#we're literally still in s1

[bloodfreak-boyking]

hello. is this thing on.

LITERALLY what's all this. W H A T I S A L L T H I S T H E N

[thelaurenshippen]

911 really is such a good reminder of the particularly kind of joy that is weekly, seasons-long shows with many episodes per season. every character gets a moment to shine even in a truncated season. the satisfaction of seeing characters grapple with stuff that happened YEARS ago. having multi-episode arcs and one-off arcs that are equally enjoyable. beach episodes (metaphorical). I know we're all saying this all the time but why can't more tv be like this

[dbphantom]

Hate having adhd went to go work on my fallout modpack, got distracted while going to disable the steam overlay, ended up in the points shop, went to go edit my profile, decided to change my pfp, found a buried folder I forgot existed, found some old Veneer art I forgot existed, spent 45 minutes looking at all the old photos, STILL HAVE NOT TOGGLED ONE SIMPLE OPTION THAT SHOULD'VE TAKEN 30 SECONDS AT MOST

[scintillatingshortgirl19]

blehhh not them making a queer character say the no homo line :/

[time-is-restored]

more whinging bc i got negative hours of sleep last night and i need to stay awake somehow lol

cw: discussions of misogyny + abuse

god the more i think abt it the more exhausted i get by the gender politics of ted lasso.

like god i do genuinely think that rebecca's arc in s1 is one of the best depictions of a mean + cruel woman ive ever seen on TV specifically bc it manages to thread the needle so well? like they never tilt her balance too much and doom her to being either totally fucked up + evil OR totally soft and sweet and harmless. and ted's 'divorce makes u crazy' response to her apology STILL makes me crazy wrt the sheer. understanding and empathy there, and she's just. given so much more depth than ive come to expect, especially for an ensemble cast sitcom w a (then) p short run time.

but my fucking god. we literally don't learn a fucking thing about michelle. im pretty sure the one (1) concrete thing we know about her comes in the fucking finale, and it's that she's a teacher for... something. the two most important people in ted's life and we don't know anything abt them! they're literally just empty symbols representing the importance of Family™, and that vacancy does nothing but weigh ted's storyline down!

like, i liked michelle's episode/storyline in s1, bc the blinding novelty of a woman instigating a divorce not being the Actual Devil, as well as a just. generally very empathetic + nuanced take on how divorce shakes out between two ppl who really care for each other, was so 'WAIT TV CAN DO THIS??' that i felt satisfied with that being Her Arc™. divorce happens, life happens, people fall out of love, and it hurts but its ultimately okay. the show, at the time, was ultimately abt a football club and how caring abt that football club helped everyone around it.

but then the show sticks around, and her continued absence just... raises a lot of questions? how did the conversation abt ted going overseas happen? what conversations did they have abt henry? how long term was it intended to be? did money really not factor into it all? like it's one thing for a character's backstory to be vague when it's not really the focus of attention (s1 was ultimately rebecca's story before anyone else's), but when it's the load bearing stone of their '''''''arc''''''' in s3...????

like. god. and then it fucking infects every other woman on the show!

sassy + nora? well sure we'll give you a softball - you can have one (1) scene where a woman is able to resolutely and firmly reject a man asking her out without immediately being seen as cruel or gameplayey (not that the audience will see it that way! she's already a lecherous temptress for them!), but neither of them will ever be able to speak to rebecca onscreen again, even after the heart-wrenching scenes in s1 CLEARLY establishing them as a beating heart of rebecca's arc.

shandy? nope, don't even think abt her motivations/drives, just forget her. simi? LMAOOO imagine a black woman getting a personality beyond righteous anger. jack? three-four episodes, and we learn so little abt her that her conflict with keeley - which SHOULD'VE have been a huge emotional beat - just feels like a kick in the teeth (and while, yes, i absolutely agree that in a real world context, jack's rejection of keeley would be largely motivated by class, in Ted Lasso Land™ rebecca is just as rich - if not richer? - and we're never once encouraged to interrogate her priorities).

barbara's the one that really makes me miserable, bc i feel like on a show with less run time, she could've played REALLY well. she's a great contrast to keeley, has an amazing delivery, and the scene where keeley + her first discuss the snowglobes shows that she has the potential for some really moving vulnerability + pathos. but instead they give SO many of keeley's scenes to characters who ultimately get written out, so when barbara stays it's like... okay? sure? like, i was so stoked that barbara survived the Mass Exodus of side characters that i didn't wanna look the gift horse in the mouth but... wasn't the last thing we saw of her and keeley's relationship like. general resentment + distrust abt the shandy debacle? when did that improve? how???

i don't think i'll ever have enough mental real estate to explain how disappointed keeley + rebecca's 'arcs' in s3 made me, and at least there's the saving grace that. virtually no one other than jamie got a coherent arc this season, so at least it was on some levels an egalitarian screw up. but fuck dude. keeley was just forced to react to bad things that were happening to her, and we got to see her do her job (which, unbelievably, does actually involve things other than being an awkward manager!) precisely one (1) time.

i even like rebecca's arc on paper - i think it's really cool to see a character backslide so intensely in terms of obsessing over and struggling to come to terms w a past relationship, especially an abusive one, bc like. yeah! that shit sticks with you for longer than a season! and beyond that, seeing her regain her sense of self and what SHE actually gives a shit about was oftentimes just as sweet as s1. but her scenes were poorly connected, and she had to carry WAY too much of a burden as the Resident Speech Giver for any of her internal characterisation to make sense. like, sorry, but it's kind of hard to believe a character's Going Through It™ when they have to spent near 100% of their screen time giving Take It From Me, Kid, speeches. and then she's not even given a real opportunity TO fuck up + sabotage her relationships, even when she starts getting really weird w ted! it's all just so meaningless and like nothing that she does is ever going to matter. she never speaks to zava again, we don't get to see her interact w bex or kate, her pleas to ted get COMPLETELY shut down...

