#unstable season 1 episode 1

[stiffkick80]

[greencarnation]

eleven is fascinating to me because he came right off the back of tens horrible traumatic breakdown after he lost everything and he immediately tried to establish himself as the opposite of that. he is funny and goofy and almost childlike, and he bulldozes on in his adventures with amy like nothing happened at all. but then something happens and his masks slips and it's like oh! the core of this man is still anger. he is so so angry all of the time and this façade is the only thing stopping him from being consumed by it. he isn't over any of it and he hasn't moved on. he is wearing a fez and laughing but under that all that exists is age old anger and grief and it is going to consume him

[crackedgemroom-26]

The Fifth episode in The first Steven Bomb.

[queenboimler]

jinx needs to be put in intensive therapy immediately

[dutifullybitchyblaze]

Poor Subaru...

[theblapmaster]

So they had a beautifully developed Jinx's character in season 1, had her break into pieces in the last episode and finally decide and accept who she was. And then they went: ''You know what, she's not mentally unstable enough and instead of going insane because she's mourning Silco and losing Vi, let's add a random child with the personality of a wet sock, kill her off and have her ''cause'' the exact same kind of reaction Silco already did. Only, washed out, ingenuine, cheap, and completely out of character. Let's reset Jinx's development like season 1 never happened. Yep, that's a great idea, people are gonna love it!'' There are so many things in season 2 that infuriate me, but the butchering and disrespect of Jinx and Silco takes the cake.

[antivivziepopparade]

All of the proof that we have that Vivziepop is abusive. (So far....)

While you support this post please go ahead and support my channel to see more about Vivziepop's abusive behavior. Thanks!

1. She rushes her employees.

Season 1 was made in 2020. While Season 2 was made in 2021 while being released with MULTIPLE EPISODES only ONE year later.

That's-

INSANE!

-and im about to tell you why:

The average cartoon needs almost ONE WHOLE YEAR to produce one episode. And this is what we see in MAINSTREAM shows.

Meanwhile, Helluva Boss took only one year (and a half) to make MULTIPLE ENTIRE EPISODES that last over 20 minutes. The longest waiting time for an episode being 8 months. Not even a year, and we get multiple episodes off the drawing board.

You can even see here that it's taken only three years to make 16 episodes. When this is an indie studio, so this should have taken so much longer to make. Yet for some reason, it took only a few years for us to get full seasons. In 2021, we got over 4 episodes alone. Have you ever wondered why these episodes come out so fast while other shows take a lot longer to get new seasons? That's an easy question to ask... Spindlehorse...

Is being ABUSED.

And I have the proof to show.

2. The pay controversy.

Spindlehorse's payment has been under controversy for providing the lowest pay possible to those that work at the studio.

One piece of evidence was given by Adam himself (albeit unintentionally) by saying this:

This kind of pay is highly unstable! And before you say "But he didn't force them to be there-"

LOOK.

The employees themselves admitted that they had no choice. People had no choice and Vivienne Medrano took advantage of that for her own selfish desires. This is disgusting treatment of a studio as small as Spindlehorse. Or any studio for that matter.

Hell! chaifootsteps said once that once Zeurel released that he was paying his animators too low, he deleted one of the tweets showing the low pay and decided to do something to give his employees better wages. Meanwhile, Chimera Bunny pays even less than Viv does and just because paying your workers low is normal in the animation industry- plot twist: Doesn't make it ok!

People have suffered so much in this industry, it's why "New Deal for Animation" exists. The only reason you haven't seen many Vivziepop workers having protests and speaking out is because Vivziepop says things like this behind people's backs if they "dare" do anything she doesn't like:

So that explains as to why so many people remain as "anon" or say nothing at all because they got cold feet. Vivienne's terrible!

Especially since even her top employees have admitted to not being paid enough despite Adam's "I pay them to stay if they make us the most mon-ey!" claims from the article:

Also this:

This is how she speaks about her own employees:

"YOU DONT LIKE HOW I TREAT YOU?! FUCK OFF!"

Straight up abuse.

Also, wasn't Walt Disney known for abusing his employees?

To the point where people had an entire protest in 1914 about it?

Wow... such a healthy workplace treatment comparison. Doesn't make Vivziepop look more like a jerk.... at all! /s

3. She bullies kids/laughed at a sa victim that was sa'ed by her friends. As one kid was bullied into a panic attack (I know them personally) back in about 2020 and Viv decided to vague post about them behind their back even after they apologized.

For someone who's so focused on "forgiving despite cancel culture" she sure likes to blame and harass people for disliking even ONE thing about her show or herself. One thing- and you're harassed over making a meme about a cartoon with fictional characters (What Froot Did that set Vivziepop and Gumball off.)

Secondly, one of her friends sexually harassed a minor.

And instead of acknowledging the sa, Vivziepop wrote this:

She ended up calling it a "joke" and made fun of the victim involved.

This is outright abusive behavior that should not be tolerated.

Children don't deserve to be traumatized this way. Especially over something as simple as making memes about a cartoon (negative or not) or simply telling someone to stop fetishizing abuse.

More on this in this video made by Gummypop:

AAAAAAAAAAAAAAAAAAAAAAAAAAND-

That's all that I have for now!

Will likely be updating this post in the future. Goodbye!

EDIT:

More evidence of Vivziepop using abusive language and slander against her employees behind their back. Claims of them being a "stalker" (like she did to Kedi and also its clear that she told her employees to say that Kaz was a "stalker" otherwise how else would they be saying these things after she fired them.) along with using abusive language such as "CUNT!" to prefer to Kaz this way in a professional setting I cannot. 💀

More evidence of Vivziepop harassing a kid:

ANOTHER edit:

More evidence, she's burning them the HELL out!

Yet ANOTHER edit:

More evidence of Spindlehorse being abusive:

EDIT:

Even MORE evidence:

The fact that the story AND the storyboards AND the animating for season one's episodes were all done in one year is just so crazy to me like... WHAT?! Either way, this post will continue to extend the more that I find evidence. So remember to look forward to that one!

EDIT:

Sadly no, as animation abuse is so common that the police dont even see it as an issue. The last time I tried to call the police on her they needed a location. The problem? There is no location of Spindlehorse since it's a "private" studio. So because of that viv gets away with abuse despite the obvious implications of her behavior and how many people came out with allegations towards her.

[homielander]

the most superficial perspective on the small council scene is that alicent is coming to terms with the realization that the leopards will eat her face as well, and she is being denied power for being a woman just as rhaenyra has been...

but i do think there's a more interesting series of realizations going on. season 1 went to great lengths to show us that alicent's motive for usurping rhaenyra was not rooted in the belief that women are not fit to rule. she is a capable political actor herself and she advocated for rhaenyra to be queen when she was younger at the expense of her own standing. even her conversation with rhaenys at the end of the season suggested a resignation to the way of the world rather than a judgment on women's deficiencies.

alicent had other reasons for wanting to supplant rhaenyra: daemon, whom she saw as a complete wildcard, would have been dangerously close to the throne if rhaenyra did assume power, and she believed that she and otto could guide aegon to rule fairly under their experienced counsel. however, in this episode, the small council she presided over as a competent administrator for years rejected her proposition to rule and chose in her place: her dangerous, unstable son who has already proven resistant to guidance and quite literally triggered the war. over her! because a woman could not be allowed to reign when another woman was usurped for being one.

this is not to say that alicent lacked the awareness on a more detached level that rhaenyra's womanhood was the pretext used to usurp her, but this makes it much more visceral. the people who facilitated aegon's ascension were not motivated by the things she was. in conjunction with her discovery that the prophecy was not about aegon ii -- the prophecy that would have attached some divine purpose to all of her pain, allowed her suffering to mean something -- alicent is really beginning to question why she is doing any of this at all.

