#werewolf by night analysis

[itsoverfeeling]

Okay I'm having some messy thoughts, but I really need to think aloud here.

Werewolf by Night, to some degree, is about family and the legacies it carries.

First we have Elsa, a member of the Bloodstone family that is essentially an outcast. Originally destined to inherit the bloodstone, she's now forced to compete with the other hunters for it. We don't get full details why she left or how she left (though in most of the movie we have a lot of context missing, for the best in my opinion). We just know she did and she's estranged. No longer worthy enough as a daughter or no longer enough of a daughter to be worthy enough for the stone.

But still she fights for it and claims that it is rightfully hers.

Then we have Jack. Jack arrives to what he likely assumes to be a normal funeral (I say this because while the other hunters appeared in hunting gear, he wore a dark, probably black, suit (EDIT: it's not black, but it's still a suit)) wearing Dia de los Muertos makeup. Makeup that is best described in the scene where he says it's to honor his ancestors. Interestingly, the other hunter he speaks to is a little.. dismissive towards that reasoning, let's say. Jack, based on facial expressions alone, is put off by that, but doesn't say much.

Later when he's stuck with Elsa, he discusses family. Saying that family is like an atmosphere constantly there. Saying that sometimes you think you can do one thing to make yourself different from them. Obviously this is directed towards Elsa who is currently sitting in front of her dead relatives. Who's trying to get the bloodstone herself for... whatever reason. Clearly she's not involved with her father anymore. Maybe this is thing that she'll change? Maybe she'll break the cycle by having the bloodstone and... what? Does she know?

And what about Jack. He's literally saying all this in Dia de los Muertos makeup!! In the comics, the werewolf curse is something he received through lineage. So is that the cycle he's trapped in? To be the monster his family made him? After centuries (?) of living, he's still not at peace with this curse. Maybe he's just given up on trying to fix any of it. Maybe he's trying to get Elsa to see something he thinks he's already figured out.

Oh, and the cage scene. He says "once". Not to bring in comics again But. Do you think that once was his sister? He clearly holds the memory close enough that he immediately tries to use it to protect Elsa. This is something he dwells on constantly. He just knew to try to repeat it the moment he realized the danger.

Elsa gets the bloodstone like she wanted. He doesn't kill Elsa like he feared he would. He frees Ted, the person he references as family and later a friend. Did they get that one change he was talking about? Can they break the cycle? Do the even know what part of the cycle they're trying to break?

... I can't help but think about how his makeup is almost completely faded at the end of the film.

[onbearfeet]

Queerwolf By Night: Queercoding, Media Literacy, and Werewolf By Night (part 2)

Welcome back to Media Studies And Writing Hacks With Kat! Part 1 is here if you missed it. We discussed queercoding: what it is, how it works, why it exists, and how it plays into the 1930s and 40s horror movies Werewolf By Night likes to reference.

Once again, the thesis I'm arguing here is that there is queercoding in WBN, and that it should be part of the discussion of the special (which I'm calling a movie or film because I think "special presentation" is dumb and this is my essay.) I am NOT arguing that WBN is explicitly queer, or that inferring heterosexuality where queercoding exists is morally wrong or even textually inaccurate.

TL;DR: you can totally still ship Jack and Elsa, I just wanna point at some metaphorical rainbows and say, "Look! Rainbows! Aren't they neat?" I personally think the queercoding adds a layer of richness to the story. I hope you get something out of it, too.

And now, allow me to introduce our starting point, the wolfman of the hour, everyone's beloved blorbo and queercoded icon: Jack Russell.

Look at this adorable protagonist, this absolute chewtoy of a human being.

He's queercoded as fuck. Not as much as Ted, but we will GET to Ted.

Let's begin with Jack's introduction, where he is literally revealed as the narrator speaks the phrase "the monster who finds himself among them". We join Jack as he enters an unknowingly hostile space, a building full of people who would literally mount his head on the wall if they knew who and what he really was. Jack's introduction to this world is a series of Bayeux-style tapestries showing, among other things, the gory slaughter of his kind. We see him react with a mixture of shock, queasiness, and tamped-down anxiety, which marks him as an outsider. It seems unlikely that the other hunters would be grossed out by the sight of a depiction of their literal jobs.