but the thing that REALLY makes me sick is this complete lack of interiority absolutely butchers the characters of jade + jane, who are otherwise RIFE with potential. like, jade is a completely unflinching, unapologetic asshole to nate + his family, and that's never interrogated. even in Sitcom Land™, it's more than reasonable to view jade's actions as racist, especially when she doesn't give the same treatment to others (at least not as i recall? honestly i usually watch the taste of athens scenes while peeking out behind my hands, so i could 100% be wrong here). and yet, suddenly, and completely inexplicably, she's charmed by nate. she wants to give him the time of day. she finds him attractive, and wants to date him, and generally take control of his life and force him into a decision that is literally the exact opposite of what he expressed wanting to do. except even that LAST thing isn't allowed to be interrogated, bc god FORBID a woman is enough of a fully realised creation to actually be culpable of the terrible shit they do!

and fucking jane??? beard's so head-over-heels for this woman that the emotional abuse + extremely controlling tendencies don't even make him bat an eye, and we don't get to know anything about her? she's literally just the suggestion of an alluring woman! good at sex! good at chess! fuck you if you wanna know more, even though the show ENDLESSLY hits you over the head with how painful their relationship is for beard - beard who is given virtually no other storyline. like, i literally can't read brendan's refusal to label jane as abusive as anything other than like. that bio-essentialism shit where ppl 'women are better than men <3' so hard that they end up genuinely and wholeheartedly arguing that someone's sex defines their morals - or worse, that their sex is a deciding factor in determining whether someone's actions are good or bad. not context, but a legitimate 'add points if woman, take away points if man' variable.

like that's so feminism 101 it's legitimately almost worse than nothing. that's like getting as far as 'hey so you know how we're all inundated with both implicit + explicit messaging abt what is Valued and Good for women vs men to-' before shoving ur earplugs in and going 'if you are oppressed by society we'll automatically stamp a 'good person' label on ur head and now we don't have to think abt any of our biases + internalised beliefs ever again <333'. the most useless and fucking pointless stand against the patriarchy ever, especially coming from the same show that ENDLESSLY slots characters into the 'loving gf/wife' archetype and then give them Literally Nothing Else. my comrades you have literally just done madonna/whore 2: oops all madonnas! this is not liberation!!!! this is a miserable cage!!!!!!!!!

im just. higgins' wife. mae. trent's daughter and anonymous 'her'. the women at the hotel and the restaurants and the firm and the fucking physios, fuck - dani's gfs! who are they? what do they want? where do they go when the camera stops rolling? can anyone hear me?? hello??? hello???? brendan hunt i am OUTSIDE YOUR HOUUUUUUSE

[marathedemonoverlord]

So just finished Lesson 17.... I'm sort of indifferent to the story but maybe now we're actually getting plot?

Kinda obsessed with Raphael and the cliffhanger left off makes me think we're getting content but we'll see. They might throw filler at us again this started strong but I'm getting unethused as it goes on (still gonna play it but the interest is dying are we going to address Nightbringer or drag it out for 3 Seasons so we NEVER go back to the future?)

Also I do feel bad for Solomon because I don't mean to neglect you Babes plot and my job as an attendant is forcing me back into the Stockholm Syndrome with them again I swear LOL (ಥ ͜ʖಥ)

[cringefaildiaz]

I feel like the reason Buck feels so different after he died is tied to how hard it is for him to accept that he's loved and wanted. Like what's actually changed in him since the lightning strike? He had to face that his life is good and full of people who wouldn't want to live without him, and that even with all that, he's still unhappy.

Natalia is the first person who's interacted with the idea of Buck dying lightly. Everyone else, in varying degrees, has been somber and serious, because they lived in a world without him, and they hated it. So how comforting, for a man who's comfortable with the discomfort of being unloved, still squirms at the idea of being wanted just because he's him, to run straight into the arms of someone who see's him as a miracle (the miracle he couldn't be as a baby), as a fascination. A tool to better understand something. Because being seen, known, loved so deeply is foreign to him.

It ties into the sperm donor decision, it ties into the will conversation, it ties into the goddamn lawsuit, it ties into everything about Buck. He's uncomfortable being loved. And until he gets comfortable with the idea that he alone is enough, he's going to keep making the same mistakes.

[chooey]

common kendall L

[fallbhind]

‘CASUAL’ RAFE CAMERON

genre smut, angst wordcount 1.4k

❝ i've heard so many rumors. ❜

content warnings ,, mentions oral (f!receiving), p in v, masterbation in the bathroom, 'no attachment sex', rumors (blegh, drama llama.), rafe and reader break up. s1 era.

it was so tiring being rafe's quick fix because you just wanted a real thing, y'know, not some quickie on his couch. the worst thing? your friends (not so friendly friends) call you a loser because you still hanging out with him, when any girl would have done dumped him and found someone better. but he is, or was your better.

sure, you did everything with rafe (when he called you up, not when you asked. sure one day you were fed up, left him a voicemail because of course he wouldn't pick up for you. "i've heard so many rumors." you said through the crackly phone. "that i'm just some girl you bang on your couch, i can't believe i thought you thought of me better."

an hour later (per usual), he answered you an hour later, telling you to 'hurry your ass out to tanneyhill'

you thought for a long hard while before ultimately deciding to head out to tanneyhill. where death literally layer waiting for you in your grave. you knew quite well what he was mad about and what he wanted, because you've sent multiple voicemails about the rumors going around outerbanks, you've heard about them and you‘be literally heard tourons living in the drama with you and rafe.

and you could never leave your back turned to long before people behind started murmuring up a storm.

you walked closer to your death in your busted up converses, running over impossible scenarios in your head. you stopped at the gate, texting rafe 'im here come to the gate.' you said with all intentions to be sassy. when you saw him, his pushed back curtain bangs, every part of him looked so hot.

he opened the gate, telling you to come on. rafe roughly grabbed your arm, taking you to his fathers study room were he did most of his work. whilst you were extremely liked throughout the cameron household, only you, rafe and maybe even sarah knew the real intent to your relationship. rafe said annoyingly, "we're not together, let me make myself clear.

it was like his mood immediately changed as he continued, "just a quick fix whenever we need it." when what he really meant to say was when he needed it. maybe you really should dump him. if that's how it really works. he kissed your forehead, "'n baby, no attachment." though three weeks ago he excused the both of you so he could be knee deep in the passenger seat while he was eating you out, remembering all those sweet nothings he whispered into you pussy that made you give him what he wanted. not to mention, he always acted so lovey dovey with you. and it was about time you got fed up.

you didn't expect for his step-mom, rose, two weeks later after the major argument with rafe to invite you for dinner at tanneyhill. rafe, put on a mock smile, ready to peel the skims dress off your body. you were greeted by ward, and did he piss you off, with the fake smiling and his eyes trailing across your body whenever he could. perv.