[sapphojennyhumphrey]

This isn’t based on anything and this post isn’t new/original/revolutionary but I miss Shannon Keene. I know she was never used as anything more than a plot device and there’ll always be the hundred unanswered questions, but she was so interesting as a character in ways other than being useful for driving the Robby-Johnny relationship! Whether ‘her and Johnny both made mistakes’ (BARF) or ‘we really see not only Robby’s unstable home life - that Johnny left him in and very much contributed too as well - but we also see what’s happened to this women, certainly having agency and responsibility as a mother and a adult, yet knowing there’s something deeper and complex.

But I mean. Of course she’s not going to come back now. We won’t see or hear her for the remaining five episodes and if so it’ll be a off-handed Robby or Johnny line or maybe she’ll be cheering or waving Robby off right at the end. And they’ll certainly not care for their other women characters like Aisha or Carmen (not ignoring that these two are WOC which is for another full post) or Amanda, or even Sam and Tory at this point - so why care for Shannon? But season 4 and season 5 the role of Shannon, compared to season 1 and 2 and arguably 3 Shannon’s character? The point is she’s Robby’s mom - and Johnny’s ex fling if the writers even allow her that - so when Robby’s arc falls off then so does Shannon’s, because that’s what she’s useful for. Which is one thing in an array of problems, but we’ll never get that glimpse again. We’ll never get that glimpse of Shannon as a complex character, or a character with any story worth telling, or anything that makes Shannon Keene the character feel like a human, at all.

[ceruleanskies48]

Jealous Mizu

It’s Day 5 (Banter) of @taimizuweek! Like many in the BES fandom, I’ve been thinking a lot about love triangles since the creators have been unrelenting in their teasing of a Mizu-Akemi-Taigen love triangle. In particular, recently I’ve been thinking about jealousy. Although some ship the trio as an endgame throuple, “love triangle” typically implies an unstable arrangement that can be leveraged to create juicy drama through sparking feelings of jealousy, betrayal, and abandonment. 

While I personally don’t like the idea of Mizu suffering from such negative emotions, thinking about Season 1 through the lens of love triangles has made me realize that perhaps we have already seen inklings of jealous Mizu through her banter with Akemi. 

In particular, I’ve been intrigued by the moment in Ep. 4 when Mizu tells Akemi that she “begs to eat trash.” On first watch, this seemed really harsh (is Taigen really “trash”?), but I just figured, Taigen’s station is way lower than the Shogun’s son, and he was Mizu’s childhood bully, so she has reason to think poorly about him. Upon further reflection though, I think this moment actually shows some romantic jealousy on Mizu’s part.

In the episode before this, she left Taigen a very flattering letter that showed that she greatly respected him (and did not actually think he’s trash). She left him her the broken blade, took his scarf, and told him they’d meet again. Shortly before Mizu and Akemi’s conversation, Mizu fantasized about Taigen when seeing the male prostitute and swordsman kiss. And in the cut scene right before they talk (https://www.instagram.com/reel/C0KFcvrRedc/), she was looking at herself in the mirror and wondering if she could be considered sexually appealing. 

In light of all of this, I think the reason she so venomously chastises Akemi is that, on some level, she felt like she had a special connection with Taigen—even a potential romantic one—but feels threatened upon learning that Taigen’s fiancée is the beautiful, high status, and extremely feminine princess Akemi. Who could compete with that? There’s a tinge of injustice in her voice, like, why do you have to go after *this* trashy dog (whom I have conflicting feelings about but have begrudgingly come to see as sort of being *my* trashy dog), when you could have anyone else? Insulting Taigen is probably also a way for Mizu to suppress her own burgeoning feelings.

This comparative dynamic also comes up in the forge scene, after Mizu hops off of Taigen. For a moment, she feels a possible romantic connection to him, and it seems like she’s about to reveal her gender to him, but then he brings up Akemi. Mizu seems to believe him—that his boner was due to thinking about Akemi—which makes her confess instead to watching Akemi being taken away. I imagine in that moment, Mizu tamped down any hope she might have for a spark with Taigen, reminding herself that he’s in love with the beautiful Akemi, with whom she could not possibly compete. 

Mizu’s jealousy also comes out in her not-so-subtle jabs at Akemi and Taigen’s relationship. When they first meet, she tells Akemi that Taigen seemed more upset about his hair than his broken engagement. Later, even when she’s trying to bring Akemi and Taigen back together (and hyping up Taigen as a potential "great man"), she tells Akemi that Taigen BELIEVES he loves Akemi very much. For such a straightforward person, such veiled language stands out. She's a wingman with a conflict of interest.

Mizu is not the only one feeling tinges of jealousy. Akemi explains that she wanted to meet Mizu to see what power Mizu has over Taigen to make him run away from her. It’s interesting to see this comparative dynamic between these two women, who in many ways could not be more different, yet who are brought together by Taigen, who notably is their only topic of conversation in Season 1 (sadly Akemizu Season 1 doesn’t pass the Bechdel Test, but I imagine that’ll change in future seasons).

As the writers further develop the love triangle in subsequent seasons, I’m curious if we’ll see jealousies intensify and who will be jealous of whom.

[honeygrahambitch]

"I was a functioning alcoholic till nobody noticed my new aesthetic" is such a season 1 Will Graham coded line. Cause everyone sees him as the weird unstable neurodivergent guy who is always shaking and sweating and connecting with psychos. They are used to him being that way. People stopped wondering if he is alright. Nobody noticed that he was in pain because he always looked like he was in pain so it became normality. Maybe at first he really shocked people but soon everyone just stopped noticing.

The episode where he asks Beverly if he seems different breaks me every time cause she says "I mean, you've always been different". Which proves the fact that his pain was invisible. And honestly I know Beverly had no intention of making him feel bad but I think her remark was kind of a reminder for him that he is the dude with the dark and twisted aesthetic, no point in trying to figure that out.

[championari]

True Love: Why FifteenxRogue Works

WOW. Man, that Rogue episode, huh? Watching that live was probably the greatest experience I’ve had recently regarding Doctor Who. Not just as a queer viewer, but as a queer media analyst. Fifteen and Rogue truly feel like a relationship written for me to analyze, because there is simply so frickin’ much to talk about. So, allow me, gentle reader, to be your Lady Whistledown of queer alien fuckery, and guide you through analyzing the latest dalliance of our Time Lord extraordinaire with the most honest bounty hunter in the galaxy. 

We’ll be covering a LOT of ground in this: the theme of facades/masks, an interrogation of The Doctor’s perception of romantic relationships, and a deep dive into The Fifteenth Doctor’s character overall. So, needless to say, this is going be a LONG LONG piece. Grab a snack, some water, whatever you need, cause we’re going deep on this one. 

You’re still here? Fantastic! Then let us begin! Specifically, with the Fifteenth Doctor himself. Because above all else, this episode works as a dissection of his character overall. 

