#this was originally mean to be the whole scene but

[superpowereddonut]

Spencer's Star (Spencer Reid x BAU!Reader)

Hi! I was just re-watching Criminal Minds and had to write this short little drabble! Also, this is my first time experimenting with the use of 2nd person (ie. using 'you'), but I still didn't use Y/N. Please let me know what you think!

Pairing: Spencer Reid x GN!Reader / Spencer Reid x BAU!Reader

Episode: 5x13 'Risky Business' (end scene on the jet)

Warnings: Slight (canon) Spencer-targeted bullying by the team (but not from reader!)

Word count: 907

*****

It had been a good case. Well… good by BAU standards. 

Since the team had arrived in the small rural county in Wyoming, there had been no further deaths and within only 48-hours they had caught the unsub - an EMT who goaded teenages into choking themselves to death through an online ‘game’. Still, despite the quick solve, the whole case had been disturbing. You wondered whether anyone else was still dwelling on the twisted man who had repeatedly choked his own son. Or if anyone but Hotch had noticed JJ’s seemingly personal stake in this case. Move on, you reminded yourself, tomorrow there will be another case, and then another, and another. You can’t afford to dwell on each one. 

Shaking your head slightly, you forced yourself to focus on the present, just as Emily took out a wooden shape and placed it on the table between you. “What is that?” Spencer asked from the seat to your left.

"It’s called a star puzzle.” Emily replied, “It’s basically impossible to figure out.” 

You watched with interest as she began to take it apart, and noted Spencer’s quick eyes tracking each of her movements. “You have to put all of the pieces back together to form a perfect star,” she explained, “but the origin of it is kind of a romantic tale.” 

Emily began recounting the story, her voice soft and lilting. “There was this young prince who wanted to win the heart of the fairest maiden in the land. So, he climbed to the top of the tallest tower in the kingdom and he caught a falling star for her.” 

The whole plane seemed to be listening to Emily now - Rossi was watching from where he leant against the plane window next to her, and Penelope was hanging off her words as she carefully knitted what looked like a bright blue tea cosy. Even Derek, lounging on the seats behind you and Spencer, had taken off his headphones to hear better. But - as it so often did - your attention had moved to Spencer, who now had a slight crease in his brows. 

“Unfortunately he was so excited that he dropped it and it smashed into all of these pieces…” Spencer reached out to pick up the now-separated pieces of the puzzle, his arm gently brushing yours as he moved. “...so, he frantically put it back together again to prove his undying love for her,” Emily was saying, “and he succeeded, and they lived happily ever after.” You caught Penelope’s soft sigh from the back of the plane before Spencer spoke up, “That doesn’t make any sense.” He said, and you had to hide your smile at his adorably confused tone. “What do you mean?” Emily replied, now frowning as well.

“You can’t catch a falling star. It would burn up in the atmosphere.” It was becoming difficult to hide your fond amusement, and you almost had to physically sit on your hands to keep from reaching out to smooth his furrowed brow.

“Yeah but it’s not literal, Reid, it’s a fable.” 

Spencer didn’t seem satisfied, “But there’s no moral. Fables have morals.”

“Okay, so it’s just a romantic little story,” Emily rebutted, growing exasperated, “The point is, it’s basically impossible to do because you have to take all of those pieces and fit them together exactly…” 

You watched, transfixed, as Spencer’s long, nimble fingers worked quickly, slotting each piece together with precision before he gently set it down in front of you, once again in its complete shape.

“There’s a lot to hate about you Dr. Reid.” Emily said, sarcasm softening her harsh words. You heard Derek chuckle from behind you.

“Play poker with him sometime.” Rossi said with a quiet smile.

“Try playin chess with him.” Derek chimed in.

“Or Go” came Penelope’s voice from the back.

You rolled your eyes at the familiar teasing jabs, but your smile fell when you saw Spencer’s face. You knew that look. He was feeling insecure, running back over the entire interaction to see where he had missed a social cue, or messed up in his contribution to the conversation. He didn’t seem to have picked up on Emily’s sarcasm, instead taking her comment to heart.

“Don’t be fooled,” you spoke up, “he watched you take apart the star and memorised the movements. He just had to repeat the pattern in reverse.” 

Emily’s eyebrows shot up before she turned to Spencer. “Did you really?” She asked, and her tone now held unmistakable awe. He just shrugged, though you noticed the set of his shoulders relax slightly and his cheeks flush pink at her admiration.

The rest of the team gradually turned their attention elsewhere, and you were about to go fishing in your bag for a book when Spencer’s arm brushed yours again. You looked up to see his dark eyes fixed on yours. Oh, those eyes. They had always reminded you of old, cosy libraries and soft caramels that melt on your tongue. It was an effort not to lean into his warmth.

“How did you know I memorised the pattern?” He asked, his voice a soft whisper as though not to draw the attention of the others.

You allowed yourself a small smirk. “I know you too well Doctor Reid,” you said, equally quiet, “you’re going to have to try harder than that to impress me.”

His answering grin made your heart skip a beat. 

“Challenge accepted.”

[gayofthefae]

We've talked about how while everything is taken seriously for Byler, even jokes being only jokes they tell in bonding and not us laughing AT them, while only platonic or sad moments are treated that way for Milkvan but romance is consistently treated as funny in a way that they're not in on (see: the entirety of season 3) and therefore we are laughing AT them, but let's also talk about how unimportant scenes are cut.

And funny isn't "important". It can serve another purpose - Steve's awkward flirting with Nancy in 4x05 also advances their romantic plot which leads to her friendship with Robin, for example, important. He is also referencing Dustin here, who he has been behaving oddly towards and is a big motive for his behavior this whole season to be answered.

So what, then, is the purpose of Mike and El's "comedic" moments? Oh, they broke up that way to be funny? Wrong. They broke up that way because the writers wanted them to break up and wrote it to fly under the radar and be a little nicer for you. If season 3 for them was just filler comedy, why even have it at all? Why not just cut to the chase? They said themselves the pacing ended up TOO condensed with only 4 seasons but that their original plan was 4, so with our current knowledge, it would make no difference and there would be no need to "fill" anything!

But it was important. It did mean something. Just like Mike's inability to say "I love you" was played for laughs in season 3 only to trick you into thinking it was resolved before calling you out for that assumption and bringing it back serious, all their issues have a purpose. Everything "funny" they do or say about their romance is just something under the radar to later be brought back to your face and say "why did you dismiss that?"

I've said before, season 4 Mike and El is just season 3 Mike and El in a different tone. Like those "movies in a different genre" trailers. It isn't funny anymore. But it's the same exact events. And what that's saying is "this was always what was happening, you just weren't taking it seriously before - but they always were".

Jokes don't mean pointless here. Jokes mean distinct setups they want you to miss.

They love their rewatchability. They want it overtly present but consistently dismissed on the first watch. How? Make it funny. But the funny is never the reason. The funny is always the cover. And the reason is very very important.

So no. They didn't break up for comedy. Had it not been comedic, it wouldn't have been absent. It just would have looked like this:

It isn't Mike and El endgame but sometimes there's conflict. It's Mike and El relationship issues but sometimes they're hidden.

Sometimes they can be swept under the rug. Sometimes, Mike can lie that everything is okay and you'll believe him. She'll believe him. They didn't make it mean nothing. They wanted you to think it meant nothing. So you'd be right there with her, with him, with Will - as always - and with everybody.