"welcome, you look nice and sophisticated." ward said with the nicest tone he could bear, "no wonder rafe doesn't bring you up, your so lovely i'd hog you to." he laughed, and it sounded so fake. rafe had his hand on the small of your back as he led you into the dining room.

you took a seat in between wheezie and sarah, rafe sat across from you, with a pissed off expression. like, how could your's and his situation be casual now? you've literally done every thing, fingering, eating you out, a little bit of intercourse action, you've jerked and sucked him off, and you've let him jerk off onto your tits, and it was somehow casual.

after dinner, rafe again, excused you and him to go to the bathroom. he led you to the bathroom, shutting the door as he told you demanding to get on his counter, you back pressing against the mirror. "fuck, y'look s'good tonight." he pushed up the skims dress up to your hips, "'n no underwear?"

"all'that arguin' f'nothin', still my sweet, sweet sluty girl, ain't you?" he slowly rubbed your thighs , "you gotta be quiet though, don't want to embarrass yourself, do you?" he smugly grinned when you nodded, he dipped his fingers into your cunt, and your let out a surprised gasp, squeezing around his fingers.

he kissed you, whispering sweet nothings like you and him didn't just have an argument two weeks ago.

he unbuttoned his pants, using his index to hook the loops were a belt would be to shove them down, following his boxers. he wiped the pre-cum off his tips, using his thumb to slide it into your mouth. "my girl takes everything." he whispered as you attentively sucked on his finger.

you sucked off all the pre-cum off his cock, rafe patting your cheek gently. he spread your legs more, giving him a great view of your pretty, coated pearl, pressing his finger against it, you rolled your head back into the mirror.

"rr-rafe!" you stuttered out as you cried out. he pulled away from your pretty pearl, aligning his cock with your tight hole. he thrusted into your hole, making you cry out for him again.

he squeezed your cheek, holding you in between his thumb and index finger. "c'mon baby give me more than that. not to loud though." he whispered harshly against your neck, gripping your thighs as he kept repeatedly bullying his way into you. and without break, he kept thrusting his cock into you, with a sneaky smirk. "your my girl aintchu?" he kissed your neck, taking a rest inside you.

rafe nipped at your neck as he moved his cock against your gummy hole. feeling you squeeze around him when he bite and sucked on your neck, he kept doing it. even if it felt like you wanted to squeeze his cock off inside of you. "s'tight. jus' how i like it." he whispered against your shoulder, bullying his way back in you as your gummy walls tried to push him out. he aggressively grunted in your ear, feeling the warmness off your breath as you let out a whimper and even softer moans. you gasped when he touched your g-spot, immediately convulsing around him but not yet coming on his cock.

he'd pulled out just before you could finish. he pulled his boxers, following his pants. he buttoned them up, leaving you desperate for release. you found yourself rubbing your clit trying any method of running your clit to come, though you weren't quite being able to finish off yourself. maybe the problem was that you never had to do anything yourself. you came on rafe's cock than he would come on your stomach.

you tugged your black skims dress back down, putting your heels back on as well before making your way out of the bathroom. you sat across from rafe as he had the satisfaction of making you better than before and not helping you like usual. it was great to see you a little grumpy, whilst a little nervous because you decided to be a little slut and go no underwear. but doesn't mean you weren't his little slut.

you were obviously out of it, because sarah had to tap you back into reality as everyone started eating. you cut the steak up before taking a bite of it. "this is really good ms. cameron, you'll have to teach me how to make it." you said cheerfully. rose smiled at you and nodded.

she was really proud of the fact you thought it was that good, but than of course, her cooking for the cameron's was something any mother should do, while some might think that she'd hire someone, she did it herself.

a week later, your friends had told you rafe had said it was casual still and that 'you get off when he hit it' when he never hit your clit not once. sure he left you drying for release but that wasn't the point. and that was near the last straw for you. you were tired.

you wanted a real relationship which was obvious that rafe wasn't ready for, so you found yourself calling him. and again, it wasn't something were he'd answer you, you said to him through the voicemail "i hate that i let this drag on so long, now i hate myself." you took a breath, "we're done." you said before slipping your phone in your pocket and walking away from the wreck after just having breakfast with your friend.

TAGS .ᐟ @archiveofvirtue @sematarygirls @beausling @mattsdolll @pr3ttyf4wn

@wi4hfulth1nking @gibson-g1rl

[lonicera-caprifolium]

Body-swap theory!!

okay, just putting this all together for ease of access, since it's been spread out across several posts now--

The day after it aired I watched the ending like actually 30 times and I became fully 99.999999% certain they switched places. I was initially thinking during the kiss, cuz of how the camera angle changes, but after watching an additional 20 times a few days later, I'm personally leaning much more towards them stopping time in the instance after "no nightingales".

Before the kiss, Aziraphale is saying "nice" things about the Metatron, but his face and voice keep switching to broadcasting distress, and they make it a point to show in ep 1 that Crowley can read him just from tone of voice

As they're pulling away after the kiss, they lock eyes and "Aziraphale's" expression shifts in the teeniest tiniest way, like a confirmation glance, before they shift back (and Michael Sheen is a master, so no chance it's not on purpose)

---(Like really, go back and watch how Aziraphale's expression shifts literally *a second* before "I forgive you" cuz the change is SO minute, but entirely different emotionally.)