I’ve already done two metas regarding The Giggle’s ending and The Doctor’s perception of romance pre-Season 1/14, so if you want more elaboration, go read those here: 1, 2. But in case you don’t, I’ll sum up and expand based on what we’ve learned since. 

The Doctor, as a character, has always struggled with commitment and attachment. They never stayed in one place for long and when they did, they had an unhealthy relationship with it (Trenzalore, Darillium, Bill’s University). Romantic connection is a permutation of this larger issue, as every romantic relationship we have seen The Doctor take part in since 2005 either was unbalanced (holding back problems/outright lying) or ended in a really bad way.  However, thanks to the 60th specials and a bi-generation, The Doctor went through a massive change, and with it, came a new perception of openness and love. Fifteen is more expressive, and willing to verbally identify beauty. He openly points out how beautiful people are, and talks about previous exploits with pride. But this supposed openness betrays a deeper dishonesty still inside the Doctor. As much as Fifteen talks the talk of openness, he doesn’t often walk the walk when things get tough.

Fifteen’s character struggle is trying to break out of the Doctor’s previous patterns of unstable attachment and commitment while continuing those patterns. He values emotional honesty and encourages it in others yet simultaneously runs from it when the spotlight is on himself, even when he knows it’s beneficial and necessary for him to do so. So, with all of that in mind, let’s deep dive into Rogue (the episode, not the character, but also the character).

The best word to describe this episode is ‘deception’. Setting the episode in Bridgerton-esque Regency-era England was an appropriate choice, likening to a show that is all about facades and posturing to gain wealth and social standing (yes I am oversimplifying, don’t hurt me). Throughout the episode, we see characters who aren’t who they present themselves to be and use all manner of tools or tactics to disguise themselves to meet their ends. 

We have the Chuldur, creatures who gain pleasure from cosplaying. They thrive on creating fake entertainment for their amusement, honesty is useless if it can’t satisfy them. While this is meant as an obvious commentary on fan culture and how dangerous it can get when taken to the extreme, it also functions as a darker reflection on The Doctor’s habits. Because think about it: what are Fifteen and Ruby doing in this episode? They are having fun, dancing alongside the other partygoers. They’re wearing the outfits but only to blend in. Ruby doesn’t know how to dance, she has to wear psychic earrings to keep up. She watches the fake fight between ‘Emily’ and ‘Lord Stilton’ like she would watch an episode of Bridgerton. Her fight with Emily later in the episode is set to Lady Gaga’s ‘Poker Face’ playing in the background.

What we’re seeing in the villains is The Doctor’s pastimes becoming toxic, taking a companion and bringing them to a culture far removed from their own. But it’s not only a commentary on The Doctor overall, it’s also Fifteen’s philosophy in a darker context. Posing as sincerity and maybe containing it to some extent, but ultimately not completely honest. Through the setting and the villains, the episode is already priming us on a subconscious level to be thinking about disguises and dishonesty, a topic that both The Doctor and the Fifteenth incarnation specifically have a complicated relationship with. And then comes Rogue.

Rogue himself is such a fascinating part of the episode because he is such a deliberate disruption to this cultivated environment of deception. Rogue is the complete antithesis of everyone in the plot. He’s terrible at improvising, he’s socially awkward, he dances without needing psychic earrings, and he never cleans the inside of his ship. Rogue intentionally disrupts the narrative of lies by not being able to play the game. Even when he tries to wear a mask, the mask of an uncaring bounty hunter, He doesn’t wear it well and gets rid of it after the ship scene with The Doctor. Rogue is a character who cannot help but be who he is, he’s a character who not only can’t wear a mask but doesn’t want to. To put it simply, honesty is Rogue’s kink. That’s why the episode is named after him; it’s not just because he’s a central character, but because he provides the counter-argument to the themes of lies and deception. Rogue, the disruptor to The Chuldur’s acts of fake entertainment, and the disruptor to The Doctor’s act of cosplaying with Ruby, and on a deeper level, disrupts Fifteen’s oscillation between sincerity and repression. But we’ll get to that, we have Mount Everest's amount of context to analyze first, starting with their first meeting.

The Doctor and Rogue’s beginning scene sets the stage for the main obstacle in their relationship: their masks. ‘Cause right now we’re operating with two versions of the characters: the facade/mask versions, and the real versions. We get our first look at Rogue when Fifteen looks around for interference on the psychic earrings. He finds him being the most conspicuous while wearing the ‘bounty hunter’ mask: on a balcony (separated from the party physically), not speaking at all. 

He is standing out here but only in the way someone who knows disguises would recognize. The Doctor, remember no. 1 liar, of course he’s gonna recognize that. So much so, that he gives Rogue pointers on how to put on a better “brooding” face, literally teaching him how to wear the mask better. Rogue is an amateur mask wearer, going up against the master of mask-wearing. And that’s why Fifteen smiles when he sees him, he’s intrigued by that contradiction and wants to know more. 

Rogue meanwhile, is being rude and dismissive to scare him off, trying to keep to the mask he’s built. At this point, he knows that Fifteen also stands out from the rest but right now is assuming that he’s still a random partygoer. Notice what he says to him: 

He’s still using language and ideas someone from that era would understand. Where this deviates is this little exchange that felt familiar to me, but I couldn’t figure out from where. Until I remembered this:

(credit to @ngatwa for this set, you're amazing)

This is the first instance in the episode where Fifteen and Rogue’s relationship calls back to previous romantically-coded relationships The Doctor has had between companions. But it’s not just romantic subtext, it’s subtext that explains where the two are in the relationship. Victorian Clara was far more than what she appeared to be (a governess masquerading as a barmaid/echo of a companion scattered in the Doctor’s timeline), and the Doctor was more than he appeared to be (an alien who lived in a blue box). In asking those questions, it’s both recognition of the masks and inquiry for the real person underneath. Same thing here: Rogue and Fifteen at this point are trying to figure each other out, trying to see beyond the masks of the uncaring bounty hunter, and the flirtatious partygoer. Where things start to go wrong is that neither party fesses up to who they are. Rogue instantly assumes Fifteen is The Chuldur he’s looking for, while Fifteen assumes Rogue is a regular partygoer looking to…*ahem* create a scandal in the gardens if you get what I mean. This explains why a violin rendition of Billie Eilish’s ‘Bad Guy’ plays in the background. It’s not just a Bridgerton reference, it’s contributing to both characters’ perception of each other in this scene: both characters think the other is the “bad guy”. The lead into the scene is deception, we leave it the same way. No breakthrough yet. 

Now we’re moving on to the scene in the garden, where both masks of Fifteen and Rogue begin clashing with their real personalities. Fifteen is still being semi-sincere, still complimenting Rogue. And like water, all of it is rolling off of him because he’s still under the assumption he’s talking to a shapeshifting alien. He rudely asks about The Doctor’s info dumping and doesn’t respond to The Doctor’s compliments.

(credit to @klausbens for the gif, you're awesome)

He’s not engaging because he thinks the Doctor is not who he appears to be, and for a character that values honesty, everything Fifteen says is gonna wash over him. The moment this changes is when the two are accusing the other of the murder. Quite literally finishing each other’s sandwiches (C’mon, you know I had to throw a Frozen reference in this somewhere). 

