#this is a b plot that lasts an entire season

[arataka-reigen]

Bridgerton does not have the best B plots (in my humble opinion), but the brimsley x reynolds side plot from Queen Charlotte was very good specifically because it was so integrated into the main plot. Charlotte and George getting together was extremely significant to Brimsley and Reynolds managing to spend a lifetime together as well

[website-com]

watching the sopranos rn (first time eva) and im 3 episodes into s4 which my dad told me is where it starts to really pick up. hey its a different show, like this is a different programme altogether

[cinnabeat]

i should relisten to season 1 of the magnus archives

[bex-xa-2026]

Highlights of the Viv podcast episode

50 episodes, hell yeah we aren’t even half way done

We will get Stella’s perspective, it won’t make her a better person but we will understand her character more, she noticed we picked up on how Stella is a victim of the arranged marriage as well

She wants a crossover between HB and HH, preferably as a movie at the end of both

Wants Lucifer in HB, but he’s owned by Amazon so it could be tricky

Says she isn’t afraid to kill off a character, but would never do it for no reason like shock value. Stolas isn’t gonna die, at least not “any time soon” 👀 I don’t think he’s gonna die at all because she also said she thinks it would ruin the story

Season 3 part B isn’t done being written yet

The entire series is mapped out

She didn’t mean she actually wanted Hazbin to last forever, just the story/world. Like she would be open to branching off into side stories and shit

Season 2 of hazbin is done recording

Season 3 of HB is in recording and it’s the first season where they get to bring people into a studio to record

Confirmation that Brandon doesn’t like horses

Brandon is the reason the show went into a more character driven story with blitz and Stolas

We will also get more Goetia backstory

They tweak as they go sometimes

Hard not to change based on fan opinion, but she knows that she can’t do that because it would unravel the story and it’s expensive to redo it all

Everything we are noticing about the plot that hasn’t been addressed, will be. Just BE PATIENT

[carmenized-onions]

Something to Do. | Catering

logline; Itinerary for your trip to New York? Just try not to fucking cry.

[!!!] series history, this is the twelfth; gonna start season three after I post this. Wonder how bad it's gonna throw off the rest of my plot line. Ideally not at all. We'll see.

Spotify Playlist, if you like to listen while you read. I listen to it when I write :) Constantly gettin’ added to. I really like this playlist for all chapters, but for a wedding where music is blasting, it feels particularly fitting.

portion; 13.3k how does this keep happening.

possible allergies; Terrible self-image, everything feels bad, very real conversations abt ,,, self-death and addiction.

pairing; Carmen ‘Carmy’ Berzatto & Fem Reader (gets referred to as a woman and other feminine honourifics but no pronouns, i believe)

i made you all so mad last chapter. Let's see if i can make it up to you, babydoll (probably wont)

You hate to admit it, but you were kind of relieved when you found out Carmen wasn’t coming on the plane. You’re in a bit of a state of fight or flight; well, more accurately, currently leaning towards the flight side— Pun intended.

He’s coming to the wedding. You know he is. For one, he’s getting thirty grand for this, he has to. For two, his location is still on for you— Whether he forgot to turn it off or just didn’t care, you’re not sure. But he hates you, so there’s no way it was intentional, you’re certain about that much.

You know you shouldn’t be looking at it, but you have. You’ve been looking all week. Checking your Find my Friends like a doting mother. He goes to work far too early, he stays far after close, he goes home. Rinse and repeat.

You check on him one last time before boarding the plane. He’s opted to drive, with Richie. Something about ‘wanting to bring their personal equipment’, Richie texted you. They’re halfway through Ohio. You’re sure that road trip is definitely going spectacular after their side of the explosion.

Richie texted the day after that fucking fiasco, asking if you’d want updates on how it’s going at The Bear. How it’s going with Carmen. You said you wanted to know if he wanted to tell. He opted not to tell.

You hate to admit, you were kind of relieved, to not know. To just look at Carmen’s little icon go from Point A to B. Instead of Carmen Reports, you and Richie text about much lighter things. Normal things. Eva drew a funny picture of you kinda things. It’s nice. You know you’re probably being childish, but it feels so much fucking better to ignore the Bear in the room. You don’t know how to feel about anything, and frankly you don’t want to try to figure it out.

You suck, Carmen sucks, what more is there to know? Process it? Fuck that.

Carmen hasn’t texted you; you haven’t texted him, the entire week. Radio silence. You stopped playing Connections. Didn’t see a point. Not like they even have a streak function anyways— You’d die before you let that Wordle streak break, though. That was your thing. Carmen doesn’t get to take your things, too.

You didn’t get a text from the Exec, either. So that’s… Something? Or, rather, explicitly, that’s nothing. Does that mean Carmen gives a shit? Not necessarily. Ugh. Your whole system was so shocked after that fucking fight that you didn’t really have time to take in the fact that that jag was into you? Vomit inducing. You’ve got to rethink your life choices, if they lead you to him. 

But also, you know if Carmen and you were okay right now, you probably would’ve given him your number. You would’ve catfished him for weeks, laughing over your phone with Carmen and Syd as this idiot falls into your trap. You miss Carmen. You also don’t miss Carmen. You want to see him desperately and also never fucking look at him again.

Carmen’s going to be in the kitchen; you’re going to be out in the banquet hall, on bar, this whole wedding. The likelihood either of you have to actually interact this weekend is quite low. The likelihood either of you have to confront what you’re supposed to do with yourselves now is quite low. You hate to admit it, you’re fucking relieved.

Sydney sleeps on your shoulder, for most of the plane ride. You sleep against her head. Shout out Marcus, for switching seats. He’s behind you, with Tina. He wakes both of you up about an hour in, shaking your seats— Because the dessert cart came out and he didn’t want either of you to miss it. The mini cheesecakes are better than expected, to be fair, so he’s forgiven.

This is going to be the stupidest weekend of your life. You’ll take that, over worst, at least.

“Be honest, would you tip me extra well?”

You give a twirl in your probably too fancy semi-cultural outfit. Your family shows up for weddings, if Vinnie and Mira didn’t want their bartender to go hard, they should’ve put that in their notes. It actually would have been nice to get sent notes, though… What is the theme for this wedding other than ‘Italian’ and ‘New York’…? Glitter eyeshadow is probably fine, right? Yeah it’s fine. Not like you could get that shit off now, anyways.

“If you were my bartender, I would ask ‘what are we?’” Answers Syd, watching you from the bathroom as she attempts to put her hair up. Definitely struggling in silence.

Sharing a hotel room was the best idea you ever had. It would be a nightmare to get ready alone in silence, right now. It’s nice to talk and have something to do. If you didn’t, you’d absolutely be ruminating about Carmen, debating whether or not to check on his room, that’s just down the hall, you could see if he needed help with getting ready and also see if he’s as tired as you think he is and— Plus, the amount you saved on splitting a one bed? Christ. Economy is in shambles. So is your brain.

“You would not be brave enough to ask your bartender ‘what are we?’”

“For you, I would.”

“Are we about to kiss, bro?” You duck into the bathroom, getting way too close to the side of Syd’s face. She laughs, pushing you away with the palm of her hand, you scoff, “Wooowwww—”

You clutch your heart, mortally wounded. Retching, truly. Now this is heartbreak in its rawest form. “—Reject me, why don’t you?”

“I’m playing the role of timid—” “I’m sick of this friends to lovers plot line!” “It adds! It adds!”

“Shut up— And tilt your head back, dumbass, what are you doing?” You stand behind her, taking her braids into your hands as she struggles to bundle them all herself.

“I do this all the time by myself, y’know.” So Syd says, but she lets you take her braids regardless.

“Yeah, but I’m here.” You stretch the hairband on your fingers. “Messy bun?”

“You think?”

“I think primal is too clean.”

“No, I was gonna do the one where it does like— Like the infinity in the front?”

“Who’s mom are you tryna fuckin’ look like?”

She kisses her teeth, attempting to reach a hand behind her head to smack you. You dodge and somehow manage to make it easier to smack you. “I’m literally only gonna get to come out after everyone’s left, I dunno why we’re making effort here—”

“High messy bun?” “High messy bun.”

Oh, the days of doing each other’s hair. You’re glad it’s back. You’re glad you get to become, together, again. It used to be bobbles, friendship bracelets, and glitter tattoos—but now it’s tying up each other’s hair, helping with the curling iron, clasping the gold chains on your neck, zipping up the back of your outfit, pinning the collar pins on her uniform, fixing makeup, asking each other to compare perfumes before going through with the final decision, mocking each other’s purchases.

“Wait, what mini deodorant did you get at customs?”

“Oh, one of those Native ones— I think it’s peach—?”

“Those cost like five fucking dollars, Ink. For like two swipes.”

“Excuse me for wanting to smell good, fuckin’ ‘wolfthorn’—”

“I work in a restaurant. I need Old Spice strength, okay—!”

“Oh, pbbbttt— Syd.”

“Pbb—Fuck, how do you do that?”

There’s a knock at the door, interrupting your squabble. “Are you decent?!”

Sydney groans, “No!”

“Yes, Rich, we’re decent, doors open.”

Richie comes in, unceremoniously. A touch awkward. He’s so rarely been in a room with women getting ready. It’s simultaneously exactly what he expected, and not at all what he expected. “Chip, can you put these fuckin’ things on f’me?”

Cufflinks. He presents the box to you. They’re just plain and silver, boring. Save that in your rolodex of gifts to get this Christmas. “You’re fuckin’ forty and you don’t know how to put on some cufflinks—?”

You’re nagging, but you’re already putting them on him, he holds his wrist out for you. “Nah, I was too busy runnin’ shit to learn.”

“Runnin’ your mouth, more like.”

“Yeah, yeah.” It’s a quiet moment, a tender moment, of adjusting his sleeves. Sydney’s scrambling to clean up the room around you two in the background. It’s hard to turn off the autopilot of cleaning one’s station, no matter where she goes.

You purse your lips. You shouldn’t ask and you shouldn’t care, but you do. You half-whisper, to Richie. “How was the drive?” He knows what you’re asking.

“Terrible start. Surprisingly okay middle. He went straight to the banquet hall once we got here.” He swallows, treading carefully, a thing Richie never does. “Do you wanna know the dirty details?”

Oh good, you wouldn’t be able to check on his room even if you wanted to. You want to. Need to? Stop thinking. Carmen sucks and you suck. 

“Not particularly.” You take one final look at his sleeves, happy with your handiwork, letting his wrists go. “You feel settled, though? Or jury’s still out?”

Richie shrugs, tilting his head back and forth. “Grovelled decent enough, by time we hit Penn. But I’m waitin’ on my informer.”

You cringe, knowing what he means. You also know he’d smack you if you said he doesn’t need your say in order to forgive Carmen. “It’s gonna be a minute, until your informer has an answer.”

“I know.” He nods, twisting his wrists back and forth, looking at the cufflinks. Then he gives you a once over. “Y’look good.”

“You too.” You look over him, he does look good. He’s in his suit, wearing his wedding ring, which makes your heart hurt a little bit, but he does look good. “What’s your fuckin’ job tonight, by the way?” He can’t be doing kitchen. He sucks at kitchen. But he’s also just not dressed for it.

“Fuckin’ everything.” Hyperbolic? Typically yes, with Richie, but not this time.

“Wait staff here had too high a fee—”

“Translation: more than free?”

“More than free, yeah.”

“Heard.”

“So, I’m server, set up, and fuckin’ whore-derve—”

“What?” That pronunciation snaps Sydney out of her autopilot clean, her back snaps up straight. Hands on her hips, like a disappointed teacher. “It’s hors d’oeuvres.”

Richie rolls his eyes and really his whole head back. “Just because you went to the fuckin’ CIA or whatever the fuck—”

You interrupt the fight before it can start. “Let’s just say appetizers.”

Sydney does not let you. “Apps and hors d’oeuvres are different.”

You angle your body from Richie to her, deadpanning. “Just because you went to the fuckin’ FBI or whatever the fuck—”

“Alright!” She’s already walking to the door, despite the fact that she started it— “We’ve gotta fuckin’ get to hall now or we’re gonna have like zero prep time, Chefs.”

You both follow after her, doing one last check to make sure you’ve got everything you need. You honestly don’t need to be in this much of a rush, you’re pretty sure, but you don’t mention that. Richie said Carmen just went straight to the banquet hall, when they came in this morning. You’re not sure how well you know him anymore, all things considered, but by your best guess, he’s almost certainly done all the prep by himself.

Carmen did not do the kitchen prep entirely himself. Well. He might’ve, you haven’t checked, but you don’t think he would’ve had the time.

Carmen did your prep entirely himself.

When you get to the bar, in the banquet hall, you have nothing to do. Side work finished for you. Lemons, limes, oranges— All cut into wedges and loaded in their baskets— even the cherries are pitted. The glasses are organized from wine to whiskey glasses, the sink is clean— Which you know the banquet hall staff didn’t do— They never fucking do.

You don’t see Carmen, but you know he did it. He showed up before anyone else, he was in the kitchen before anyone else— So no one else could’ve left the simple braised beef sandwich on your station. Exactly how Mikey used to make it. Half hot, half sweet. Your order at The Beef. Carmen would’ve done pork, but this is what they had on hand, and he had a feeling this would mean more, anyways. It does. Granola bar on the plate with it. One of the nice ones, too. The wrapping boasts fifteen grams of protein.

He knows how hard running bar is. He knows you won’t have time to eat once it starts. So, he’s making sure you get something down now— And that you have time to eat it in peace, and making sure you have something you can scarf mid-shift later, when you don’t have time.

Fucking. Hell. Fuck this fucking guy. Carmen fucking sucks. You fucking suck. This all fucking sucks so much. This sandwich is so fucking good. You’re so fucking mad. Stop saying fuck. Fuck your subconscious for wanting you to stop saying fuck. It’s so unfair, for him to be maybe the cruelest a person could possibly be, in front of an audience made out of your loved ones, and then be sweet, like this.

He is awful, with words— Well, he’s typically better, with you, par for the last time, but he’s best in the kitchen. You can taste the sorrow, the guilt, the apology. The first thing he ever made you, was a sandwich, the brisket sandwich, that Mikey refined for you, as an apology, for freaking the fuck out in a freezer and having that be your first impression of him— Or, at least, first first-hand impression of him. How far you’ve come.

This will not pass, as an apology. Not a proper one. But… You’ll give him a sign, in return, at least. A confirmation that you got the message, nothing more. Definitely nothing more.

“Rich.” You stop the guy in his tracks, as he marches through the room, helping the rest of the staff set up the hall. Not his job, but it’s Richie. “Can you ask kitchen their shifties?”

He nods, like he understands, walking away with stacks of chairs under both his arms.

He comes back after two minutes, straight up to your bar. “What the fuck is a shifty?”

“Oh.” You feel condescending, for being surprised. You’d never really thought about the huge difference between morning servers and night servers until right now. Richie has never worked with a bar staff. He worked at a fucking sandwich shop. “It’s uh— Your drink. Get a drink on your shift— Shifty— It can be like, a cocktail, a straight, a shot, coffee—”

“I know how many fucking drinks exist, Chip—” “Mocktail, smoothie, juice—” “Yeah, I’ll get a Pina Colada.” “I will break the blender over your head.” “I’ll get you a list.”

You nod, already starting on usuals you know will have remained unchanged since your absence. Steel trap memory. Getting drinks with The Beef staff used to be the highlight of your week, which isn’t a sad statement at all.  “I won’t tell anyone you like Dirty Shirleys.”

He defends. “Eva put me on them.”

“Insane thing to say about your five-year-old.”

“You know what I meant— She likes the normal—” “I’m pokin’ fun, go give this to Carmen.”

You’re hoping if you say it fast, coupled with bickering, Richie won’t make mental note of it. Won’t register it. Of course, he still does. How could he not? You slide the mug to him; he takes it, though, slow, with a perplexed look.

Yeah. They had lavender and maple syrup behind the bar. And cardamom. And milk to froth. And black coffee. Whatever. You didn’t have any dried lavender to top it with, this time, so it’s not actually that cool, anyways. Doesn’t make it special. Did you do a maple syrup drizzle to make up for this? Yeah. You hate yourself just a little bit, for it. You really cannot shut off the way you love, can you? Hopeless. Be even the slightest bit withholding, would you? Just a touch petty? God, you suck. Such a princess.