Now, outsider status alone isn't necessarily queercoding, but it often is, especially in monster movies. Jack's reaction is not dissimilar to that of a closeted person entering a homophobic church for some kind of socially expected ritual--and, indeed, Jack has come for a funeral.

Look at that nervous glance as he walks into the room. He's not comfortable here. He knows he doesn't fit in.

This is a good time to mention Jack's outfit and the way it intersects with what we see of hunter culture. From the leather to the weapons to the heads on the wall, the aesthetic of hunter culture in WBN is hypermasculine, almost to the point of parody. The obsession with imagery of violence and death (the paintings on the walls, the corpse animatronic, the skull bowl) and the hostility to anything perceived as feminine is marked.

Wait. Hostility to anything feminine? Yes, I said that.

There are three characters who are played by female actors: Elsa, Verussa, and ... look, the hunters HAVE names, but I'm just gonna call them Scottish Guy, Asian Guy, Black Guy, and David Bowie. So David Bowie is an adrogynous character played by a female actor who acts as our third not-exactly-a-male character, and it's interesting to me that they're taken more seriously by the other hunters than Elsa is. Elsa, by contrast, is treated with contempt by the other hunters--and the contempt is very specifically gendered. Scottish Guy calls her "lassie" when he threatens her, and Asian Guy says, "Where's the lovely lady's medallion?" with a noticeable leer. They don't take her seriously, not even after Verussa announces she's welcome to participate--and they only brighten up when Verussa reminds them that they're allowed to kill Elsa if they can. That's the response to the only unambiguously female hunter.

Now, you may point out that Verussa doesn't get nearly as much shit from the hunters, but Verussa is explicitly presenting herself as the servant (and sexual partner) of a man. She's also not competing with them for the Bloodstone, nor trying to inherit, even though presumably she has at least as good a claim as Elsa does. She's not trying to enter the hypermasculine realm of hunting, but Elsa is in it, and so Elsa is despised and Verussa is tolerated.

And then there's Jack.

Okay, time for Baby's First Queercoding Element: gender nonconformity. In general, feminine male characters and masculine female characters (something explicitly forbidden by the Hays Code, by the way) are coded as queer. A lot of gay male stereotypes are men doing "womanly" things, like cooking and wearing dresses and having sex with men. The same goes for lesbian stereotypes like short haircuts, manual labor, and having sex with women. Now, obviously ACTUAL queer expression is infinitely more complex, but stereotypes don't do infinite complexity.

So. Is Jack feminine?

Well, he's wearing a gentleman's suit, but by the standards of hunter hypermasculinity, yeah, he's pretty girly. For one thing, he's wearing that suit in a room full of people in combat gear. For another, the suit itself is full of fussy details that mark him as a man who cares a great deal about his appearance, another stereotypically feminine trait. The suit is green, a barely acceptable color in menswear, and it has glittery details like the trim on his lapels. The spinal-column tie is metal as fuck, but it's also a silk tie. He's doing the death-and-gore theme, but making it high fashion. He's even wearing makeup. Granted, it's Día de los Muertos makeup, but it's still pigment on his face for aesthetic purposes. He's also the only hunter who acknowledges, in dialogue, that he has non-white, non-USAmerican heritage--"It's to honor my ancestors." He marks himself (literally) as visibly foreign, even though denigrating foreign masculinity is a big part of American hypermasculinity. He also tries to smile at and befriend every hunter who glares at him--another stereotypically feminine trait that leads to his conversation with Scottish Guy.

Speaking of, that conversation is gay as hell. It's practically flirting, especially the part where Scottish Guy compliments Jack's makeup and then tearfully admits that hunting and living all by himself "gets lonely". And Jack makes this amazing face:

Now, this is me inferring again, but I read this face as a combination of "Aww, that's sweet of you" and "Loneliness caused by hypermasculine self-isolation? I literally have no idea what that's like, but it sounds bad, bro." Perhaps with a soupçon of "Get me out of this conversation aaaaaaa."

So the scene rolls on, and Jack continues to be Bad At Toxic Hypermasculinity. When his top kill count is mentioned, he shrugs it off rather than taking a little bow like the others do. He actually chuckles at Ulysses' joke. He seems mildly interested in Elsa rather than hostile, and amused by her snark rather than threatened by it. He shows fear and worry when he learns Ted is in peril and in pain. The guy really wears his heart on his impeccably tailored sleeve. Notably, none of these traits are bad, per se--they're just more likely to be assigned to feminine characters, and they're given to Jack.