This is a very interesting scene given our current context. Trope-wise, this is meant to communicate to the audience the bond between the two characters, they’re thinking the same thing. But the trope is flipped on its head because both characters take it in opposite directions. Both Fifteen and Rogue are in perfect sync, they are being honest about how much they understand about the situation, but that information is leading them to completely different conclusions (i.e. the other person is the Chuldur). They’re slapping more masks onto each other, this time with information they know is true, which leads to them locking in their heels and simply not being honest altogether until later. This scene is a repeat of the previous one, except this time it’s them showing their hands a bit more, making the backslide all the more difficult. Getting close to sealing the deal, then heel turn at the last minute, a classic Bridgerton move. 

So, what needs to happen to break this backslide? Well, plain and simple honesty. The scene on Rogue’s ship is when both masks start coming off. What Fifteen is doing on the ship during the scene is essentially trying to figure out Rogue. He finds out the ship is meant to be piloted by two, and he discovers the origin of Rogue’s name, the Kylie Minogue music. Which is a moment I want to zoom in on. Right before this happens when Rogue gives a cheeky response to Fifteen finding out about the name, Fifteen makes a joke and starts emphasizing his Scottish accent. This is Fifteen putting on another mask to make a joke, and Rogue doesn’t appreciate that, given his dirty look. 

Then Fifteen finds the music, which he then again uses as an opportunity to joke around and make fun of him (and flirt a little bit with him).  Fifteen is removing Rogue’s mask, while he is staying enigmatic and mysterious, which is why Rogue is still stonewalling him. HOWEVER, two can play that game, and Fifteen makes a big mistake in showing Rogue the psychic paper. This is the first time Fifteen is completely honest about his feelings towards Rogue. No mask, no posturing, complete honesty. And we see Rogue responds positively to this: 

This is the first time the two are both on the same level, communicating honestly. And that’s where we start to see genuine romantic feelings and attraction. 

But it’s not enough, so what does Fifteen do? He pulls out the big guns. He shows Rogue the truth: he’s a Time Lord from Gallifrey and has lived many different lives over hundreds of years. He not only rips off his mask, he quite literally reveals all of the other masks the Doctor has worn throughout the ages. And what is Rogue’s reaction to this? 

Complete besotted awe. If honesty is Rogue’s kink, then The Doctor revealing their faces just supercharged it. This is the moment that Rogue falls in love because he’s finally seeing who this mysterious flirty person really is. 

Now, I’m gonna pull out another previous Doctor romance for two reasons: One, I’ve been seeing this comparison floating around for a while, and if you know me and my old analyses, it’s that I cannot leave an inaccurate take alone, and two, because I think it applies here. I’ve been seeing comparisons online of this episode to Girl in the Fireplace, in which a new character falls in love with The Doctor and gets the rare opportunity to see their true self. But what makes Reinette different from Rogue is that honesty kink. Reinette was attracted to the mystery of the Doctor, her childhood hero who somehow doesn’t age. Note when he comes back the first time, she focuses on how strange he is:

She learns more about them later, but she was already in love with them before that. Rogue doesn’t want the mystery. In reality, The Doctor wearing masks is a turnoff for him. He only wants the real thing, so when Fifteen reveals the truth, that’s when the genuine romance begins. 

(We could also extend this comparison to the discussion of consent: Reinette found out everything without The Doctor's permission, while Fifteen revealed all the info by himself, but whether we can consider this consensual depends on your definition of consent under duress/threat. So I’m not entirely sure what to make of this conversation, feel free to expand in the tags/replies cause I want to hear more about this)

So now we’re moving along to the TARDIS scene. We continue with the theme of disguises with the whole “bigger on the inside” routine, Fifteen riffing as Willy Wonka for a hot moment singing Pure Imagination, and we have Rogue’s momentary slip-up:

(credit to klausbens for the gifs, you're awesome)

This is a great sign of character growth because while he’s maybe not wholly honest about his feelings towards The Doctor, he still is open about his love for the TARDIS, an important part of The Doctor’s life, so big step right there. 

I want to pay attention to the heart-to-heart here because watching what Fifteen says and how he reacts is extremely important to getting his view on the situation. Because right now, I wouldn’t say The Doctor is in love with Rogue back. While there is a lot of attraction and hints at a deeper bond, Fifteen is still operating with most of his mask on. Notice that when he asks Rogue about the person he lost, Ncuti Gatwa’s blocking has him leaning on the railing at an angle to the side of Rogue. He’s purposely staying at a distance, yet is leaning on the railings to appear casual. 

And when Rogue starts opening up, he moves closer and they’re at equal distance from each other.

We get a really sweet (and allegorical to the queer community) moment about The Doctor’s motivation of living out of respect for the dead, to keep living each day that they lost. And then we get Fifteen inviting Rogue onto the TARDIS. I want to focus on this because he doesn’t seem upset or disappointed by Rogue countering this offer by inviting The Doctor to travel with him, meaning he doesn’t see this as a “take it or leave it” offer. In fact, the compromise Fifteen comes up with, “let’s argue across the stars” and Rogue accepting it, is what leads to the almost kiss. So that prompts the question, what is Fifteen trying to say here? 

Well, what Fifteen is asking for is to continue seeing Rogue. It doesn’t matter to him if he’s on the TARDIS or not, all that matters is that he still has him in his life. The choice to see him more. Why does that sound familiar? Because that’s exactly what I wrote about in my dissertation on The Giggle’s Ending: 

“In giving Fourteen their own TARDIS, Fifteen is allowing his younger self to have what they always removed from the equation: free will. The Doctor can still go anywhere they want, which makes them even more motivated to stay and fix themself. Fourteen can feel safe staying with Donna, Wilf, Mel, Rose, Shaun, and Sylvia because the option to travel is still there.”

Fifteen’s love language is giving the people he cares about the freedom to express the love they already have within them. He values freedom above all else, and when Rogue accepts that freedom, that’s when we get the almost-kiss. This is the moment where The Doctor falls in love with Rogue back because it’s Rogue being willing to meet The Doctor where they’re at. He’s allowing Fifteen to set the pace and not force himself on him. 

Additionally, this willingness to be as slow or fast as The Doctor needs means far more to The Doctor overall than to just Fifteen. Many people have already pointed out the similarities between the line “let’s argue across the stars' and previous lines the Doctor has said to villainous characters like The Master and The Toymaker:

"We can take your games back to the stars."

"We can fight across the constellations if that's what you want".

Now, why is that? It’s because again, The Doctor’s perception of Rogue is evolving in this scene. Remember, up to this point, The Doctor doesn’t entirely know Rogue’s morality. All they know is that Rogue is a bounty hunter, and is not afraid to use his gun when he deems appropriate. There’s even a little line in this scene before the heart-to-heart where Fifteen specifically imposes his own brand of morality on the situation: “Whatever the Chuldur has done, I can’t let you kill it.” Now, we know that The Doctor’s morality and romantic life can conflict: River being a known murderer/psychopath, their longtime situationship, and later attempted rehabilitation of The Master/Missy. This is another feature of The Doctor’s character: while they do act like they have the final say on what is right, they also compromise that morality for people they care about. 

Like how The Doctor surprised Rogue by showing all of his faces, Rogue surprised the Doctor right back by not only being honest about his past but by being willing to accept The Doctor’s compromise. This moment is when The Doctor finds out that Rogue is a good person, and that The Doctor doesn’t need to compromise their morality when entering this relationship.

