part but we'll see. 😉

[entrop-y]

the real tragedy of spencer reid: a character analysis

the real tragedy of spencer reid isn’t any of the individual traumas that he suffered on the job, it’s that he became jason gideon.

think about it; the show begins with gideon returning to the bau after he’d been on leave due to his ptsd. ptsd caused by a mistake he made resulting in the death of 6 agents in a bombing.

throughout season 1, we see that spencer idolizes gideon. the way in which he idolizes him, however, is complicated. on one hand, spencer sees gideon the same way he sees rossi—pure hero worship. on the other hand, he sees gideon as a more than a mentor, as a father figure. this is less overt than people make it out to be in canon, but it’s true nonetheless.

in the first season, we see gideon mentor reid, with the goal of shaping him into the future of the bau, the best profiler they’d ever had. we also see the similarities between reid and gideon, though subtly, at this point. it’s established that gideon and reid understand each other (perhaps in part as a result of both of them being on the spectrum), in a way that the other members of the team, do not.

in season 2, however, we see gideon start to grapple with the implications and consequences of reid’s job at the bau. this is most clear when reid is kidnapped. at this point in reid’s career, gideon was supposed to protect reid; so naturally, he blames himself for his kidnapping. in “revelations”, when the camera cuts from reid seizing to gideon panicking in the bathroom, he is desperately trying to justify his actions to himself. he blames himself for what happened to reid, and it’s killing him. reid survives, but hardly unscathed, and gideon distances himself, likely, as a result of his own unaddressed guilt. people in fandom criticize gideon for this, but it is realistic. gideon is flawed, that’s what makes him compelling.

the most telling scene, however, is in the episode “jones”. reid finally confesses to gideon that he’s struggling. gideon responds with an ambiguous monologue about knowing the time to quit. when reid declares he’ll never miss another plane again, the look gideon gives him is not one of pride, it’s one of despair. it’s his realization that reid is too far gone, he has decieed to follow in gideons footsteps in the way of giving everything to the job, regardless of what it takes from him.

sarah’s murder was the reason gideon ultimately decided to leave the bau, however, his guilt over spencer’s torture and subsequent addiction undeniably played a role.

the show goes on, gideon leaves and ultimately dies, but both events eventually blend into the background—just another one of reid’s endless traumas. it is not until season 11, especially following morgan’s departure, is when we really start to see a palpable, negative change in reid.

until this point, reid’s character development seems mostly positive. he’s more confident and sure of himself both in the field and as a profiler, and as a person. but with the introduction of diana’s alzheimer’s, we start to see reid become overall sadder, more anxious, and more reserved. gone is his need to prove himself, but we see the beginnings of the toll that the bau has taken, one he is beginning to struggle to justify.

notably, this is especially clear pre prison season 12. emily and jj particularly seem acutely aware of the fact that reid is running himself into the ground at home, while desperately trying to keep everything together at work. then, once reid goes to prison, he never truly recovers.

while the show abandons any meaningful follow up about reid’s ptsd, it’s undeniable that after prison, reid is never the same. unlike some viewers interpretations of this version of reid as being more attractive and confident (more likely stemming from seeing reid as more “masculine”after gaining some weight and keep his facial hair), the signs really point to reid after prison being utterly depressed.

he has anger issues, which clearly distress him, and his heart to heart moments with the team are laced with an underlying desperation, exhaustion, and sadness. in short: reid is drained. the job has taken everything from him in a way he no longer knows how to get back.

the final episode, the show comes full circle, highlighting the parallels between reid and gideon. reid makes a bad call that results in the death of six agents, just as gideon had 15 years prior. if it weren’t obvious enough, reid visits gideons grave in his tbi induced dream sequence. in “jones”, gideon was terrified and guilt ridden over the prospect of spencer turning into him, but it is exactly what happened.

just as gideon had, reid gave everything to the job, and the job took everything from him. reid ended up a traumatized, depressed, workaholic with no real relationships—barring only his mother—outside of his job. like gideon, like rossi, even, reid was never satisfied, never felt like he had done enough, and all it got him was a lifetime of trauma and crushing solitude. by the end, the bau was virtually unrecognizable to what it had been at the beginning of his career. reid could never leave, despite the pain, the trauma, and the loneliness, his identity as a person and an agent were inextricable. by becoming jason gideon, reid lived up to what had once been his greatest hope, and gideons greatest fear.

