#twins meta

[syrena-del-mar]

Volleying Hearts: Navigating Love and Insecurities in Twins the Series, Ep. 10

We're heading into the last leg of Twins The Series and I am still loving every second of it. This show has been giving me everything I wanted since the first time I watched the

I might be in the very small portion of viewers that aren't completely frustrated by this show, at least from what I can tell with all the reviews that came out with the latest episode, but that's because I can't wait for shit to hit the fan. I'm actually okay with the fact that they're waiting until episode 11 for the truth to come out, because I predict—I'm really hoping—that the fallout is going to be painful for everyone.

Man, Sprite has been so love-starved since his childhood that I completely understand why he still hasn't come clean to First about who he really is. Yes, it's terrible that he still hasn't confessed and yes, he has had several opportunities presented to do so. But how do you build up that confidence to lose maybe the only one who loves you for being you? The only one that sees you more than just a nuisance? Sprite doesn't have that confidence, he doesn't even have enough self-worth to believe that First would still love him even if he wasn't Zee.

Not only that, growing up Sprite was the more passive twin, he was the people-pleaser out of both of them. He was the one that let kids mock him and his brother. He's the one that tries to smooth over the fallen puzzle, when all he is met with resounding disapproval. Sure, Sprite was able to leave volleyball behind, but it's not exactly like his father had chosen him either, so of course he felt like he was the black sheep. Hell, he'd been doing double practices for two collegiate level sports and his father doesn't even stop to ask him if he's alright. Not even Salmon truly asked if Sprite was okay. Almost everyone in his life has reinforced that it would be better if he was just like Zee.

So Sprite's selfish. He's been starved of love so he hoards the affection like it's precious commodity. He takes what he can get as Zee, because he believes that First will only love him as Zee. Zee is the one that First has history with. Zee is the one that he saw everyday in their club. Sprite is not Zee, his parents have made that abundantly clear with how they lookover Sprite for Zee. If the people who should love him unconditionally prefer Zee, why would First be any different?

And he clings to as much love as he can get from First while being Zee. It’s the way Sprite holds tightly onto First’s neck, as if he’s afraid that if let’s him go, he’ll will disappear. Sprite asks First to not overthink his changing personalities, but First (reasonably) responds that he's not able to do that. Sprite accepts its, but the way his face shifts and his nose twitches tells a different story. Those nose flares are so incredibly subtle, but it really shows where Sprite is at mentally with the conversation, almost as if he’s trying to keep his own insecurities at bay. It's not that he just understands First's words at face value, but also he's self-aware of how losing First is a very real possibility if he were to find out that he's been lying to him this whole time. So he curls himself in more into First, closer to his heart, because for now he does have him.

There's the irony, First loves Sprite because he's Sprite, not because he's Zee. First might be the only one that truly understands even a fraction of what it's like to be cast aside by a parent because of Zee. He's been subjected to Zee's apparent disdain for years, he's been with him competing for his father's attention, only to fall short. He's not their coach's, his father's, favorite, no that's Zee.

And now that "same" Zee that hated him, now showers him with so much love and attention. It's like a dream for First, only that each time that the actual Zee returns without him knowing, that same dream turns into a nightmare. Every insecurity that he had in competing against Zee comes back and he can't help but think that Zee is only fucking with him, metaphorically and literally, to kill the competition. In his eyes, there's no complete security in their relationship, not when Zee goes from hot to cold at a moment's notice and especially not when he sees Zee a little too close to Salmon.

First loves Sprite so much, that he's being tortured by his love because he is being left in the dark. Even when they're together, cuddling after having sex, their minds are so far apart that they can't even truly bask in their love. Each one worrying about two different possibilities and what it means to them and their relationship.

So yeah, Sprite could have and should have come clean about not being Zee. I'm sure later he will later realize that it would have been easier to explain how he was actually Zee's twin, Sprite, than whatever pain they're going to endure when the truth actually comes out. But when you feel undeserving of love, and those around you seem to agree, opting for switching lives may seem like a gentler path.

[sparring-spirals]

Went through my kith and kin tag after that last post and once again lying on my floor thinking about. vex snarling at vax about his judgement being swayed by a pretty face-

(another person vax is brave enough to love, even if its dangerous. looking for the good and the kindness and the humanity among the darkness, trying to bring it forward, let vex experience it, even when it can leave him bleeding)-

and vax snarling at vex about her judgement being swayed by her desperation to be accepted-

(another time vex sees a way to secure safety and security and approval, which is safety and security, in a different form. for her, her and vax and trinket and everything she loves, safe in one place, where they can belong, they can stay)-

and. oogh.

Holding these twins in my hands. squishing them like playdough. one of them fights desperately to find the kindness and good and light even when its a fools errand. leaves himself open and hurt for a little bit of light. if it keeps vex safe, happier. one of them counting and calculating and running and cruel because the world demands it. keeps the counter going and going and does the hard things if it keeps vax whole, and okay. one close range and one long.

they'll hurt each other if it keeps the other whole. they'll gladly get hurt if it keeps the other safe. the world is harsh, and they are surviving. what the fuck. theyre such a fucked up pair. they love each other so much.