It's important to note the impact of perspective here. Jack is our POV character. If there were to be a hunters' version of this story, Jack would be a sneaky, cowardly, vaguely effeminate villain and Elsa a traitor (or possibly a dimwitted victim seduced by Jack's charms). All of Jack's queercoding would make him a GREAT queercoded villain; it's just that here, he's the protagonist, and a deeply sympathetic one at that, so we miss some of his "unmanly" traits.

All right, let's fast-forward to the maze. We see Jack being clueless and awkward about the drawing of lots, we see some sneaking around, and then we see his first hostile encounter with Elsa, and we get this great exchange:

Jack: I suggest we just pass each other by.

Elsa: ... What?!

Jack, visibly pained by the awkwardness: I suggest we just ... pass each other by.

Jack is uncomfortable with violence. He actively avoids it, talking his way out of trouble when he can and running when he can't. Even Elsa points out how strange he is compared to other hunters, specifically because he avoids violence. He doesn't kill or even hurt anyone in his human form. He doesn't even know how his explosive works--to the point where he asks a woman if SHE knows how to work it.

I'm not saying violence is an inherently masculine trait, but the association of masculinity with a capacity for (and comfort with) violence runs deep in Western culture in general and American culture in particular. It's a huge thing in Mexican culture as well, and yet Jack is actively choosing not to participate in it. He's denying a core part of what would otherwise be his traditional gender role. He later tells Elsa that any "hunting" he does is done by "a part of me that is not me"--a part of himself that he doesn't see as himself. In his eyes, violence is not merely scary or distasteful; it's not part of him at all.

(Compare this to all the ass-kicking Elsa does.)

And then we get to Ted. Buckle up, guys.

Technically, our first introduction to Ted is a distant roar and some screaming, but the moment where we meet him is this:

A jumpscare, followed by a cuddle.

Once again, Jack wears his heart on his sleeve, but more importantly, let me draw your attention to the juxtaposition of Ted's scary grab and Jack's excited snuggling. This relationship is introduced as something scary before being revealed as something sweet--and "scary" is a good description of the portrayal of queercoded couples (who are, remember, usually villains) in classic cinema. All the cinematic language around Ted right up until the grab is telling us to be afraid of him--and then our cinnamon roll of a protagonist starts petting him and greeting him and asking if he's okay. Ted is monstrous and inhuman ... right up until we see him receive affection from another man.

We don't get clear details of Jack's relationship with Ted, but we know that it's a big deal to them--after all, Jack is risking his own life to save the big guy. Jack also describes Ted as "family" and, with a fond eyeroll, a "pain in the ass". Jack implies that he no longer has contact with his family of origin, a common experience for many queer people who are shunned for leaving the closet, but Ted slots neatly into the category of found family. Ted is also, notably, the only close relationship Jack is seen to have, just as Jack is the only close connection Ted is seen to have. The two are physically affectionate (again, cuddling) and emotionally vulnerable in their conversations.

And Elsa, the outsider to their relationship, finds the whole thing bizarre, right down to Ted's name.

Speaking of Elsa, let's talk about Jack's behavior in the crypt and the cage.

In the crypt, Jack displays compassion for someone who has largely been hostile to him (he REALLY wants to fix Elsa's leg), absolute delight when he receives the tiniest signal that she might be sympathetic to him ("It's not in your DNA, then?") and remarkable emotional intelligence (see his speech about families). He also, notably, doesn't hit on Elsa or indicate any sexual interest in her.

He also makes this terrific face when he's handed a skull:

Oh, yeah, that's a big, scary hunter there.

Now, the cage. Jack's response to being put in the cage (and stripped of his jacket, interestingly--little bit of dehumanization there, perhaps) is recognition, followed by attempts at reassuring Elsa, followed by panic. He's arguably more upset than Elsa is, and Elsa thinks she's about to be torn to shreds.

At two points in this story, Jack Russell finds himself trapped in a small space with a beautiful woman and more or less immediately freaks out. It's not the most heterosexual pattern. In fact, it's got strong thematic overtones of queer men being forced into straight relationships by their families, their work, or their society. In a culture that entwines sex and violence, the fact that he's delighted to be grabbed by a male swamp monster but begs for death rather than symbolically do a sex with a woman is noteworthy.