This heart-to-heart is about Rogue not only winning over the Fifteenth Doctor by agreeing with his values of freedom but also winning over The Doctor overall by just genuinely being a good person. But of course, the moral duty of taking care of the Chuldur rears its head in the form of the TARDIS alerting that the trap is ready. The bubble has popped and we still have a long way to go. 

(Plus, Fifteen’s facial expression in this shot perfectly captures that trademark “Oh.” moment, realizing you’re in love with someone but then taping it down to focus back on the immediate problem. Love you Ncuti Gatwa, you do great work)

Alright, now we’re at the dance/fake proposal scene. Oh lord, so much happens here with both dialogue and production regarding character, so let’s take this one at a time. Fifteen, Rogue and now Ruby have figured out the big plot regarding the Chuldur, their obsession with cosplay and dressing up to create drama. In response, Fifteen comes up with the idea to essentially beat them at their own game: create a fake scandal to draw them out. 

Now on paper and in terms of beating the bad guys, this is a plan that could and does work, but in terms of his relationship with Rogue: THIS. WAS. A. BAD. IDEA. Why? The very idea of masks and faking not only was the leading cause of them not connecting in the beginning but specifically doesn’t work with Rogue. You can see it in how Rogue nervously looks at Ruby and Emily when Fifteen asks him to dance, and even questions the validity of the plan: 

(credit goes to @carricfisher for texted gif, you're awesome)

It’s not just that he doesn’t know about homophobia, he just doesn’t like the idea of pretending at all. But the reason why it doesn’t collapse right away is because it’s not entirely pretending. The dance may function on the surface to create a scene, but for Rogue (and Fifteen albeit to a smaller extent) it doubles as an intimate moment between them. This connects to the choice of dimming the lights in an unrealistic way (which btw, as a film student, had me going insane watching it live). We’re seeing a deliberate break in reality, a dishonest showcase of the story being told, that serves the purpose of highlighting an ultimately honest and sincere act of love. Both The Doctor and Rogue are warping the aesthetic of deception in terms of the narrative by fabricating a scandal, and in terms of the production by changing the lighting. 

But of course, things start going to hell right there. Fifteen tries to up the drama and Rogue can’t keep up. Rogue overcorrects and proposes to Fifteen, who freaks out and leaves the room. Now, I don’t want to get into the question of whether or not Rogue was playing along by proposing or being genuine (Personally speaking, I think it was both. 70% true, and 30% fake). Instead, I want to clear up why Fifteen freaked out here. I’m sure a lot of the long-time audience could already guess that it was parallel to River Song, The Doctor’s wife, but I think it’s more layered than that. Why would a reference to River scare the Doctor so much, aside from reminding them of a close person they lost? Because the last time the Doctor got married to someone they truly loved, it involved a 24-year stay on Darillium, which he knew would end in tragedy. Note the word choice here:

“Sorry I…I can’t.”

Not ‘I don’t want this’, it’s a void of agency (which connects to my piece on The Giggle’s ending and freedom). The Doctor can’t have that with Rogue, he was fine with them being casual to avoid the possibility of losing him. 

But on my first watch, I couldn’t help getting a little bit cross with Fifteen here, because the amount of ball fumbling on display is outright ridiculous; The Time Lord brings himself onto the dancefloor, with a guy he nearly made out with two minutes ago, gets all up in his face and starts shouting at him to “tell me what you heart wants!” and then completely freezes when said guy starts proposing to him. What in the fuck did you expect was going to happen, bud?! What made you think this would go off without a hitch?

I want to preface this by saying I had a completely different reading of this scene for a long time. My original thought was that Fifteen was trying to do multiple things simultaneously. He potentially was trying to lure out the Chuldur by creating scandal and at the same time, was trying to have a serious talk with Rogue about where he’s at emotionally. These lines in particular have fascinated me since my first watch: “You would ask me to give up my title, my fortune. But what future can you promise me?”. It did feel like these lines hinted at Fifteen’s thought process at this moment, he chose those specific lines to use for this moment. Was Fifteen trying to have an honest conversation with Rogue about their relationship while being fake to everyone else? But that doesn’t make sense considering the previous conversation in the TARDIS showed Fifteen comfortable with the idea of them being casual and Rogue respecting that, so it doesn’t make sense with where Fifteen is progression-wise. 

But it wasn’t until writing out this piece that I realized I had it all wrong and the truth was far simpler: this is a repeat of their meeting on the balcony, albeit with higher personal stakes. Let’s take a step back here: What is happening in this scene? Fifteen and Rogue are completely missing what the other is trying to say. Fifteen ignored Rogue being visibly uncomfortable over being back to playing with masks, and Rogue is not getting if Fifteen wants him to be genuine or not. Just like on the balcony and the garden, where both sides think they’re saying one thing when it’s the opposite. Before, both parties were wrong about who they were, now both parties are wrong about what they want. 

Fifteen is saying complete bullshit here, not true stuff to their situation but stuff that their audience would react to. He’s being over the top on purpose to elicit reactions. Meanwhile Rogue is thinking he’s being genuine. He thinks Fifteen is, through code speak, trying to genuinely ask him these questions. Which leads him to get down on one knee. And that’s a big problem because Rogue doesn’t know that proposing is wading into a gargantuan trauma pool for The Doctor. This scene is a magnified example of the duo’s problem with masks and not being completely honest with each other. 

However, while this scene may have been a cause for regression from The Doctor on the relationship part, Rogue on the other hand has an epiphany. In the scene following this one, we get the truly iconic callback of “Run.” and Rogue taking the Doctor’s hand. Why is this important? Well, there are three specific examples that this moment is calling back to: 

Nine meeting Rose ("Run!")

Victorian Clara and Eleven fleeing from the Ice Governess ("I do the handgrabbing! That's my job! That's always me!")

Twelve running with River ("Stop holding my hand! People don't do that to me!")

Nine meeting Rose establishes this idea of protection: The Doctor taking care of someone by leading them away from danger. The other two examples are subversions of that idea: Clara and River are now leading The Doctor out of danger. Same principle here, except here it has a bit more context behind it. Clara and River subverting that act of protection made sense given who they were: Clara as an echo across The Doctor’s time stream knew who The Doctor was and what they needed, even if she didn’t know it consciously when the moment happened. River as The Doctor’s wife also knew who they were and what they needed at the time. 

By connecting Rogue’s action of taking Fifteen’s hand and running to Clara and River, it not only again connects Fifteen and Rogue to previous romantic relationships, but it also shows Rogue learning from his mistake. Rogue’s mistake in the proposal scene was him not figuring out what Fifteen needed at that moment, it was a major miscommunication. Now, at this moment, Rogue is starting to figure out what he needs to do. He is, to use relationship lingo, "shelving his agenda" to help the Doctor. 

And that progression continues through the last leg of the episode, including the moment when Fifteen thinks Ruby is dead. I’ve always found this moment in particular so fascinating because of how loud it is metaphorically for both characters. Fifteen is taking off the mask of coolness and revealing that Doctor™ anger. This is a complete switch-up from what he’s been like throughout most of the episode. Yet when he lets out that chilling line, “Good. That’s a long time to suffer.” Rogue doesn’t look all that scared or mad at him. 