[stompandhollar]

like. imagine seeing your sibling at 18. and then not seeing them again until you’re 28. and then not seeing them again until you’re both 58. but you’re identical twins so every time you look in the mirror you wonder if this is what they would’ve looked like.

imagine never needing glasses but your brother did, and then in your adulthood your eyes get worse and you suddenly need glasses and you pick out the same frames your brother wore.

imagine always protecting your brother growing up cause he was different and kids picked on him. but you always protected him. and then you have a falling out and neither of you speak for years, and then finding out that in those years you didn’t speak, he was being isolated and tortured by a monster and didn’t think you’d come if he called. but then he calls and you go. and his house has blood on the floor in every room and writing on the walls and his journal devolves into paranoid ramblings. and you can’t protect him because you showed up and he got ripped away. and you can’t even ask him what the writing or the blood or the state of the house means because he’s gone. and you don’t have a penny to your name so you have to clean the blood up yourself and fix the house and live there. so you board up his room.

[akanemnon]

Despite everything, it's still you.

FIRST - PREVIOUS - NEXT

MASTERPOST (for the full series / FAQ / reference sheets)

[peachhoneii]

What I find fascinating is how Stan and Ford project onto Mabel and Dipper differently.

Stan sees a lot of himself in Mabel and Dipper. He sees the positive in Mabel and some negatives in Dipper. Stan misguidedly tries to correct those aspects he sees. He also worries about the Ford-like similarities in Dipper too.

Unintentionally, Stan's teasing pushes Dipper away but manages to pull him back in enough to reassure Dipper that Stan loves him unconditionally. He was misguided in correcting parts of Dipper that Stan saw in himself and hated. It was the method, not the intent that was wrong.

Ford saw 100% of himself in Dipper. In the show, the focus was on Dipper and Ford, because Ford could not separate the Stan v. Ford dynamic in his mind when it came to Mabel and Dipper. He loves Mabel. He finds her charmingly delightful, but he also projects his feelings of Stan onto Mabel. She is Dipper's Stan, therefore she's holding Dipper back from his true potential.

We know that's not true. Stan knows that's not true. It takes Stan "dying" for Ford to get this. It takes him losing his brother to open his mind to the idea that he and Mabel also have similarities. In the ARG, he realizes Mabel is as curious and weird as he is, and he effortlessly finds their similarities when he lets go of that Stan-projection and humbles himself.

Just goes to show that despite Mabel and Dipper's parents having their marital troubles, they've created a healthy home for their children where they can have their own separate identities. That's a major factor into Stan and Ford's issues is the treatment they received in their childhood. They were a single unit, not individuals.

While Stan was codependent on that dynamic, Ford felt suffocated. It's why he wanted to branch out so badly.

Carrying Stan suffocated Ford, but arriving at Gravity Falls forced him to entertain the idea that he also relied on Stan in an entirely different way than Stan relied on him.

[adh-d2]

No but it's...

the way they naturally fall into eachother's roles when the other isn't there.

the instinctual head-tilt when Crosshair stabilized his rifle on Tech's shoulder, as if they'd done it a thousand times before.

It's the fact that Tech clearly told Phee all about his brother.

It's the sad, fond smile on Crosshair's face when Omega said Tech made her memorize all the plans ("of course he did").

It's the way Tech knew exactly where to look for that mirror.

[rolanslide]

Losing my fucking mind over this passage. you're telling me, after physically and emotionally torturing him, tricking him into building a doomsday device, emotionally manipulating him for YEARS, and ruining his relationship with his only remaining friend, this is what Ford counts as "crossing a line"? This is Fords breaking point? After everything? It's been over a decade since he's seen Stanley. He has no reason or intention to contact him. After all this time, he's still angry at him. And yet, Bill using his body, his voice, to tell Stanley that he hates him and never loved him is too much, too horrible even for Bill. THIS is what forces Ford to take action. AFTER EVERYTHING. Stanford Pines the man that you are. aa. aaaaaa

[alicentsgf]

It’s mentioned a fair amount that Yellowjackets was inspired by Twin Peaks but I just want to talk about what that might actually mean.

I once saw someone say about that show, "Twin Peaks tells you exactly what it's about every three episodes but people don't see it because there's a horse in the living room." And that's so true for Yellowjackets too. Picture it like a nesting doll. If Twin Peaks was a show about male violence wrapped up in a crime drama wrapped up in comedy wrapped up in a psychological horror, then Yellowjackets is a show about loss wrapped up in a survival drama wrapped up in a comedy wrapped up in a psychological horror. And it's loss in so many forms; loss of the self, loss of innocence, and most of all loss of community.

Yellowjackets, like Twin Peaks, is just a commentary on society but once again "people don't see it because there's a horse in the living room". Or in this case, because theres a schizophrenic teenage prophet who may or may not be communicating with some wild, bloodthirsty, nature god. When the truth is, the horse isn't important. Whether the Wilderness is or isn't real, isn't important.

It's about ego vs id, civilisation vs the wilderness, and innocence vs brutality. The other, "bad" side is always waiting, like Mari talked about, and its something that both exists within us and in our society. Like with Tai, the other side isn't innately bad but if we let it rule things it can become incredibly destructive. There has to be a balance. That's why they're a soccer team. It's a sport that is all about balance. You can split a soccer field in half 8 different ways but you will still always get a full set of 11 players who hold 11 different positions. It's a perfectly balanced, symbiotic community that is built on trust and understanding. The brutality is part of the game too, but theres a balance that comes with the rules and the way the game is moderated and consented to. The message of the whole thing being that community, love, friendship is what saves you. Its when the characters lose these things that they lose themselves, become vulnerable, die. It's why everyone in this show is complicit in the death of their best friend. The writers set the stage with Allie's treatment in the pilot. The whole story in contained within that first episode and ultimately her not being able to come results in a lack of balance within the team. It's why as the show goes on the girls become less and unified in both timelines. Now they've got to the point where they're splitting into factions in one, and talking about having to kill each other to be "safe" in the other.