But you saw. It was important enough that you saw it for it to be in the final cut.

If your best argument for the fact that Mike and El start having problems as soon as they get together is "filler" then I've gotta teach you about this thing called "writing". Everything is important. They don't have the most conflict because they're the 'main couple'. And they don't have the most conflict because it's funnier that way. They have the most conflict because there's a cause of it. A plot-pertinent cause that they couldn't cut even when they go down to the bare essentials.

[thewadapan]

School Days review

Yeah, School Days is actually pretty good after all.

When you google "School Days", on the first page of results there's a reddit thread asking "hey, why do people hate this show?" OP gives a succinct summary of the show's themes and praises it for its tight focus and psychological depth.

The comments in that thread are fucking crazy. The top-voted comment includes this absolute gem: "Sekai is an emotionally manipulative bitch". Some users gesture towards a faint understanding that School Days is a deconstruction of harem anime, but almost to a one they claim the character writing is unrealistic. Nobody seems able to look past the show's metatextual meaning to just look at it on a straightup subtextual level—that is to say, it's not just being different to other anime for the sake of contrarianism, it's making a serious point about misogyny and toxic masculinity. Describing Makoto as a "character" at all is almost missing the point; he's practically a force of nature, and the vast majority of the show is concerned with the psychological manoeuvring of the girls in his class trying to manage and shape his behaviour.

I only know about School Days because @weaselandfriends is constantly banging a drum about it being a secret masterpiece. Gee, I wonder who the OP of that thread was! Cannot imagine being on a "School Days slaps" grindset for eight fucking years now.

(CW: discussion of underage sex, full spoilers follow)

I'm going to take a cowardly centrist route and say that School Days does in fact slap on a conceptual level, but that the execution in many places leaves a bit to be desired. It often feels repetitive. I watched the thing on 1.5x speed because, as someone who reads fast, watching subbed anime is like watching paint dry. The dialogue often feels awkward (unintentionally so, as in), which I'm willing to partially chalk up to the translation; maybe some of the clunkier lines feel more natural in the original Japanese. The imagery is often kind of laughably blunt: in some cases it works, like Kotonoha's red yarn like she's pulling her own fucking arteries out of her body, and in other cases it feels derivative and hackneyed, like the whistling kettle in the final episode. Maybe that was more original in 2007, I don't know—I would've seen the same thing in Harry Potter and the Goblet of Fire two years prior.

School Days does set out to pull the wool over the eyes of its presumably-mostly-young-men audience, by putting them in Makoto's POV. The show is adapted from an eroge, where the player literally would have inhabited Makoto and made his choices for him, and the "objective" of the game would have been to unlock sex scenes with all the schoolgirls. The trick with the anime is that it removes the possibility of choice, creating an impactful dissonance as Makoto's actions become increasingly alien and harmful. Inversely, as Makoto's sexual exploits escalate, we see less and less of them; by the end, the whole thing is routine, not eroticised in the slightest, we see people putting clothes on afterwards, sneaking around darkened rooms.

At the start, though, it's all panty shots and boobs. And like, how do you depict the objectification of women, from an internal perspective, without just... objectifying women? This has basically always been the classic problem with satire. If there is a way of doing it, School Days hasn't figured it out, so it just rolls up its sleeves and gets on with it. Where School Days stumbles, in my opinion, is that the fanservice shots leak out of Makoto's POV and into the scenes where it's just the girls on their own. Nevertheless, I think that even pretty early on School Days is unmistakably saying, "this is a bad thing". There's a discordant note to everything, a threat of another shoe waiting to drop. At the start, it takes the form of these innocuous remarks as the characters try to interact in good faith: Sekai is constantly like, "There's nothing wrong with feeling attracted to a girl! But maybe she doesn't feel comfortable with it! Have you thought about how she might feel?"

That's the great tension of Sekai, and indeed of much of the show's conflict: there is a world where Makoto and Sekai are just friends, and where Makoto is faithful to Kotonoha, and everyone lives happily ever after. Maybe Sekai really is earnestly trying to cross this gulf between genders, and wants to just make Makoto understand, so everyone can be happy. But from the start, there's a question of Sekai's motives; embodied by Sekai's friend Setsuna, who trails after her constantly asking, "But do you like him really?"

Setsuna is an interesting character with her own motives. There's a reading where she has a crush on Sekai, but can't pursue it because of her family's impending emigration; she ends up hanging around Makoto and desperately attempting to protect him from the consequences of his actions to preserve his relationship with Sekai, expressly stating that she wants Makoto to be a proxy for her after she's gone (though leaving any romantic feelings unspoken, that's just my interpretation). This escalates to the point of her having sex with Makoto on the condition that he breaks off another engagement with Otome, which is such a self-defeatingly doomed gambit that it becomes tragically clear Setsuna has lost all control over the situation. I got the impression that Setsuna somewhat envied the other girls' entanglements with Makoto: the bit where she kisses him while he's asleep, in an attempt to create a personal memory before she leaves forever, is haunting. Like Sekai, Setsuna ends up manufacturing a romance between herself and Makoto as a way to be with him "by proxy", without earnestly confronting her own feelings.

Anyway, my point is that early on, everyone is treating Makoto like a person, which is sort of their mistake. They're like, oh, a boy with a crush, how cute! What's the worst that could come of this? He's a bit clumsy, but I'm sure he means well! And progressively, mercilessly, the show is like: no, he does not mean well. This dude has absolutely nothing in his life except sex. Girls only exist to him as people to have sex with. Guys practically don't exist, as he can't have sex with them. And for these teenagers who are discovering their sexuality, the very fact that Makoto soon starts having these rumours circulating around him is what gives him some allure: he's a sexual entity, he can be thought of in that way, there must be some reason all these girls are acting so crazy over him. Even a character like Hikari, who early on was crushing heavily on the anime's one (1) other male character, Taisuke, ends up taking her turn with Makoto; whatever feelings she had for Taisuke are forgotten, the anime doesn't even bother establishing how that romance works, because it doesn't need to, we've already seen Makoto use his exact same wiles on like three girls already.

School Days has aged well not just because the years since have yielded a better cultural understanding of its subject matter, but for its "production design": what would have been a timely present-day setting at the point of its release ends up turning the whole thing into an early-2000s period-piece. The fashion and environments are distinctly noughties. Perhaps the most consistent bit of visual symbolism in the whole thing is the flip-phone: whenever a character is holding their phone, you can think of them holding their heart in their hands. They're like the fucking soul gems from Madoka Magica. Sometimes, people leave their hearts in the other room, or block each others' hearts, or search their hearts for good memories. The "cell phone charm" from the first episode is brought up towards the very end, seeming bitterly quaint in retrospect. Right before she kills him, Sekai sends Makoto a text which just reads "sorry" copied and pasted hundreds of times. And of course, the ED shows a propped-open cellphone with a slideshow of photos of the girls.

I think in terms of its place in history, School Days speaks to this information age where young girls are being bombarded with cultural messaging that the best way to get ahead is to sexualise oneself while simultaneously slamming everyone else for their sexuality. Girls aren't just competing with one another for the attention of boys; now, they're competing with online pornography. Sekai works as a waitress at a maid cafe (?), and sometimes wears the outfit for Makoto when they have sex. During the School Festival, the girls theme their class as a maid cafe (drawing on Sekai's experience, I think?), and are shown using "absolute territory" as a last-ditch resort to steal people from the other classes. As part of the festival, they have a secluded area curtained off with a bed, encouraging couples to go there for sex acts—but later, it turns out some of the girls have set up a camcorder, and they use the footage to reveal how everyone is cheating on everyone else. While the exact events are obviously taken to an extreme, subtextually everything in School Days tracks 100% with my own experience growing up in a Bri'ish high school, and it feels like things have only gotten worse since social media really tightened its grip on our society.