Also the way he moves his jaw right after he pulls his hand away from his lips, is a bit from MS's Crowley (you can see it in the very last two seconds of this vid- link)

Aziraphale's hands -stay by his sides- after that, he doesn't clasp them at all, and it's particularly noticeable while he's walking to the elevator with Metatron. The way he walks is very stiff and precise, similar to after the swap in S1.

We don't see the underside of Crowley's jacket collar after the kiss, at any point (it is for sure red at the beginning of the ep, you can see it right before he changes in Heaven)

The Bentley drives away SLOWLY, which is how Aziraphale drives, and we're specifically shown that it only plays other music for Aziraphale

the seats in the Bentley are black as it drives away. They're usually brown, and the only other time they're shown to be black is when Aziraphale drives (@picturesque-about-it broke down the times so you can see-link)

---extra pic for anyone saying it's "cuz Aziraphale is lighter"-- the seats are still brown behind Crowley when he wears white

there's people wearing yellow in -every- part of the scene showing the Bentley both before and while it drives away! (link for pics/credit)

Aziraphale's smile in the elevator looks more like MS's Crowley. It's very similar to the trial during S1, but also (link)

This also explains why they're on opposite sides than they're usually shown while the end credits roll

Extra points--

many good points made by other folks here, about cues and snakes in beehives and swap motifs throughout the season-- link

The clock! Someone mentioned how the scene is so quiet you can hear it ticking, so I watched the ending a further 50 times to double check----I need to preface this by stating, I don't think this is a working clock, mainly cuz the hands aren't 100% where they should be between the minutes and the hours, like -a person- moved them to that time manually

When they're talking, the clock is at approximately 9:25 (?, again the hour hand isn't precisely set), then they walk across the room, and kiss, and immediately after that the clock is set about 15-ish minutes later (link to timestamps)

thanks to these bts shots, we can see that the clock on the opposite side of the room registers the SAME time difference before and after the kiss (link)

the first time Aziraphale looks "towards the window", I'm petty sure he actually looks further back towards the clock, *focuses on it* as Metatron walks up to him, and then spends the ENTIRE REST OF THE EXCHANGE blocking the Metatron's view of the clock

we're shown earlier in the season that Crowley can localize his time-stopping to a certain extent, like when he stopped the doctor and the rest of the room kept going, so it is possible he only stopped everything -outside- of the bookshop

---I KNOW Neil said it's a continuity error, but he also fully said "No" about there being a season 2 just days before they announced it was already written and in production, so. Take him at his word if that's what you wanna do.

---also I DID go back and look it over, and the clock IS consistently specifically set the entire rest of the episode as far as I can see. From the shots when you have a clear view of the clock, the angels and demons enter the shop at around 6, Maggie and Nina leave at around 7, the Metatron comes in at 8-ish, Aziraphale comes back in at that approximately 9:25

(insight from someone who works in production- link)

the music right before the kiss scene is the same leitmotif (Life After Death) used when they originally started formulating the swap in season 1! (link)

the movie Stairway to Heaven (1946) is featured as a poster in both the opening credits and in Maggie's shop (link)

the climax of the film has one of the leads willing to "take the place" of the other in heaven

(they also used a time-stopping mechanic, and the chess book Gabriel tests gravity with also plays a key role in the film)

and one last mention, extra food for thought--- the season's focus on their trusting one another, their history of performing "death (and heaven/hell) defying" feats together, and how they always get the trick right when it truly counts the most

that's what I've got so far!

If I'm right, they're apart now, but are actually more together then ever, and I find that terribly exciting. (And if I'm wrong, that's okay too! I'm just here to have fun.)

I'm not particularly concerned with very specific reasoning (that's for season 3 to tell us!), but I do think this theory is extra fun cuz pretty much any of the others could be the "why" driving it.

I'm not trying to convince anyone, or put down any of the other theories, so if you're not feeling it, that's okay! I'm just sharing what clues I'm seeing, so you can check if you see them too. 💕

[queerly-autistic]

One of my favourite things about S2 was that we got to see so much in terms of Ed's relationships with women, and it just made me love him even more (if that's humanly possible). We didn't see him interact with many women at all in S1 (I think it was only the posh ladies at the fancy party which was...yeah, not a good experience), so S2 actually giving us a glimpse into his friendships with all these (very different) kickass women was so, so special.

I love that, as messy and fucked up as they all are, and even with the 'well we're pirates, we're not normal and we will fuck with each other' threat that hangs over everything, Ed's relationship with Mary and Anne is still so affectionate, and they both thrown their arms around him the moment they see him. Even though Ed is incredibly tactile, I don't think we've actually ever seen him be hugged like this, and it's just so lovely to watch him be embraced and clearly feel very safe being embraced by these women (and I can't with the way he clings to them, as well). I also love that this is a wlw/mlm friendship; yeah it falls apart later and turns into delicious gay-on-gay violence (and I wouldn't alter a note of it), but I love seeing this sort of affection between queer women and queer men, there's not nearly enough of it.

Don't even get me started on the BFF handshake he has with Anne - I want all the history there, give me six spin-off films about their adventures please.

And then we finally get a glimpse of his relationship with Jackie, which is similarly just lovely, but in a different way? You get the sense that they could sit there for hours, talking shit about the world, all whilst casually ripping the shit out of each other (but affectionately). You also know full well these two have talked extensively about men and know pretty much everything about each other's sex lives - we didn't see it, but I'm absolutely certain that Ed went into full gushing details about sleeping with Stede, just like Jackie did when she talked about The Swede fucking like a jackhammer (historical accuracy ftw).

And, again, whilst they're still pirates, and it's messy, the entire thing feels incredibly...safe, particularly from Ed's perspective? He feels more comfortable around Jackie than he is around most other characters (apart from Stede), just like he was with Anne and Mary.