"Symbolically do a sex"? Yeah, the only times the film frames Elsa as anything like a sexual object are the transformation sequence, which is a visual callback to classic sexualized scream queens of yore with her literally in Jack's shadow, and the face-touching scene, where Jack straddles her, their faces almost touch, and then he flees and she sits up with her hair mussed in a dreamy, almost post-orgasmic way.

Michael Giacchino doesn't eroticize violence MUCH, but he's fairly classy about it when he does.

"But wait!" I hear you saying. "What about the sniffing scene? Isn't that eroticized? And it's between Jack and Elsa! Checkmate, liberals!"

First of all, how dare you call me a liberal when my preferred political descriptor is "chaotic good". And second of all ... well, you're HALF right. It IS eroticized...but not because of anything Laura Donnelly or Gael Garcia Bernal is directly doing.

Go watch Elsa's body language during the scene. It's awkward as fuck. She's curled in a ball, knees and elbows out, letting Jack pull on her arm and sniff her hair but not really participating. There's no indication that she wants to be doing this, or even knows what "this" is.

Gael is making a little more of an erotic show about it; in fact, the intensity of his sniffing would probably be an indicator of sexual desire--if he weren't CRYING WHILE HE DOES IT. That's why his voice breaks on "Once."

These are both excellent actors, making very intentional choices with their voices and bodies. They're playing the scene as something that COULD be sexy IF THEY WEREN'T BEING FORCED TO DO IT.

Seriously. There's enough fanfic now that we've all read Jack giving Elsa a leisurely, consensual sniff. You can't tell me Gael and Laura couldn't have made that happen. This is not sexy sniffing. This is angst sniffing. It's just angst sniffing between two beautiful, sympathetic characters who genuinely don't want to hurt each other. It could have been acted and shot in a much sexier way, but it wasn't.

It's also worth noting one last category of queercoding that WBN plays with a lot: dehumanization. A lot of those classic movies played their queercoded characters as specifically less than human, visually aligning them with disliked animals like rats or wolves and often making them literally less human as the story progressed. Even after the Hays Code, monstrous and inhuman queers became a staple of horror movies, especially in the 1980s and 90s as the AIDS crisis convinced a lot of conservative America that LGBTQ people were literal plague rats. There were proposals to tattoo HIV-positive people to identify them, to round them up into camps, to shut HIV-positive kids out of schools because those kids were implicitly queer and therefore not deserving of human rights like an education.

WBN, with its werewolf POV, pushes back on this trope in some specific ways. Jack's line about being "still a human" is an obvious one, as well as his explanation of "systems" to keep other people safe. (It was common during the AIDS crisis for queer people to be fired from their jobs if they were outed because they were considered an AIDS risk to their coworkers--even if they were, say, an office worker who didn't have any contact with other people's bodily fluids. There were conspiracy theories about AIDS spreading through shared soda cans. Those paper seat protectors in public bathrooms came about because of fears that AIDS could spread via toilet seats. So imagine a gay man trying to explain that he's not a threat to his officemates, and you'll see the parallels to Jack trying to reassure Elsa.)

Most notable, however, is how Elsa survives the wolf. She's safe because she maintains eye contact (implicitly acknowledging her and Jack's shared humanity--she literally refuses to stop seeing him) and because he remembers her scent (she becomes a part of his world as he becomes part of hers). Elsa is rewarded, both with her life and with her inheritance, for treating Jack and Ted like human beings when the world around her regards them as abominations.

Elsa is an ally. She's ally-coded. She can also be read as a love interest for Jack, but she consistently acts in support of his relationship with Ted as well.

In Part 3, we're going to talk about the crowning moment of queercoding in WBN. That's right--it's time to learn about coffee in the woods, the gay jukebox, and the Friends of Dorothy.

[artfulusername]

Maybe it's because I just finished watching "Queer for Fear: The History of Queer Horror" with my dad before watching it again, but Marvel's "Werewolf by Night" on Disney+ is very queer and I won't be taking any questions at this time (maybe later).