The most common talking point I see regarding this show is that the characters are "stupid". And it's like, no, they're not stupid, what planet are you on, they're fucking children! (They're children, fucking!) Most of them have probably never been in a relationship before! Everyone in the show is pursuing their own interests; it's just that often, they're in denial about the reality of the situation, because to acknowledge the reality would run against those interests. It's funny, Makoto hardly changes his behaviour throughout the whole show—it just becomes more extreme—but the only thing that affects whether or not his behaviour with Sekai is good or not is whether or not Kotonoha is his girlfriend. The use of "girlfriend" as a role is weaponised by both Kotonoha and Sekai against the other constantly; like declaring "you're It!" At once point while cooking for the school festival, Makoto starts groping Sekai's ass, and she goes, "Geez, stop it! Stop it I said! What'll you do if someone sees us?", only for Makoto to reply, "Then it's okay if no-one sees us?"; this motif of a private sin recurs with Setsuna's character, particularly in the masked play that crops up a couple of times. In what context is an act of desire okay, or not okay?

Halfway through the show, I remembered Emily is Away, a short Western indie visual novel. Released in 2015, Emily is Away is very consciously an early-2000s period piece, wearing the whole time period as an affectation. The whole game is a series of text conversations on an IM client with a girl; after key choices, you are told "emily will remember that".

I fucking hated Emily is Away when I played it. It made me so, so cross. Because after I finished my first playthrough, and got a miserable, unsatisfying end, I naturally started the whole thing over and tried again. I picked different favourite bands. I acted completely differently. And yet, no matter what I picked, during the timeskips between sections, my viewpoint character would do the exact same shit and the relationship fell apart in exactly the same way. The second playthrough was a complete waste of time. It seemed like I, the player, was being railroaded, that the writer simply hadn't the imagination to conceive of a truly interactive narrative with a wildly diverging chain of events.

But of course, that's the whole point, obviously. Emily is Away plays a mean trick on the player, where it outright lies that "you" are making meaningful choices, when in fact "you" are merely spectating the actions of the viewpoint character, a specific guy who is, by nature, a certain way. It posits that all this shit on the computer just doesn't fucking matter, it has nothing to do with how we feel about each other, that it's only our actions in the real world that matter. The thesis of Emily is Away is that sometimes, for some immutable reason, shit just doesn't work out between two people, and there's nothing you could have done differently that would have changed that.

In the timeline where you go the party, you regret going to the party. In the timeline where you don't go, you regret not going. So, the game says, what's the point in regretting at all?

I totally understood this, after finishing the game. But, fuck, I was still pissed about it. The game lied to my face. It put me in the position of being a shitty person, and I didn't like that. It left a bad taste in my mouth. I'm still not sure if Emily is Away is actually any good; I think I like it conceptually, but maybe the writing sucks, I played it eight years ago. My point is that I think School Days is trying to pull the same trick as this one game, but in a much more mean-spirited way, to much more devastating effect, and I suppose I can't be too surprised that it pissed off a lot of people. If I hadn't known upfront what to expect- well, I wouldn't be watching ecchi anime in the first place, but you get the point, maybe I would've been pissed too.

If you break out of the "anime" mindset for even a second, and allow yourself to think that what you're watching is a frank portrayal of events, rather than some hyperreal cartoon, then Makoto is obviously just a little sexual predator. He's constantly pushing the girls past their limits, groping tits, going in for kisses, often against their express wishes. He initiates all the sex we see, and while in a certain sense it's all consensual, everyone involved is under the age of consent, and the show is making a very strong case for why underaged sex is a problem. When Sekai gets pregnant, Makoto wants nothing to do with her—"It's not my fault!"—but it's made clear he wasn't using any contraception, so, c'mon.

School Days is very deliberate in omitting adult characters entirely. Teachers mostly exist in the form of textbooks being read offscreen. I think we get a line of dialogue from Sekai's mom, if I remember right? It presents this world where Makoto basically has free reign to do whatever he wants to the girls, and everybody knows about it, but nobody is doing anything about it. When Sekai murders Makoto, there isn't a scene where anyone notices his absence, finds out. Kotonoha carries his severed head across town without anyone noticing, kills Sekai, and makes it onto the boat without getting caught. The show ends on a montage of idyllic school scenes, as if to say, "nobody noticed, everything just carried on". And again, to a certain kind of guy, I think this would stretch plausibility to the point of causing offence. For me, I think it's speaking to something very real.

Makoto's bedroom is barren except for his computer and magazines: porn, and porn. In the back half of the show, the void left by the absence of adults is filled by Makoto, Sekai, and Kotonoha, who are thrust into this horrible domestic drama, as everyone else in their class blocks Makoto. Makoto relays Kotonoha's recommendation for an abortion clinic to Sekai. He and Sekai sit diagonally across a table in a living room, and suddenly Makoto's school uniform looks like a salaryman's suit, a size too big for him, like he's walking around in his dad's clothes. Sekai tries to prepare a big meal for him, in a fucked-up parody of domesticity, but ends up destroying the whole thing after Makoto spits in her face yet again; later, she sees the remnants in the trash, an uneaten chicken leg poking out, and sees a little of herself in there, and that's basically when she decides to take the knife and kill Makoto. She stabs him in the belly, which is what Kotonoha will later do to her; both are imitating the original sin of the pregnancy.

Kotonoha explicitly chooses to kill Sekai this way because she believes Sekai is lying about the pregnancy—which we can pretty safely say isn't true, based on the scenes where Sekai is on her own. There's this horrible, horrible shot where the camera is looking out at Kotonoha from inside the gut wound, and she observes, "Just as I thought. There's no-one in there." And it's like, is she talking about this baby, still so early in the gestation that it's scarcely even an idea? Is she talking about Sekai, or Makoto, these two people who turned out not to care about her at all? Or is she peering straight through the screen at the viewer, complicit in this atrocity? The shot mirrors the bag containing Makoto's head earlier in the same scene; when Sekai unzips it, the inside is just a black void, and we aren't shown the contents. It's honestly more unsettling to infer it—that bag's not big enough for all of Makoto—and have it "made real" by that final shot of Kotonoha pressing the severed head into her chest on the boat. The memes were more right than they knew: "Nice boat."

Overall, I think School Days extends a lot of empathy towards its female characters. Or, if nothing else, it takes care to give them complex and distinctive internality, which is more than I can say for a lot of anime. Kotonoha initially represses her feelings for Makoto, and then when she feels pressured into reciprocating his intimacy, she soon gets turned into a social pariah for it. Early on, there's this eye-roll-inducing scene where Kotonoha is like "the other girls used to make fun of me because of my huge boobs", and from Makoto's perspective it's like "great, you've got huge boobs!", but then from Kotonoha's perspective, she spends the whole show getting slut-shamed, doesn't she? As a coping mechanism, she builds up elaborate delusions around Makoto—Makoto wouldn't let this happen to her, would he!?—which make it impossible for her to see how he's harming Sekai at the same time, culminating in the "I think you've made up your pregnancy for attention" beat. Their own internalised misogyny prevents the girls from identifying their common enemy.