And then, just to hammer the point home even further that Ed has, generally, fantastic relationships with women, and connects with them, and feels relaxed and safe with them, you have Ed and Zheng becoming instant BFFs literally minutes after meeting each other. Ed goes 'ooh, very cool woman kicking ass and killing people, she shall be my best friend, immediately', and Zheng is automatically incredibly relaxed and open with him, too (suggesting she feels as safe and comfortable with him as he does with her).

All I want in life is to see Ed and Zheng get silly-drunk with each other (and this is why we urgently need a S3).

And none of Ed's relationships with these women are a fetishistic 'I love women because they're fabulous' thing, or an overly patronising paternalistic 'I love the women and I must protect them' thing - all the relationships he has with women are very equal, very comfortable, fully believable, just fantastic friendships to watch play out. I feel like, given everything we see on screen, Ed generally feels a lot more comfortable and safe and open with the women he knows than the men he knows (Stede is the only other person he is this physically affectionate and comfortable with). Which is probably very understandable? Yes, the women he's friends with are all violent pirates too (that's part of the joy of it - none of them are lovely demure morally pure women, they're all violent pirates), but Ed has a lot of experience with specifically overtly abusive men - right back to watching his dad abuse his mum. And that's a distinction that matters: the show treats the violence of normal piracy and the violence of abuse very, very differently. Ed is not used to being treated softly or affectionately by men, as we saw in his shocked reaction to Stede holding his hand. I don't think it's any wonder that he gravitates more towards friendships with women (or that the men he feels the most open and safe with, such as Stede, Fang, even Frenchie, are very pointedly the opposite of the abusive men he has experience with). I just love love love that being friends with women is such a core part of Ed's character, and that we got to see all of these fantastic relationships in the show.

[machineheraldbabe]

arcane, populism, and why viktor is the odd one out (yet again)

as a piltover-anti, a silco criticizer, and a pacifist, i am very very interested in how arcane presents not just the political undertones of both topside and the undercity, but the characters/dialogue through which they communicate those undertones. allow me to use some political science bro lingo to air out some thoughts.

long, long post incoming.

there are 2 ideological struggles at war throughout s1 (and i can predict that the struggle will carry over into s2): neoliberalism and populism - in their broadest terms since we're talking ofc about a fictional show dealing with surface level political machinations. by neoliberalism, i mean a focus on the social, political, and cultural structures of a polity (piltover, for our purposes) refocused into a strictly economic vacuum. and by populism i mean a unifying belief that the existing political systems of a polity fail to adequately represent their constituents, so the masses choose to rally around a specific gripe or issue, i.e., class discrimination, xenophobia toward immigrants, etc. this, in turn, forms a populist party or movement. an applicable example i can think of would be Nasser's Egypt in the 1950s.

*i know these are weighty topics with very real world implications! i just want to separate the theory to apply to our favorite fictional world.

the political struggle in question is put forward immediately by piltover, who, though presented as a technocratic state, embodies crucial neoliberal ideals emphasized especially by up-and-coming counilor mel medarda, much like how fresh-eyed american economists blew up the economic scene in the 1980s with a revival of capitalist, free market enterprise. take how she seizes the advent of hextech, for example:

she quickly sees hextech's potential yet not from the solely intellectual standpoint that jayce and viktor do - for her, it is profitable, literally and in terms of international relations. her goal is for piltover to prosper, but she has no rose-colored glasses on; prosperity means capital gain, and she's willing to override piltover's political and social systems to achieve her goal. an important caveat is that she draws the line at ambessa medarda's progression into militant authoritarianism, which deserves a whole post of its own!

piltover's populism moment will come later. first, let's unpack silco, who is probably arcane's most blatantly political figure, and a masterclass in the merits and failures of left wing, class-based populism.

silco, having been spurned by the classism and xenophobia that piltover's elite proliferate, and assisted by his rampant shimmer operation, fills the vacuum that vander's pacifism opened up. though silco's methods are unilaterally cruel (argue with the wall), the undercity clearly invested faith in him at some point, especially as vander's credibility as a guiding figure wavered over the years. he was fighting alongside vander for zaun's right to exist as their own independent body. in other words, he was uniting the undercity toward a common cause because the existing political system failed their constituents. to quote councilor shoola: "they may not be our preferred constituents, but they're still our people."

the track record of populism in our real world frequently ends in the ruin that silco himself brought upon the undercity. the kingpin is too dedicated to self-preservation, sees himself as too central to the movement, which prevents both compromise and/or a necessary armed revolt (insert your own politics about self-determination here). see italy's right wing populism party, Lega Nord, as a real-time example of this phenomenon.

but arcane makes an interesting plot decision with jayce, a very unexpected and "unwilling" contributor to piltover's abrupt dip into right wing populism. the showrunners love foils!

in arcane lore, i think it's safe to say that jayce's moniker "the man of progress" is pretty tongue-in-cheek. both he and viktor have a bemused tone about it in the run-up to his speech, and jayce is taken aback by heimerdinger's insistence that he deliver said speech. but the glowing, savior-esque imagery can't be ignored, nor can jayce's quick switch into his councilor role, no matter how reluctantly he makes it.

jayce is confronted by 2 forces that he seeks to combat in his quick tenure as councilor: internal corruption and an ineffective governing body. the latter goal is inspired almost solely by viktor, playing into jayce's naivety as a fresh-faced political figure, but this will be especially important to note later on. the innocence he offers up to mel is quickly erased, transformed instead into an uncomfortable - and inexperienced - militancy:

important in the bridge scene to my analysis is the populist "out group," or the designation populists give to those whom they actively oppose, and this opposition serves as their basis for organization. in this case, it's the undercity (keep this in mind for viktor's role!!).

jayce's combined frustrations at the unrest in the undercity and the council's (namely heimerdinger's) refusal to act, to both save viktor and to deal with the undercity's looming violence, motivates him to act like silco for a short time. unsatisfied with the status quo, he unites a likeminded individual, vi, along with the enforcers, to undercut the political system he feels is unable to represent its constituents or act in an effective manner. however, UNLIKE silco, jayce's realizes the inevitable cost the method of violence has and refrains in the end. he returns to the council and capitulates to some of silco's demands in the name of a peace piltover and zaun always thought impossible.