[recycledraccoon]

I think my thoughts on the penultimate episode can be summoned up as disappointment over a potential we didn't get to see, and why that's ok. (This got long, 1.4k oops lol)

Am I a fan of The Rat Grinders? ABSOLUTELY. I think I started liking them even more when they were full-on confirmed villains. As fan's of the edited show, watching with a week between each episode to theorize and think, I loved seeing and theorizing over these 6 fucked up kids. We know Kipperlily prior to the second half of sophomore year, while she obviously still had her anger and jealousy over TBK's it wasn't ENTIRELY unjustified and completely out of control (although some aspects were utterly and absolutely unfounded and ridiculous). Jawbones file mentions her language being "I think Aguefort likes them more", "The school takes it easy on them", and "Half of them don't even go to classes." All of these are true things people in this world would notice. It's not until AFTER their Mountain of Chaos chaperoned trip, at the end of the year, that KLCK switches to "I hate them." The Bad Kids further briefly discuss if Jace would have asked Jawbone/looked for "students with rage disorders." I think specifically mention it being a disorder is important. Acknowledging its there, KLCK WAS trying to get help for an issue she had. They didn't talk to Jawbone about it, but did decide Jace must have given he went on that quest with TRG's. They further briefly talk about students getting randomly mad, and yes they specifically joked about Fabian shitting in class, but WE also remember the Soil club student getting so mad after having gotten that tainted soil. With the 30 Riz rolled, Jawbone's file ALSO specifically talks about Kipperlily loving her adventuring party. We know things weren't perfect, its obvious from when talking about their name change, but its still there and canon. Kipperlily loved her adventuring party. This is all just Kipperlily, mostly with our information from the first part of ep.16. It is not touching on the rest of the members, especially Ruben and his dreamscape we saw, or of his distinct 180 musical tastes POST Sophomore Year Spring Break. The implications of something happening to them during that time is pretty evident and acknowledged. So we're fans, watching a show, spending so much time thinking about not only our infamous protagonists, but also our villains. Many of us adults, getting older, thinking on the tragedy befalling kids and feeling empathy. So yeah. It's a disappointment over an unseen potential. Specifically tho? Its the potential we could have gotten on The Rat Grinder's thoughts and motivations that could have been revealed through dialogue. Dialogue that we got very little of in what could be considered a significant exchange of dialogue and not bits. I always have high narrative expectations from this show, due to its long standing history of SETTING those standards each and every season. This one episode just fell short emotionally while watching, comparatively.

AND THAT'S OK AND ABSOLUTELY NOT THE BAD KIDS/INTREPID HEROES FAULT

On the narrative side of things, The Bad Kids have had an incredibly stressful past 3 years. From day one, they have been involved in life or death stakes situations. It's always been do or die, and they've died, sometimes more than once. They've lost people and faced traumas that go often unaddressed. TBK's ENTIRE highschool experiences have been a revolving door of violence and unhinged situations. They've also always kinda been assholes, insular and more than a little mean especially to those pegged as enemies. We know them, know they have good hearts and intentions, and love and side with them constantly throughout because The Bad Kid's are our heroes. They are still teenage assholes sometimes, but that is something we love and forgive them for. The thing about this recent battle is that they are very used to the situation they are in by now. TBK's have to prioritize, move fast and hard, and get a job done so countless people don't die while something evil rises in their world. Emotions have been high for them all season, rage especially which is absolutely unsurprising on multiple fronts, and it's absolutely showing in what few dialogue exchanges we have. The Bad Kid's entered that gym for the singular purpose of stopping the situation, saving lives, and making sure something evil didn't arise to power in their fucked up world. Nothing new. They hid, already knowing where the final confrontation was going to be FORCED to happen in due to the nature of the ritual, and prepped. On point and smart of them. Then they entered the battlefield, very quickly getting to business. They know their skills, their friends and how to work together as a devastatingly effective team making heavy hits and masterfully controlling a battlefield despite the chaos. This is what The Bad Kid's Do. They got Ivy and Oisin out of combat as fast as possible, Oisin didn't even get a turn. They took out a high-damage long range attacker and the enemy wizard. They know how powerful and important Adaine is on the field, and they knew Oisin would have been the same. They crippled the enemy with the slow spell, effectively taking Mary Ann out of the running until it gets dispelled later on. Fig saw Ruben's high damage level 9 spell and dropped her ploy to get him out of combat as soon as she could. It was too dangerous to have him up, and while the hell bit was uncomfortable in the moment, it is absolutely on brand. This is what they have to do, if they want to stop Porter, who is our real main big-bad. Remove as many obstacles from the battle so more of them can focus on the fight that really matters.