If I'm being totally blunt, I feel like I can pretty safely put most of the comments regarding School Days I've seen online into a big bucket labelled "HAS NEVER HAD MORE THAN ONE GIRL INTERESTED IN HIM AT ONCE". Like, "I can't believe this Makoto guy! Why doesn't he just dump Kotonoha and date Sekai, who he's obviously more compatible with?" Bucket. "Makoto is so spineless and needs to stop letting these girls manipulate him!" Bucket. "There's no way the teachers would let him get away with this!" Bucket. "What do these girls see in Makoto anyway?" Bucket. "Sekai is such a bitch!" A new, bigger bucket labelled "NO BITCHES".

What I'm interested in is takes from School Days haters who aren't brainpoisoned anime fans, who might even nod along to all my analysis of the show's themes here, but who nevertheless think it's a bad show that deserves to be reviled. What part didn't you like? Is it the part in the OP where you see every female character naked one after the other? Yeah that part's pretty bad. Is it that windowpane-shattering digital transition that gets used once or twice? Is it the utter self-seriousness with which it tackles its ludicrous melodrama? I can see how, if you don't let yourself start to think "oh, those poor girls!", if you don't have that emotional buy-in, the whole thing might just feel comically edgy, sophomoric. I don't think there's any level on which School Days is fun to watch, and I'm not saying it's a secret masterpiece either, but I guess it more-or-less landed for me.

[vldunchartedregions]

Voltron Season 8 Meta - The Ground Work

Before we start our episode-by-episode deep dive & broader analysis of Voltron Season 8...

I wanted to address our main philosophy and themes we will be touching on our journey together.

Firstly, every frame, expression, shot, angle, storyboard, character placement, dialogue? It is all intentionally chosen to cater to the story. Animation is expensive and Dreamworks banked on this show being the success. It was greenlit for 78 episodes off the bat, sectioned into 3 parts (26 episodes each).

MM: Okay. So at that time did you know it was a 78-episode contract?

JDS: Yes.

LM: Yes we did. That was probably one of our biggest lies. You know, sadly. We try not to lie too much, but I’ll tell you, I’m gonna blow-blow the whole industry up right now: if an animated show tells you they don’t know if they have a second season, they probably know they have a second season.

Let's Voltron - Episode 175 - Transcript by Team Purple Lion

---

Oh yes, Dreamworks & Netflix were banking on this project. Budget comes into play and the show would've had an overall budget set in stone for animation, voice actors, writers, background artists, the showrunners, directors, marketing, events, etc. the works.

Moving forward, we must keep this philosophy in mind - every decision reflected within an episode - the title, all frames, shots, character placements, and dialogue choices within an episode that we'll be dissecting always has the following:

Intentions - The What?

Motivation & Purpose - The Why?

In a great audiobook I listened to from Reggie Fils-Aimé, called Disrupting the Game (highly encourage you to listen to it if you're curious about his time as President of Nintendo), he goes through his career journey chapter-by-chapter, tells important stories that helped shape him into who he is, and then ends each chapter with "The Why."

Why am I saying this? ADHD, but I do also have a point; walk with me here.

We will be looking at each episode with the lens of dissecting the double meaning of the episode titles - including the what and the why; identifying the layers in each episode that reflect the title's original intention and purpose. Neil Kaplan explains this notion well with "Launch Date" in his interview with Afterbuzz TV (Season 8, Episode 1 & 2 Recap)

[Timestamped: 3:07] 2. We will be dissecting scenes with the notion of the "What & "Why?" - from character expressions, to placement, to how the edits in post-production that were requested disrupts all of the original intentions of the episode and/or shots.

3. We will be looking towards my secret source (apologies to you all, but I'm NOT revealing who it is - sit down with some popcorn instead and enjoy the ride) with the information they have provided + other sources of information we've uncovered or have been informed of, to make informed conclusions with evidentiary support. Every step we take will be an informed conclusion.

In short, everything has a purpose and we will be walking through all of this with some lovely nuggets of (alleged) truth to feed our conclusions from my sources.

We also must keep in mind: explanations, intentions, and motivations can change throughout this meta. Our conclusions now might not be the ones we decipher later on. Not everything we know may be the truth, and even if we are to assume that what I've been told is all facts (allegedly; for entertainment purposes only), some facts even from my source may shift our current knowledge into a new truth.

When I tell you we have been binge watching these episodes again, and again, and tearing them apart limb from limb with the information we have, we are not exaggerating. We keep uncovering more with each rewatch and my friends, it is fascinating.

With ALL of this in mind, let's dive into some of the broader themes of Season 8:

In the first half of Season 8, we are shown that the paladins have not always made the correct decisions in their time defending the universe. Their actions DO have consequences, and their decision making from the past bites them in the ass.

...Case in point. 2. In the second half of Season 8, we unlock a few new themes: Love, Rebellion, & Redemption.

We will also address the Macross Theory™ Love Triangle.

Religious themes that go much deeper into the show than we initially thought. Further influence from many mecha shows (oh yes, this includes Evangelion here, friends - get in the robot, Lance).

Please see a screenshot from a DM from my valuable source from New Year's Day:

I was going to censor this message a little... however, I think it's a bit more fun to give you a teaser for what's to come. It's probably not what you're expecting.

Again, I must implore to you all - these changes were asked for last minute, hence why Season 8 is such a hard watch to old fans and new:

It was DONE. COMPLETE. FINISHED.

BEFORE Season 7 dropped.

They were ready to take a grand ol' break before Season 8 was meant to drop. Walk the dogs, paint some walls, eat some food. Y'know, they were on holiday mode - ready to book flights, job well done team!!

There was an incredible story awaiting us that unfortunately ended up on the cutting-room floor. This was even mentioned by LM at the NYCC panel in 2018, but for this purpose, I'll use a quote from the Afterbuzz TV podcast - February 25th, 2019:

LM: It was–there’s a ton of stuff that just hit the-hit the, kinda, cutting room floor, storyboard-wise, just because we didn’t have the time and so we’re looking like, it’s a kids’ show technically still, even though we’re trying to make it more than that. You have a-a scene that’s basically an act long that’s just in a white floaty space with people talking about, like, you know–

JDS: Bigger emotional stuff-

LM: Yeah. And, uh, you know, letting that go any longer than that is just like, “You can’t do it!”

ABTV Voltron February 25 Season Review with Showrunners in Studio - Transcript by Team Purple Lion

---

Now that's all addressed, I do want to lay some ground rules as we proceed through this meta. I'm going to sound like a broken record, but I want to make this clear to the fandom:

It was NEVER the crew, cast, or showrunners intention for Season 8 to pan out this way. They had an entirely different vision as to where the show was heading + they were probably confident it wouldn't be changed by the time they finished it. There was direct, last minute, executive intervention here. Do not hunt down all parties for this as it has been several years.

We implore you to approach this meta with empathy and kindness. How heartbreaking would it be to be the crew, let alone the showrunners, to be asked to amend and revise all of Season 8 after painstaking, hard work and having the season done already? With NO budget left? You can agree to disagree with me here, but this is how we will be approaching this meta. Be kind.

Your feelings are valid - abusive, unwarranted behaviours and opinions are not. We were not there and we don't know the full story and how it unfolded, no matter how much context and bits of information we were given. We DO have evidentiary support to fuel this meta and piece together a look at what may have been the original ending (allegedly; don't get me wrong) but I wanted to make this clear - no sending hate to anyone.