jinx's complete undoing of this underscores the failures of populism, especially as an extended movement over time. she wasn't accounted for. it's common sentiment at this point that she didn't attack the council for political gain. she was not invested in zaun's independence. she did it out of her and silco's twisted parental bond, and thus undid piltover's brief instance of compromise and compassion.

so...where does viktor fit into all this? and what are his implications for neoliberalism vs. populism in season 2?

viktor is neither wholly within nor wholly outside the populist outgroup - though jayce unintentionally shoves him back there in the pivotal bridge scene. furthermore, viktor also makes use of piltover's technocracy. he seems to have had a "raise yourself up by your bootstraps" history in arcane, contrary to left wing populist insistence that neoliberal ideals make this impossible.

this compounds as a double alienation for viktor, who also is straddled with the complications of his disability. a lot of his story is searching for a fellow in arms, if you ask me, and he had that with jayce until the pendulum swung, hence his return to singed.

if we stop there, viktor represents the failing of these 2 very flawed political ideologies. he fits nowhere and arcane uses him adeptly as a symbol of the failings of binaristic ideologues and systems. but let's speculate some more!

i'm convinced that viktor, due to his ambiguous 3rd party role in the story so far, will be one of the central villains (if not THE villain, if you allow me to be admittedly hopeful/biased) in season 2. consult the innumerable very well written theory/meta posts about the subject for more details, but one piece of evidence i want to focus on is this inherent physical, cultural, and ideological separateness that is innate to his character.

can we see him allying ever again with piltover, knowing that there's a split incoming? even without outside knowledge of league lore, singed's damning prediction ("if you take this path, they will despise you") cannot go unheeded. alternatively, then, can we see viktor allying with the supposed jinx-as-revolutionary side? no. personally, i see him as becoming increasingly unwillingly to compromise his a) immediate survival; and b) his ideals, especially after being endlessly sidelined in his attempts to express them in acts 2 and 3. he's also just a loner, guys.

there's some controversy on this point, but i'm convinced that the finger-printed cultists/followers we saw in the s2 trailer are devoted to viktor. starting with the shimmer addict he touched in the teaser, he is accruing a following all his own. and since noxus is here, touting their authoritarian militancy to replace piltover's outdated liberal ideals, nothing that jinx's revolution OR viktor's following does can be apolitical. to organize and to fight is survival under s2's raised stakes.

there aren't any binary spectrums when it comes to political theory in my opinion, so i am prepared to witness viktor introduce an entirely separate totalitarian narrative into arcane. where it will surely lack in militancy, it will make up for in its domination of the arcane. my biggest speculation is that, as they always do, piltover will fold and compromise at the last minute, perhaps yield to noxus, and invest wholeheartedly in taking down viktor's BBEG cultist regime. and by isolating his narrative repeatedly in s1, the writers planned this out expertly.

even if i'm wrong about viktor as third party, i like to think my observations still stand about the specific and qualifiable political divisions between piltover and zaun. the biggest hole this leaves for me is the question: will arcane ever take a stand? they seem very averse to making a blatant political statement, but i think their pervasive anti-police thread makes it clear that we're not meant to sympathize with piltover yuppies or their seasoned, jaded councilmen. let me know your thoughts!

also, as a jayce fan and a fan of arcane's overall story, none of this is meant as a CRITIQUE of him, mel, or silco. as silco said, "we all have our parts to play." i believe arcane's very greatest strength is their archetypal storytelling, and these distinct character roles are crucial to the success and vibrancy of the story.

if you read all the way to this point - ily <3

[bugsbenefit]

who's getting books and who isn't?

tells you a lot actually

in lieu of us getting a Dustin companion book soon i'm doubling down on my point about how insanely telling these books are about where the story is going. especially if you look as who is getting books. and i'm saying this both about El and Will (where it's already kind of obvious why s5 is important for them) as well as Mike (where it's also kind of obvious why s5 is important for his character but it hasn't reached mainstream awareness yet apparently lmao)

as of now Lucas, Max, and Dustin (about to come out), as well as Robin and Eddie, and even Hopper and Terry have one. and they all explore things outside of the main canon by doubling down on what filmed canon already established and adding a bit more layers since they have the time to focus on a single character (like exploring racism and how Lucas deals with it in his book, something the show doesn't dwell on, or exploring Robin's queerness, taking place before the events of s3)

and the focus these books have makes sense since they're mostly written by commissioned writers. so obviously they want to skirt any topics that delve too much into plot heavy areas where the writers a) wouldn't know where the story is going or b) even if they got notes, you don't want important lore drops that impact the later story dropped in companion books

in short we're getting extra story's about no spoilery topics the main story doesn't have time to/want to explore

which makes it all the more interesting we're already getting books about someone like Robin when you know if you asked fans what povs they'd like to see someone like El would rank significantly higher if you trust favourite character rankings. but for some reason El, Mike, and Will have never gotten one

and some of these reasons are just really obvious, especially when it comes to El and Will

1) they obviously can't just drop a book on El yet. on one hand, because her backstory with the lab is a major plot point of the show and they can't spoil it in a book (even if they tried excluding it, writing 200ish pages for a character who can't remember what happened before they turned like 8 is one of those things that would be kind of hard to avoid coming up). even post s4 there's still so many questions about her past and time at the lab, they just shouldn't give unlimited access to her inner monologue about it yet. and on the other hand, El finding her place in the world is quite literally one of her characters main recurring motives, even a companion book as innocuous as "El tries out hobbies" would be exploring something we'd kind of want to see on screen since it'd be a resolution to her character growth and not a fun side quest