Shauna's right, it wasn't the wilderness that killed anyone, it was always only them. All of them. When Shauna says "You know there's no 'it', right? It was just us.", its a very similar outburst to the one Laura Palmer's boyfriend has at her funeral in Twin Peaks, saying "All you ‘good’ people – you wanna know who killed Laura? You did! We all did.”, making a point about how the enviroment the town created resulted in her death more than anything else. The person who murdered her was just hand of that enviroment, the way Shauna always seems to be too. She holds the knife, but they all put it in her hand. Every single "sacrifice" to the Wilderness so far has resulted from a group decision to push someone from the team, an idea that started back with Allie before the plane even crashed. And this same attitude immediately doomed them again, because it was Misty’s desperation to hold onto her newfound sense of community and belonging after being ostracised for so long that had her destroying the transponder. “He’s not one of us” about Ben, and “They don’t belong” about the research group. The idea of "the other" used as justification for violence.

Jackie’s death was the most pivotal because she was the death of community. She was the first to be ostracised, the figure that once represented unity between the girls. As we saw at the party, she was the only one who could reestablish balance between them, and they killed her first.

This show is about a lot of things, guilt, grief, sanity, etc, but I do think that actual main commentary is on our current society. Twin Peaks was so fantastical but at its core it was only ever really about the evil that men do and a society that fascilitates it. Yellowjackets in its turn is about the ostracisation of the "other" and how this only hurts us. Weakens our communities. It's not lost on me that at least half the known survivors are able-bodied queer women, and this is a womens soccer team. In the world of womens soccer I would say that's the majority class. I don't think that's necessarily a mistake. The Yellowjackets ostracise people who aren't like them, aren't "useful", don't abide by their religion, and who push back against the status quo. Doesn't that sound familar?

[vm-haunts]

Red Hood Is A What Now?

Fact one: Red Hood is not a single person. No one agrees on how many guys are in the rotation, or whoever they might be, but everyone that works for Hood knows the boss isn't a single person. Hell, half of them had seen more than one Hood showing up to meetings by now, it's far from a secret.

Fact two: the twins, Jay and Gales, are connected with the boss. Again, nobody agrees on how exactly, but they most definitely are. Maybe they're Hood's son, maybe they're younger siblings. Maybe they're sugar babies even. Whoever they are to Hood though, it's clear that they're trusted enough to stand in at meetings when Boss is unavailable.

Fact three: the twins are metas, honestly it's really obvious in the way their eyes and hair change color like a mood ring. Nobody bothered mentioning it cause that's pretty much all there's to it, just some cosmetic change that isn't even helpful.

...

Or, Danny and Jason is somehow running a gang together, the bulky Red Hood armor is very good at hiding silhouettes actually, and the two are known metas to literally every body except themselves.

[metamatronic]

Favorite modern lore character?

I’ve talked about the VR crew before, but I still think they’re great. Having Tape Girl (Amy), Jeremy, and Vanessa be FNaF true-crime enthusiasts and be constantly misdirected by their good friend Not Michael Afton™ —only to actually end up involved in it all…peak content for me, lol.

[padmerry]

Stan twins: codependency & identity issues

“I tell you it’s unnatural for siblings to get along as well as you do,” says Stan to Dipper and Mabel in Not What He Seems, clearly missing his own relationship with Ford before things started to change. “We used to be like Dipper and Mabel,” says Ford in Weirdmaggedon 3: Take Back the Falls. Were they really, though?

I think what many people don’t get about Stan and Ford’s dynamic as children, or even as teenagers, is that, no matter what Stan and Ford think or say about it, they were not like Mabel and Dipper. That just highlights their lack of self-awareness. Here’s a canon analysis for anyone who cares to understand my point:

Mabel and Dipper have overall very different interests and hobbies and act separately on them. They have other friends and spend time with them—well, at least Mabel has Candy and Grenda, as the bubbly social butterfly she is; Dipper, on the other hand, seems way more preoccupied with deciphering the mysteries of Journal 3, but doesn’t miss an opportunity to be included in Wendy’s cool teenage group, as seen in episodes The Inconveniencing and The Love God (in the latter, he seems to be actually succeeding). As fraternal twins of different genders, no matter how alike they look (and despite Mabel’s joke of being “girl Dipper”), they still manage to retain pretty distinct identities. No issue here.

Mabel does her sleepovers, goes to boy band shows, and has encounters with potential crushes. When a surprised Dipper asks her about her vampire love in The Deep End, she points out, “I don’t tell you everything.” Dipper, meanwhile, explored the town with Soos, went to Wendy’s house, hung out with her teen gang, and overall lived many adventures without Mabel, such as trying to prove himself a man with help of the Manotaurs. I think the episode that shows the healthy independence Dipper and Mabel had from each other the best is probably Carpe Diem, inspired in Alex’s real life frustration with his sister, Ariel, but it can be observed all through the series:

What is shown to us in AToTS already differs from that. The Stan twins were inseparable, and each other’s only friends, as Stan establishes early on in his narrative: “Those bullies may have been right about us not making many friends, but when push comes to shove, you only really need one.”