In light of all of this, let us begin with a teaser: I'll share one confirmation I had from my source...

Lotor was meant to be brought back to life.

Check out my Twitter page for any and all updates in regards to this insanely detailed meta; including teasers and screenshots! Please and thank you.

---

Disclaimer: The one thing I humbly request is PLEASE... No hate towards the showrunners, cast, crew, or the official Voltron IP holders. There's a lot that has changed culturally and intrinsically within the industry over the years and this outcome was not something they could simply control. Let's be adults, look at this open conversation with empathy and love, and respectfully, let's indulge in this topic with grace - your feelings, however, are incredibly valid when it comes to this meta and what we uncover, as there's many alleged finds that may shock the fandom.

[independentanon]

Woke Karen says anyone who does a Nazi salute should be fired.

I agree...

That said, I did do it multiple times to make a point. I mean, I don't want to be fired, and I don't want to normalize a symbol of hate either.

The point I was making was DOING THIS SALUTE IS NOT NORMAL AND SHOULD NOT BE TOLERATED. Trump is the God damned President of the mother fucking United States of America; Trump should have kicked Elon to the curb for doing this shit at his FUCKING INAUGERATION... BUT HE DIDN'T!!! Elon is still here! This wasn't some fucking autistic stim, everyone knows what he did. Don't pretend this is okay, BECAUSE IT'S NOT!

I'll be honest, I thought what everyone was saying about Elon being an "autistic edge-lord pseudo-neo-nazi 4chan user" was a bit blown out of proportion before, but WOW, I've changed my mind. The motherfucker didn't even apologize afterwards, instead making fucking Nazi puns on his social network... This isn't "owning the libs," this is an actual problem.

The point is I get where Woke Karen is coming from, I just hope he understands why I did what I did and agrees that I probably should not be fired as I was calling out Elon's terrible behavior and Trumps lackluster response. I even put "THIS IS SATIRE" on the back of my sign to help ease people's worries about me doing the salute too. I still feel really gross for doing it at all.

Here are the original posts:

[celestialworlds]

why i think the mindflayer/vecna is an allegory for queerness & shame in stranger things, and why i think will getting possessed in season 2 marked his awareness of not liking mike platonically

sorry if any of this seems jumbled! i have adhd and i was literally playing catchup with my own brain while writing this!

to preface this: horror is a genre that is inherently tied to queerness. horror subverts expectations, uses societal fears to tap into our psyche, while also using subtext and symbolism to give the story deeper meaning. symbolism in horror IS NOT just visual cues, they are experiences that characters have, conversations etc! subtext is VERY important!

commonly used symbolism:

mirrors - duality

shadows/darkness - subconscious/unconscious fears

monsters - represents societal fears and personal fears of the era the show/film is set in

ill also preface this with a parallel: freddy kreuger.

one of the characters is gay (jesse) & in love with his best friend (grady). in one of the scenes where freddy is using jesse's body (!!!) he says it feels like "something is trying to get inside my body." this happens after jesse kisses his girlfriend, and is immediately grossed out. the more freddy uses his body, the more in tune he is with the fact that he's gay, and is more aware of his own heteronormativity.

now! we know will gets possessed in s2 ep8. the beginning, until this episode, is will essentially trying to "get back to normal." (he cant, not when he's plagued with visions and memories) he spends the entire season with mike. mike comforts him, essentially attached to his side the entire time. HOWEVER. mike is still looking for el, and does talk about her directly to will in this season. we dont really see what will thinks about el, but we can make inferences based on his season 3 attitude, that he wasn't her biggest fan.

another thing that's worth pointing out about season 2: when the mindflayer originally enters will's body, mike had been looking for will.

afterwards, in will's conversation with joyce he says "i felt it EVERYWHERE." this part is more interpretation, but that seems recurrent with shame.

pivoting, with vecna i personally think he's a physical embodiment of that shame, and that fear that will continued to feel after season 2&3 (hence: "so stupid" after he fights with mike in season 3) it's also important to note that stranger things is set smack dab in the middle of the hiv/aids crisis. so not only is vecna an amalgamation of wills fears, hes also representative of societies fears and stigma towards gay men at the time.

will's whole s4 arc was essentially about his feelings and mike. feeling different. i feel like theyre setting s5 up to still have that same ... possession almost, because he thinks his love is unrequited. this is under the assumption will gets possessed again in season 5.

itd make a lot of sense considering will is the main character of season 5 and his whole arc is coming into his own, which means standing up for himself instead of being passive. will was bullied a lot for being queer, to flip that on its head would be symbolic by itself. it would make even more sense if el/will/mike are the ones who have the most important parts of ending everything. these are the 3 people he's closest to (apart from his mother and jonathan, obviously), the people he cares most about.

so, i wouldnt be completely surprised if mike ends up returning will's feelings, and helps him end things. el, his mom, and jonathan are CRUCIAL to this, however. he needs support from these 3 people. he has jonathan's already. we just need el, mike, and his mom. if they can defeat the mindflayer like this, the mindflayer then kills vecna. because theyre one in the same. the only difference would be that the mindflayer is free, which means will's shame, his fear, would be as well.

[bnhaobservation]

@biggibbins said:

My take on the 'retcon' I think it's more of a "what is seen in the shadow is often misunderstood by the mind of a child" kinda thing yk? Because both Touya and Shoto were children when they last saw thier mother, and there is litterly NO way for Dabi or Shoto to know that information(same goes for Dabi accusing his father of forcing his mother to have children) Rei isn't the type to discuss such things with her children so my guess on it is Dabi and Shoto making assumptions instead of retcon.[i hope that made sense] Also with the flowers; is it not possible to greenhouse them to get the result of them blooming/staying the same out of season?[i know nothing about plants]

Don't worry, it makes sense and it's a possible Watsonian explanation, but it comes with some problems.

From a Doylist angle, generally, when an author uses this trick he also reveals it's a trick. As in he let the characters involved know they remember wrong or have someone who's aware of the truth say they can't reveal it to them. Here neither Enji nor Rei (Touya also told his mother that her parents sold her) correct Touya's belief or give us a reason on why it was better if Touya were to think so.

Also, another thing to consider is that chapter 301 originally wasn't planned at all. When Shouto told his own past, Horikoshi hadn't planned Touya yet, and originally Enji wasn't supposed to live long enough to take part to the second war, and, very likely this also means it would have been only Shouto who would have faced Touya in battle, not the whole family.

If chapter 301 originally weren't meant to exist, if Touya as a Villain was created after Shouto told us of his past, this means when Shouto explained things to Midoriya the Todoroki family's past was meant to be very different.

We know that the Todoroki family's past was retconned more than once, Shouto's prototype was changed to give us our current Shouto, Horikoshi in chapter 302 first messed up and said Rei was hospitalized AFTER Touya burned, when he had Fuyumi said if was PRIOR to it, and then he had to retcon the scene for the volume version.

Honestly I have doubts thinking when Shouto told Midoriya about his past, Horikoshi already planned to have him be mistaken because at the time he was a child.

If we move to the Watsonian angle instead, Touya was made aware at 4 that he was born to fulfil his father's dream. It's not something Touya says, we've Rei saying Touya now knew why they had him, likely this happened when they discussed the problems Touya had with his Quirk with the doctor, meaning they might have explained him of the Quirk marriage.