2) they also just can't drop a book on Will. the fact that we never found out what actually happened to Will in the UD is already reason enough, the show clearly wants to explore it on screen later on. (now even more obvious since there's already confirmed s1 UD Will in the s5 official teasers). you really can't write a book from someone's pov who's main trauma and life changing moment is something you don't want to get into yet. just doesn't work

there's plot points the show obviously saved for later so both Will and El are pretty unfit as book topics

but with Mike that doesn't actually apply in the same obvious way. Mike not getting a book despite being the leader of the party, having the most on screen defined dynamics with the other kids, and being part of the shows "main" ship would be really odd. like. Really odd. on paper he'd probably be one of the first choices for an easy book protagonist for a fun party side quest. of course unless one of the two book deal breaker reasons applies also:

they can't give his pov because giving his unfiltered inner monologue would spoil s5

they want to explore something relevant to his character themselves on screen and it's not fit for a companion book

but again, in comparison to Will and El where the why is really obvious Mike sticks out because we don't officially know what he's got going on yet. he has no mysterious absence where we don't know what happened to him like with Will and no open ended origin story like with El

it just makes it a bit funnier to me how many people are still fundamentally unconvinced Mike has something going on that's important for the outcome of s5. post s2 the show tries to get some distance from Mike's head and he's joined the club of main characters who don't get books alongside major canon event magnets El and Will. and yeah, obviously you wouldn't want a book from the characters pov who's feelings and sexuality you're actively hiding. it's also a bit of a no brainer you don't want a companion work going into how he's not been doing so great over the past few years because the reasons for that are kind of relevant to the main story. Mike feeling guilty for El dying all the way in s1 is something that might be more fit to bring up in show when their relationship is being addressed instead of in side material

but all in all? the fact that out of all the kids El, Mike, and Will are the only ones who don't get secondary material yet is probably the biggest give away that the three of them are who s5 is planning to give the most insight on even all the in show build up aside. they're being skipped as book povs despite existing public interest and seeming like conventionally easy picks for book side stories

in the current economy around shows franchises, going against what'd be a good marketing decision is always a dead giveaway something is going on

[melrosing]

so stuff I’ve not liked about the finale and S2 more generally…. unfortunately it’s a lot and i'm thinking i might need to say this in several parts but first and foremost: the pacing really was shit and i don't just mean there weren't enough action scenes i mean the whole season they've had almost nothing to say about these characters and have just been making us think they do by having them repeat the same ham-fisted monologues about power and peace and the cost of war and whatever whilst moving at a glacial pace from one minor plot point to another and by the end of it most of these characters STILL haven't changed, and where they have it feels undeserved, and yes they really are at roughly the place they started so what have they even got to show for these eight hours of TV?? like damn

and I do get that the writer's strike has really effected them here and HBO hacking two eps off their season affected them too and that really can't be helped. but the pacing has been pretty poor from kick off and I can't just put it down to this being a more 'internal' season. i do not care about big battles. it's fine to have a season of a show that’s more about the characters’ interiority rather than plot action. that’s the exact reason why I like AFFC so much.

but these characters barely have interiority like idk what to say. some like Rhaenyra, Jace and Alicent have been spouting the same monologues every episode about wanting peace/wanting agency/wanting peace again etc etc, and the more interesting moments like Alicent's apparent suicide attempts, Rhaenyra's butchering of the dragonseeds etc... I mean where IS the interiority here?? unless they are spelling out a character's thoughts in the most literal way they can (as per Jace's diatribes about the dragonseeds), they leave their audience to do absolutely all the work by showing us nothing, and just leaving us to figure that the characters must be having some kind of thoughts but y'all can decide what they are.

and even Daemon, whose entire ARC was about his interiority.... like look I was so so ready to love this arc. i love fucked up little dream sequences. i love harrenhal. i was really enjoying the angle they took with alys. i was here for it. but now we've seen the whole of his S2 arc, im going to say yes, it was intended as a redemption adjacent kind of arc, and it isn't a very good one. Daemon has a handful of weird dreams, gets shouted at by some Riverlands folk, and he's a changed man.

consider the character everyone compares Daemon to (and who I'm always more than happy to talk about) and that's Jaime. and look at the sheer ground covered in ASOS: Jaime breaks out of a dungeon, Jaime meets a younger version of himself, Jaime gets his hand hacked off, Jaime reveals his anime villain backstory in the bath, Jaime deals with Roose Bolton, Jaime has a weird weirwood dream, Jaime fights a fucking bear - and at this point we're still only about halfway through.

now in contrast, what have they actually managed to do with Daemon this season. where has that finale moment with Rhaenyra been earned. this is not slow pacing for the sake of powerful character development, it's slow because they don't have anything else to say.

and also look at the state of characters like Aemond who seemed really promising in S1, yet in this season he barely reflects on the fact that he hadn't meant to kill Luke, and this war is an accident that he started, etc etc - he's just a killing machine lol. there were some nice touches in there, like i say i enjoyed Helaena telling Aemond how he'll die in the finale. but I no longer trust these writers to do anything with their more inspired ideas because they just consistently fail to do so.

look at Baela!!! like my god, has Baela had the opportunity to do anything except A) what she's told and B) counsel men on their feelings. she has like one moment looking at Daemon and you feel like the series is going to explore how complex it is to be Daemon Targaryen's daughter.... but my god they never do!! so where IS this interiority we've spent eight episodes on! what have they got to show for it!!

and i talked more weeks back about how frustrating i've found the writing of women more generally in this series and as of the finale I am finding it so egregious and so condescending. women want peace. women want to protect their children. women are tired of men. women are tired of war. women are trying to end this war peacefully. women are pacifists. women hate violence. and so on and so on and so on like jesus christ who am i even talking about here. even i don't know. it's so boring. it's so dry. and it requires female characters to always be the paragons of virtue, never do anything truly condemnable, never be unlikeable, never fucking anything except stand around saying how much they hate this. im bored of it and it makes me angry that they would do this in a series that specifically seeks to make everyone grey and everyone complex - they keep suggesting that might extend to the women before abruptly shutting it down again. see Alicent and Rhaenyra even STILL, after EVERYTHING, trying to peacefully shut down the war for the sake of love and friendship in the goddamn finale. I don't believe it anymore!! it's not cute! it's just dull!!!