This combat wasn't ever gonna go any other way, unless the dice gods decided otherwise.

This is what The Bad Kid's Do. In regards to the IH's, it is VERY important to acknowledge that while I've mentioned having high narrative expectations, this is still primarily an improve comedy show around a group of real people's DnD game. It's also a show they have a tight filming schedule for, with back to back days and long hours which we KNOW from the talk-backs leave them very tired. Like any tv show they also have a limit on how many episodes per season they can even produce. I think it was a real and genuine benefit to Sophomore year that they were doing it live, because it gave more time between sessions for the IH's to mull over information and whats been happening in-game. This is also a very well developed campaign world they haven't played in several years, which I certainly know would effect me in how I played. We still have one more episode, the Finale, and so much always happens there. I have incredible faith in Brennan as a DM and storyteller, for all that his players have a huge say in how any story he tells unfolds. There is a VERY real chance that what happens in the finale completely changes my mind on episode 19, and I will go back to rewatch with absolute glee because I know of the coming emotional catharsis in relation to The Rat Grinders. There is also a very real chance we don't get that in the way we want it, but that will be ok too. I will still love this season, rewatch it and laugh and have fun. The best part of having a fandom, is watching us take canon apart to fuel endless au's, fix-it's, character studies, ect. Taking crumbs and going wild with it is par the course, especially when something in a show has left us wanting in the moment of watching it. I think more than anything, I would be and am more upset from infighting and genuine anger directed to each other and especially towards our Intrepid Heroes. It is not wrong to be upset with an episode of a show, but it is to take those feelings out on others, be in in defense from Rat Grinder's fans or justification from Rat Grinder haters. So yes! I was disappointed with this particular episode emotionally. I still think it was funny, I think the combat was brilliant and fun to watch. I still love this show and this cast, and could never dream of being mad at them for how they played a game, and for the fun they were finding within the act of playing it as the well-known unhinged improv comedians we know and love.

I'm excited for next week, buuut I am absolutely consuming fan-content to help deal with my emotions, both the highs and lows.

[derrygirlstrash]

Not to start shit, if you know me you know I'm a "ship and let ship" kinda gal and saying this I truly have no problem with James/Orla as a ship it harms no one and plenty of people like it, I like people having fun... that said...

I have never understood the common argument that James/Erin as a ship makes no sense and James/Orla should have been the ship instead. Often one of the arguments is that James/Erin wasn't set up while James/Orla was and I'm sorry... what? James/Erin have at least one ship heavy episode each season as well as plenty of background moments and several significant moments in Erin's Diary.

Even if you ignore all the background moments of the two holding hands, being inside each others personal space, the times where they're clearly matching and whatnot. There is at LEAST the implication that Erin would ignore her supposed crush for James, that she cares what he thinks, that Erin is James's type, that they're aligned in creative values and match each others energies, that Erin thinks he's handsome, that James thinks she's beautiful, that she can't imagine her life without him, etc.

James/Orla have some touchy moments... that's kinda all they have as far as romantic coding and I don't see how those two hugging in the Season 2 finale is somehow more significant than what setup James/Erin have throughout all the seasons.

Honestly, while I can see Orla liking James - you could build a case for it and convince me even though I see Orla as ace/aro in my own personal headcanons... no one has ever been able to give me a convincing argument for James liking Orla back. It kinda feels like you have to ignore that he never has a reason to fancy Orla back and just project onto him that.

Which, again, go off if that's your bag I think their friendship is fun and I could see making a ship out of it, but the common argument is that the SHOW makes a better case for James/Orla and like, no? No it really doesn't? It's just not main girl/main boy and some people really don't like that trope or Erin as a main and I think that if you say the show didn't set up James/Erin well and you argue the show would have been better with James/Orla based on what's in the show, you just might not like Erin very much?

I've also never been able to make sense of the argument that James/Erin is somehow the trope that 'guys and girls can't just be friends' like, is that not also James/Orla? Y'know, besides that Orla isn't a girl. They do use she/her during the show time period though and some people who argue this think Orla is a girl, they just think they're not THE girl. So somehow it's better even though it's the same thing.

Basically what I'm saying is that shipping is fun and we all oughta do it. Every ship besides the obvious ones is potentially fun and I'm down for it, but there is one ship the show was setting up and we all know what that ship was and I think it would be better if we all were honest about it.

PS: "James was gay the whole time!" Truthers, if you made it through this post somehow I'd like to offer a compromise: James Maguire is the most bisexual coded male character in media history we can all win here.