With his question to Ford in the Lost Legends comic, The Jersey Devil’s in the Details, Stan implies they really did everything together, in a way reminiscent of Phineas and Ferb: “So what’re we gonna do today, buddy?”

Even small details, like the toys in their room, served to show the difference between the Stans and Dipper & Mabel, as Matt Chapman clarifies on the episode’s official commentary:

You also see that at this age, all the stuff that would cross over, that would appeal to both of them. You know, it’s not just like, oh, there’s science stuff here and then there’s like—I don’t know—what little Stan would be into. It’s like, no, they both like all this.

“But Mabel was just as desperate in Dipper and Mabel vs the Future as Stan was in A Tale of Two Stans!” Yes, true. She was, and I do believe her relationship with Dipper was the most important one in her life. But do you think the facts that a) she was already terrified of growing up, as shown in the episode Summerween, b) Candy and Grenda declined her invitations to their birthday party, c) Wendy showed her the apparently terrible reality of being a teenager, and d) Stan told her that it would be fine because at least she would always have Dipper... had nothing to with it? Originally her parents were going to forbid her from bringing Waddles to Piedmont, as revealed in the episode commentary of Dipper and Mabel vs. the Future, as just one more heartbreaking thing on the pile of Mabel’s Terrible, Horrible, No Good, Very Bad Day. (Of course, teen Stan’s circumstances were aggravated by the bad home situation he was being “left alone” in by Ford—just like Mabel! Whose parents were arguing, per TBoB canon, to the point of giving Dipper recurring nightmares.)

Another very important thing is that the poor girl was twelve years old, while Stan was presumably seventeen-ish, an age at which separation would be normal and even expected, with the time for college approaching. In fact, differently from what happened with Mabel, whose imminent separation from Dipper came out of left field through an unexpected proposal by Ford (foreshadowed only by her slight discomfort over how close Ford and Dipper were becoming), there was a blatant rift between the teen Stans that Ford went so far as to acknowledge to Stan’s face. Using Stan’s own words from the Land Before Swine commentary: “Anyway, cut to high school, the guy’s never kissed a girl, prom is coming up, and he asked me for advice. ‘Stanley, I know things have been a little weird between you and me with college, but can you talk to me about girls?’” That was before prom (the one in which a girl threw fruit punch at Ford), mind you.

And still, this is what Stan thinks when he realizes Ford is going to accept the scholarship: “Without Ford, I was just half of a dynamic duo. I couldn’t make it without him.” He saw himself as only half of a whole—no wonder, with the way both twins were pushed to believe this since their birth, when they were both named Stan.

When asked about Shermie, Alex observed that a crucial part of their dynamic is that they only had each other. No younger or older brother to support them. The quote from HanaHyperfixates’ and ThatGFFan’s interview:

In terms of Shermie, I remember asking Rob or somebody at some point, like, “Would Shermie be here, logically? Do we have to see him?” I don’t really wanna see him. I’m not interested in that. I’m interested in Stan and Ford being—sort of having only each other and then losing each other because of their different life paths.

I think the suggestion was, “Maybe Shermie would be a baby. Maybe that would happen.” And being like, “okay sure.”

Let’s not forget, too, the only time Ford ever mentions Shermie in Journal 3—“Sherman Pines’s,” surname and all:

From my own observations about their parents, that point is only driven further home.

Filbrick is, well, Filbrick. I don’t think I need to explain much here; every one of us has different interpretations and headcanons about him, but they seem to all agree on the common factor he wasn’t a good father—how much that can be justified by their time period or stretched to accommodate the most heartwrenching stangst is up for debate, just not a subject for this post.

Caryn is more complicated. I think Filbrick was definitely ‘worse’ than her, so to speak, at least in a more obvious way, and she has canonically demonstrated considerable fondness for Stan in particular—according to her, Stan’s rambunctiousness can be attributed to an excess of “personality,” he’s her “little free spirit.” She was, most notably, one of the two people present at Stan’s funeral if the info on the new website is to be trusted. We see her smiling brightly in the picture of the baby Stan twins included in TBoB, which hints at the fact she indeed liked her kids.

But the fact that she, as an adult, didn’t intervene when Stan was kicked out is simply, in my point of view, inexcusable. One could say she was momentarily paralyzed from an overwhelming fear of Filbrick, as a supposed victim herself, but a) that’s already entering headcanon domain, and b) I think that’s far from the truth and directly contradicting the comics, in which she looks happy and relaxed in the company of Filbrick: initiating contact and kissing him on the cheek, comfortingly stroking his back, looking at him with can only be described as tenderness... I don’t think Filbrick is meant to be seen as a monster, not in an exaggerated way. (He’s shown to be touched by Stan’s little stunt with the golden chain, too.) Just a really shitty father, in a common, boring, more nuanced, no less traumatizing, way.

Borrowing a paragraph from a previous analysis:

To me, the most telling thing of all is the fact Stan calls for Ford to help him, not his own mother. Ford, his brother, same age as him, who was at the moment beyond furious with him and very unlikely to show any compassion. Ford, whose attempts to change Filbrick’s mind would more likely than not have been unsuccessful. Not Caryn, adult, who probably had much greater sway over Filbrick. They say a child’s first instinct is to call for their mama. Clearly not in this case!