The face Rogue makes here looks far closer to a resigned sadness, almost like he knew that he would have that reaction. Keep in mind that Rogue knows nothing about The Doctor at their worst, all that he knows right now is that they lost “everyone”. Compare that with Donna, who was outright terrified of The Doctor when at their worst (for good reason though). 

Rogue isn’t surprised by this at all. He’s not asking “What happened to this person in front of me?”, he’s realizing “This is how much he cares about his best friend.” He’s seeing the depth of this person’s love that is inexorably linked to the depth of his grief, and is realizing he can’t allow that grief to corrupt this person he’s grown to love, even if it means endangering himself. Which is exactly what ends up happening.

This is where the theme of masks finally pays off. At the beginning of the episode, both Rogue and Fifteen are wearing their masks (cold, uncaring bounty hunter, and flirtatious partygoer). Those masks started to come down, but that got messed up thanks to miscommunication. Rogue didn’t understand what The Doctor needed from him, causing their trauma to resurface and The Doctor ran away from having to deal with that grief. This final scene is them being completely honest with each other. Rogue asks him “Can you lose your friend to save the world?”, and Fifteen tells him the truth. He can’t, he can’t let that happen again. And Rogue understands that, he finally knows what needs to be done. And so he kisses him. Why did Rogue kiss him? Again, it’s a repeat of a previous scene, this time the dance. Rogue is comfortable putting on a mask/doing something dishonest when there’s an aspect of truth to it. Even if they danced together to serve a lie, it still was a moment powered by romantic feelings. Same with the kiss. Rogue had wanted to kiss him, so he felt comfortable doing something with an ulterior motive (taking the button from him) because it was also something he would’ve wanted to do regardless of the situation. 

But why did Rogue do it? The one line that I kept thinking of in summing up the intent behind Rogue's sacrifice was, ironically, from Frozen: "Love is...putting someone else's needs before yours”. Essentially, shelving your agenda, like we’ve been saying. Back in the proposal scene, Rogue’s mess up was not figuring out what Fifteen needed out of him at that moment. Fifteen needed him to play along in faking and instead, Rogue heel turned into a lot of trauma for The Doctor. So now, after seeing how important Ruby was to Fifteen, so important that he was willing to torture The Chuldur out of grief, Rogue is putting The Doctor’s needs before his own and stopping him from having to choose between her and the world. It's also why Rogue wiping away his tears before the kiss was so crazy because that's normally the Doctor's job. The Doctor is normally the one who turns sadness into hope. This time, someone else is doing that for him.

(credit to ngatwa again)

The greatest act of love in the episode was not the proposal, it was the sacrifice.

To close our tale, let us circle back to talking about Fifteen’s character arc. I opened this essay by talking about Fifteen’s main character flaw being a contradiction: both valuing emotional intimacy and running from it. That doesn’t seem to change by the end of this episode, so much so that Ruby forces Fifteen to take a moment and mourn Rogue’s loss when he wants to steamroll forward. But there’s one little detail left: Fifteen kept the ring. Not only kept it but is wearing it in the season finale to the point of even playing with it like a nervous tick. 

That bond, that relationship was so important to him that he doesn’t allow himself to ignore it. It’s only after he has that hug with Ruby that he pulls out the ring and chooses to wear it. Rogue is the one thing Fifteen won’t run away from because what they had wasn’t fake. It was real. 

Rogue, the supposed bounty hunter who only cared about wealth, loved The Doctor so much that he was willing to give up his life for his friend. The Doctor, the supposed Time Lord who flees from attachment, loves Rogue enough to remember him every day.  

I ask you, gentle readers, how could one resist a love story like that?

NOTE: some extra bits I wanted to include that I couldn’t fit anywhere else: I’m such a sucker for color symbolism, and having Rogue wear blue in contrast to Fifteen’s normally warm color palette, as well as blue being the color of The TARDIS…it just makes me feel things, ya’ know? 

Also, by not gendering Rogue’s previous partner, only ever using they/them pronouns, it helps add to the relationship in a social commentary way. It subtly shows that Rogue already has experience/is attracted to people who on some level defy gender norms, which helps prime the audience to buy Rogue accepting/liking The Doctor being able to change gender when regenerating.

Essentially, I'm insane over these two, and I need them back on screen as soon as possible.

[markantonys]

I can't remember what Rafe has hinted/what has been leaked/what you've speculated re Matt getting the Ashandarei. On a personal level I really don't give that much of a fuck if he gets a "real" Ashandarei or keeps his DIY dagger-and-spear version from s2, but at this point I want him to get the book version ASAP just so the bookcloaks will stop bellyaching about it.

yeah i don't know if we've had any hints one way or the other! all i can think of is there was an interview with the production designer and he mentioned that it was important to get the design of the DIY spear right because it's the weapon mat will be using "for the rest of the series" but then later in the same interview he said it was the weapon mat will be using "for the rest of the season" so i didn't get a definitive sense on whether he actually meant it would be mat's weapon for the show's entire run or whether he only meant that it was an important spotlit prop for this particular episode (plus english isn't his first language so idk how much stock to put in his precise word choice of series vs. season. heck i think even native english speakers use them differently depending on region, thinking about how taskmaster calls it "series 1" "series 2" etc where an american show would use "season 1" "season 2" instead).

so yeah, i'm not sure what to predict myself! i could see it falling into the same category as what you (i think it was you) were saying about mat's ancient memories, where the show clearly made it so that he got them already from the horn and it's silly for reddit to be expecting him to get them from the finn next season. maybe this is a situation where he got his ashandarei already and it's silly to predict he'll get another, different one next season. on the other hand, the DIY spear wasn't as obvious a substitute as the hero memories, so it's a grayer area. back to the first hand, iirc the bedpost he used IS carved with ravens, which feels like kind of a giveaway that this is indeed THE Ashandarei™ since that's the design it has, unless they only designed the DIY one the same way as easter-egg-y foreshadowing.

back to the second hand, mat still needs to get his medallion. but back to the first, he doesn't have to receive them together, so maybe medallion + answers are his only finn gifts, or maybe he picks up the medallion from the tanchico museum (no reason it can't just be a ter'angreal artifact already lying around in this realm of existence) and only gets answers from the finn. i'm also not even completely sure mat needs the medallion at all if Hating Channelers isn't an entire personality trait of show!mat lmao but it IS such an iconic part of his whole Look that i don't see why they wouldn't include it.

overall, i too don't care either way! i remember i made a post a while back that was like "i can't believe people are actually worried that mat won't get his real ashandarei, come on guys do you think he'll be using a DIY spear for the entire show? be serious" so if he actually does use a DIY spear for the entire show i will be embarrassingly humbled yet again jdkfjg but in my defense, the thing i thought was absurd about that was "mat using a knife taped to a stick as his permanent weapon", it was the unstable temporary craftsmanship that was absurd to me, not the general idea of him making his ashandarei himself rather than being gifted it. all we need is a 3x01 scene of perrin properly blacksmithing knife & stick together (doubling as a good mat-perrin solo bonding scene) and my sole objection would be resolved!

there's also the question of the dagger. would it narratively work for the dagger to be stuck with mat for the rest of the show? i thiiiiiink it would, because rand's already been stabbed, i think fain's already been corrupted, and i kinda doubt they'd bother with elaida's corruption because she's already got enough internal & external factors to make her do crimes without also needing to be corrupted by mashadar. so maybe mat can retain custody of the dagger forever now if no one else needs to come into contact with it. but if not, they could have perrin fashion a new, normal spearhead and weld it onto the stick.

in conclusion, now that i've pictured perrin helping turn DIY Knifestick into a proper permanent weapon, i want it so badly! i want mat's signature weapon to be imbued with the power of friendship and homoerotic stabbings!