Rich shrugs, when you don’t try to justify yourself. You’re an adult, he won’t coerce you to be sharper, even if you should be. “Aye aye, Chippy.”

If Carmen ends up wanting to drink later, then he’ll have to come to you. That’s being tough, right? Sure. That’s definitely withholding, Chip. Really showed Carmen there. Certainly, a church woman must be clutching her pearls at your backbone, somewhere in the world.

Do you think you’d be able to handle him coming to your bar, anyways?

No. Decidedly no. Which is a bit stupid, because you’ve faced much scarier things in your life, than some asshole you owe two grand. Well, some asshole you owe two grand that you love deeply that hates you deeply because you are in some part responsible for not taking care of his brother—

Carmen doing your side work was unintentionally cruel, honestly. You don’t have anywhere for your brain to go but him. Don’t have anyone to talk to, or anything to do. Richie can tell and whether you want him to or not; he knows what you need. He repeats himself, walking off with the mug. “I’ll get you your list.”

He knows what you need. Something to do. Something to fix, for someone. Not fix someone. People’s princess. Still failed Mikey, no matter how hard you tried.

Sprite, grenadine, vodka, lime, maraschino cherries. Dirty Shirley. Something to do. Just focus on something to do.

You miss the naivety of wanting something to do. Three hundred guests versus one bartender without a barback is a layer of hell that Dante forgot to specify in his Inferno.

“What can I fix for you, ma’am?!” You’ve got to yell every sentence to get anything intelligible over the music and the cacophony of conversations.

There is an overlap of voices from every single woman crowding around your bar, despite the fact that you were definitely making explicit eye-contact with just one of them. You lean over the counter to hear her alone. She blinks, when you get in her face.

“What are we?”

You cannot stop the snort, but you’re pretty sure she didn’t hear it, music's too loud to hear anything. Syd’s a fucking oracle. “We’re fucked. What can I get for you?”

“Lemon drop shot?” Of course. It’s New York.

“Comin’ right up—”

The crowd of women interrupt you, and each other. “Oh, make that two!” “Make that three!” “Wait what are we making?”

Who the fuck is we? They’re more than welcome to get behind the bar with you. You’d take anyone, at this point.

“Lemon drops, babe!” “Oh—Oh, we doin’ lemon drops?” “Let’s just say ten and be safe!”

Of course.

It’s a lot of that, on repeat. But it’s better than the ones that want one very specific brand of scotch with their soda, because at least you can make huge batches for these ones— Does no one know how to fucking act around an open bar anymore? You get a vodka cran and you fuck off. You really need to start telling people you don’t know how to make bellinis.

Working alone is hard, because you can tell when you turn your back to make drinks, and aren’t able to take twenty more orders at the same time, that everyone’s real fucking annoyed with you. You have tried splitting your cells to become a second person, didn’t work. You’re constantly spinning around to accommodate people, and it’s getting fucking nauseating. And you’re usually patient, but the questions are getting just as mind-numbing.

“Can I get a uh… A negroni… Sbagliato? With prosecco?” “Sbagliato means prosecco is in it, sweetheart.”

“Do you do hurricane shots?” “I’m happy to slap you, if that’s what you’re asking.”

“Oh, so it’s open bar?” “Yeah.” “So, I don’t have to tip, either?” “Well— It’s appreciated— Oh, and you’ve already walked away. Okay.”

It’s a lot of that, on repeat.

You see from twenty feet away, amidst the crowds, Uncle Jimmy walking towards your bar, and when he waves all friendly, he sees your glower, and opts to turn in the other direction. Smart man. No wonder he’s successful.

Richie swings by your bar, waiting at the corner, where the line hasn’t congregated. You don’t need to be shaking this martini for as long as you are, but it’s a good way to look like you’re working when you’re just trying to talk to Richie. He presents his serving tray to you. “Tiny quiche?”

You open your mouth, hands full with your shaker. He gets the point, stabbing a toothpick into the appetizer and shoving it in your mouth. Oh God, food is beautiful. Food is what sustains. You could write a full book of poetry right now about why food is everything. Well, not everything. You’re still in hell.

“Richie, I’m dying, your job can’t be that important, come be barback.” You pour out the martini. You attempt to open the jar of olives by yourself, when you struggle, Richie puts his tray down and grabs the jar from you.

Thankfully for your pride, he’s also struggling with it. Plus, it gives you time to annihilate the tray of quiches. He shakes his head, his job is important, allegedly. “You want me to starve guests?”

“Ideally? Yes.” You ignore the dirty looks you get from eavesdropping patrons. He hands you the opened jar. You take a toothpick from his tray, since you’re already out of yours, pierce an olive, toss it in the martini, and pass it to someone— Quite frankly, there’s every chance that’s not the guy that ordered the dirty martini, but he takes it, so who gives a fuck.

Richie sighs, he does want to help. “I’ll ask kitchen if they can cut someone.”

Thank fucking God. “Ask Marcus, he’s got mixology experience or some shit.” You remember being occasionally impressed by his verbiage— At the very least, he knows what stuff is back here, and that’s enough for you.

Richie just shakes his head, lips in a line, when you mention Marcus. A universal sign that something has gone horrifically wrong. You furrow your brows, immediately worried, leaning forward. “What happened?”

“Excuse me! What’s it take to get a long-island iced tea around here? This open bar is not very open!”

You and Richie both grimace, at the thick Jersey accent on this woman waving her hand hysterically at your bar. He gives you a nod, already taking his empty tray and starting to walk back to the kitchen. “I’ll ask.”

You turn your body to the woman, but head still to Richie. “Don’t ask. Tell.”

Not even five minutes pass, before you get a barrage of texts, from multiple people, all at once. You watch them flood in on the notification screen of your phone laying on the counter, while shaking up a cosmo, this time.

From Marcus, worrying. ‘sorrysorysorrybakkingemergencymbmmbmb’

From Syd, concerning. ‘couldn’t stop him lmk if it’s bad’

From Richie, alarming. ‘yk how to call your dog right’

But it all makes sense, when Carmen comes up to your bar, removing his apron. “You need a barback?”

Hair is normal. Not at its best, not how you taught him, but it’s better than before. He smells excessively like you; like accidentally used half the bottle levels like you. Maybe not an accident. Don’t read into it, too much— They’re almost certainly the only travel sized bottles he had on hand. Of course he’d take them. He smells like Old Spice, too, though. Don’t read into it. He looks tired. You knew he would. You’ve watched his location, every day. By the time you go to bed each night, he’s only just left The Bear. He deserves to feel tired, he was a fucking asshole, and you’re glad your cat ate just short of all of his flowers.

But you brought in the plate, the next morning. You cleaned it, and then hid it in the back of your dishwasher. You wanted it to be safe, you also just didn’t want to look at it or think about it or have it exist in your mind, at all. That’s half the reason you couldn’t let it perch outside your window anymore. Taunting you. He’s a piece of shit, but you can feel it in your chest; the care you cannot get rid of. The desire to ask are you okay? Have you been sleeping? How are you? How’s your week been? Want a hug? Have you been playing Connections? What did I do wrong? Did you need me? Did anything break? Did you break?

You missed him. Was the radio silence relieving? Yes. Preferably, you’d never acknowledge each other for the rest of your lives besides an eventual wire transfer. Preferably, he’d stay in the back of your dishwasher for the rest of your life. But God, you missed him, this week. You’ll probably miss him for the rest of your life. Is that toxic? You’re working on it. No you’re not… He just made every space easier to breathe in, kept a light on, for you. Not at the end, but he did before. Before he figured out that he hates you.

It’s a thing that everyone says about you, that you bring ease, and whether you can confirm or deny that, who’s to say— But you know Carmen does it for you. Lights up a room for you. And you might be alone in that feeling, but that’s okay with you. Or it was. It was, before he figured out he should hate you.

Oh, shit, you’ve been staring at him in silence for way too long. It’s hard to know how to navigate this. You don’t know how to feel, so you don’t know how to act either. It’s all a weird state of limbo that you desperately want to get out of, but don’t want to do any of the work required to do so. What do you do with your hands? Your body? Your voice? Are you supposed to be funny and nice still? Christ, just say something. What’d he ask, again? Can’t remember.

“Uh…” Still can’t remember, but— “What’s happening with Marcus?”

He seems to falter, slightly, but he comes into your bar, oh right, barback. You needed a barback. He exchanges his kitchen apron for a bar apron. Not used to seeing him wear all black. You wish you could enjoy it. Wish you could say it’s cool watching him act as one of your professions. He answers, as he ties the strings around his waist. “Uber dropped their wedding cake.”

Fuck whatever tension you two have. You nearly fold over in shock. The current track on the speakers fades out, right as you yell back, “They dropped their fucking wedd—!?”

With haste, Carmen puts the palm of his hand over your mouth. Knife tattoo hand. Oh, he missed being this close to you. Not the point here, though. “Shhhhhhh…!”

You relax, he removes his hand, you’re annoyed that you wish he didn’t. You whisper, though it’s still screeching in tone. “They dropped their fucking wedding cake?”

He nods, combing his hair back with his hand. Knife tattoo hand. It’s making your shampoo waft. You both notice it. He stops. “Marcus is remaking one, now.”

“From scratch?” You were right to be so worried; Richie was right to make the face he did. Carmen tilts his head back and forth. “Box mix that he’s finessing—”

You finish the sentence with him, “—Because he’s Marcus.” The king of doing too much, especially when there’s no time for it. It’s his best and worst trait.

He nods, smiling just slightly, but not the typical smile you get from him. Timid. “Yeah, so he’s locked in, but I’m here.”

Simple sentence, but it still schisms your brain. You cannot help but feel a distrust of it. “Shouldn’t you be running the back, though?” Keeping his kitchen in order? Being the Exec in his head?

He shakes his head. “They run a tight ship without me just fine.” The first lesson you gave to him, that that’s a good thing. Is this conversation hitting specific pain points on purpose as a punishment from God or is this just how all your conversations are going to feel, from now on?

Probably both. You nod. “Okay.” You do need a barback.

“This is so cute, girl, and I love love but I’m gonna need that Cosmo like yesterday.” Why did this woman have to say love? That would already be terrible if you were good right now. Carmen’s probably not the type of guy to say the L word for like several months anyways. You’re not even dating anyways— Or weren’t? Can you use past-tense on something that never was?

You hand her the Cosmo, and you both pretend you never heard her.

Running bar with Carmen makes your life infinitely easier, though albeit tenser. He hasn’t done this before, but he’s watched previous bar staff from the sidelines— And one of his best traits is how quick he catches on to things. He’s not confident enough to mix drinks, but everything else, he does just fine.

“Behind.” There’re occasional autopilot moments that make you laugh, though. He snaps back into his body, when you do, moving next to you. He tilts his head, “What, you don’t say behind?”

You shrug, and it feels normal, for a second. “Professionals probably do, I’ve never worked in a place that does, though.”

“But what about when you’re holdin’ shit?” You allow yourself to feel normal, for a second. It is a delight to teach him something about your work. You continue to make drinks and hand off orders, all while you both speak. It reminds you of the domestic flow you were both so used to doing. That was so easy for you both to fall into. It’s nice that it somehow hasn’t gone away.

“So, you know when you’re in the kitchen, or here, behind bar, you get like, really fucking hot?” Don’t let that entendre stay doubled— “Like sweaty?”

“Mhm?”

You hold onto your chilled shaker, stepping behind him, “So, we don’t say behind, we—” and press it just under the back of his neck. He shivers, immediately, full shock running through his system. “Do that.”

“Christ!”

You want to enjoy the moment, but you can’t help but remember him calling you a modern-day saviour. You try to push it down, but the warmth you were starting to feel tones down, quite a bit. You manage to keep him from noticing, manage to keep the smile on. “What, don’t like it? It’s nice!”

“Think it’s a safety concern, f’sure.”

“Call OSHA.” You touch the shaker to his face, before going to pour it. He laughs. Actually laughs. You wish that made you feel good, still. And somewhere, in some corner of yourself, it still does. But not like it did before.

Soon enough, you two get a second of reprieve, as Vinnie’s Best Man gets up to do his speech, or whatever. He uses a knife to clink his glass, and of course, it fucking shatters. You’re half-mad, because technically for the night, those are your glasses, but it’s too funny to actually give a shit. Plus, the Best Man gets a pass tonight, in your book, because one, he understood protocol and got a vodka cran from you, and two, his speech is forcing everyone to sit down and leave y’all the fuck alone.

“Beautiful night, beautiful couple, beautiful people— Couldn’t ask for a better weddin’ for my best friend— But let’s be honest, I didn’t think he’d be gettin’ a wedding at all— Aye! This guy Vin, amirite?”

You take this moment to halve your protein bar from Carmen. You wordlessly hand the other half to him. He shakes his head. “M’Good, you eat.”

 You shove it towards him. You know he hasn’t eaten much, you don’t know how, but you just know. “I’ve eaten twelve tiny quiches and a beef sandwich, Carm, take the fuckin’ granola.”

He breathes heavily through his nose, but he takes it. You both watch the Best Man, quietly eating your halves. He is silently overjoyed at the verbal confirmation you ate the sandwich.

“I don’t need to introduce my goddamn self, I’m sure my reputation precedes me, right? But I’m Leo, I’m my boy’s Best Man, and I just couldn’t be more honoured, y’know? We grew up together, playin’ stickball in the Bronx, and now this guy’s marryin’ one of the most wonderful women in the world? And I get to be here? Man, I love ya.”

As cranky as you’ve been all night, this really is a gorgeous wedding. More often than not, the guests are nice, it’s just that the shit ones stick out in your head like nails to be hammered. Vinnie and Mira seem like a good couple. You wonder if you’ll ever get to have a wedding like this. They commissioned one of those painters to do a live painting, too. Always wanted one of those. And they’ve got little gift bags for the guests. You’re taking notes, internally, of what you like here, what you’d want to do for your own.

You wish you and Carmen were talking, right now. Despite the fact that Leo’s voice is booming throughout the hall’s speakers, the silence between you feels deafening, because you both know that you would be talking right now, if you weren’t living in fucking limbo. You need to work. You need something to do. The ice basket is running low, refilling it will take at least two minutes and maybe holding the ice will shock your nervous system.

You grab a bag of ice from the freezer behind you both, Carmen pretends to be listening to the speech, because he doesn’t feel like he has the right to help you with the weight. You cut the bag, emptying huge chunks of ice into the basket. You ball up the plastic in your hands to throw out; you nod to Carmen. “Can you break the ice?”

He seems surprised, taking a second, before nodding, crossing and uncrossing his arms. “I owe you an apology—”

“Oh, no!” You hastily correct. “No— Yes but no— I— I meant—” You hand him the metal scooper, nodding to the clumped-up ice you just poured out. “I meant can you break the literal ice blocks?”

Carmen wishes he has dead. And you can both tell that. “Yes. Yes— Yeah, f’sure, one-hundred— Course. Heard.” You nod back, pensive, throwing the plastic bag out, staring straight ahead, trying to refocus on Leo again. You can’t.

Carmen beats the ice, softly, so as to not make a noticeable noise for the audience. After a few seconds, he returns to his point. “…I do owe you an apology, though—”

“Don’t even worry about it, Carmen.” You don’t say this. Fak does. He sidles up to the bar. Where he keeps apparating from and hearing your conversations, you’re really not sure. “I’ve got this one.”

Neither you or Carmen know what Fak thinks he’s got, here, but you’re both too intrigued or surprised to stop him. Well, Carmen does give it a fair shot, after a second, “Fak, I’m—”

“Nono—” But there’s simply no chance. “I appreciate you trying to fix my problems for me, but y’know, I can handle myself, Carmen.” …You wish that’s what Carmen said, last Friday, instead of calling himself your charity tax write-off.

Fak pivots to you, sighing, shrugging, hands up, as if you know as well as he does what the fuck he’s about to say. You can’t tell if you’re supposed to be scared right now or not. When you don’t say anything, he starts, “Alright, I guess I’m the one that's brave enough to say it, there’s some major tension here.”

Now why does Fak think he’s the one to acknowledge this. Quite frankly, why is Fak here? Is he working, too? On what exactly? You don’t remember seeing him on the plane, either. Was he a part of the road trip? Dear God, that's a nightmare third wheel. You just let out a, “Huh?”