It's canon for some reason they discussed WHY Touya was born in front of Touya. Touya is also not so small when he last saw Rei as he was almost 14 and, as said before, he discussed with his mother how his grandparents sold her, with Rei never telling him he was mistaken.

It would also be pretty weird for Touya and Shouto, who canonically couldn't interact together, to make the exact same assumption without the slightest basis.

Note that Touya never said Enji forced Rei to have children, he said he forced Rei to marry him.

If we want to try to smooth the retcon into something that could work in canon, Rei's parents needed to be persuaded because they originally wanted to marry Rei with someone else, then Enji waltzed in and they changed their mind. Rei being forced doesn't mean being dragged into that marriage kicking and screaming but being pushed into it by social conventions.

In the same way as Touya, who is Enji's firstborn, would be expected by society to inherit his father's job, and the fact he can't makes him a failure in society's eyes, Rei, as the Himura's daughter, was expected to be a good daughter and help her poor family and marry Enji and give him the children he wanted.

Still, this post is pretty hold... I've discussed a little better Enji and Rei's marriage here.

As for the Gentians... I couldn't find info about greenhouses growing them out of season. I guess it's not impossible but, as I can't find info about them, I can't tell for sure.

Said all this, if you prefer to theorize that Touya and Shouto are simply making assumptions, please, don't let me stop you and sorry for the long rambling. I just love to talk about the Todoroki family.

BNHA Observations, speculations and assorted info: Pre-marriage Todoroki Enji (Part 2)

So, in order to write my fic, I spend much time observing canon scenes, comparing the manga and the anime version, take note of details, translations and info in them as well as finding out how are some things called.

Since what I noticed/speculated/found out can be of use for other fic authors I thought to share as well.

Resources:

Chap. 301 "The Wrong Way to Put Out a Fire, Part 1" (火の不始末前編Hi no Fushimatsu Zenpen) Chap. 31 "The Boy Born with Everything" (全てを持って生まれた男の子 Subete o Motte Umareta Otoko no Ko) Chap. 302 "The Wrong Way to Put Out a Fire, Part 2" (火の不始末後編 Hi no Fushimatsu Kōhen) Chap. 187 "Flaming Roar! vs. Nomu: High-End" (燃えよ轟け��VS 脳無：ハイエンド Moeyo Todoroke! vs. Nōmu: High-End) Chap. 387 "Congealing" (煮凝り 'Nikogori')

Ep. 130 "The Wrong Way to Put Out a Fire" (火の不始末 Hi no Fushimatsu) Ep. 19 "The Boy Born with Everything" (全てを持って生まれた男の子 Subete o Motte Umareta Otoko no Ko) Ep. 88 "His Start" (始まりの Hajimarino)

School Briefs I "Notice from School"

OBSERVATIONS, SPECULATIONS AND ASSORTED INFO:

As of now we only have two more scenes which depict Enji pre marriage, the first being his 'Miai' with Rei and the second being their first 'date'.

The scene are flashbacks placed while Enji is at the hospital so first let's look at...

THE FULL SEQUENCE AS IT IS IN THE MANGA

So now let's focus solely on the scene in question and, since it has been transposed in anime version (and the anime added scenes) let's have a...

COMPARISON BETWEEN THE MANGA AND THE ANIME

The anime starts by adding more scenery, we see what could be the Himura house, which is also a traditional Japanese house... though with all the green it has around it seems its garden is a lot bigger than the one of the Todoroki mansion.

Actually it might also not be the Himura mansion but some place they have chosen for the meeting but it seems more a traditional Japanese house than anything else and the Himura used to be wealthy so they might still have their old residence and anyway... who knows?

The anime gives us also a close up of the Shishiodoshi (鹿威し literally, "deer-frightening" or "boar-frightening") device or Sōzu (添水 "Adding water") fountain, a bamboo water funtain originally derived by a devices to frighten away animals that pose a threat to agriculture and who's currently part of the visual and aural design of gardens, and are used primarily for their aesthetic value.

We also see the Soribashi (反り橋 "Arched bridge"), a red arched bridge, over a pond (probably a Koike (鯉池 "koi pond") filled with Koi (鯉) carps, or, more specifically, Nishikigoi (錦鯉 “brocaded carp”) carps.

'Jiki No.1 no yobigoe takai Endeavor-sama kara o koe kake itadakeru to wa yume ni mo omoi masendeshita! Gyōkō no kiwami ni gozaimasu!!' 「次期No.1の呼び声高いエンデヴァー様からお声掛けいただけるとは夢にも思いませんでした！僥倖の極みにございます！！」 "I never dreamed that I would be approached by Endeavor, who has been hailed as the next No. 1! We are at the height of luck!!"

The anime shows Rei's father bowing to Enji while the dialogue has him calling Endeavor-sama. He uses his Hero name and the -sama (様) suffix which is highly respectful.

Interesting enough, even if Enji is marrying Rei because he doesn't think he can surpass All Might, according to Rei's father there's many people who think he'll do it.

All Might and Endeavor have around 10 years of difference as, during the final fight with All for One All Might says he's more than halfway through 50 while Enji should be 46.

In chap 165 Enji has said at 20 he figured out he couldn't surpass All Might, and we know Touya was born when he was 22 so, considering Touya should have been conceived when he was 21, either he's still 20 or he's just turned 21 and he and Rei will have a fast marriage.

On another side, Rei's father never mention Enji also coming from a prestigious family, just that he's the Number 2 Hero and, possibly, will become the Number 1, which might hint to how Enji didn't come from an equally prestigious family and make a name for himself after he became a Hero.

The anime partially shows us Rei's father's face. In teh manga he's just a black shadow but he gives me the feeling Horikoshi planned him to look different than in the anime.

The anime changes the background a little, in the manga there's a scroll on the wall, in the anime we see white Fusuma (襖) doors, vertical rectangular panels which can slide from side to side (they're often painted with scenery but not in this case).

Also the glass window in the manga is close while in the anime is open.

They are in a Washitsu (和室) room, a Japanese-style room with a Tatami (畳) mat flooring and they're sitting on Zaisu (座椅子) chairs, Japanese chairs with a back and no legs.

In the garden there's also a Ishi-dōrō (石灯籠 "stone lantern"') lantern, a lantern made of stone in its Yukimi doro (織部灯籠 "Snow-viewing Lantern") variant. The customary placement is at the edge of land and water and the original Japanese character describing this lantern may have meant ”floating light”.

The anime adds Rei's father turning toward her but doesn't show Rei looking at the side. She's just staring down. As for Enji he seems to frown a little.

The group is drinking tea. In the manga they're probably using normal Chawan (茶碗 "tea bowl") bowls, traditional Japanese bowls used for preparing and drinking tea.

In the anime though they seem to be using the Chinese Gaiwan (盖碗) bowls, Chinese lidded bowls without a handle, used for the infusion of tea leaves and the consumption of tea, which consists of a bowl, a lid, and a saucer and they are still used by tea connoisseurs all around the world, as a simple piece of teaware that gives the brewer a lot of control over the tea.

I might be wrong though, maybe they're just Chawan bowls or maybe the Himura are using their best tea set, which happens to be a Chinese one.

The anime then adds exposition from Enji's point of view.

'Ichiō, miai to iu katachi o totte wa iruga, koreha "kosei" kon' 一応、見合いという形をとってはいるが、これは"個性"婚 "Just in case, although it was made to look like an arranged marriage meeting, this was a "Quirk" marriage."