[911lsbts]

Rob, you recently wrapped production on the fifth — and potentially final — season of “9-1-1: Lone Star,” which will kick off with a three-episode train derailment. What else can we expect from the new season?

Rob: We all went into it pretty much knowing that it was going to be the last season, so that affected everything we did. We wanted to really show everybody what is still possible in network television if people have the appetite to do it. It feels like it’s probably the end of an era of a certain type — well, it doesn’t feel like it. It is the end of an era of a certain type of show we once had an opportunity to make, and I think they’re great. We wanted to go out making our case for the value of shows like that, and I think we did a really good job. The stories that we were able to tell on a weekly basis in terms of the scope and scale — that’s probably the thing I’m the most proud of. They were truly like mini-movies every week.

One of the most common critiques of “Lone Star,” since its premiere in 2020, has been the way that the show has consistently underused minority characters in order to center your character, Owen. Rob, you’re an executive producer in addition to the star. John Owen, you were a writer for the first three seasons. How would you both respond to that criticism? Was that ever a concern when you were writing or producing the show?

John Owen: [Deadpans] I can tell you confidently, it was never a concern of Rob’s.

But no, I think, look, everyone’s always going to have a take on what it must be like internally, creatively, and usually, it’s not 100% percent accurate. And in this case, it’s not accurate at all. I was there when we were blue-skying Season 1 — and I want to preface this by saying I was starting out as a very green, new writer and learned from some of the best. It was such a fun experience for me. Owen was always the central piece of the show. He was one of the mediums through which we got to tell stories about the other characters and built them out into such lovable characters that people got frustrated, maybe, when they didn’t have as much screen time.

I remember my first episode that I wrote, being so excited to tell the first story that really featured Mateo [played by Julian Works]. He and Marjan [Natacha Karam] have this beautiful storyline where she’s helping him study, and I think that was one of the first times we learned Julian was a throwdown actor. And then we were like, “Great, let’s write to him.” So I know, at least from the room’s perspective, we were learning strengths and then started leaning into them. I think in any case where a show has a strong ensemble, people always are going to be frustrated with maybe not seeing as much of their favorite characters as they’d like — and I think that’s a good thing. You always want to leave people wanting more.

Rob: I think when [creators] Ryan [Murphy], [Brad] Falchuk and Tim Minear came to me, they were very clear about what they wanted to accomplish with the show. They imagined a show centered around the only survivor of a terrible tragedy in 9/11 and him rebuilding a firehouse, but also rebuilding his family. And in terms of playing time, I think that they did a really good job.

I don’t think there is another show on television with as diverse a cast as we had, telling the kind of diverse stories that we did. Owen was there as a way to tell those kinds of stories and I’m really proud of how we were able to do it.

[brian-kinney-apologist]

I'm kind of confused and maybe it's because I'm a little slow or something? But I watched the episode and then I see people talking about how in love and yearning loustat are ( they're my faves) but where? Lestat, absolutely and his pleas to Armand show that yet again but what about Louis this episode screams madly in love and yearning for Lestat?

oh louis is absolutely down bad for lestat, trust me, in this essay I will......

1. louis (and armand lol) can't stop talking about lestat no matter the timeline, no matter what he (they) talks about it circle's back to lestat, louis is obsessed with him no matter what he tells himself

2. louis trashed lestat to young!daniel because he constantly walks through phases with lestat: louis regrets killing/leaving him, he gets depressed about it, remembers the good times, feels desperate to have lestat back, eventually gets mad at himself, lestat and the fact that they're no longer together, acts like lestat meant nothing to him, gets psychotic, does something drastic, cools down at some point, feels nothing, feels regret, the cycle continues

3. during the loumand coffin scene whan louis was in terrible pain, he once again was longing to get some comfort from lestat even if he wasn't sure it was real lestat and not armand fucking with him. he doesn't want armand to interact (even telepathically) with lestat, because he, louis, can't bare the idea that someone else can do that (reach lestat and actually talk to him) but not him, but also louis imo doesn't want them to interact because we just saw armand being vicious towards both louis and daniel and louis doesn't want lestat to go through the same in any shape or form. louis feels armand getting unstable again when lestat begs him to say to louis that he loves him and obviously louis doesn't hear that but he sees armand's face and so he feels the need to distract armand and reduces everything to the fact that lestat was just his maker and that's it. louis imo was trying to protect lestat in that scene

4. louis feels guilty for not saying I love you to lestat when they were together, we saw this theme continuing through the whole season (loumand and lesmand saying ily to each other, lestat constantly saying ily to louis) and thus I'm 100% sure louis will say ily to lestat later in the season while also crying screaming throwing up because of all the guilt he carries

so anon don't you worry, you just wait

[quackerofoatz]

Hannibal’s relationship with God ♱

[ Taglist 🏷️: @fromelysium @siffrin-enthusiast @buggaboorenegade @flowers-jn-her-hair @scar1ett-so1dier @gardenofearthlydelightss}

As the show’s antagonist, Hannibal is a man from the get-go who is an unnerving and unique individual to the audience. We see how he interacts with characters and sees himself while doing so. We see the duality of this charismatic cannibal during the night, exposing what Hannibal is. He differs from most murderers/killers in the show; there’s more depth and uniqueness. 

In the first episode, Will introduces the idea of God to the audience, setting the show’s narrative. He challenges the concept of divinity to his students at Quantico and unconsciously to himself. He establishes the theme of divinity and judgment within the show, hinting at the differentiating opinions on this theme. By asking his students to consider why the victim in the case had been subjected to such an act of violence and if it was of God's will or not. He will hint at his moral compasses and opinion on divine judgment by asking his students this.

Will: Everyone has thought about killing someone, one way or another, be it your hand or the hand of God. Now think about killing Mrs. Marlow. Why did she deserve this? Tell me your design. Tell me who you are. (Season 1 Episode 1)

Will is a unique asset in the Federal Bureau for his empathic mind and profiling skills. He is seen as unstable for his socializing behavior but also in curiosity for his rare, incredible perspective. As Hannibal says in the same episode, his ability to identify and think like killers is a heavy burden and a gift for him. He points to Will as they talk in Crawford’s office, which upsets him terribly. Hannibal is a respected and knowledgeable man in the psychology and medical field. He can analyze but not understand him because he is not predictable with his gift. This intrigues Hannibal, as he is used to scanning people and charming his way into their circles.

Hannibal: What he has is pure empathy. He can assume your point of view, or mine, and maybe some other points of view that scare him. It's an uncomfortable gift, Jack.

Dr. Hannibal Lecter: I imagine what you see and learn touches everything else in your mind. Your values and decency are present yet shocked at your associations, appalled at your dreams. No forts in the bone arena of your skull for things you love. (Season 1 Episode 1)

With the theme of God in place and his empathy, Will is a tool for God to deal with judgment and punishment for those he catches. He sees killers and civilians alike as they are, with their thoughts and emotions. Despite not necessarily believing in God himself, Will's uncanny ability to understand and empathize with serial killers leads him to profile and put them into custody, as if he were fulfilling a divine purpose/civil duty. We see in the show his mental health takes a toll as he investigates; he doesn’t do these cases because he wants to but because it is morally right, which is at the heart of Will's ability. He can visualize the murders and get inside the minds of the killers, making him a valuable tool in solving crimes and preventing future deaths, as Jack Crawford mentions to him in persuasion.