I’m not saying, here, that Caryn didn’t care about her boys. I elaborate more on her in the meta referenced above, here.

I find it adorable how easily, without any previous prompting, baby Stanley opens up to Ford about his feelings in the comics. The sheer vulnerability of this moment, seeking Ford’s reassurance that he wasn’t a bad kid; the implicit, profound trust, especially coming from someone like Stan, who grows into a man packed to the gills with toxic masculinity due to what he learned from his father. And the manner in which Ford gently comforts him, as if he were used to doing so. As Stan, too, had been shown to do when Crampelter mocked Ford’s fingers. They were clearly accustomed to being each other’s emotional pillars, in the way that kids who learned early on that they can’t count on adults or lean on the authority figures in their lives start building their own little safe space.

The way I see it, the Stan twins got along extremely well, for better or for worse. No obnoxious sibling bickering. No fights and conflict. How could they? They were literally each other’s only friend. If anything, their first major fight was caused by lack of communication, among many other things; they repressed their frustrations with each other to a ridiculous point instead of simply externalizing them like you would expect of an average sibling dynamic.

Second of all, they were monozygotic aka identical twins, as strongly hinted in the show, comics, and books, and as confirmed by Alex on the TBoB website, the behind-the-scenes DVD commentaries, and Twitter. The first mention of it, in 2015, below:

They were both named Stan, they had the same face. I’ve read irl identical twins’ confessions about the nature of such a relationship re: identity issues and how people tend to treat you, and it’s often not pretty. In the Stan twins’ case, their sense of identity was beyond blurry, and it’s not difficult to see why. If you pay attention to the show or the comics, you’ll see many hints of this unhealthiness: the way they were both called to the principal’s office (“Pines twins,” even though only Ford was an interested party), the way Stan was called “a dumber, sweatier version” of Ford by Crampelter, the way they had already pretended to be each other before, not in their childhood but adolescence (Stan’s idea, according to hilarious extra material in the DVDs).

Baby Ford, in the comics, has demonstrated a tendency to shoulder the blame that should only be attributed to Stan. For example, when he exclaims, “Oh my God! We killed the Sibling Brothers!” Ford, honey, if anyone had killed the Sibling Brothers, it would’ve been your brother, the person who shoved them in the first place. Not you.

I find it adorable that he also grounded himself for Stan! Filbrick had been very clear about grounding Stan, only, not both twins. But Ford stays with him as if he were grounded as well, as if he didn’t even have a choice. Where Stan was, there was Ford, not far behind.

They were an unit. Inseparable. As simple as that.

Until they weren’t.

The science fair incident happens, of course—and it’s worth noting Ford doesn’t consider the possibility that Stan sabotaged him out of jealousy or envy of his success for even a second! Instead, he immediately assumes Stan broke his machine so Ford would stay with him!

Did their codependency end with their separation, then? I’ve seen many people believing that yes, it did.

But mullet!Stan, now an adult, ten years after his fight with Ford, still resents Ford for not staying with him “forever”:

Not only that, but as Rob Renzetti (who is Gravity Falls’ supervising producer and story editor and the co-author of Journal 3) phrased it in this separate interview by HanaHyperfixates, Ford’s absence in Stan’s life haunted him and shaped all his relationships:

Um, I mean, to me that’s—I mean, really, Stan—Stan’s life has been… it’s been… sad, and lonely, since—he really… his brother was his best friend, and he loved him so, and I don’t think, you know, I don’t think any other relationship ever worked out for him, because of what happened between him and his brother.

And by the end of it all, you get Bill calling Stan “co-dependant” (British Bill?) on the TBoB website:

I know you might think, at first, that we should take Bill’s insults with a grain of salt, since he’s 1) Bill and 2) petty and desperate. But Bill has also a track record of trying to hit where he thinks will hurt the most, and he knows people. His insult here is not an isolated thing either. It might have been easily dismissed, I agree, if not for all the other evidence for the Stans’ codependency that I’m currently showing you. It’s just one proof out of many, just reinforcing an idea that’s already presented quite clearly.

If you’re still not convinced, Alex has revealed in HanaHyperfixates and ThatGFFan’s interview that Ford’s entire character was built around the type of person that could plausibility explain Stan’s neediness:

Ford was very much us building backwards. The same way you know a black hole is there by the light warped around it, it’s like, you know the damage someone’s family has done to them by all of their weird tics and behaviors. So who is the character who would result in Stan being this hurt and needy and mad and also longing?

But Stan’s codependency, imo, was always easier to see than Ford’s, to the point people mistakenly think Stan cared more about Ford than Ford about him. (I’ve dedicated an entire meta to debunking that assumption as well, here.)

In the commentary of Society of the Blind Eye, though, Alex added, referring to Ford and Fiddleford’s friendship:

Ford as somebody who lost Stan is kinda looking for—even though he rejected his brother, he kinda needs, he needs that other person, and he tried to find that in this kinda sweet prodigy and he just pushed him too far.

What Alex said about Ford’s relationship with Fiddleford can easily be applied to Ford’s relationship with Bill and with Dipper, since Ford needs “that other person,” needs to be one half of a duo. Ford has tried to recreate his dynamic with Stan again, and again, and again:

And then, of course, we have Ford’s proposal.