'Jishin no "kosei" o yori kyōka shite tsuga seru tame ni haigūsha o erabi, kodomo o uma seru tame no kekkon' 自身の"個性"をより強化して継がせるために配偶者を選び、子どもを産ませる為の結婚 "A marriage to have children in which the spouse is chosen in order to strengthen and pass on one's "Quirk""

'Ore wa nozonda noda. Ore no honō no "kosei" to kōri himura-ke ichizoku no kōri no "kosei" ga majiwareba, All Might o mo koeru Hero ga umidaseru to' 俺は望んだのだ。俺の炎の"個性"と氷叢家一族の氷の"個性"が交われば、オールマイトをも超えるヒーローが生み出せると I wanted it. If my fire "Quirk" and the ice "Quirk" of the Himura family were combined, I could create a hero that would surpass All Might.

'Katsute wa meikadatta Himura-ke mo ima wa aoikitoiki…' かつては名家だった氷叢家も今は青息吐息… "The Himura family, which was once a prestigious family, was now in deep distress…"

'No.2 Hero no chii to meiyo, soshite djisankin meate ni Himura-ke no tōshu wa ore no teian o assari to ukeireta' No.2ヒーローの地位と名誉、そして持参金目当てに氷叢家の当主は俺の提案をあっさりと受け入れた "The head of the Himura family easily accepted my proposal, aiming for the status and prestige of the No. 2 hero, as well as the dowry."

'Kotowaru koto mo dekita hazuda' 断る事もできたハズだ "She could have refused."

'Daga kanojo wa "kosei" kondearu koto mo shōchi no ue de, ie no tame ni ore no tsuma ni naru to iu' だが彼女は"個性"婚である事も承知の上で、家の為に俺の妻になると言う "However, even if she was aware that it was a "Quirk" marriage, and said that she will become my wife for the sake of her family."

So... this exposition remarks it's a Quirk Marriage but they don't quite want to admit it so they make it pass for an arranged marriage. Because if your family sells you off but it's not for the purpose to strenghten your husband's Quirk, it's so much better. -_-

Anyway at the meeting there's just Enji, Rei and the "family head" (当主 'tōshu'), which is generally assumed to be Rei's father (but it could have been her grandfather if he was still alive... or her brother if her father died prematurely).

Generally in arranged marriages, or better in the 'Miai' (見合い, "matchmaking"), the marmatching meetings made to organize arranged marriages there's either a mediator or the parents of the two who're meant to marry. Enji though is alone. We can speculate that Rei's mother (whom we know is alive) is absent because she's preparing more tea or retrieving sweets... but Enji went there alone and we'll never, through the whole story, hear about his mother.

Maybe she died too.

While in the manga the family head only sounds honoured to receive Enji's proposition in the anime he looks at Rei greedily, as if instead than Rei she's saying a stack of bills. I feel bad for Rei.

On a sidenote this clashes a bit with how Shouto presented the whole thing back in the past. Shouto made it look as if they were pressured into agreeing to him marrying Rei...

...while in the manga they just seem glad he asked to marry her and in the anime they seem delighted to sell her to him.

Also the anime in this scene and the manga in another scene implied Rei could still have refused. She was likely pressured but could still say no, while Shouto paints it as if she and her family had no choice but to sell her off... though it can be a matter of translation.

'Jisseki to kin dake wa aru otokoda… Oyaji wa haha no shinzoku o marumekomi' 「実績と金だけはある男だ... 親父は母の親族を丸め込み」 "He is a man with accomplishments and money. . . My old man won over/seduced/persuaded my mother's relatives"

'Marumekomi' (丸め込み) seems to have a not so positive implication as it's used to imply you manage to talk someone into doing what you want, as if the Himura didn't really want to sell Rei and needed to be persuaded.

Tōya too also seem to imply the Himura were forced into selling Rei...

'Endeavor wa katsute chikara ni kogarete imashita. 「エンデヴァーはかつて力に焦がれていました」 "Endeavor was once thirsty for power."

'Soshite All Might o koe renai zetsubō kara yori tsuyoi "kosei" o motta ko o tsukuru tame' 「そしてオールマイトを超えれない絶望からより強い"個性"を持った子を作る為」 "And out of despair of not being able to surpass All Might, in order to create a child with a stronger "Quirk"

'Muriyari tsuma o metorimashita' 「無理やり妻を娶りました」 "He took a wife by force"

Tōya uses 'muriyari' (無理やり), which means "Forcibily, against one's will".

In the manga he'll also say (without Rei correcting him)...

'Obāchan-tachi ga binbō shi tetakara okāsan o uttandaro' 「おばあちゃん達が貧乏してたからお母さんを売ったんだろ」 "Grandmother and the others were poor so they sold mother, isn't that it?"

'Okāsan wa sō suru shika nakattandaro' 「お母さんはそうするしかなかったんだろ」 "Mother had no choice but to do that, isn't that it?"

Here it doesn't say his father forced them to sell his mother, but that his grandparents did it because they were poor and insists on how Rei "had no choices" (しかなかった 'shikanakatta')... which Rei doesn't deny with him but will later deny in an inner monologue.

'Sentakushi wa kagira rete itakeredo' 選択肢は限られていたけれど "Although my options were limited"

'Erande susunda no wa watashi no ashi de' 選んで進んだのは私の足でーーー "I chose to move forward with my feet."

'Semete sono-sakide wa waratte iyou to' せめてその先では笑っていようと "At least I'll try to smile there"

'Omotte ita no ni...' 思っていたのにーーー… "That's what I was thinking…"

She claims she had limited options but, confirming Enji's words, she still could choose.

I should probably say that the impression I get from Tōya first saying it was Enji who forced Rei to marry against her will (same as Shouto), and then him instead choosing to blame his grandparents for Rei's marriage, with Enji and, more important, Rei, feels like a retcon (and since this chapter already contained a retcon in its magazine version I wouldn't be surprised if this was the case here as well).

Of course we can excuse it with an 'at the time Tōya was still longing for Enji's love and didn't want to blame him too much...' only to remember he was blaming him in that same chapter in his chat with Natsuo so... whatever.

And, in addition to this, there's also the narrator in "School Briefs I: Notice from School" which says Enji "singled out his would-be wife and forced her into a Quirk marriage".

Really, this doesn't make it look like Rei even had the option to refuse... only for chap 301/302 to change the situation having Enji say she could refuse, Rei saying she chose that path for her family's sake and Tōya not blaming anymore his father but his grandparents for that marriage.

So, skipping the old bits as retconned out of the story, honestly the impression I got of the Himura from the scene was they saw this as their golden chance as soon as they were asked out so Enji didn't really have to work on being persuasive. Maybe it's just me, though we'll later learn the Himura were already into organized Quirk marriages... however their own were to strenghten their own Quirk as they tended to marry among distant relatives.

In Japan is considered incest only if you marry someone who's a second or a third degree relative so I guess they could safely marry among forth degree relatives.

Rei also will claim she

Anyway really, I doubt Enji had to do much work to persuade the Himura and, if he hadn't shown up, her family would have still likely try to organize her marriage so...

The anime cuts Enji's pouting face as he and Rei walks around the place.

The flowers Rei is watching are Gentians.

In the series we see Enji gifting them to Rei in November as she has them during the Second Hero Billboard chart which takes place in November but she also has them during the Paranormal Liberation War which takes place in March.