“Oh, come on, you haven’t shown up at The Bear since last Friday—” You’re now remembering that before the fight of all fights broke out that night, Fak ran out of the kitchen. Guess no one filled him in, after. “And like, this week, when something broke—” He nods to Carmen, who grimaces, hand over his face. “Carmy told me to fix it, instead of calling you, like he’d usually.”

You know you’re not allowed to be upset about that, and yet, you really fucking are. You’re Carmen’s fucking fixer. Or were? Fuck. Christ, are you jealous of Fak now? You turn your gaze just slightly to Carmen, who’s leaning over the counter, propping his head up on his hands. “What broke?”

He answers briefly. “Expo clock.”

It was extremely apt and even more upsetting for him, the way time literally stopped, when you left. When he made you leave.

You tuck your hands in your pockets, looking back to Fak. “You fix it?”

He shrugs. “Yeah.” Carmen stands back up, opening his mouth to intercept, Fak puts a hand in front of his face. “No Carm, I’ve gotta tell her the truth…” What.

“Tony…” Neil sighs, unable to make eye contact, at this moment. “I was really harsh on you, that Friday…”

“…Huh?” The fucking degree thing? Is that what he’s talking about? You honestly can’t remember anything before Carmen, from that night.

“You don’t need to hide your pain.” He nods solemnly, “I— I’m just gonna say it… I know it’s hard to believe, but I was… jealous.”

“I know.”

He ignores that you’ve said this entirely, “I know, I know, it’s crazy. Me? Jealous? But yeah, I was really good at hiding it, but you’re just really like smart, Tony, y’know? And everyone was like— Tony can fix this— Tony can fix that— And I was holding it together, but then you were good at serving, too. And it got to me— And obviously Carmen could tell, so he stopped calling you. Trying to be a true bro.”

Oh, Fak really doesn’t know what the fuck is going on, huh? “Of course there’s like, the other obvious tension in the room—” Oh okay, so he does know— “Between us.” What.

“What’s up?” You blink, voice going high for a second. Carmen cannot stop staring at Fak, face entirely unmoving, unblinking. Neither of you are sure what emotion to feel right now. Is Leo’s speech still fucking going? You’ve completely tuned it out, if it is.

Fak gestures to the air between you two. “Well like, there’s obviously a really intense sort of rivals to romance dynamic happening here…”

What.

“And like,” He raises his hands, in defense— Of what exactly? You couldn’t be less sure. “I could totally see that happening, in the future.”

It takes everything in you, to just hold your lips closed together. You have to bite down on your top lip, to not scream laugh in his face. “For sure, man.”

He nods, continuing, “But right now, I just don’t think I’m ready to take what you’re giving, y’know?” Holy shit, wait, is that how Carmen feels? Is that what the fuck is going on in his head? “Just not ready for all—” He gestures to you in general. “This.”

“Little harsh.” You tilt your head. “Fuckin’ cool it, Fak.” Carmen barks, in tandem with you. Oh, he’s upset. He wasn’t set on his emotions, this entire time, but he seems to have now settled in the upset category.

“Right.” Fak nods. “And so, I’m sorry I can’t be that for you… And I know it’s gonna take time to recover, but please come back to The Bear, when you’re ready. You’re… You’re a better repairman than me. We need you.”

You put a hand over your mouth, to cover your shit eating grin, trying your best to compose yourself and look sad. The best way out of this is to just agree with him. It’d take far too much energy to clarify everything for Fak. You’re nodding too much. “…Yeah, y’know, Fak… I will consider that. All those words you said? I’m gonna… Gonna really take all of it to heart, dude. I really appreciate… The directness— Y’know, that takes… Strength, man.”

“Thank you.” He nods. “Still friends?”

You did not realize you were even friends to start. And not in the insecure way, this time. You nod. “For sure, dude.”

You and Carmen both watch him walk away, in perplexed silence. Carm’s the first to break it. “…Was that anything—” “Obviously fucking not.”

He’s going to reply something witty in response, and it’s going to make you both feel like everything’s okay, again, but then he seems to see something that scares him straight. He turns to the back of the bar, aimlessly grabbing bottles, for no reason. Literally no reason, everyone sat for the speeches, what’s he doing—?

“You still serving?” Older man, oval glasses. He stands in front of your bar. Ah. Kinda rude of him, maybe that’s why Carmen’s giving the cold shoulder to this guy? Whatever. You'll serve him. Just because you're Chicago's Kindest doesn't mean everyone else has to be.

“Yessir, what can I fix for you?”

“Manhattan with bourbon?”

You salute, “Aye aye.” And get to mixing the drink. You’re pretty sure Carmen must know this guy, because he’s already set out the bourbon, vermouth, and angostura. It doesn’t take long to fix the drink.

When you go to hand it to the man, he seems to notice the mop of blond curls behind you. “Aye, Carmen? Jimmy told me you’d be workin’ tonight.”

A small, tentative, meek wave from Carmen. He sniffs. “Yeah. Hi, Uncle Lee.”

“Oh.” Is all you can say. Pulling the drink away from his hand, as Uncle Lee reaches for it. “You’re Uncle Lee?”

“My reputation precedes me?” He chuckles, nodding.

Carmen comes up beside you, and witnesses a smile from you that he’s never seen from you, and ideally hopes will never be directed at him. It’s the slowness of it, it’s a smile, but you’re doing it purely to bare your teeth.

“It sure does.” Give him a chance, it’s been four years, give him a chance. “I was a friend of Mikey’s.”

He fails the chance. “Ah… I see, friend, ya did a little—” He taps the side of his nose, sniffing. “Together?”

He really fucking fails the chance. Your smile grows, painfully so. The apples of your cheeks so high they practically close your eyes for you. You laugh a deeply fake laugh. “Hahaha, yeah, yeah, that’s exactly what we used to do. Uncle Lee.”

“Oh!” You tilt your wrist quickly, pouring the bourbon Manhattan in the bar sink. “Ah, fuck. Hand slipped.”

Lee is a bit taken aback. “Really—?”

“Really.” You repeat. Putting the glass down. “And y’know, I could remake that for you, but I dunno if you wanna trust my shaky junkie hands.”

Holy fuck. Carmen has always been great at keeping his reactions hidden, and still is, so Uncle Lee cannot tell how out of character this is, of you. You’re nice, you don’t bite— Or Carmy didn’t think you did, because of the amount of grace you gave him, last Friday.

“Lee, I’m gonna level with you.” You cross your arms, smile fading, but there’s still that venomous lilt in your voice. “I’ve been thinking for the last, I dunno, two years, what I’d say to you, if I had the displeasure of seeing you.”

There’s a pile of forks behind your bar, that you’d asked Richie for, just in case this situation came to a head. Just in case this fucking idiot came by. But it just doesn’t feel right, now. Doesn't feel right to leap over the counter and stab him in the neck with a fork. Though you've imagined it, and you still actively are.

“Oh yeah?”

“Yeah.” You nod, looking around the venue. “But we’re at this beautiful wedding, and Vinnie and Mira don’t deserve to have their reception ruined by us causing a scene.” You gesture to the air between you, almost comical.

He shrugs, “Better than Mikey, in that regard, then.” You know what he’s referring to, despite not being there.

You nod, smiling real big now, really baring your teeth, now. “His fuckin’ house, Lee.”

“I could have your ass fired, y’know.” “So do it.”

You lean forward, elbows on the counter. “I’m not getting paid for this. Please, get me fired. Snitch to Uncle J, c’mon, fire me. I’m delighted to get cut. Do it.”

After what feels like eons of a silent stare down, Uncle Lee throws a fake punch. Carmen’s the only one that flinches, immediately rearing his own fist back, stopping short when Lee does.

You’re still just coy, elbows on the counter. Lee scoffs, “Cokehead.” Of course.

“Yessir.” You just lightly shake your head, standing up straight again, smiling, amused, delighted, even. “That’s me. That’s who I am.” It’s not, but there’s no point in arguing with him— Especially when you agreeing just seems to piss him off more.

You’ve given Lee nothing to work with, to insult you, so it takes him a moment to generate something. “You’re—”

You don’t let him get it out, putting a hand up for him to give it a rest. “Lee, I’m not startin’ a scene, it’s a gorgeous wedding.”

“Oh, how grown of you—” “But, if you wanna have a scene, just wait in the parking lot.”

“Oh yeah?”

“Yeah.”

“You really think—” “I do. I do think, Lee.”

You lean forward, again, shrugging, speaking nonchalant, speaking with your hands, casually. “I wanna make it so clear, for you, too. I’m not gonna crack my knuckles, not gonna make some empty threats, not gonna scream in your face— I’m not gonna tell you I’m gonna kill you or anything like that. Because obviously, I wouldn’t do that.”

You nod, slowly, methodically, clearly. “What I am gonna say, is that I have been a bartender on and off since I was twenty-one. I was an E-M-T, for three years— All in our beautiful city of Chicago, Illinois. The sheer volume of geriatric white guys I have had to pull to the concrete in a full nelson in both professions— Insurmountable, Lee. So again, to be, so fucking clear, Lee— If I see you outside, I’m taking you to the fucking pavement, and I’m not getting off.”

Uncle Lee’s got no comeback, for this, but he’d be dead in the ground before he just lets someone have the last word. This is why Uncle Jimmy is more successful. “Oh, I’m sure you fuckin’ would.”

You grin. God, those forks are tempting. Resist. You keep your hands busy by grabbing a maraschino cherry from it's jar behind your bar to snack on. “Enjoy your night, Lee.”

“You’re a real fuckin’ bi—” A fork flies over his shoulder, clattering behind him. Not from you, from Carmen.

He speaks for you. “Enjoy your night, Uncle Lee.”

It feels good to be backed. Carmen’s here, and he’s on your team. You tack on, waving goodbye to the fucker, “Back lot, Uncle Lee.”

Lee pivots his gaze to Carmen, he rolls his eyes, disappointed. “Alright, Donna.”

Carmen goes for another fork, you stop his hand, holding it there, for a second. The metal clatters behind the counter. Lee’s pleased enough with the provocation. Men like him don’t leave until they’ve won something in their heads. He leaves, on his way to the punch bowl, since he’s determined he’s not getting shit from the bar tonight. You and Carmen just watch him, like prey, making sure he leaves without looking back.

“You’ve got teeth.” Carmen’s first to speak, cleaning a glass, both of you looking straight ahead. You nod.

“I do.”

“You don’t bite much.”

You shrug. “Try not to.”

Carmen considers the fact that what he wants to say would mean sticking his foot in his mouth. He then considers the fact that nothing he could say now will ever be worse than what he said then. He keeps rubbing away at a perfectly shining glass.

“You didn’t bite me.”

“I didn’t.” You nod, and your body goes on autopilot, as you start making a drink no one’s ordered. Just need something to do. “I couldn’t.”

He doesn’t like that answer. “I deserved it.”

“I deserved it, too.” You’re not a big fan of your own answer, either. But you can’t say it’s not true. You deserved it. Just some failure leech trying to reattach yourself to people through merry good deeds, as if they’d add up to fucking anything—

“No, you didn’t.” He pivots to you, tone inarguable. He puts the glass down. It’s a lowball, you need a lowball, you grab it from him.

“Do you like cognac or vodka?” You ignore his words, but you look him in the eyes. You regret it.

He lets you get away with it, because he is absolutely not the one allowed to lead the conversation, here. He did enough bulldozing, before.

“I dunno, I don’t really drink much.” You squint, you’ve seen his apartment. He clarifies. “Other than wine n’ beer.”

You nod. You opt for cognac. He watches you, for a moment, before asking. “What’re you—”

You’re already finished, by this point, sliding the glass over to him. “Black lavender latte. Cognac n’ coffee liqueur. If it’s too strong, let me know, I can add more milk.”

“Thank you, Chef.” Is all he can think to say. He takes a sip. It’s far behind in his long list of regrets, but certainly one of them in the way he spoke to you, is that there’s a strong chance he will never have a mixologist as talented as you working at The Bear.

“Hmm.” You hum, not watching him drink it, because you won’t be able to handle either reaction— You won’t be able to handle disgust nor pleasure. You never want to look at Carmen again. He’s also all you want to see. This sucks. You suck. Carmen sucks.

“Thank you for the coffee earlier, too.” You’re overjoyed at the verbal confirmation he drank it.

“Figured you’d need one.”

“I did.” He thinks about it, and decides to take the bullet. “Needed yours.”

Your breath hitches, and he can’t tell whether or not that’s a good thing. He doesn’t get the chance to ask, as a meek and overly sweaty man comes up to your bar. There are bar stools at your counter, though they’ve been tucked far under it to keep the flow of traffic moving. But the man points down to the stool, silently asking. You nod.

“You can sit, sir.”

He’s delighted. He sits. “Sorry, I’m not gonna sit long, I just uh— Just—” He turns around pointing to the Maid of Honour, who’s just gotten on the hot mic for her speech. “I uhm, it’s— Usually the bar is empty, when uh, when people are talking.”

“That they are.” You nod, smile soft. “Can I get anything for you, or d’you just wanna sit? No shame in that.”

“I— I, uh, if it’s not a bother— I was just wonderin’ if uhm— Totally fine, if it’s— If it is— Do uhm, do you— Do you do mocktails?”

Carmen watches you grow ten times softer, in demeanor. It’s wonderful, how you’re able to flip on a dime. It’s wonderful what you’re willing to give to people, when they deserve it. You nod. “Yeah, sir. What’s your drink?”

“Oh— I— Anything’s fine, really.” He plays with the loose strings on the cuff of his left sleeve.

You tilt your head, recognizing his nervousness. “If it’s not too personal, sir, are you…” You debate the best way to say it. “Taking twelve steps?”

He looks scared, initially, to be caught; but then he looks at your face, and he knows he has nothing to be worried about. He nods. “One— Two months, two weeks, one day.”

“That’s huge.”

He shrugs. “It’s a start.”

“A start is huge.” You emphasize, and he nods, because that’s inarguable. “What was your drink before? I can make a mocktail of that— Or maybe you’d prefer somethin’ total opposite?”

“Oh! Yeah, I uh, I liked uh, old-fashioneds, but you can’t really make those without whiskey—”

“Yeah, you can.” You’re already grabbing your shaker. “You just use barley tea. I can do that— If you want that.”

He thinks on it, for a second. Debates whether nostalgia is good or not. “Yeah, yeah I’d like that.”

While you work on it, the guy feels enough confidence, bestowed by you, to tell you about himself. “I liked sitting. That was the thing I liked about drinking. The sitting and the talking and the feeling good about it.”

“I hear that.” You watch the tea steep, nodding. “Reason why the phrase is ‘takes the edge off’.”

Carmen has to turn around. He’s listening intently, but he has to turn around. Again, he’s pretty good at hiding his tells, but you’re pretty good at reading them. And you’d be able to tell his flat expression is the equivalent of being absolutely fucking bug eyed on anyone else. You’re a bartender. You were a paramedic. You have seen so many people, on their worst day— Seen so many people like this guy, like his brother. You have taken care of so many addicts.

The number of times he said loser or junkie to your face, and the way that that was what you always fought back on. It will not stop replaying, in Carmen’s head. The way you think that wasn’t okay, but the way he spoke about you was. It’s all just nauseating. You’re so good to everyone but you. You defend everyone but you. Carmen's almost furious about this, though he doesn't feel he has the right to be. You should've treated him like Uncle Lee. He acted exactly like Uncle Lee. 

“It can make it easier, to be at the bar, for some people, I've found.” You continue, still making conversation with the man as you stir the steeped tea into the glass, over ice. “Makes you feel normal.” Forced sobriety is definitely in the top five, of the most ostracizing human experiences.

He nods, relieved to have someone. “Most people don’t get that.”

You nod, strain out the virgin old-fashioned, and push the glass to him across the counter. “Well, I get that.”

He takes a sip of the mocktail, it’s perfectly nostalgic in a way that doesn’t hurt. “Thank you.” He’s thanking you for a lot more than the drink. 

“A pleasure.” You nod. He stands up, tucking the stool back under the counter, as the speeches end. It won’t be long until the bar is crowded again, and he knows it’ll be too much, for him or you. You add. “Good luck with month three. It's a heavy one.”