What’s really cool about this first image (below) is that it was drawn before Stan even accepted Ford’s proposal, and parallels their childhood picture in Ford’s pocket (one that, per Word of God, Ford has always carried with him, even before his portal days, as explained here) in a very obvious manner:

Ford was already excitedly fantasizing, drawing fanart of them together, picking their outfits and the name of the boat.

But more than that, he also says:

[...] I think it’s time for the Pines twins to join forces again. At least, I hope so. I haven’t discussed my idea with Stan yet. But if I know my brother, he will jump at the chance to find “money and babes.”

And this, to me, expresses both his hope that Stan would welcome his idea and agree to sail away with him and his almost certainty that it is exactly what is going to happen. Ford does mention Stan’s love for “money and babes,” but do you guys think Ford didn’t know what (or better yet, whom) Stan actually loved? In AToTS, Journal 3, and TBoB’s new canon material, we can observe that same certainty. In all three instances, Ford immediately assumes that Stan will show up and come for his call via postcard with no indication whatsoever that the possibility of Stan declining showed up in his mind.

Alex has also commented, in the first interview I’ve referenced:

Those characters at sea—it was so rich. They’re really really funny, because they both have major major blind spots. I can kinda write stories about them as a duo forever, because you can always excuse them both getting hyped on a bad idea for their own reasons, and then you can always come up with a reason for them to disagree about it, and it’s always sweet to see them come together again, because they’re so full of themselves, but they are also both so damaged they desperately need each other.

Not only reinforcing the idea that their codependency was—or at least eventually became—mutual, but confirming that things returned to their status quo. Ford has a black & white mindset, the only way he knows how to be with Stan is a codependent way. They’re either separated and estranged or they’re sailing completely alone on a boat for the rest of their lives. Either rivals or best friends forever. There’s no middle ground for him.

[syrena-del-mar]

BL Meta Masterlist

Hello! If you've landed on my page, it's likely that you came across one of my various BL metas that I've posted. I watch way too many for my own good and I try to write as much as I can when a show captivates me (though half of them become half-finished drafts rotting away). The actual number of meta that I have written in the last year, since La Pluie aired, has increased so much that I've have started to lose track of what I've written. So I'm compiling them all onto this list, which will be regularly updated with the new posts that I write.

Be My Favorite

Embracing the Waters of Uncertainty

Exploring Enclosures and Privacy in 'Be My Favorite'

Folklore of Flowers: Wisterias in 'Be My Favorite' Episode 6

Kawi's Journey with Self-Worth and Pisaeng's Reassurance

Dead Friend Forever

An Ode to Older Siblings: New in Dead Friend Forever, Episode 9

Celestial Pleasures: Miscellaneous Thoughts on PheeJin's NC Scenes

Dead Friend Forever is More Than Just A 90s Slasher Film Imitation

Echoes of Guilt: Exploring the Thin Line Between Tee's Redemption and Salvation in Dead Friend Forever, Episode 11

Examining the Use of Movie Posters in Dead Friend Forever, Episode 8

On Non's Medications: Lorazepam

On Non's Medications, Part 2: Quetiapine Fumarate

Selfish Desires and the Class War: Dead Friend Forever, Episode 10

The Nine Circles of Hell: Dead Friend Forever, Episode 7

KinnPorsche

Interlocking Narratives: Exploring the Chains of Kim and Chay

La Pluie

A Jungian Perspective on La Pluie

Balancing Self-Absorption and Love in La Pluie

La Pluie: A Tale of Tender Hearts

La Pluie meets Nora Roberts

The Depths of Inner Turmoil: Exploring Isolation, Connection, and Vulnerability in La Pluie Ep. 10

Third-Child Syndrome: Birth Order Theory in La Pluie

Last Twilight

Blind Spots of Motherhood: Last Twilight, Episode 10

Moonlight Chicken

Alan, the Textbook 'Nice Guy'

In Support of Uncle Jim

My Stand In

Navigating the Conflict in My Stand In: Surrender and Softening in Love *NEW*

Only Friends

Boston, the Machiavellian Prince?

Notes of Desire: Sand's Possible Soundtrack

Threads of Boston's Intimacy: Crochet, Cotton and Connections

Very Rarely Do Men Know How to Be Altogether Wicked or Altogether Good

Step by Step

Carnation Flowers: Motherhood, Weddings and Juxtaposition of Sexualities

"Foliage, Flowers, and Feelings, Oh My!" in Step By Step Ep. 8.

The Birth Order Theory: The Only Child in Step By Step

Shorter Dive on Birth Order in Step by Step

Twins

Volleying Hearts: Navigating Love and Insecurities in Twins the Series, Ep. 10

Miscellaneous Metas

Revisiting Houses of Thai BL: Dead Friend Forever and Deep Night

[nenoname]

Parallels and contrasts between Stan and Bill in the new book and website

Aka miscellaneous thoughts that I'm too lazy to condense into something comprehensible– what you see is what you get folks! (Book stuff, DVD commentaries! The website that came out when I was trying to write this out and is now making me pull my hair out! But in like a good way? That god damn poem!)

not necessarily same coin stuff but I sure am thinking about it.