Now, we can assume the first kind of Gentians Rei has are likely the ‘gentiana scabra’, a specie of gentian with a blue (青色)/purple color (紫色), also called Japanese Gentian. In Japan their name is Rindō (リンドウ/竜胆) and well, they're basically The Gentian in Japan as when you mean to say just gentian in Japan you say 'Rindō'.

However this comes with a problem. In Japan the ‘gentiana scabra’ blossoms in Autumn, from September to November... so it's fine for Enji to gift them to Rei in November for the Hero Billboard chart... but it would be difficult to do the same in March, before/after the Paranormal Liberation War,

The alternative is that the second gentian we see, the one she's holding in March is actually a 'gentiana zollingeri' or Fude Rindō (フデリンドウ), another gentian typical of Asia which is either white or blue and whose flowering period is Spring, usually from April to May... but the problem is I've heard this gentian is usually quite small so... no idea. For now I'll let the guessing to who knows more about gentians than me.

Now let's focus a moment on what Rei says...

'Kono ohana watashi ga suki tte itta no' 「このお花私が好きって言ったの」 "I told him I like/love these flowers"

'？' 「？」 "？"

'Hajimete atta koro tatta ichido' 「初めて会った頃たった一度」 "Only once when we first met"

Actually, the Japanese text in this scene matches more with how we saw it being played out. In the flashback Rei never said they were her favourite flowers and here she confirms she only told him she liked/loved them.

Anyway, according to this scene, this mean they have that walk in which they saw the gentians on their first meeting.

And that's all we know about Enji pre marriage form the manga.

[gamorahww]

[courfee]

it's been exactly a year since the last chapter of Operation Walburga's Arbitrary No Kissing Ever Rule and I still miss it. This scene is probably one of my favourite things I've ever written and I've wanted to draw it for forever, so now seemed like an appropriate time

[sysig]

You're still standing off to the side. Somehow, center stage has shifted from under your feet without you realizing, and you're standing in the wings, performing to no one.

Starring Role (Patreon)

[gayofthefae]

Yes! Season 4 is full of using ily to contrast Mike and I've been saying this. Even if improv, they kept it (only the Eddie one was).

Jason tells Chrissy.

Nancy and Jonathan say it about each other.

PAPA FUCKING SAYS IT ABOUT EL AND HENRY. PAPA. they are establishing so strongly that you can say it without meaning it or believe it without it being true RIGHT before Mike says it.

And then there are TWO OTHERS IN 4X09 *THE SAME EPISODE*, originally intended one but now two

Right after Mike's, Eddie tells Dustin and Dustin says it back.

And BIGGEST TO ME OF ALL, they SCRIPTED to one-up Mike and Eleven in the last scene before El's fighting started/jumpstarting the impending ily speech:

Jonathan says it to Will.

Everybody cared more about that and they knew it.

Know what else? You probably didn't know any of that. And as I've said before, I wouldn't doubt that Mike loved El if he'd never said it. Until 3x06 I assumed that he had. Even after he did, it was only when everyone reacted with alarm that I discovered he hadn't. It was obvious to me. But now I don't believe him anymore.

They had the most people ever say "I love you" in season 4. Every scripted case being first. By the time Mike says it, we have seen it done better, and we have established that it can be unreliable. And only THEN do they let him.

I remember thinking they would use a song to wake Nancy then realizing they wouldn't because for marketing they would want Running Up That Hill to be the "season 4 song". They reserved a song for the whole season. They damn well could have reserved an "I love you". By the time it was Mike's turn, we had heard it at least FIVE TIMES ALREADY - "at least" because I wouldn't be surprised if I'm forgetting a Hop about El or Victor about his family or something.

Mike was SIXTH. And by keeping the cut of Eddie they didn't even make him the closer! He was SIXTH of SEVEN! And the one that was a LIE DIRECTLY REFERENCED MIKE'S PREVIOUS ATTEMPT

Never over how much more Jonathan saying it to Will matters to literally everyone than romance - queer acceptance is more important than even the sweetest love story and people empathize with that - and they put it JUST A FEW SCENES *BEFORE* MIKE'S to keep in your mind fresh what it's SUPPOSED to look and feel like.

Saw someone on Reddit point out that it took Mike an entire season to say I love you to El while Jason was able to say it to Chrissy in ep one and. Yeah. Kinda interesting how Mike is set up from the very beginning of the season to be the opposite of the macho hometown hero like that.

Not that the writers could possibly be trying to tell us anything though

[scoobydoodean]

Oh, I see. You and all your little friends are just too DUMB to understand. Too low IQ. The arguments sure is convincing.

I’m not kidding they really are saying somewhere out there that Kripke couldn’t possibly understand what it means to be blue collar because to do that, you’d have to have read about the value of a linen coat (which is not directly related to any of this btw) from Marx’s Das Kapital. Kripke of course couldn’t possibly have read it, and if you haven’t read it, you can’t possibly understand anything about class. You have to have read Theory™️ to understand what it means to be *looks down my nose at people who I assume Have Not Read All The Books That I Did* blue collar *sips from tea cup with my pinky out, chortling*

[al-luviec]

still haven't moved on from zane in this episode (aka I hit tag limit again and am unhappy about it)

[karfild]

Ben hargreeves come here I will save you. I will undoom you.. I will give you a satisfying conclusion and a better more impactful death scene(s) that actually matters in the end i promise.. sparrow ben I will write you as a character and not a plot device I swear

[thegreatyin]

to put a long story short: at the end of ffxiv's base game, literally Directly before the beginning of its first expansion (heavensward), there is a series of quests and story arcs that eventually snowball into an hour-long cutscene in which the entire thing comes to a head in the literal worst way possible. like, "the hero's plans all go horribly wrong and several major characters die onscreen, with others going missing (presumed dead), eventually culminating in the player character being framed for the murder of the leader of a nation-state and being Literally Forced To Flee The Country" wrong.

heavensward leads directly on from this plotline. you arrive at the major location of the expansion in the midst of seeking asylum whilst being a wanted criminal everywhere else in the world right now. it's like. A Whole Thing. the game makes such a big deal out of it all. the fandom does as well. and for good reason!! it's a really good moment!!!!!!

and then roughly 1/3rds of the way into heavensward you find out that literally none of it mattered. nobody important actually died, no changes were actually made to the status quo, and nothing comes of being literally kicked out of the country for (what is implied to be) several in-universe weeks, if not months. None Of It Mattered. None.

TLDR; the bloody banquet is a major, exciting, and very infamous twist that seems like it's going to segway into a MAJOR upheaval of the status quo and some really intriguing ramifications for the story as a whole... and then heavensward does away with literally all of that and practically writes the entire thing off as a waste of time.

you may be able to see why i'm so salty about it.

[chaotic-fandom-hoarder]

The angst goblins are running rampant around in my brain, specifically rotating about that one post with the idea for a bad ending of the sitcom au where Alex gets kidnapped by the Lankmann foundation

I missed the opportunity in my fanfic there to add in that, this is an alternate version of the incident with the police hunting down Alex. Meaning that they were asleep. Meaning that they wouldn’t be wearing their glasses.

Imagine the imagery of Clyde frantically searching the ransacked house, futilely hoping that Alex is somewhere in there, safe and ok, and then Clyde sees their glasses sitting on the floor, with a cracked lens from getting launched off the nightstand during the struggle. Imagine Clyde taking the glasses with it on its roaring rampage of revenge. Imagine