“If you work it and you’re worth it.” He recites the line incorrectly on purpose, it’s an important one, but you both still laugh at it. Like an inside joke, practically. You give one quick dap, he puts a twenty in your tip jar, and walks off, with less sweat, and more spring in his step, this time. Good.

When he walks away, before guests start to stand, there’s a lull of silence. You don’t need to look at Carmen to know he has a million different thoughts, and a million more follow ups. 

“You have questions?”

“None of my business.” He sniffs, awkwardly. “Unless you want it to be.”

Why did he have to fucking say it like that. Why did he have to put the ball in your court. Carmen fucking sucks. Y’know what, no, turn it on his ass.

“Did you give the New York Exec my number?”

“No.” The reply is instant. He doesn’t get thrown by the topic change in the slightest. You were pretty sure you knew the answer, but the speed of it is still a little surprising. Like it wasn’t something that was ever up for debate.

“What’d you say to him, then?”

This is when he looks embarrassed, just slightly. This part was up for debate, seemingly. “We—”

“Everyone, please stay in your seats for just a moment, our wonderful catering crew will be coming around to serve you!” Says… Vinnie’s mom? Mira’s mom? They all kind of blend together. It’s not long after this, that Syd rolls by with Marcus and a cart of food. She’s starting with you, despite the fact that you’re not a guest. Sweetie.

“Salmon or chicken?”

“Just gimme both, we’ll split it.” You nod your head to Carmen. “Best of both worlds.”

And then, the game of eye contact conversation ensues. A game that Carmen nor Marcus can comprehend.

‘I asked you’ Syd glares.

‘You can’t just starve him out’ You deadpan.

‘Who said?’

“Syd.” You say aloud. She sighs, handing you both plates, mumbling ‘whatevers’, walking off to serve the actual guests. No time to bicker. You look to Marcus, worried. “Heard about the cake, how’s it goin?”

He shrugs but he’s smirking, proud and bad at hiding it, he hands you a paper plate with a little chocolate cupcake. The floral frosting job is simple, and you know if he had more time, you’d probably be looking at a full realistic rose, but it’s still beautiful. “You tell me. Taste test.”

“Lil sacrilege, to do dessert before dinner, but okay.” You grab a fork from your pile, digging in. “Oh fuck,” You have to laugh. “Marcus— You stress me the fuck out, how do you have time to make shit this good?”

It’s a built-in habit for you, to hand your fork to Carmen. He gives you a moment to realize or pull back. You should but you don’t. He takes it, thankful, and tries the cupcake for himself.

“S’fire, Chef.” He points the fork, emphatically. “‘Specially with what you had.”

“Thank you, Chef.” Marcus nods.

You tilt your head, curious, “Do you even have time to test, though? If this sucked you wouldn’t have time to remake the full cake anyways, would you?”

“No.” He answers bluntly, and you both snort. He adds, “Just wanted to make sure you got dessert, over here.” Just wanted to make sure you ate something.

“Marcus…” You pout, overcome by the sweetness of the sweets Chef. You’ve gotta return the favour. “Gin and juice still your go-to?”

“You tryna get me fucked up at work?”

You shrug, grinning. “Are you tryna get fucked up at work?”

He’s going to say yes, but then he pauses, and looks to his boss. Looks to Carmen. Ah, you don’t run his kitchen— Get that through your head. Of course, Marcus can’t just drink—

Carmen shrugs, smiling, “Are you tryna get fucked up at work, Chef?”

Marcus claps his hands, grinning. “Yessir!”

That makes you feel a little lighter. You nod. “Gin and juice, comin’ up.”

You pour out the pineapple juice— Marcus’ preferred juice, of course you remembered. And Marcus leans over the bar, to watch you stir in the gin, even if it’s just a stupid simple drink, the guy loves to learn.

He asks, “How much they payin’ you, tonight?”

You shake your head, “Tips. Nothin’ else.”

Carmen’s ears burn, at that, while he evenly divides and plates out the salmon and chicken plates so you both have a little of everything. If things were normal you could just eat off each other's plates.

Marcus tilts his head, just as surprised. “You in debt, too?”

“Just to Mikey.” You smile, shaking your head. “No, I’m doin’ this in exchange for Uncle J getting me out of work early, a couple weeks back.”

“That’s it?”

“I was in a rush.” You shrug, measuring out the simple syrup. “Got like thirty missed texts from Syd, I thought someone fuckin’ died, didn’t have time to bargain.”

“Wait—” Marcus cannot help but grin, nearly laughing, at the ridiculousness of it, at how bad you got fucked over, by your own permission. “You’re here because you… left work… to go deliver Nat’s baby?”

“Yessir.” Are you fucking serious? Carmen can’t help but stare at the side of your head, for just a few seconds, before going back down to the plates. You’re in this hellscape of a bar, three states from your home, because you were delivering his niece? You did that for them already, and promised yourself for this, in order to do that?

“You know me,” You hand Marcus his glass, and you shouldn’t make the joke, but you can’t help yourself. “Modern day Christ.”

Marcus stifles down his snort, turning his head away from Carmen, to look at the ground. You do the same. There is something painful, about it all, for everyone; but Carmen can’t say that pain isn’t deserved, on his end, so he takes it. You’re allowed to joke about it all you want, if that’s what it takes for you to feel lighter.

A timer goes off on Marcus’ phone. He takes a sip from his gin and juice, nodding in approval, “Oh, shit— Alright, cool times up—” He lifts the glass to you, you hurriedly get the point and grab a random empty cup to clink with him, cheers.

“I’ll be back.” He says. Doubtful, you think. But you nod and wave him off nonetheless.

“If T needs a drink, tell her to take five.” You haven’t seen her tonight, but you realize yourself, again, once you say this. Not your kitchen. “Uh— If that’s, that’s okay—”

“Tell Chef to take a break if she needs it, we haven’t seen her.” Says Carmen, beside you. We. Don’t read into it. He hates you, and you hate him, actually. Carmen sucks, and so do you.

Marcus nods, and makes his mad dash off as a tsunami of guests that have just gotten their plates decide now that they want a drink with their meal. Sonofabitch.

God, you need a break. It’s really hitting you, and your stomach. As full as everyone’s tried to keep you, you really need to just sit down and have your fucking plate. Working behind a bar is a nightmare on the feet and back— Your earrings feel heavy, and your bracelets feel like handcuffs. It’s just all too much, without a break. You need a nap and maybe a thirty-minute session of just staring at a wall.

But the tsunami.

Carmen watches your side profile, and thinking back in his head, the collage of memories forming your face— He’s never seen you genuinely fatigued before. He’s seen you in the middle of the night, he’s seen you caught off guard, seen you distressed— But you’ve never really been one to ask for a break. It’s always yes of course it’s done, with you. It’s your best and worst trait.

As the crowd closes in, and your face morphs into a smile, ready to serve, Carmen claps his hands together, calling out to the sea. “Ey, sorry everyone, we’re just gonna take a quick thirty, alright? Union mandated.”

There is no such thing as a Bartender’s Union, you and Carmen very well know that. You’re about to call it off and say it’s fine before someone can throw an empty glass at your head or something, but instead, a scrawny but wide built, deeply New York Italian man, at the front of the crowd nods.

And as he nods, the crowd groans. He looks deeply offended by this. He turns to his fellow guests. “Where do y’all get off? We fought for those thirty-minute breaks, you fucks!” This quiets them pretty quickly. “We can live with the fuckin’ punch bowl for thirty minutes, c’mon.”

Carmen gets close enough to whisper to you, but far enough that it’s still not personal. Far enough that he still hates you. “Most of the family does or did service work. Say ‘union mandated’ and you can do anythin’”

You smile, watching the crowd dissipate, you crack a joke, because that’s probably what you’re supposed to do. “Union mandated… Murder?”

“Revolt, y’mean?” “Is that an offer?” “I’d ride for you.”

It’s supposed to be light and fun, but you can’t stop yourself, you can’t play the part and it comes out. “Would you?”

That one hurts. It all hurts, but that one really gets Carmen. That you’d have genuine reason to have pause about his dedication to you. Not your fault, his.

You grab your plate from his side of the counter, embarrassed by your instinctual prod. “Sorry.”

He’s not embarrassed by his. “Stop apologizing.”

There’s a heavy silence, before Carmen adds, “I’m supposed to be fuckin’ apologizing.”

There are no more interruptions. Fak isn’t going to come by, patrons are leaving you be, the staff is either helping Marcus or serving food. There is nothing left, to interrupt you two. This is going to happen. Christ, why does Never Let Me Down Again have to be playing right now? That’s not a fucking wedding song. This is too dramatic and simultaneously awkward and clunky and bad. There is no somethings left for you to do. There is nothing left to do, but talk. Nothing left to do but escape the void, ideally together. Please let it be together. You hate to admit it, but you want it to be together.

There is no good place to sit. So, you pick up your plate, and one of the many forks from your pile. With a sigh, you crouch down, and slide yourself underneath the counter, sitting with your legs folded, so Carmen can join you. You nod to him, to let him know that he can in fact join you.

He does. You take a few bites, in silence, before he breaks it.

“I didn’t mean a fuckin’ word.”

“It’s okay if you did.” You can’t look up from your plate. You deserved it.

He says your name, with a severity, to it. “—I didn’t mean a fucking word.”

“Then why’d you say it?”

“I—” Despite rehearsing what he wanted to say, and having ample stage to say it, he does not know how to say any of it, anymore. “I was like, like, jealous? But not in the— Not in the normal way.”

“Normal way?”

“Like, I didn’t— Well I did— But I like—” He puts his fork down, “I saw you as competition.”

You don’t know what to say, and so he keeps going. “I saw you like… Like being so perfect at everything, and being so… Being so what everyone needed, and you being there, and and— I felt so… the way you can just do that— Like— Like you can just be you and it just works. And I just fucking can’t.”

A talent you share with his brother. A talent Carmen envied in Mikey, and thus, envies in you.

“And then I got so… weird about that thought. Like you being you is— You’re for everyone. And I got this idea in my head that…” He cringes, trying to find better wording in his head for it, and he can’t. “That you were for me.”

“But you’re not for me—” “Ouch.” “—Not what I meant.”

He thanks you, internally, for being willing to add levity, right now. “I lo— I like you, so much. And I don’t want you to change. If you were like…” He half gestures to himself, which you’re not a big fan of the deprecation, but you let it slide. “Cold, and not for anyone, you wouldn’t be… you.”

Carmen realized as much, watching you tonight. Watching you interact with full strangers to long time friends. If you were callus, you wouldn’t be you. If you didn’t love his family as much as he did, he wouldn’t have attached himself to you, so quickly. He loves the way that you love. The way that you can’t turn it off. It’s not that Carmen isn’t special. It’s that you are so fucking special. He’s fucking stupid for not connecting those dots, earlier.

He picks up his fork again, needing to do something with his hands. Your brows remain furrowed, as you try to walk back how he spiraled from what and where. 

“So, you just wanted to take me down a peg?”

He shakes his head. “It— I— With Mikey, I— I saw some shit that made me think that I was just… fillin’ a gap, or you were just being so good to me out of like… Guilt.” He chews down on his salmon. “And I couldn’t find your fuckin’ invoice, so I just kept drilling into my head that I was just… Charity.”

“You’re not charity.” You’re quick to refute.

“You didn’t fail Mikey.” So is he.

Oh Christ. You nod, but you don’t believe it. “You weren’t wrong to say it.” You have to put your plate down. “I— I don’t see you like I saw Mikey, at all. But I do…” You trail off, just looking at him has you tearing up.

He leaves home so early. He comes home so late. He looks so tired. Gaunt. Has he been eating? Did he light his oven on fire again? Remember how he looked in the freezer. Remember how Mikey looked in the freezer? Remember how they are so so different. They are so different but you still can’t stop connecting every fragment and taking it as a sign and worrying so fucking much, so fucking paranoid—

“Do what?” He swallows his last bite of chicken, and you can’t stop looking at him and fuck you just can’t hold it back, this time. You were doing so good about this. This isn’t even the point of the conversation— Well, kind of. Just breathe.

As your eyes begin to water, he sets his plate aside on the floor, reaching out immediately, worried, immediately. He pauses, hand floating in the air. Hesitating. “Fuck—Can I?”

Eyes barely open, you nod. He’s quick to take your plate from your hands, set it aside, and hug you there. It’s awkward, underneath a bar counter, half sitting, half crouching, grappling you. Carmen does not wish to be anywhere else.  

You wrap your arms around his shoulders and babble, unable to hold back a fear that’s been long standing, since the day you met him.

“Sometimes you remind me of Mikey so much and I get so scared and I just— Fuck, I just— Please don’t kill yourself, Carmen.” His arms wrap around just a bit tighter, as do yours. “I know that’s selfish—”

“It’s not.” Mumbled, to your neck. Skin to skin isn’t really the focal point, here, but there is a lurking part of his subconscious fearing that he will never be able to hug you like this, again. Never be your rock. “I won’t.”

It’s silent, for a minute. You believe him. He holds you there, and you believe him.

“Why did you think all that? That you were filler?” You pull back, just a bit, to look at his face. “Did I do something to make you feel like that?”

“No— God no. You’re—” He swallows. It feels stupid now, to even say how his fucking tantrum started, you had it so much worse, in your head. Why didn’t you tell him? “I was looking for your invoice, and—”

“I forgot the booths, by the way.” You recall the shoddy invoice you wrote. It’s a stupid time to interrupt, but as you slowly grow more comfortable, inches from his face, it feels like the time to be stupid. “And taxes. I owe you something more like eighteen-seventy.”

“You don’t owe me shit.”

“I’m paying back a Berzatto, somehow.”

“Where’d that money come from?”

“Where’d your tirade come from?”

He swallows again, getting back to the point. “I found a folder. Called ice chips, or something like that— But it wasn’t for ice. It was, for you.”

You look at him, genuinely perplexed for a second. Then you get it. And it makes a lot more sense, why Carmen knows you failed Mikey—Try as he might to deny it. “Oh… You found my Ice folder.”

“Fuck’s that mean?” You’re glad, honestly, that he’s never had a reason to learn what it means. It’s fair. You had to teach it to Mikey, too.

“Ice. I-C-E, Carmen. It’s an acronym.” You spell it out, slow. “In Case of Emergency. I-C-E.”

It knocks the wind out of him, immediately. He’s extra glad he’s holding onto you, because he’s starting to feel untethered. “What?”

You nod. It’s time to walk him through it. You have to tell him. “I made Mikey keep some sort of emergency stuff as a fail-safe, for when he forgot people wanted him alive.” When Carmen’s quiet, you continue. “I was in his work cabinet, I think Richie was in his bedside, you and Sug were in his wallet.”

His stomach lurches, at the idea of being the emergency his brother always had on him. “You knew he was suicidal?”

Who didn’t? You think, but don’t say, because that’s not fair. Mikey cut him out, how could he know?

“Everyone’s suicidal, when they’re trying to get sober.”

“What?”

“What?” You parrot back. It’s both your turns, to squint at the other, confused beyond belief now. How is he confused? You’re first to ask. “Carmen, what was in my ice folder?”

“Anniver— Oh my fucking God.” He unwraps himself from you, because he’s frankly too ashamed to touch you, realizing everything he misunderstood. “Oh, my fucking God.”

You let him go, though you don’t particularly want to. He’s probably realizing he’s hugging the enemy. 

“Carmen—?” “You didn’t fucking date Mikey.”

“What?!” You jump, your head hits the bottom of the base of the bar’s sink. “Fuck! Ow, no— What?!”

It’s a mess of limbs and emotions, as he grabs your head haphazardly, seeing if you’re hurt— It honestly hurts more, to be pulled around like this. “Are you o—” You don’t let him finish, grabbing at his wrists, ignoring your sore head.

“You thought I’d fuck your brother and then—What— try to fuckin’ get the whole set?” You’re cringing at the thought. This had just never come up in your mind. You would’ve set him straight, if it did. It was way worse in his head. Why didn’t he tell you? “I— Carmy, babydoll, are you fucking insane?”

You say nice pet names, when you’re perplexed. You’ve got a pattern of doing so. He also has no comeback for this, completely mum. You release his wrists. You add, again, aghast. “How old do you think I am?”

“Ah— As old as Syd?” “Correct.” “So, twenty-eight?”

“Turning, but yeah.” You nod, like a teacher walking him through a problem. “And how old was Mikey?”