It’s been said that a large part of Ford’s relationships with Bill, Fiddleford and Dipper was him trying to fill a hole that his estrangement with Stan had left, with none of them clicking in that same way. Dipper was directly compared to Fiddleford as someone who was completely charmed by Ford but is ultimately too anxious of a person to properly deal with the life he's offering nor pull him back when he starts going too far. Meanwhile, Bill is more analogous to Stan but to the extreme with all the doubts that Ford had been fed about Stan (that he was using him, he never grew up, he betrayed him, sabotaged the machine on purpose) turning out to be exactly true with Bill.

The book has Bill saying flat out that Ford wanted the charisma Bill had and then shows that at the peak of Ford's loneliness he was being envious of Stan's charisma, social skills and hands.

[STANLEY COULD HAVE MADE HER LAUGH]

(There’s an irony that Stan always thought that Ford was the popular twin even after doing embarrassing stuff like the kissing machine – if you haven’t seen the Swine Before Time Stan commentary get going, it’s great)

Then Bill swoops in with jokes and endless encouragement and the nickname only Stan used for him, all this in a way tailored for Ford to immediately like him while also reminding him of Stan but "better."

(The show rarely used it but Bill’s use of Sixer is extremely frequent in Journal 3 alone but the comics solidify it as being a pretty personal childhood nickname that kid!Stan used as his default way to call Ford.)

And then you see all of this working because Ford straight up writes Bill’s words using Stan's handwriting (and it turns out that Ford’s capital letter ‘for emphasis/angry’ font in general is the same as Stan’s handwriting too)

(It’s important to note that this is different from all the fonts that Bill uses for himself!)

All of this leads to the deja vu of Ford getting stabbed in the back by someone he was codependent on over a machine he thought was going to change his life for the better

Other things in the book that I’ve seen others point out and noticed myself:

Bill trying to reinforce that Ford would be alone without him, and threatening to tell Stan that Ford never loved him but the first thing Stan does in his letter is tell Ford that he loves him with their childhood code

Stan also only uses ‘Sixer’ in his letter when he normally tends to use a mix of nicknames post-Weirdmaggedon (sure it’s only twice but idk I find it noticeable)

Stan ripped a dollar in half when Bill taunted the reader earlier about how they wouldn’t do that

The promo photo vs the one in the book, Ford’s face being untouched vs Stan’s. While I initially interpreted this as “Bill’s book being a way to torment Ford” and then “him ending up having a meltdown at the thought of Stan”, the new poem kinda gives off an ominous vibe of "him moving on to focus on Stan instead whether he wants to or not"

Ford writing “miss you” in the bro code soon after arriving at Backupsmore which is shown in the Fiddleford photo, then Bill taunting Ford that he misses him

Bill and Stan now have another parallel of losing everything because of a genuine mistake but only Stan was willing to work to make up for it while Bill doubled down and became far far worse

The utter hatred Bill has for Stan being able to win in the end and get back his family

Both of them being institutionalized, with Stan’s mentioned in Guide to Mystery and Nonstop Fun (which has references to Bill liking Mabel for her chaos, silly straws, etc. Also Dipper basically came up with the Author theory but slightly wrong from theorising about the ink blot like a year before the Ford reveal)

(saturn devouring his son perfectly depicts my emotions when reaching this part of the book)

(EDIT: I was thinking about how Bill giving Ford three days to open the portal striked me as odd for some reason... and then I remembered;

Stan gave Mabel 3 days for their bet as well. Both of them specifically say 72 hours too.)

And now for the stuff we know from the website:

Bill having severe family issues with daddy issues implied since only his mum is mentioned directly with her trying to comfort him as a kid vs Stan having severe family issues with a definite focus on his dad while his mum was the only one to ask about Stan during that meeting with the principal and her being the only one to show up to his funeral

Both of them wear their dad’s hat despite of all of this

Bill starting a billion cults and has a lawyer called Multilevel Mark, Stan having his Scientology-esque cult being shot down by irl Disney and as a kid having his “technically a pyramid scheme” comic being shot down by a publisher

(I doubt that Stanentology would’ve gotten far but also you can see that a trend that the main way Bill gathers followers is by reading minds and revealing secrets only the victim would know, so let's hope that Disney-let-him-start-a-cult AU Stan never gets mind reading abilities)

Despite how we know how Stan is traumatised as hell from losing Ford, it’s noticeably isn’t referred directly in the Wheel of Shame (like you can’t tell me that the time between pushing Ford into the portal and starting the Shack isn’t as rock bottom as it gets, Bill literally recognises Stan in the first place by thinking about his brand). This probably is because Bill knows that they managed to repair their relationship and he’s fucking pissed about it.

There's further parallels between Stanley and Bill in poem; with lies and redemption and home, and further association with fire for the both of them

“Saw his own dimension burn.

Misses home and can't return.”

“Always dragged his family down.

One mistake, disowned, denied,

Only thing to do was hide.”

“One way out: the open road.

Reinvent, retry, reload.

A girdle, eyepatch, fathers fez,

"I'm a new man!" so he says”

“One way to absolve his crime.

A different form, a different time”

“His big break, it finally came,

Redemption from a life of shame.”

“Says he's happy. He's a liar.”

“Truth is just whatever sells.

When you've lost track of your lies,”

“Lie until you aren’t lying anymore”

Bill in a rotting corpse of a snake oil salesman

This triangle can fit so much self-loathing projection while being a hater

(Also it's funny that Bill is so insistent that Ford had to be the one who came up with the plan

Like look at this

See ‘em cogs turning in Stan’s head while Ford has clearly given up hope)

“How dare he dress up fancy when his jokes suck!!”