and finally that just kind of brings me to how shortsighted a lot of the plot developments seem, when you see how the characters fail to reckon with their pasts or shit that just happened. Rhaenyra and Mysaria make out, and then that's never mentioned again and the tone never changes between them. Rhaenyra is done thinking about Luke. Helaena is done thinking about Jaehaerys. Aegon actually didn't mention Jaehaerys in the list of things he's 'lost' in that finale. Alicent's relationship w Viserys was just now condensed to 'we were fond of each other but he always liked your mum better'

like idk it's just. if this season's pacing is all about giving characters the chance to change and grow into the people they'll be when this war REALLY kicks off.... do it. write it. do not just write the same monologue a dozen times and hope it'll hit harder with each. doesn't work like that. sorry.

[nanamis-bigtie]

EMERGENCY COMMISSIONS - MY PARTNER IS AT RISK OF BEING EVICTED

UPDATE: we don't need more donations!! We were able to cover the remaining amount! Thank you all for your support and generosity! ❤❤🙏

I know times are rough for everyone given the circumstances and I would not ask if I didn't have to, but we literally have no time and close to no other options left 😭

My partner, their brother and their sister in law have ran into financial complications and complications with their contract and weren't able to cover their rent on time. Not only they were given a big delay fee and limited time to pay it off but also weren't notified about said contract complications until yesterday. And if they won't pay by Saturday, they may be evicted within a few days.

There are pets and a newborn baby under their care. And they have nowhere to go.

I have given them everything I had of my savings but we're still around $500 short 😭

I'LL WRITE LITERALLY ANYTHING. Y/N, canon x canon, OCs, selfshipping, dark content, anything.

Fandoms I'm familiar with: Jujutsu Kaisen, One Piece, My Hero Academia, Chainsaw Man, Hell's Paradise, Kaiju no. 8, Haikyuu, Wind Breaker (characters that appeared in S1 of anime)

Rates: $5 for 500 words, so 1k words: $10, 2k words: $20, 3.5k words: $35 etc. etc. Paid number of words is guaranteed minimum you will receive, you won't pay anything extra if I go over it.

Paid with: ko-fi, paypal. 100% prepaid, I need this money asap 😭

Waiting time: it's hard to assess since I have no idea how many commissions I will get & how complicated they will be, but I generally need a day of work for 2k words with beta reading, so depending on length and placement in commission queue, it may be somewhere between a few days and 3-4 weeks.

Contact: email or discord. Please, send me an ask or a DM, if you're interested and we'll continue with the process your chosen way.

Please, at least reblog if you can't/don't want to commission me. You can also donate via ko-fi, if you want to help but commissions aren't your thing. Thank you so much for your attention and help ❤🙏

[tickety-boooo]

S1 final camera angle

Ok I literally JUST woke up for the day and this is what was in my brain: the gomens brainrot runs deep. I have to write it out and I shall from the coziness of my bed on a rainy morning :D This is gonna be a longish one!

Been thinking about this thanks to @vidavalor's post. As a fandom we know that Crowley and Aziraphale always position themselves the same way: Zira on the left, Crowley on the right (from our pov).

But wait! What about that final scene at the Ritz? It ends with a zoom-out of the two continuing their conversation: From Behind.

Why did they film this perspective? It's odd given that the rest of the scene is shot from the other direction. It breaks the 180-Degree-Rule, which is a "rule" in filming that prevents confusion for the viewer about where the characters are and what the action is in the scene. If there's an imaginary line between two characters, the camera cannot pass over that line when filming because then the pov changes.

This zoom-out is an example of a "Reverse Cut", it's literally the opposite of what we've seen for the rest of the scene. So why? They could have zoomed out from the table in the other direction, maybe sending the camera through the window for a cool effect.

This is shot this way on purpose. This is like a private viewing for the audience. We aren't in the audience's position anymore, we're in Crowley and Aziraphale's position. The two continue their conversation, which we cannot hear, so it's still a private moment for them even though we're getting a glimpse of it. I have to go back and watch again to really find examples but I think this is the scene that confirms the idea that when in private, Crowley and Aziraphale break their position rule (whether through them physically moving, or by way of the camera and how the scene is filmed), implying that it is something they do for public appearance. Like with this scene, they're still obviously sitting down and in the same place, but now the audience is welcomed into their pov for a moment. We are now part of the positioning outwards to others.

@vidavalor wrote about a footstool near the couch in the bookshop that would put Crowley on the left (in our pov), and that's one of the earliest scenes in the show between the two of them where they are completely in private. Here are some more examples I can think of off the top of my head/ what gifs I could find to use xD

Calling out specifically any time they're in the car; Aziraphale never drives, so Crowley is ALWAYS on the left (our pov), and it's always a private moment between them, no one else around. Look at the scene where they arrive at the hospital and how they get out of the car. They both specifically walk to re-position themselves on the "proper" side. (I can't find a gif of the whole bit but this scene here:)

This scene also has a brief bit where they switch positions again; they're reminiscing about a personal memory, 1941 and the magic show (even though the audience wasn't aware of it yet before s2).

Actually the whole bit at the hospital is very involved with camera angles (it would merit its own post at some point for sure.)

Calling out the Wall Slam™ Crowley on the left, Aziraphale on the right, UNTIL they are interrupted by someone else and the scene is no longer private, and the camera flips position for the rest of the scene.

Also Rome. Oysters. This one's odd, there are two very brief reverse cuts in this scene.

And lastly, this key shot of them going to their respective offices. This one stands out to me because it's not a "private" moment between them, but it shows that their "public" position matches how they have to arrive at Heaven and Hell. Aziraphale and Crowley actively go out of their way to position themselves relative to one another in public in such a way to face Heaven and Hell. And in this shot, we get to be a part of their pov. We get to be on their side.