“Forty something.” “Forty-three.” “No one remembers their brothers’ age—” “Sixteen years. Carmen.”

You press your hands over your eyes. “And listen, I get at a point age is just a number but I was twenty-five when I met him and he was already fucking forty— I grew up with Muppet Babies and he grew up with Muppets. Period end of sentence.”

You sigh. This situation isn’t funny at all, but you feel a load lighten off of you significantly. And also the situation is extremely funny. It’s hard to be mad at someone this thrown off. 

“It’s just— Listen, do I think Mikey’s hot? Absolutely—”

“Alright—” He cringes, putting a hand in the air, asking you to lay off this train of thought.

“Oh, what do you want me to say ‘your genetic make-up fucking sucks actually’? No, you have a hot family, Carmen.”

“Say this in any other way but this one.”

“I did not date your brother, Carmen.” You finalize, he breathes lighter. “Think about it for like more than two seconds. Richie would’ve fuckin’ run his mouth about it immediately— Would’ve said you’re getting sloppy seconds or call me a fuckin’ homie hopper—”

“I did think that he’d say that, yeah.”

“Well fuckin’ think harder on it, next time—” “Well, what about the joint bank account?”

The most romantic paperwork he’d ever seen. It makes you pause, and Carmen’s considers a universe where you’re just the most incredible pathological liar in existence. 

“I made him make it.” You finally say, saddened just thinking about the failsafe that didn’t fucking work. “I didn’t put any money in it.”

“Why’d you want it, then?” The idea of you dating his brother quiets in his head, now he just wants to listen.

“So I could keep track of his spending and withdrawals.” You pick up your fork and twirl it around, like it’s the most interesting thing in the world. Need something to do with your hands. “Mostly his withdrawals.”

Carmen thinks about it, trying to tie together the red strings in his head without asking you first. “So you could see if he was buying.”

“If he knew he was being watched, he was less inclined to deal.” You shrug and nod. “Plus I wanted him to get into the habit of keeping savings.”

“Lotta good that did.” Carmen can’t help but laugh, pitifully, at that. “Everythin’ got claimed, when he kicked it.”

You shake your head, you tuck your knees to your chest. “Not everything.”

He just looks at you, curious, waiting for you to explain. Mikey had so much credit card debt— Everything he had outside of fucking tomato cans was claimed. 

You shrug. “Not the accounts he wasn’t sole proprietor on.”

Joint bank account. It was partially your money, technically. It deferred to you. Carmen’s head just falls over, another painful realization of another thing you did, that he got completely wrong. You never gave Mikey a cent. You just gave him the protection of your name and credit score.

“Why’d you do all that, for him?”

Holy shit, he doesn’t know. Carmen doesn’t actually know you killed Mikey. You live in a world, still, where Carmen doesn’t completely rightfully blame you. You tap your fingers on your knees. Staring aimlessly. There is nothing else to do.

“Anyone ever tell you why I get called Chip?”

“I asked Richie. Said to ask you.” Carmen shakes his head, he’s a bit sick of himself, for being almost excited to get an answer about this. “Said it was personal.”

You squint and snort. “Since when does Richie give a fuck about personal?”

Carmen smiles, finally, and tucks his knees to his chest to mimic you. “Since me, I guess.”

“Good influence.” You smile, trying to distract from the nervousness, thrumming hard in your chest. Spit collects in your throat like it’s trying to choke you. “I uhm… Chippy is, uh, Mikey started calling me Chip or Chippy cause of uhm—”

You take a moment, one deep breath. A breath of air in the world before Carmen knows. A sanctimonious breath.

You pull at the long black rope chain on your neck, pulling it out from underneath your top, where it’s always been safely tucked. Not hidden necessarily, just always close to your chest. Close to your heart.

“It’s a joke, about— It’s like—”

Just do it, Chip. Let it rip.

“It’s—”

You hold out your fist for him to put his hand out and take it. Carmen gets the point and holds his palm out. You press the pendant into his hand. Holding your hand over it, for a moment, as if you could decide now that actually he shouldn’t be allowed to see this. Like there’s still an escape option, somehow.

You move your hand, you try to speak calmly, as he stares. And the text on the large round pendant stares back at him.

To Thine Own Self Be True.

“Sobriety chip.” Unity, Service, Recovery.

A proud and large 3 months, in the middle of the triangle, leers back at Carmen.

“I was— I was Mikey’s sponsor.”

Now y'all in my asks see why I was waiting, eh?

Ya caught on! Well, after thinking collectively, ya caught on. Some of you got it quick. Anyways, I shouldn't be talking about this like it's some gotcha, it's deeply painful.

A lot of hard confirmations! Fuck! This conversation was so hard to navigate, because I was like-- There's just so much for them to catch up on, and so they keep like moving forward and so I was like wait I have to go back and address this-- No. That's not how most real convos like this work, they just keep running forward, they can clarify later. Such a weird brain challenge. I was tweaking. I hope it's sensical to read? If it's not, dw, i'll walk into the sea about it.

Can you believe this chapter began with Syd/Chip/Richie? Absolutely bonkers. We started with getting ready in a hotel/taking a flight. We were so young, then. I've gotta go watch season 3, so don't send me spoilers, but please send me literally any and all thoughts about this chapter. I really fuckin-- Rah.

I'm happy with this chapter and I honestly think I will probably make a separate post sometime this week showing bits you might've missed-- So much of this was me harkening back to those first three chapters. I went back and reread them recently and I was like woah. I don't know how I did the thing where the writing style felt distant and slowly became close as they became close as characters, but I did feel like that was a thing. In the early chapters. Having to recreate that distant feeling here? Oh fuck. Brutalizing feeling.

Oh but on the more cute side, if you also see Tony as Desi, I was thinkin like a lehenga style blouse with all the work, and like, some black flared pants? and she's got big fuckin jhumkas, OF COURSE!!! OF COURSE BRO!!! But I just left it at semi-cultural so everyone could have fun, hehehe

I feel almost certain, someone's gonna be missing from this tag list, and for that, a thousand pardons, I am gonna put it in my notes app so I don't forget next time, mbmbmb, also added people that did not ask but you are so frequent that i feel like you're just forgetting to ask? idk if you wanna get taken off always just ask dw

@anytim3youwant @navs-bhat @whoknowswhoiamtoday @gills-lounge @slut4supersoldiers @sinceweremutual @itsallacotar @catsrdabestsocks101 @popcornpoppin @renaissance-painting @lostinwonderland314 @v0ctin @ashtonweon @sharkluver @fridavacado @hoetel-manager @mrs-perfectly-fine

anyways, if you wanna be added send me your thoughts/analysis/diagnosis at length + ask to be added and i will ! try! sometimes they get lost and i am sorry abt that but i do try!

Next Part

[falllpoutboy]

the ritualistic humiliation of alicent this season was absolutely disgusting and the show constantly needed to remind us that she is the character we should root against all the time and never feel bad for her, everyone else gets a pass because they’re a slave to fate, apparently, but not her. nearly every single plot point this season regarding her is swiftly followed by a punishment, whether literally or narratively.

she starts this season by having clandestine consensual sex with criston cole her sworn sword. they are so bad at being clandestine that otto and larys have clearly suspected something is going on with them. after being stood up by her, larys then replaces her regular lady’s maids with some from his staff so that they can spy and report back to him which makes alicent uncomfortable enough to send them away. that’s punishment #1

she and criston are having sex when b&c happens and are interrupted by helaena and jaehaera running in. but remember, jaehaerys was not the original target of b&c, and the mastermind behind it, daemon is redeemed by the end of this season, so alicent is so much of a POS hypocrite that while she too busy having sex with the LC of the kingsguard, her grandson dies on HER watch. and as much as i loved alicole, i really hate that the writers used their relationship to seemingly punish the characters when they literally haven’t done anything wrong. and now helaena knows about the affair too. punishment #2

alicent is confronted by rhaenyra at the sept of baelor, who lets slip that she heard viserys push for aegon to be king as his last words to her. but oh no, silly alicent, rhaenyra is here to tell you about the song of ice and fire, this stupid prophecy that has been passed from Targaeryen king to heir for generations now. how would alicent have known about it when she is neither king nor heir? doesn’t matter, she’s stupid for believing his words to be literal and stupid for playing a part in crowning her son. punishment #3

alicent takes moon tea, as an abortifacient or as a late contraceptive, we’ll never know! but the very act of taking moon tea is now perceived by grand maester orwylle, who now also has reason to suspect queen alicent has been having an affair. punishment #4

bitter and disillusioned with herself for not knowing about a stupid fucking prophecy nobody told her about and letting her horrible son aegon be crowned (even though the council was planning on installing him anyways), alicent talks down to aegon by reminding him he’ll never be as good of a king as his father (L O L) and he should do nothing. such a rousing speech leads to aegon getting drunk, flying out into battle on his dragon and getting maimed because of it. why did you say such mean things alicent? now look what you did. punishment #5

back at the small council, alicent advocates for herself to be regent with only one person there to agree with her, grand maester orwylle but not even her lover and closest confidant advocates for her. the son she is scared of the most becomes regent instead. silly alicent, don’t you know you will never be respected in a room full of men? how do you like misogyny, something you have apparently never personally experienced until this day, now? punishment #6

alicent goes to the sept of baelor to pray with helaena when a riot mob happens and is forced to retreat. this mob is apparently so righteously angry at not having enough food, they throw fish in her face with such good aim and call her the queen of fishes, alicent trips and falls for leaving helaena behind momentarily, and she also receives a bloody gash on her arm before barely escaping with her life and helaena. oh alicent, didn’t you know that the blockade of ships that carries food into the city which has been enforced by rhaenyra and corlys has actually been your fault the entire time?? punishment #7

back at the small council, alicent confronts aemond and is relieved by her duty on there by him. maybe its because she brings up a theory that he is now avenging the bullying he went through when he was young, which one could argue happened on her watch, is why she gets the boot. oh well, there goes any little ruling power and say in the war effort she had left. punishment #8

alicent sees off her brother ser gwayne who makes mention that their father otto kept her closer to him than gwayne because she was his favored child. Oh! so because alicent was otto’s favorite, it doesn’t really matter that he sold her into marriage and marital rape at age 14 last season. why would you ever want to be otto hightower’s favorite child? punishment #9

alicent also asks about daeron, with gwayne saying how unlike to aegon and aemond he is because he was raised away from them in Oldtown and not by her.. she even says this and gwayne dissuades her of that opinion but honestly, once alluded to that alicent is a bad mom, it’s just her biased brother claiming otherwise. punishment #10

[lemotmo]

!!!! This This This. We cannot help them anymore. This is it. This is the entire point !!!! Surely they see this?!?!

Q. Nope sorry I call foul. They absolutely played us. They built up this big plane emergency and released just enough grainy, no context BTS stuff to imply that Tommy would be utilized, because why would you not use your canon PILOT to help land a freaking plane, and not only was he not utilized he wasn't even in the two episodes. They used him to generate the buzz but then left him out completely. Nope that's disgusting.

A. I debated whether or not to answer this and initially I was going to ignore it, but I decided this was a good opportunity to highlight the difference between show importance and fandom importance. The show didn't use him to promote anything. We got b&w photos of a hanger, a partial plane, trucks from every fire station in the 911 universe and a grainy image of someone's silhouette. That was the BTS of these episodes. You all made them about Tommy because that's what you've done since 7x4. The show has never made anything about Tommy. You all twist everything into being about Tommy so you can call foul when it inevitably has nothing at all to do with him.

Tommy has never existed as a character in his own right. His has never had a scene that was about him. Every scene and interaction has had something to do with the development of one of the core four. For Chim and Hen they needed him to be racist and sexist, so that's how they wrote him. He only changed his behavior towards them when they had done something that he felt was worthy of changing his opinion. But it wasn't about changing how Tommy saw them, it was about changing how they saw themselves. Tommy wasn't the point of anything. He was the plot device used to help them with their character growth. When it came time to do Buck's bi storyline they needed a plot device to help introduce him to that new realization. So Tommy was written as gay. He was given a few sentences about struggling to accept himself and come out as a way to explain to the audience why he wasn't gay when we were first introduced to him. The reality is though that he wasn't gay when we first met him. He's gay now because the plot called for him to be gay. That's the entire point of a plot device. They become whatever the plot needs their character to be because they are not the point. The plot they are being used for is the point. In this case Buck and by extension Eddie are the point. So Tommy becomes whatever Buck or Eddie need his character to be.

Tommy wasn't involved in the opening arc because the opening arc wasn't about Buck or whatever internal struggle Eddie is dealing with. As far as the show is concerned Tommy doesn't exist outside of that story bubble so he doesn't need to be used in any other storyline on the show. Again, that's the entire point of a plot device. They exist only to move the plot they're involved in forward. It was important that he was a pilot last season because it was a way to introduce him to Buck and Eddie. It's not important anymore. That particular aspect of him has already served its purpose. The show no longer cares that he's a pilot because they don't need that part of him in the Buck storyline anymore. He had a scene in 8x1 because it was a scene about Eddie and by extension Buck so Tommy was needed because that's the storyline he's being used for. But any scene not related to Buck and Eddie's plot will not utilize Tommy because he doesn't exist outside of that plot. I know I keep saying this, but again, that's the entire point of a plot device. He doesn't exist for himself. He only exists for the plot.

The show gave you a handful of scenes. None of them had anything whatsoever to do with Tommy. They showed him during the cruise ship rescue with Buck and Eddie. They showed him playing basketball with Eddie and Buck being jealous. They showed him going to Buck's to apologize for coming between Buck and Eddie, a scene in which Eddie's name was said so many times it's hysterical. They showed him and Buck on a first date where they ran into Eddie. They showed a coffee date where Buck says he wants to try and invites him to his sister's wedding. They showed him at the bachelor party, again with Buck and Eddie only this time they were also dressed in coordinating costumes. They showed him at the medal ceremony, but not as Buck's person when he received his medal. They showed him at the hospital where Buck basically outed himself to everyone but made a point of showing Eddie's reaction. They showed him having dinner with Buck after Bobby's accident, a scene that's more interesting to me now and I will explain why in a minute. Then his one scene in the first episode of the season. He doesn't exist away from Buck or Eddie. But you all took those scenes and made them about him. You made the first kiss about Tommy instead of Buck's clear misplacement of what his true confusion was in that moment. You took the bachelor party scene and made it about Tommy showing effort by bothering to show up and chose to ignore the entire point of the bachelor party scenes which were Buck and Eddie. You took the dinner scene in the finale and made it a flirty date ignoring the awkward point of that scene entirely.

The dinner scene from the finale is really interesting to me now that we have Oliver's interviews and the Tommy/Henren deleted scene as context. The dialogue in that scene is brutally awkward and cringe and while I still think it was wildly out of place within the episode it does make more sense to me now. Buck tried to initiate a meaningful conversation in that scene. He tried to make an emotional connection and Tommy turned that attempt into a daddy sex joke. Oliver's comments about Buck viewing their relationship through 'rose colored glasses' and the deleted scene establishing that Tommy, rightfully so, is allowing Buck to set the pace of things within their relationship is very interesting. We know that we are now 3 plus months into their relationship and with the added context of Oliver's interviews and the deleted scene that would indicate Buck is the one who is actually avoiding the deeper conversations. I think part of Buck realized during that dinner that they weren't a compatible match. But he desperately wants to make a relationship work, especially if he currently believes the thing he kept getting wrong was the gender and not the actual relationships. So as a result Buck decided to avoid dealing with things that reinforced their incompatibility and has chosen to keep things surface level deep because he knows the physical aspect is what he can offer and do well. Having the current storyline push him to the point where he will no longer be able to avoid talking about and dealing with those issues is a very interesting way to handle Buck's part of the bigger storyline. They have to get Buck to a place where he can acknowledge he has more to offer someone than sex. So I'm really curious to see how that part goes over the coming episodes. I got off track there, anon. But the reality is the show and Oliver didn't play you at all. You all chose to play yourselves by refusing to acknowledge things that were not being hidden from you. The show has been very clear and obvious with what they are doing with Tommy. Stop trying to pretend their intentions away because they don't fit your headcanons.

Thank you Nonny!

Okay, I'm just going to post this without any of my own comments, because I feel this really summarises the whole T and BT discourse. I try to always post about the show and the fictional characters and leave fandom out of it, but in this case it can't be avoided because fandom is a part of the problem.