He fights back and forth with himself while dealing with other people's demands. He is a martyr in his duty to others, but no one feels this way for him. Until we get Hannibal, with all his knowledge and egotism, he sees this as an opportunity for manipulation and a start of companionship. He sees himself as a dark savior to Will and the one to offer him salvation and devotion.

He is like a Pompasettin peacock, so to speak, and a proud one. As the show goes on, episode by episode, we see a glimpse of Hannibal and his mind’s machinations at every therapy session with Will. He’s not just a complicated character but one who sees himself above others, especially concerning divinity, specifically Almighty God.

Hannibal: Killing must feel good to God too. He does it all the time. And are we not created in his image?

Will: That depends who you ask. Hannibal: God’s terrific. He dropped a church roof on 34 of his worshippers last Wednesday night in Texas while they sang a hymn. Will: And did God feel good about that? Hannibal: He felt powerful. (Season 1 episode 2)

I have gone through the series for dialogue between Will and Hannibal regarding their ideas or feelings on the divinity of God. Of course, I have picked out the ones throughout the season that make the most sense, and we have a broader view of how each of their opinions evolves with their proximity. I may not have gone through all of them as I am one person. 

 Hannibal: A tumor can definitely affect brain function and even cause vivid hallucinations. However, what appears to be driving your angel maker to create heaven on earth is a simple issue of mortality.  Will: Can't beat God, become him? Hannibal: You said he was afraid. Will:He feels abandoned. Hannibal:Ever feel abandoned, Will?

 Will and he argue the different sides of believing in divinity and being nonbelievers. He can say why people think or what they feel in the divinity, but Will himself is not one to feel the same. Even as Hannibal has a complicated relationship with God, Will almost seems detached from religion but attached to creation with empathy. Hannibal sees how divinity can be mirrored in humanity through our actions, specifically in the actions of Jack Crawford towards Will. He tries to press Will to find a new belief system to pledge his martyr cause. To exchange Jack for Will. He feels he is all-knowing and mighty about what WIll truly is and the beauty of his empathy disorder.   

Will: Abandonment requires expectation. Hannibal: What were your expectations of Jack Crawford and the FBI? Will: Jack hasn't abandoned me. Hannibal: Not in any discernible way. Perhaps in this way, gods abandon their creations. So God has given this person insight into the souls of men. Will: God didn't give him insight; God gave him a tumor. He's just a man whose brain is playing tricks on him.  Hannibal: You are not unlike this k*ller. Will: My brain is playing tricks on me? Hannibal: You want to feel such sweet and easy peace. (Season 1, Episode 5)

Hannibal's view of the world is highly philosophical. He sees himself as both god and nonhuman, both omnipotent and fallen. He creates beautiful things but must destroy them. He is both a parent to his victims and a creator of art, yet he is also the destroyer of life. Hannibal's view of God is that God has abandoned us and given up on the gift of humanity, much like Hannibal has abandoned the goodness in himself and the gift of life. He tries to weave himself into Will’s subconscious, wanting to be the balm for his cursed gift.

There is no God. Certainly not with that attitude. God gave you a purpose - Not only to create art but to become it. Why are you helping me? Your eye will now see God reflected. I will see you. If God is looking down at you, don't you want to be looking back at Him? (season 2 Episode 2)

Hannibal’s statement about this murder seals the deal that he believes in God, which stands out among most psychopaths and murderers in this show. Hannibal prompts every dialogue about divinity in the show. 

02x11 - Ko No Mono traditionally, during this meal, we are to place shrouds over our heads, hiding our faces from God. I don't hide from God. Bones and all? Bones and all. After my first ortolan, I was euphoric. A stimulating reminder of our power over life and death. Every creative act has its destructive consequence, Will.

He feels God is all-knowing, and we can reach him through our acts outside of religion. He feels there is no shame in acting within God’s gaze, but that is an act of worship. He feels God knows him and understands the actual makeup of Hannibal, The same way Hannibal does with his murderous tableau. He understands this better than anyone as he mirrors his victims of art to elevate them from their mortal flesh. As we see later on in Italy as Il Mostro, the victim we see is reflected as Primavera.

The Hindu god Shiva is a simultaneous destroyer and creator. Has God sacrificed? What god do you pray to? I don't pray. I have not been bothered by any considerations of deity, other than to recognize how my own modest actions pale beside those of God (02x11 - Ko No Mono)

We see that Hannibal doesn't just have a Western understanding of divinity but a diverse one, with him mentioning this Hindu God. This shows he has accumulated a broad knowledge of gods of other cultures or religions to make his judgment. He says that he feels his acts of violence are minor compared to the smiteing that God or Gods do to mortals. 

Nothing would thrill Hannibal more than to see this roof collapse mid-Mass, packed pews, choir singing... He would just love it. And he thinks God would love it, too. w: But he believes in God... intimately (SEASON 3 EPISODE  2 )

Hannibal enjoys the violent acts of Gods, which will be pointed out in the second episode of season three. When Will is standing in a church while tracking Hannibal in Italy. As we see through Will, Hannibal is only understood by him because Will was allowed to see sides of him. Well, with his empathy as well, he can also know Hannibal on a mental level. We see this on his adventure in Italy while talking to Abigail of his imagination and Detective Pazzi. 

What I believe is closer to science fiction than anything in the Bible?We all know it, but nobody ever says that G-dash-D won't do a G-dash-D-damned thing to answer anybody's prayers.God can't save any of us because it's inelegant.Elegance is more important than suffering. W: I think my prayers would feel constricted by the saints, apostles, and Jesus Pantocrator. (SEASON 3 EPISODE  2 )

As was established, Will never said he believed in God but had an idea of him. He doesn't understand praying through channels to get to god but going to the source directly. His understanding of God is not rooted in any religion but based on his knowledge with his empathy. It makes him even more special to Hannibal; he is not a believer but mirrors the violent principles of a T. He is the martyr to his cause and peers, but what exact role does he play?

{ He is the Lamb }

That is the official title Hannibal gave him in the second-to-last episode of the last season.

Lest we forget the Lamb.

Will it be the Lamb of God?

Hide us from the wrath of the Lamb.

Who's "us"?

You, me and the Great Red Dragon.

The Lamb's wrath touches everyone who errs

(Season 3 Episode 12)

Will has always been a selfless man without intending or prompting to be, even as people around him don't give the same for him. He gives without judgment, or malicious Hannibal sees Will as the sacrificial lamb due to Will's suffering for the sake of his fellow man. The lamb is used as a substitute to save a group from their sins and used as atonement. The lamb repeatedly passes off sins, as Hannibal sees Will doing his work as an FBI agent. Yet the lamb is a symbol to be scared of and not to be trifled with, as many scholars of the bible point out, and Hannibal seemingly so in this line—the lamb. Jack sees Will as someone who could do no wrong and is entirely innocent of the actions around him—even pardoning him from many murders and slips in the show, blaming it on coercion of his empathy and suffering from encephalitis. Hannibal sees him as a triumphant lamb who is partial to righteous wrath upon people of his choosing.