There's a parallel of Ford projecting onto Dipper in a way that makes him feel like kindred spirits with his nephew but Stan projects on Dipper in a way that causes him to be more harsh even if he has good intentions. Meanwhile Bill projects onto Ford in a more positive light in comparison to Stan, who in this case Bill wants to rip him and himself into shreds whenever he thinks of the guy. Bill’s shared love for fun/chaos with Mabel (despite them being so different at their core) is why he likes her the most out of all the Pines but that doesn’t stop him from trying to murder her (although I think most folks don’t know about that interview where Alex was like “yeah, I think Bill would’ve burnt Ford alive the moment he got the equation, he’s done playing with his toys at that point”)

Other tidbits:

I find it interesting that the full version of the Wheel of Shame has blue sparks and fades to grey scale (which automatically reminded me of his mindscape)

Stan signing off as Stanley in the book – this ain’t anything huge to chew on I'm just very over emotional about this… but also there’s Bill being called Billy by his family/in the codes

Ford thinking of Stan as childish/someone who never grew up and then we get hit by “yeah Ford always had some part of himself stuck at 18” oof

Ford underestimating Stan’s control over the mindscape, not knowing that he’s able to hide memories in Dreamscaperers, manipulate the layout of his mindscape enough to trick Bill and memory!Stan telling Dipper how to use the mindscape which Bill was genuinely surprised by

I'm headcanoning that Stan doing so bad at that history test is due to some latent bs from what Bill knows which is all crazy conspiracy level stuff

I think it's also intensely funny that all of the Pines promise that they'll murder Bill if they ever see him again and then they immediately turn to Stan and go “now it's your turn to write a letter! :D!!”

(I feel like the main requirement that the Theraprism has for Bill before he can reincarnate is mainly acknowledging his family idk which honestly would fit even better if his soul becomes Stan’s)

EDIT: I FORGOT TO MENTION THE OUROBOROS PASSWORD (or... uh oroborous which is a typo when theres a suspicious amount on the site which may mean somethng but i digress) anyway that leads to the Shack Axolotl lore where it bluntly states that Ford released it despite it showing up 30 years later anyway

and theres....

[stompandhollar]

Honestly the most revolutionary thing about Gravity Falls to me is its commitment to sincerity.

I’ve been listening to Alex’s podcast where he goes into the details of each episode with different storyboard artists and writers who worked on the show, and it just baffles me how… cared for the story is. Right now in media there’s been an uptick in satire, and shows making fun of themselves for existing, or taking the piss at their own content to “win” fans to their side. It’s like whimsy is gone from so many pieces of media. But Gravity Falls just doesn’t… do that. It completely embraces itself. Weirdness and all. And so does the team behind it. I’m not used to something I care about being so cared about by everyone surrounding it.

Here’s this cartoon, written and illustrated by an entire team of people saying, “no, we’re serious. we mean this. we made this on purpose and we made it important.”

Throughout the podcast, Alex discusses little ins and outs of each character, offering so much deep internal struggles and enriching the story even farther. And listening to him unpack it with the utmost sincerity just warms my heart. Each character is so dynamic because they were cared for by people who imbued them with sincerity.

That’s exactly why we get quotes like “Shame is powerful, but it grows in the dark,” as Ford realizes the trauma he’s hidden for so long is being embraced by his family, diminishing it’s weight on him through their immediate support.

It’s why we get Alex describing Stanley with quotes like; “I always in my gut thought of him as somebody with a huge well of sadness, a loss of human connection. And that need to please? That need to get laughs from the crowd, and putting on a big show? He’s trying to get from them the affection he never got from his family, and that he lost with his brother.”

Or detailing how Mabel might be a goof… but half the time she’s doing a bit, because she’s really more mature than her brother and doesn’t want him to grow up too fast. She’s trying to help ground him and bring lightheartedness into his life. Because she knows otherwise, he’ll become too self isolated.

And those two mini character studies he dropped so casually in these podcast episodes just… color the show. It’s why the show survived so well even after ten years. It’s gruff-old Stan always calling his niece “Pumpkin” and “Honey”. It’s the family always holding hands without it behind laced with a joke, and falling asleep on one another in the car. It’s Alex explaining that people toyed with other endings, other plot lines, other twists, but it was always going to end with Stan and Ford mending the family tie they severed thirty years ago. Because that was their story. Messes and family and care.

Ten years ago, watching it for the first time as it came out, I felt all that. But now, as an adult, knowing that all the other adults who made it felt the exact same way? :,) What a special story we all got to grow up with, and get to continue being apart of.

[akanemnon]

Kirby drip✨And also Fall

[devilboydogman]

*Takes a drag of one the nonexistent cigarettes I don’t smoke* You ever think about the fact that the ring Cooper gave up to the giant in exchange for those clues about Laura’s killer belonged to his mother who died protecting him from the forces of the Black Lodge itself. That he, in a way. Exposed himself and gave up her shield in order to reach into and peer into the beyond. And damned himself in the process. In a failed attempt to save a teenager just as his mother had.

The ring. Don’t take the ring, he told her, in her dream. A ring that damns and corrupts. While his own ring, his mother’s which he wore on his pinkie finger was taken from him as a sort of bargaining chip. Yeah.

Ok.