Ali talks about 'show importance' and 'fandom importance' and that's so relevant right now.

Please remember, this doesn't come from a place of hatred, but rather a place of 'logical thinking' and 'understanding' what the show is telling us. What story they are really showing and how fandom perceptions can sometimes be deceiving.

It's a damn good read.

IMPORTANT! Please don't repost this ask and/or a link that leads straight to my Tumblr account on Twitter or any other social media. Thank you!

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[qqueenofhades]

Good Omens Season 2: Some Thoughts (and also Screaming)

First, /screams

Second, obligatory disclaimer that this meta contains MAJOR SPOILERS for all six episodes. If you somehow have managed to remain virginally unspoiled, look away now, scroll past, or add "good omens s2" and "good omens spoilers" to your block list, as those are the tags I have been using for all posts and reblogs.

Third, /screams more

Okay okay okay. Deep breaths.

Anyway, so, uh, how about all that, huh? First, the good thing about the tone of the season overall was that it felt considerably darker and more adult, in a good way. We didn't have the precocious kiddies, the kitsch and literally-comphet Anathema and Newt, the so-clever narration, etc. All that was gone, which makes sense when you consider that a) the end of last season saw them reboot into an entirely new universe, and b) the fact that God has gone silent is, in fact, a major plot point for the season. We don't have Her slyly telling us the story, or indeed anything, and everyone is left to make their own judgments and take their own actions. Which, obviously, gets them into a lot of trouble, especially when Metatron (the Voice of God, aka someone acting in the belief that they're speaking for God and therefore doing terrible harm) swoops in with the ultimate buzzkill at the end of episode 6. But we'll get to that.

The downside was that the main, present-day plot (hiding Gabriel in the bookshop and trying to get Nina and Maggie to fall in love) was fairly thin, felt stretched out and at times weirdly paced, and otherwise existed mostly to get us to That Ending and the setup for season 3. But the ending was so damn good (if obviously, very painful) that I can't be TOO mad, not least because we spent six episodes with them just making absolutely no pretense about the whole thing being as incredibly homosexual as possible. I'll be honest: I did not think they were going to actually, explicitly go there. Neil Gaiman has been so consistent about "your interpretations are valid and you're welcome to read it however you want, but the only canon is what's on screen," which I think is frankly a good thing (not least since the Neil GAYman Cinematic Universe is consistently very, very good to us queers), that I just... didn't quite think they'd pull the trigger. Sir Terry is dead and can't have active input, this is based on a book published 30 years ago, maybe they didn't want to make it LIKE THAT... etc. I certainly hoped, but I didn't really think they would.

Uh. Well.

As I said in my various semi-coherent liveblog posts, I honestly don't think there was a single straight person in the entire season, among both major and background characters. Aziraphale/Crowley and Maggie/Nina are the obvious paralleling couples, but Beelzebub (using "they" pronouns and addressed as "Lord" despite presenting as femme/femme-adjacent) is clearly nonbinary and therefore also queer, and the countless gay/queer side characters were just /chefs kiss. From Job's son making a sassy pass at Aziraphale, to the random Scottish goon with Grindr on his phone (which he then gives to Aziraphale, because what is subtlety), to the interracial couple with the trans spouse at the Pride and Prejudice ball, there was just a lot of casual, unremarked, non-story-critical queer representation visible at every turn. It's like the NGCU saw the bigots wailing about Sandman season 1 being extremely gay and went CHALLENGE ACCEPTED, LET'S MAKE GOOD OMENS 2 EVEN MORE GAY.

God bless.

Obviously, Jon Hamm as Amnesia!Gabriel stole the show (he was SO fucking funny) and it was also incredibly fun to watch Miranda Richardson repurposed as a scheming demon. Nina Sosanya also reappeared as Nina the coffee shop owner, which leads us into the Maggie-and-Nina subplot. They're obviously, wildly, incredibly clearly an analogue for Aziraphale and Crowley themselves, but they're also each, crucially, a mix of both. On the surface, Maggie is Aziraphale: the plump, blonde, earnest, sweet-natured one owning a slightly dated book music shop and somewhat clueless about emotional nuances, while Nina is (also on the surface) Crowley, the hard-edged dark loner who doesn't want to open herself up to people or be spotted caring. But emotionally, Maggie is Crowley: the one openly pining, clearly besotted, only wanting to hang around their crush and do whatever they can to make themselves useful, while Nina is Aziraphale. Interested but reticent, attracted but conflicted, trapped in an abusive relationship with a demanding offscreen "lover" (Lindsay/Heaven) who tries to constantly control and shame them without ever offering much, if anything in return. By the end, they bring themselves around to what Maggie/Crowley are offering, but by then, well. We've got a lot more problems on our hands.

As I also said in my earlier posts, this entire thing has always been a metaphor for religion, queerness, and what religion -- especially abusive, fundamentalist, organized religion -- does to queer people, but they really cranked the FUCK out of that metaphor this season. Aziraphale is guilt-tripped, controlled, and shamed for his attraction to Crowley at every turn. He is torn between his imagined duty to Heaven, in all its ignorant, uncaring, bureaucratic, gratuitously cruel system that he still insists on seeing the best in because he can't bear the alternative, and the chaotic and sometimes grey but genuinely more good morality that Crowley offers him. (Can I just say, we were explicitly shown that the two of them together doing "just a little miracle" are more powerful than Heaven AND Hell combined.) And at the end, he's told that the only way he can be with Crowley -- what Metatron explicitly blackmails him with -- is if they both go back to heaven, submit themselves to the cruel system again and give up everything that has made them who they are: their home in London, their human friends, their reliance on each other, their independence, their own ways of doing things. You can be queer in this (religious) framework, but only the limited, watered-down, controlled, controllable, constantly-under-supervision kind of queer, which relies on both you and your lover "converting" back to the true faith. And if you don't cooperate, they will literally kidnap you, lie to you, manipulate you, take you from your soulmate, and force you right back into doing the one thing (destroying the world) that you never, ever wanted to do in the first place, because in their minds, that is still better than this. It's for your own good.

Ouch.

And the thing is: that's why the ending a) hits so hard and b) is so fucking painful, because of course Aziraphale agrees. He has no conception of being able to defy Heaven on his own; he has always, always needed Crowley for that. In the flashbacks, when Aziraphale is faced with an order from Heaven that he desperately does not want to carry out (such as letting all Job's children get killed), he still relies completely on Crowley to "outsmart the rules" and find a better way. Crowley is A Crafty Demon; that's what he does, and so Aziraphale rationalizes it to himself that therefore that must be fine. Even in season 1, when he really didn't want the Apocalypse to happen but initially thought it was his duty as a good Heaven footsoldier, he relied on Crowley to talk him out of it and allow him to do what he really wants instead. That's their whole dynamic in a nutshell, as exemplified in that scene in episode 2, where Crowley tempts Aziraphale with the "pleasures of the flesh" while sprawled on his back in Ravish Me mode like the giant walking gay disaster that he is. (Sorry, buddy. That beard. Can't do it.) Everything that Aziraphale's existence is, that makes him who he is, that he loves and cherishes the most (in this case, food and wine) comes from Crowley. Everything else is just background noise.

Throughout the season, what we see is Aziraphale increasingly coming around to the fantasy of being with Crowley. He's coy and flirty; he talks about "our car" and expects Crowley will let him (which he does); he wants to have a Jane Austen ball and for them to dance together (oh my heart); he even thinks, at the crucial moment, that the best way for them to be together is to go back to heaven just like they were in the beginning, once more perfect angels, as if those entire six thousand years of struggle and grief and pining and separation and falling didn't happen. And Crowley -- poor, poor, brave, devoted, heartbroken Crowley -- has just heard for the first time in said six thousand years that actually telling the person you love how you feel is an option. Maggie and Nina tell them point-blank that their whole stupid plan failed because people aren't chess pieces who can be moved and automatically achieve the desired result. And of course this gobsmacks the dearest and dumbest Ineffable Husbands, because they can't conceive of anything else. People are chess pieces in the Great War of Heaven and Hell; Aziraphale and Crowley themselves are chess pieces who have been desperately trying to get out of being moved by external forces, but that doesn't change the fact that that's what they are. They don't have volition or agency aside from that which they can sneak for themselves in brief and stolen moments. That's it.

Until, well. It's not it. They discover that this whole would-be war is actually an elaborate ruse to cover up another angel-demon romance, that of Gabriel and Beelzebub. (I'll be honest, I'm 99% sure they did this storyline because they saw the fans crackshipping them, but I appreciate a fictional narrative that values and incorporates its fans' input, rather than trying to constantly "trick" or "outsmart" them or "do what they don't expect.") And Gabriel and Beelzebub get to be together, but only by leaving their world forever. They have to desert their homes, their structures, even their own identities, and never return. And Crowley and Aziraphale are so rooted in their "precious, perfect, fragile" life in their little corner of Soho, with their bookshop and their Bentley and their dining at the Ritz (which they didn't get to do in the end because METATRON /shakes fist), that that just doesn't work. Neither of them can conceive of doing that. So Aziraphale thinks "go back to heaven and try to make the terrible system do some good and take what we can in terms of being together" and Crowley just... pours out his heart. He's ready to fucking propose. He barely stops himself from saying something to the effect of "I want to spend eternity with you." He begs, he pleads with Aziraphale to go away not in the literal sense, but the emotional/metaphysical: to finally break this toxic dependence on Heaven and tell them once and for all where to stick it. And because he is desperate to make Aziraphale understand, he finally throws all caution to the winds and recklessly, desperately, adoringly kisses him, the one thing he's wanted to do for ages and...

Gets. Shot. Down.

Ugghhhhh. I'm suffering all over again. Aziraphale wants him, hungers for it, for them, and yet he's been so abused and so conditioned by Heaven (he's still blithely repeating to Crowley's face that "Hell are the bad guys!") that he just cannot accept that kind of desperate, blind, limitless, lawless affection. He even forgives Crowley for this "transgression," just to really twist the knife, and Crowley just can't take it, can't face up to how terribly this has all gone up in flames, after he went to heaven trying to find the answer for Gabriel's situation. Gabriel, who he fucking hates. Gabriel, who tried to kill the angelic being he loves (and for which Crowley has transparently never forgiven him). And yet at one pouty puppy-eyed look from Aziraphale and a warning that whoever is harboring Gabriel might be in danger, Crowley leaps headlong into the Bentley again and rushes to the rescue while "Good Old Fashioned Lover Boy" is blaring. He stoutly protects Gabriel; he does a miracle to disguise him; he lets him have hot chocolate and stay in the bookshop; he guards him from the literal demonic horde outside. All because of Aziraphale. That's it. And then, it still doesn't work. Not only that, Gabriel's absence and decision to forego Armageddon gives Heaven the one tool they finally need to take Aziraphale away from him.

I repeat: Ugghhhhhhhh.

(In a good way. Ngl, I love this angst. This is the kind of angst my brain Thrives on, the Thematic Parallel Romantic Character Arc kind. Nom nom nom. But also: AGONY.)

I also need to talk about Aziraphale driving the Bentley, aside from the obvious metaphor of him being in Crowley's home while Crowley is in his. Last season, we had the "you go too fast for me, Crowley" scene with them sitting in said Bentley, which was Aziraphale saying he's not ready for a relationship. In this season, as noted above, we see Aziraphale increasingly embracing the potential fantasy of being with Crowley. But here's the catch: when he's in the Bentley this time, driving it, setting the pace, acclimating to the idea, he's driving his own idea of what the Bentley/his relationship with Crowley is. It's not the real thing. He plays classical music; he supplies himself sweets; he turns it yellow; he drives too slow. Crowley calls him in another old-married-couple snitfit to complain that Aziraphale's messed it up, but what Aziraphale has actually messed up (or will, by the end of the season) is far more consequential than just a car. He's changed the entire shape of their relationship to the one he thinks can make it work, and it just doesn't. It has to be them -- "we could have been... Us" -- or it's not even close to the truth. It's not worth their time.

I repeat: Ouch.

Speaking of the writers validating fan theories, I know we all picked up and screamed about on Crowley's idea of Peak Romance Guaranteed To Fall In Love being sheltering from rain and gazing into each other's eyes, which confirms that that poor bastard was indeed ass-over-teakettle gone as soon as he met Aziraphale (again) in Eden. I also need to talk about the 1941 redux, because wow. This time, the danger comes from Hell, which we see being its usual self: gleefully, pointlessly cruel, pettily backbiting, dirty, sniping, tedious, endless, determined to mindlessly destroy because They're The Bad Guys and they like it. So they blackmail, spy on, miracle-block, illicitly photograph, and try to prove that Aziraphale and Crowley are secretly a couple, right after Aziraphale himself has just had the Light From Heaven realization that he's in love (which we all also picked up on in s1). They're forcibly outing them (to speak of more Religious Queer Trauma) in order to break them up/get them into trouble with their authorities/families. Aziraphale and Crowley manage to escape it mostly by dumb luck, but Crowley having an altogether freakout, hands shaking, barely able to actually point the gun at Aziraphale even in the knowledge that it's supposed to be fake, is just... wow. He can't even fathom the idea of ever trying to destroy him in earnest, especially when he knows on some level that Aziraphale also finally just realized his own feelings. So I just need to --

/screams

Anyway, Aziraphale's entire arc this season is doing what he thinks is the right thing and then inadvertently causing harm and damage as a result. In the Edinburgh flashbacks (live slug reaction of me: SEAN BIGGERSTAFF???!!) he tries to stop Elspeth from stealing bodies and gets Morag killed and Crowley drinking the laudanum to save him (though that part with David Tennant just riffing left and right, using his natural Scottish accent, and being Tiny Crowley/Huge Crowley was hilarious). He invites his neighbors to a Pride and Prejudice ball and makes them all the target for demonic attack. And of course the Job episode: Aziraphale, horrified at Heaven's callous cruelty, desperate not to get Job's children killed, willing to go along with Crowley's tricks to save them somehow, tempted by Crowley to do the fucknasty with their angel bits eat some food and decide that he likes it. As mentioned, the whole thing about God being silent this season is a major thematic choice. The only time we see/hear God is Her communing with Job from afar. Aziraphale enviously imagines the answers he must be getting (he's not, he's baffled and perplexed), while Crowley longs beyond words to even have the opportunity to ask the question: why? Why do this? Why is this your plan?

And of course, this absence culminates in the Metatron, the Voice of God, the person arrogantly claiming that they're speaking for God and know exactly what Heaven wants, being able to seize Aziraphale by the short hairs and absolutely fuck him over. Gabriel is gone/decommissioned/eloping with Beelzebub, so Heaven needs a Supreme Leader (God apparently is no longer a factor in the equation). And what this Supreme Leader needs to do is finally unleash the Apocalypse that Gabriel decided to pass on (the Second Coming). Aziraphale needs to be punished, taken away from Crowley's influence/love, and put back under Heaven's explicit control, so Metatron spots a great opportunity to do all three at once. It's not an accident that the exact tool he uses to get Aziraphale to agree is "now you can actually be with Crowley!" Aziraphale and Crowley have been trying so hard to hide out from their respective Head Offices, but now all at once, there's this seemingly miraculous opportunity for them not to have to do that anymore! They can be together! They can be sanctioned by Heaven! They can give up all this hiding and sneaking around and lying! Isn't that better?

... As long as, of course, they give up absolutely everything that makes them who they are. No big deal. Minor catch. Probably nothing.

Metatron doesn't let Aziraphale have time to escape, or think it over, or reflect, or anything. He pressures Aziraphale to come with him immediately, or be once more subject to Heaven's implicit wrath/destruction/judgment. Believe me, Aziraphale already KNOWS he's made a huge mistake, as soon as he hears what Metatron really wants: bringing him back to unleash the Apocalypse that Aziraphale and Crowley have given up literally everything to prevent. He doesn't need time to reflect. By the time my man is in that elevator, he's well aware of what a catastrophic misjudgment he's made, and yet --

Aziraphale needs this. He has, as noted, literally always relied on Crowley outsmarting Heaven's cruel orders in order to prevent himself from having to do them. He's relied on Crowley rescuing him ("rescuing me makes him so happy," WELL BUB, IT'S BECAUSE YOU ALWAYS NEED IT). He admits to Crowley's face that "I need you!" He hates Heaven's sadistic meanness, but he has absolutely no framework, in and of himself, to defy it. When the rubber hits the road, he will crumple and try to go along with it, and now he's been put in a position where he's going to have to stand up, defy Heaven, and make the break once and for all BY HIMSELF. He doesn't have Crowley around to do it for him, he has no support, he is going to arrive in Heaven and be shuttled straight off to the Apocalypse 2.0 War Room. The only way he gets out of this is if he actively stands up, if he chooses himself and Crowley and their life, and he has to.

The thing is:

Aziraphale has lived his entire eternal existence Looking Up. Up is the direction of Goodness and Heaven. Up is where Angels go. Up is where Aziraphale comes from and where Demons and Hell are not. But now he's going Up, in a position to take over the whole shebang, and it's the last thing he wants.

So he's going to have to come back Down.

He's going to have to Fall. He's going to have to get back Below at all costs. He's going to have to finally, once and for all, understand what led Crowley to make the choice to leave Heaven and never come back. It's only then that they can possibly be together on any kind of conscious, equal, deliberate footing, claim their own agency, reject Heaven AND Hell, and try to really earn that South Downs cottage and that happy-ever-after, and it's gonna hurt so good.

Now if you will excuse me, /screams

[blues-valentine]

This is my last post about it. OBX 4 wasn’t just bad in terms of JJ but all characters in general.

The writers, knowing they’d kill JJ off, started a character assassination train on him perhaps expecting us to feel like he deserved to die? But we know JJ. We all know JJ’s reckless but not to this level of detachment. He was acting like an entirely different person. JJ would’ve never treated Kiara, John B or any of his friends like that. Ever. Not matter how bad life turned out. Even with the whole “JJ blew all of our money!” it’s like they wanted us to hate him so badly.

Don’t even get me started on how bad that JJ plot twist was and since Part 1 I said it. Trying to erase his entire life like that even when it didn’t make sense was lazy writing. And all for what? To have his biological father be the one to kill him at the end? Because that’s the only possibly cruel explanation for that plot twist.

Killing JJ in such a way when this character spent his entire life suffering physical and emotional abuse from his adoptive father is cruel and it sends such a sad messaging.

OBX has always been bad at giving the girls good story lines and that aren’t always about their boyfriends. Kiara’s relationship with her parents was totally ignored. We got from them cutting her off at 401 to them clapping for her at the ceremony and we never got to know how they reached that place. Did they go to family therapy in those 18 months? Did they talk and came to an agreement together? But nothing.

Cleo didn’t get to have a story line that wasn’t mostly adjacent to Pope. And for a character that’s been here for 3 seasons we only know she worked for Terrance and it’s good with knifes. We don’t know her actual surname. And I was expecting more from her revenge plot and I feel silly for expecting that from those writers.

Sarah’s PTSD regarding Ward was never further explored. The writers also forgot about Wheezie and Rose. Sarah wouldn’t have continued on without trying to reach out to her. It’s like they just didn’t want to deal with it. And the worst one is them making Sarah say she didn’t feel ready for a family at her age for them to forget about it and have her pregnant. Despite how silly it is considering the circumstances of their life and how much trauma she has to heal from.

Don’t even get me started on the way the writers never explored the girls relationship. The only bonding scene between the girls we got was Sarah telling Kiara she’s pregnant and Cleo wasn’t even there. We never saw them just existing as young girls just joking around. Hell; even a whole boys conversation would feel somehow natural and we didn’t even got that.

Pope is a killer now? And by the influence of Cleo not less. Did the writers forgot about Season 3? And how she was the one that stopped him from killing Rafe. So, now you’re telling me she was the one egging him on to become a killer. Make it make sense please.

And the pogues dynamic was so bad. God, it was so out of character for them all. Firstly, John B would’ve never allowed JJ to walk into that self destructive path especially after learning about Chandler. And then, the way JJ confessed to Pope he was sucidical and he just didn’t say anything about it? Kiara was also incredible out of character. And that death scene was particularly dumb in so many levels, because it could’ve been preventable and it was pointless. But the thing that pisses me off the most is that the pogues stood there watching. In a scene that felt perhaps a bit anticlimactic. “Not pogue gets left behind” but they buried him on a desert in Morocco and had Rafe be the one to dig the hole too. Those are not my pogues and this wasn’t the dynamic I feel in love with. OBX went from being a comfort show to give me so much unnecessary frustrations.

[deus-sema]

If Sauron and Galadriel's conflict is resolved in the last episode with just one fight, then it won't be surprising as such, to me atleast, because it has been done before. I've seen interesting canon compliant pairings being rushed and screwed because the writers chickened out when it came to exploring them at their full potential.

When it comes to RoP, however, it is a unique case in itself because if the writers were to sideline Saurondriel and act like nothing happened, then - even if it is a sudden and underwhelming resolution in every manner - they, reasonably, cannot be blamed for it because they have a perfect justification in form of canon to fall back on. It can be claimed that they were not obliged to deliver anything on the Sauron/Galadriel front because nothing was ever promised in the first place.

But, then, if that is what they intended to do all along, then they didn't really have to deliberately frame Sauron and Galadriel's scenes as romantic and emphasize on the tension between them in the first season. Halbrand could have been yet another companion Galadriel was friendly with like Elendil, Isildur and Theo and still turned out to be Sauron in Eregion. Why go through all that effort to build a narrative around their dynamic in the first place if it was meant to be dropped abruptly?

There is no logical way for the oliphaunt in the room that is their equation to be satisfactorily resolved in one scene. It'll take atleast one more season for the two of them to place all their cards before each other and face whatever is going on between them before moving on to the next stage in their arcs.

What we do know from interviews and the source material is that a) They have a 'cosmic' connection, b) This connection will be integral to the plot throughout the show. The information we have from the source material is that they were sworn enemies, once upon a time neighbours and Sauron, when not chasing the One Ring, is busy drunk dialing her through different numbers and getting blocked in the Third Age.

From all this, I can see either of the three possibilities occurring in the finale:

1) They duel each other, Galadriel spurns him and her darkness is overcome. Bye bye Sauron. But it will be an unsatisfactory conclusion.

2) They fight and Galadriel succumbs to her temptation. They spend S3 in each other's proximity before she gets away from him.

3) It's something in the middle and while Galadriel doesn't give in to him entirely, he takes her captive and tries to corrupt her next season. In the end, her willpower prevails over her temptation and she finds her way back to the light. S4 will be about the two of them dealing with the consequences of the fallout.

Like, I've said before the first outcome is, in my opinion, most predictable. The other two, however, will not only make more sense according to the narrative that has been built up until now but will genuinely manage to elicit surprise and anticipation for what the future seasons have in store.

All said and done, the writers knew what they were doing when they decided to exercise their artistic license and flesh out this relationship. Since they were already bold enough to undertake such a risk in the first place, they might as well see it through till the end.

Changing plans abruptly isn't going to bring anyone who has already denounced the show back. But the loyal audience and fanbase it has already garnered will stick to it and increase with time so the team better finish what they have started.

[gotskamstuff]

My honest review of PART 1 (that nobody asked for but I wanna talk about it)

‼️ SPOILER FOR S4 pt.1 (obviously but still a fair warning) ‼️

After watching the entirety of part one I have to admit that I am a bit confused by my own reaction ‘cause there are so many little things that I loved and missed about the show and we finally found back, but at the same time on the overall it kind of disappointed me a little how much time was taken away from the important things and going straight to the point…it was mainly ruined by Topper and Sofia’s storylines, both incredibly boring, repetitive and totally unnecessary.

I gotta say I LOVED episode 1 and episode 5 and half of episode 2, they had me hooked and got me really into the Outer Banks feels from S1 both in terms of adventure and Pogues dynamics, but I feel like half of episode 2 and episodes 3-4 nothing really big happened and there was just a lot of filler scenes, in terms of plot and storyline for the treasure hunt all that happened in 4 episodes is that they found the necklace and lost it, just in episode 5 they actively move forward.

There was so much unnecessary stuff that felt like plot fillers, probably gonna get a good portion of the fandom against this statement ‘cause I know the character got so many fans, but Rafe? The amount of scenes he got with Sofia repeating the same thing over and over was too much in my opinion, it felt like fan service just to get Drew on screen as much as possible. The whole Sofia character and storyline is actually insane to me how much screen time and attention got, no offense but…who cares? It’s kind of crazy that we got scenes of Sofia’s home, family, relationship, insecurities and background BEFORE WE EVEN GOT CLEO’S!

Too much screentime and too much attention to background characters (IMMENSELY background) that the audience could not care less about, especially when it came to the expenses of the main characters story and depth. This goes for Sofia just like Topper and quite frankly also Terrance.

Sofia is a character that we barely saw one season ago for a total of probably 2-3 minutes, now she’s taking up minutes upon minutes and various scenes IN EACH EPISODE and to repeat the same thing over and over again…I feel like one scene would have been enough to understand she doesn’t fit in with the Kooks and therefore she turns on Rafe, also there hasn’t been no built ups whatsoever neither over her or her relationship with Rafe. As i said we barely ever saw this character, why or how is the audience supposed to care or empathize with her? Why is the audience supposed to care all of a sudden about Rafe and Sofia’s relationship? It went from 0 to 100 out of nowhere, from the most irrelevant thing last season to now apparently being the entire storyline for Rafe. There would have been so many more interesting things to see about Rafe’s behavior after his father’s death, how he lost it, how he’s reacting and clearly trying to become the man Ward was, but no it was just “gotta invest and be good for me and Sofia”…none of the things he cared for (and literally went psycho for) were explored with any depth: his family, the gold, the family’s property at Tanny Hill he wanted to keep, how he said he’d seek revenge if anything happened to Ward etc.

Topper as well��did they not get the memo last season of how tired the audience is of his repetitive storyline? He comes, insults the Pogues, digs at John B about Sarah and blablabla, still WHO CARES? And who cares he got a girlfriend or that he has something to prove to her? Who cares that he hosts parties and who cares he was there surfing and causing problems with the Pogues? Who cares about this Ruth girl suddenly beefing with Kie? This has been done and over for 4 seasons now, we could’ve just seen him talk to Rafe once and impress his girlfriend about the investments on the land which is the only relevant thing for the plot.

And I’m probably gonna sound like a bitch here but Terrance as well, was it necessary? I mean, the only good thing about it is that we FINALLY got a tiny little minuscule bit of backstory for Cleo but even that was sooooo superficial. Once again they wanted the audience to empathize with something that was portrayed so minimally. Terrance reappeared out of nowhere without any explanation, told Cleo to comply and died…damn we could’ve at least seen a little more of that bond he and Cleo had, have him be there a little more for a couple of episodes, see him look out for Cleo and save her to empathize a bit more with his death and even find out more about Cleo’s upbringing since it’s something related to one of the main characters, but no.

Sofia, Topper, Ruth, Terrance and I’m sorry but I’m gonna include even Rafe in this list, are all characters that have no relevance anymore for the show and might as well not be there at all, they don’t add anything valuable to this story and just take away time from the plot with irrelevant and marginal scenes that no one cares about.

I guess my overall disappointment is that a lot of the Pogue’s storyline got put too much on the side and brushed off way too quickly for the sake of irrelevant characters who got way more screentime than needed to the point it started getting boring/irritating.

Barely saw Sarah and John B mourning their fathers, not even slightly explored the evident fear of John B turning into his dad that was just blurted out of nowhere by Pope, Pope’s family that’s been a constant in this series is nowhere to be seen, Kiara’s family dynamic and storyline is brushed off ENTIRELY with a 3 seconds flashbacks and with her parents suddenly being at the ceremony without a clue on what happened in between, Cleo’s backstory that was promised to us was just a quick show up in one episode of an old character and one line “he raised me since I was 13”…and can we talk about JJ’s reunion with Luke?

It was probably the most anticipated plot and one of the things the audience cared the most about and it felt so anticlimactic, same thing for the discovery of JJ’s parents. A MASSIVE PLOT TWIST in the main storyline of a main character blurted out like that so casually? Solved in one episode in a handful of minutes of screentime? I was actually getting really excited about the build up towards JJ’s past ‘cause I feel like they were doing a pretty good job with the hints and the subtle way it was getting anticipated that JJ’s mom was the woman who died and then Luke comes back without any type of suspense and in two minutes of screentime “I gotta tell you I am not your father and that wasn’t your mother” just like that, as if the Maybanks storyline isn’t what defined the entirety of JJ’s character and personality. There was so much more depth that could’ve gone into their reunion with mixed emotions and there could’ve been waaaay more pathos about JJ discovering his true identity. It was just thrown out there after 3 minutes on screen with his dad.

Even all the couples and ships, we saw more of Rafe and Sofia’s relationship than we saw JJ and Kiara (perhaps the most anticipated ship) or Pope and Cleo.

I feel like even the whole treasure hunt was moving so slowly and got put in the background, the only real high was in half of episode 2 with the scuba diving portion and in episode 5 when they actually go do something and they are in the catacombs, I’d include Cleo’s kidnapping but once again it got done and solved so minimally and once again interrupted by scenes with Rafe, Sofia and Topper when we could’ve been on the suspense for Cleo.

Personally I think that what people really missed about S1 ans S2 was the Pogues dynamic (which I ADORED so far in part one and this is something that to me made the whole season dear to me, finally they’re back with their essence) but also how action packed the show was EVERY EPISODE, back then it was almost as if each episode was its own mission for every discovery and every adventure they went on, it was a constant “onto the next move” and so high on adrenaline and action around the treasure hunt and I don’t know, it overall felt so slow this time and like they did so little discovery except the necklace and the crown (which was just mentioned).

And I gotta be real here, the reason why I say episode 1 and 5 (and half of 2) were my favorite was indeed because it was PACKED with the Pogues, the catch up to their story, their dynamic, moves being made in the plot with the treasure…and MOSTLY because they had the least interruption from all that Sofia and Topper boring stuffs that just kept breaking the flow of the story with irrelevant scenes.

I know that at this point I’m sounding so negative and believe me, the first person saddened about this is me. I was so excited for this season AND I STILL AM but I gotta admit, I really loved a lot of things (and I’ll probably show my excitement during the wait for part 2 with a lot of things I want to rewatch, theorize about and obsess over) but also I couldn’t get past my annoyance over the superficiality the main characters personal storylines suffered from compared to the excessive importance it was given to background characters.

And once again I’m sure my excitement over the episodes I just watched will probably build up in the wait for part 2 but it’s because I’ll be able to control where to direct my interest and attention concentrating more on the things I liked and found interesting, but I gotta say that my gut reaction on first impact while watching for the first time is that something kept breaking the flow of the storytelling so far (what I just explained about the excessive irrelevant subplots).

Get more screentime and more depth to our Pogues feelings and personal stories…WE DON’T CARE ABOUT SOFIA AND TOPPER!!

[snitchcrimsonwrites]

Maybe pt. 2

Pairing: Norm MacLean X Female Reader or OC

Former friends to a relationship?

Life is pretty easy in Vault 33 until you're trying to rekindle a former friendship and raiders attack. Now, our main characters are trying to navigate newfound feelings all while undercovering the mysteries of Vault 33. Stay tuned. Follows the main storyline of season 1; some events may be reordered for plot.

Some of the conversation feels a little clunky, but we want these two to make up and move on, right?

Part 1 Here Part 7 Here Part 12 Here

Part 3 Here Part 8 Here

Part 4 Here Part 9 Here

Part 5 Here Part 10 Here

Part 6 Here Part 11 Here

Norm hates this feeling. Laying in bed, he can feel his stomach twisted in knots. This gut-wrenching feeling has kept him up most of the night, realizing he’s got to make a decision. As far as he’s deduced from his sleepless night of pondering, he’s got two primary options. 

Option A. He pretends yesterday’s conversation with (Y/N) never happened, and they continue exchanging small talk, pleasantries, and those awkward neighbor half-waves until the end of time. The scaredy cat in him prefers this option. It avoids confrontation and maintains the status quo they’ve held for the last couple of years. It is simple and lacks any unnecessary entanglements. Things just go on according to plan. He’s done it before, it can easily be done again. 

OR he can proceed with Option B to confront (Y/N) about what she said in the cafeteria yesterday. This option has sparked his curious side. Cause that entire interaction was odd, wasn’t it? Norm had so many questions, but are they worth pursuing? Opening that can of worms could lead to more problems, more decisions, and fewer answers. No. He needed to know. Curiosity might just kill the cat, but at least he’d be able to sleep at night. 

(Y/N) worked in one of the maintenance labs as Vault 33’s official Pip-Boy Programmer—one of the perks of doing well on the Vault G.O.A.T exams. Norm was eager, planning to stop by the lab first thing before he headed to his desk. Unless someone had major issues with their Pip-Boy, they’d probably have the lab to themselves that early. Alright, it was decided. He threw off the certified Vault-Tec comforter, climbed out of bed, and headed toward the shower to get ready. 

—--------------------

You were already at your desk, pretending to be occupied, when Norm MacLean appeared in the doorway of the lab, leaning on the doorframe and fiddling with his Pip-Boy. Truth be told, you were half-expecting him, especially after yesterday. But maybe not this soon. You were hoping he’d stew on this decision for at least a day.

“Good Morning, Norm. Pip-Boy on the fritz?” you ask, knowing full well that the reason he was here had nothing to do with his Pip-Boy. Even if his Pip-Boy was malfunctioning, Norm was more than capable of taking care of that repair without your assistance. 

“Yeah, I think I’m having some software issues. Do you think you could do a diagnostic run for me?” 

You smile, “Of course. If you wouldn’t mind taking it off and filling out the repair form, I can start right away.” 

He complies, handing you his Pip-Boy and taking the clipboard with the attached Vault-Tec paperwork. As he starts on the paperwork, he estimates he’s got roughly twenty minutes of fake errand cover to work with. 

You attach the Pip-Boy to the diagnostic cable running from your computer, load up the program, and wait. “It will just be a few minutes to get a full picture of what’s going on,” you reassure him. 

“That’s fine. My supervisor knows I was having a few issues with it this morning,” Norm says, barely looking up from the clipboard. 

The two of you fall into awkward silence, neither wanting to be the first to break it. 

You relent. “Hey, I’m sorry if yesterday made you uncomfortable. I know we haven’t spoken much at all lately, but I heard about what happened from Reg, and I just couldn’t stop myself from coming over. It wasn’t right of me to use your situation as my catharsis, especially since we had that failing out. I should have respected that. We can continue on as we were, friendly neighbors in the same Vault.” The words stuck in your throat on the way out. That’s not what you wanted, but if that’s what Norm came here to say, better get it out of the way sooner. 

Oof, now he felt terrible. Norm should have known you’d apologize for thinking you made him uncomfortable. That’s your nature. You’ve always been empathic to the needs of your friends. He needs to come clean. 

“I never wanted that.” 

I’m sorry. What did he say? He never wanted that. To stop being friends? Your brain was going a mile a minute, swirling with questions, too many to vocalize at once. Thankfully, Norm elaborated before you even tried. 

“I never wanted to stop being friends, but the closer we got to graduation, the more effort you seemed to put into exams and passing, being the best in the class. You had ambitions and goals, and (Y/N) you could achieve them. You didn’t need to be dragged down by the Black Sheep of Vault 33.” He tries not to think about his label, and usually, it doesn’t bother him. But right now,  it weighs on him; it feels laminated across his forehead, defining him. 

“Norman,” you manage to sigh out. “I’ve always admired that about you. That’s what I meant yesterday. I wish I had the confidence to act that way before now; I’m sure I’d be much happier. After my dad passed away, I wasn’t sure how I was going to navigate,” you gesture to the air around you, "everything. I was on my own, and subconsciously, I picked up on the reality that the better I did in that classroom or for the Vault, the more control I thought I could have over my life.” 

She didn’t need to explain. He knew exactly what she meant. It is kind of an unspoken rule of Vault 33. Obviously, those who did well on their exams got matched into the most coveted jobs within the vault, but those placements also impacted other situations. Those higher-achieving students had more say in when and to whom they were married, more access to leadership positions, and the list goes on. 

“I had no idea how my life would go, but at least I knew I wanted a hand on the steering wheel. I mean, I’m not sure if I actually want to be married or if that’s part of the programming to be in a relationship, but whatever happens, I want it to at least feel as though I made the decision." You pause and add, "Seriously, could you imagine if I got stuck having to marry Chad Johnston?” 

Norm snorted. The juxtaposition of his former classmates as a married couple was hilarious. Those two couldn’t be more opposites. “Well, at least he’d have someone to teach him to read,” he managed between laughs. 

This garnered a snicker from you as well. “Haha, you’re hilarious,” you say in the most sarcastic tone you can muster. “So, what do you think? Can we act like adults and finally move on? Or do we double down on whatever self-destructive tendencies we’ve got going on here?” 

“Hmmm, I don’t know about you, but I’m really leaning into that second one.” He pauses and puts his hand to his chin. “On the other hand, it might be nice to have lunch with someone I’m not related to.”

DING. “Vault-Tec Pip-Boy diagnostic program is now complete, no issues were detected.” 

You both smile. “Well, it looks like the software issues seemed to have resolved themselves.” 

“Isn’t technology incredible?” Norm asks as he stands to leave. 

[fantastic-nonsense]

obviously I'd be thrilled to just get the whole PJO series adapted and then end it there. However: Heroes of Olympus as a story can be cleaned up sooooooo much in a way that PJO just doesn't need to be, and a tv adaptation offers the perfect opportunity to do so

like honestly my hottake is that I think Disney could solve both the problem of adapting a long, convoluted sequel series and a lot of the problems HOO as a story has if they a) do The Lost Hero and Son of Neptune in the same season and b) deliberately wait until the PJO actors are in their 20s to do it

Just thinking about this a bit more:

three 12-14 episode seasons, with TLH/SoN in S1, a modified MoA in S2 that deals with some of the Argo crews' HoH subplots, and then HoH/BoO in S3

Percy and Annabeth are in their 20s and newly engaged when he disappears. This sets up the arc of Percy dreaming about settling down with Annabeth in New Rome in a more organic, functional way and also gives us as viewers a chance to see that the aftermath of the Titan War has resulted in tangible, lasting change for the demigods of Camp Half-Blood

Grover replaces Coach Hedge as the Seven's collective Protector+chaperone, which solves the series' problem of Grover's absence and the absence of the PJO Trio's friendship

the whole show/story takes place over ~6 months instead of the year it did in the books, and Percy+Jason's individual quests happen concurrently (simply not letting Percy sleep for 8 months and making an episode where he establishes himself at the Roman camp for awhile before he's forced on the quest with Frank and Hazel would solve about half of the problems on the Roman side of the series)

Season-wise, things mostly sort themselves out:

The first season starts off introducing the Lost Hero trio and we find out that Percy's missing at the end of the first episode. The second episode opens with Percy waking up at the Wolf House and starting his journey to New Rome. We get one episode entirely devoted to amnesiac Jason and Percy integrating into the new camps, making friends, and learning about their missing counterpart before the quest plots start up.

The season then alternates between Jason, Piper, and Leo's "Find Hera" quest and Percy, Hazel, and Frank's Alaska quest, with intermittent jumps to the Greek and Roman efforts to find Percy and Jason. It ends with Percy and Jason regaining their memories and each camp realizing their leader is on the other side of the country in "enemy" territory.

The second season opens around a month later as the Argo II docks in New Rome. Percy and Jason have both been given time to make friends, integrate themselves into the opposing camp, and become adjusted to a different way of life with all of their memories intact. They haven't physically returned to their home camps as they've both independently come to the conclusion that Hera switched them to initiate inter-camp unity and are wary of doing anything that would disrupt that goal. However, Percy and Jason have both managed to get messages to Annabeth and Reyna respectively at some point in that month, so everyone knows everyone is safe when the Greeks finally arrive in New Rome.

Cue MoA's various plotlines, which would be cleaned up and streamlined significantly while also integrating in some of the HoH arcs like Hazel learning how to manipulate the Mist, Frank learning how to use his shapeshifting powers, Piper coming into her own as a daughter of Aphrodite, Leo's seventh wheel arc and the Calypso subplot, Jason struggling to figure out what his place is, the Jason-Nico friendship, etc. Also set up the Greek v. Roman dispute and Reyna following them to Greece. Season ends with the Annabeth-Arachne confrontation and Tartarus fall.

The third season combines HoH and BOO; the season alternates between Percy and Annabeth's journey through Tartarus while the rest of the Seven finish their various character arcs via gathering the elements for the Physicians' Cure and journeying to the Doors of Death. After they rescue Percy and Annabeth and close the Doors, they plan to head straight to Athens to take on Gaea. Reyna reaches them just after, and Annabeth sends her and Nico off with the Athena Parthenos with Grover as their Protector.

The final battle switches between The Seven+Gods vs. Gaea+The Giants at the Acropolis and the Greeks vs. Romans at Camp Half-Blood. The Gaea plotline is resolved at the Acropolis, the Greek-Roman plotline is resolved as Nico and Reyna triumphantly arrive at Camp Half-Blood with the statue, a functional Greek-Roman working relationship, and the gods' blessing. This helps streamline the mess that was Blood of Olympus and actually provides a workable story resolution.

We get a final aftermath/epilogue episode that sorts out and ties up all remaining plot threads, teases Solangelo, and ends with Percy returning home to see his mom and planning out how to move to New Rome after he and Annabeth get married.

Obviously this is the roughest possible sketch of how it could be done, but I genuinely believe doing something like that could fix some of the biggest issues HOO has conceptually while streamlining all of the quest bloat. It'd be interesting to see them try, anyway.

[watchfuldeer]

the thing about tom and greg is that yes, the nero and sporus scene in 3.04 for instance is homoerotic, tragic and heartbreaking, yes it says a lot about tom’s neuroticism/his unhappiness in his marriage/queerness, and greg’s ability to fend for himself/ability to see tom for who he really is etc but it is also one of the funniest and strangest scenes in the entire show.

tom and greg’s subplots have always been a vital component of succession - their dramatic function being primarily comedic does not make them inessential. this is after all a show that was developed by a comedic writer, who is also the showrunner, and is written by a core group of people who have long careers in comedy and satire. some of their finest work across the seasons has been with tom and greg, who are an incredibly popular aspect of the show for that reason.

i really love kendall, roman and shiv but while they quip and squabble and lie to each other and grieve, they don’t have the comedic truth of a dynamic like tom and greg. comic relief does not mean some inconsequential sidebar on succession (i would argue that it rarely does in anything, but that’s a different post), it’s necessary to the plot. it’s where the big dramatic themes are played with and mirrored, made absurd, even whimsical, and above all honest.

having to stuff so much plot into season 4 now logan has gone has absolutely decimated the show’s internal structure. not because they haven’t written subplots, we know they exist, but because they simply don’t have space to include them. succession used to be many things, and for three episodes now has been mostly one thing, because there is no time for B plot - it’s all A plot, all the time. it feels weighed down, as opposed to mercurial - like, i was just getting bored last episode. i was bored during a succession episode! we the audience need relief: it enhances the A plot significantly and always has done. now, it’s getting cut for time and without it the show is suffering. the shift in editing has made the drama mawkish, and the comedy insubstantial, neither of which are particularly enjoyable effects.

i’m really, really hoping they can find that equilibrium for these last four episodes. this post might sound overly critical, but i am still enjoying succession. i’m more frustrated by post production decisions, as it just feels like a different show in ways that seem to be a product of foiled writing ambition and time constraints rather than actual creative intent.

[ihidemydemons20]

You know I’ve seen some people say that JJ’s ending and the plot line wasn’t bad writing and it’s just a sad ending, and that’s why people don’t like it. That JJ was a sad character and was supposed to have a sad ending so it made sense and I’m sorry but no!

If they needed JJ to die there are ways it could have been done well.

For starters saying that JJ is a sad character who was of course going to have a sad ending is such a cop out, not only is it poor writing it’s borderline disrespectful to the fans who love the character and worse the real life people in similar situations. Like if this show is lighthearted fun then JJ shouldn’t have needed to die and if this show if supposed to reflect real life then maybe have some respect for people who actually endure abusive childhoods and not tell them the only ending is bad.

But if they absolutely had to kill JJ (whether it’s because of on set issues or an actors request or even just needing to set up season 5) there were ways to do it without doing whatever the hell we got.

It’s simple, the Pogues should have found the crown and made it home, with Groff in tow so they can hand him off to Shoupe to clear their names and have JJ inherit the Genrette fortune, which would both get them a great lawyer to help Pope and would mean they can save the Cut and stick it to the Kooks. Have the season start wrapping up looking so happy, Sarah and John B happy in the early stages of pregnancy. Pope, Cleo and his family united and bonded after some emotional conversations, JJ and Kie actually acting like they’re in a relationship and maybe even her parents coming around (why set up the scene with Mike if that wasn’t the plan?) . Then in the last five minutes have the mercenaries show up, steal the crown out of police lock up and maybe even bust Groff out since maybe he called the mysterious ‘Finch’ and convinced him he could help them make a big score then have them kill JJ. The Pogues would still get their emotional motivation to hunt down Groff but JJ would at least get a proper story arc and closure.

JJ had no moment of triumph, who cares that they found the crown? We learnt about it like five episodes ago and it doesn’t do anything? Why have the entire Genrette storyline if it’s going nowhere? Why have JJ say he already got his wish when that’s not at all what we’ve been show in the second half of the season. Most of time the Pogues were mad at him (even when he was struggling and it felt very forced to have them not understand why he’s so messed up) and he and Kie had no moment of romance, barely friendship. So how did he get his wish? He didn’t get anything in this season or really any of the other seasons for us as an audience to feel satisfied.

This was bad writing plain and simple. There were ways to write around or through the actor leaving and it seems like they just phoned it in out of pure laziness or worse apathy. The team behind this decision deserves all the backlash they’re getting right now.

[azaharinflames]

Thankyou for making that post about not making assumptions about the cast. I wish fandom stopped parasocialling with them so much, it's so weird. Not only the Oliver stuff but that Lou is this poor little heartbroken uwu baby and how the whole cast were awful for not defending him (I've seen alot of "and no one stood up for him!!" posts too).

None of us know these people! What someone puts (or doesn't put) on their public instagram is worlds away from what they may (or may not) say or communicate in private.

And it's kind of depressing to assume the worst of them (any of the cast) rather than just that they're professionals doing their jobs.

Fandom in the last few days has been so much fun with the plot speculation, fics, memes and stuff. I find the criticism of the plots and the writing (and Tim to an extent in his role as showrunner) satisfying, but not to take that to the actors. For me, it's much more enjoyable (and better for my mental health) to have fun with our blorbos in our sandpit and keep the characters and actors separate.

Thanks for letting me vent!

Hi, Nonnie! Thank you for venting in my inbox!

Happy to let you vent, and sorry it took me this long to answer. I kinda promised myself I was going to have a small break from Tumblr this weekend after my last post, and only let myself reblog some. Back here again though!

Yeah, I think it's very important to draw a line and keep it there. If we need a permanent marker, so be it. I come from the Marvel and Glee fandom, and especially in the latter I saw a lot of wild shit. Including Darren Criss's wife having to go private across all social media because of the insane stuff she was unfairly accused of. Hell, when (spoiler) Blaine and Kurt broke up for a while, Darren had to post a goddamn letter to apologise, because he feared the worst. Like. Insane.

And I've been seeing the crazy here as well from the B*ddie fandom, and I stopped checking that hashtag (can't check it even for their friendship) because of how wild it was. We are nowhere near what they do, don't get me wrong. But just because of that, and because this has been, hands down, the nicest fandom I've ever been on, I don't want us crossing lines in a moment of anger or disappointment.

And it's hard to know when to say something, too, because I do feel like the feelings we were dealing with were entirely justified. But as you said, it's better if we keep focused on the show and the, frankly, bad writing they are doing this season.

And yeah, I'm annoyed at the behavior of some actors, but I understand your point. I won't lie and say I liked how no one said a thing about the harassment Lou received, but I also know better and I know it is quite possible they talked about it in real life, and it is very much none of our business.

At the end of the day, Lou has expressed multiple times he was very happy to be in the 911 set, and even in his latest interviews he doesn't contradict this. He's a grown man who deserved to see all the love that we have for him after endless months of harassments, yes. But I also think he's a grown man who knows what he's doing and what he wants.

Anyway. This was long, sorry haha.

If anyone wants to vent, rant, or express their opinions, my inbox is open❣️