[turnips-dont-grow-on-trees]

I don't know if this is actually a headcanon I have for Jack, but it is a trope I enjoy (maybe it's a headcanon I have sometimes? Headcanons are like hats, you can swap them around and back at any time):

Dangerous character who actively cultivates the perception that they are harmless, specifically because they don't want to be dangerous. (this is different from a dangerous character who wants to be underestimated to gain tactical advantage). A good example is Kenshin in Rurouni Kenshin.

He's not lying when he's playing up being a country bumpkin - he genuinely doesn't want any trouble, and wants to put the violence of his past behind him. He is constantly confronted by characters trying to bring out 'the real him,' bring out The Manslayer, and he again and again rejects violence and holds on to his No Kill vow.

Being genial and unassuming isn't a lie; it's aspirational. It's what he wants to be, and what he will make reality through force of will.

"A sword is a weapon. The art of swordsmanship is learning how to kill. That is the truth. What Miss Kaoru says is sweet and innocent talk that only those whose hands have never been stained with the blood of men can believe. But, to tell you the truth, I much prefer Miss Kaoru's sweet and innocent talk over the truth, indeed I do!" [context: Kaoru's 'sweet and innocent talk' is her belief in katsujinken, "swords that give life" - that swordsmanship can be used to defend the innocent and protect peace]

So when I say a character 'actively cultivates' a harmless persona, I don't mean that they are putting on an act. If someone wants to be kind and takes kind actions, then they are a kind person. I don't know what other criteria they could possibly have to meet.

For Jack, I could see him having some kind of Dangerous Predator vibe in his qi. And he's self-aware of this fact, so he is very careful and very deliberate to come across as harmless, because that's what he wants to be.

[archaeopter-ace]

I love all the angst you can wring out of ‘Jack and Ted are excluded from human society because the world is prejudiced against people that are different,’ but I also love entertaining the idea that their way of life, living off the land off the grid, is not inherently worse than living amongst humans. Like I’m not saying Thoreau was right, and while John Muir did a lot for conservation as a movement, he got a helluva lot of stuff wrong, notably thinking that indigenous people needed to be forced off their ancestral lands so they wouldn’t ‘ruin’ it. So today when framing discussions about conservation I often deliberately push back against this idea that Man and Nature are mutually exclusive forces, and that humans are somehow a separate agent instead of an organism that exists within ecosystems. I say all that to clarify that when I say “Jack and Ted’s nomadic, outdoors lifestyle can be equally fulfilling to one lived amongst humans,” I’m emphatically NOT saying that Cities Are Bad Rotten Awful Places To Live, and we would all be happier in the woods. However, neither should we say that modern civilization with all its conveniences is the most desirable thing and if you don’t have it you’re missing out. Maybe Jack has tried the company of men, and tried the company of monsters, and prefers to hang out with the latter not because of any defect in the former, but because monster society has its own worth, and can be cherished on its own merits.

[dailyadventureprompts]

Hello Dapper. I don’t really expect too much about this, but do you have any ideas for Wargs? They have an interesting relationship with goblins and are weird in that they’re essentially sapient wolf monsters, but I don’t think they’re ever really used that creatively.

Monsters Reimagined: Wargs, wolf panics, and the Economics of Lupophobia

While the surface level answer is pretty simple (warg is a conversion of varger, an old Norse way to refer to mythological wolves like Fenrir) there's actually a surprising amount of material to drill into here on the topic of sapient wolf monsters, especially for someone like me who has a interest in moral panics and mass hysteria events. Wolves were effectively a boogyman for pre-industrial societies, a deep seated generational fear that we only recognize today through cultural relics like the big bad wolf or boy who cried wolf.

TLDR: If you want to do something interesting with wargs beyond just "wolves that talk" I'd advise playing to their folk / fairytale roots. They're creatures of embodied dread, drawn from the stuff of the feywild to sow fear among those who would travel off the path or too close to the wilderness. This lets you tell interesting stories about how the party/major characters respond to fear: Does fear of being attacked in the dark drive the party to make risky decisions that might endanger their quest? How do the villagers react when the wolves are very literally at the door, demanding just one of their neighbours as a meal in exchange for safety?

I'd also advise getting weirder with a warg's powers, playing into that fear of the unknown by doing unexpected things. The party can fight off a pack of wolves, sure, but what does it mean when the lead wolf rips off the bard's shadow and takes off into the night?

Background: If you want a window into the headspace of wolf-panic, think about the neigh omnipresent fear of sharks created by the Jaws franchise. Children who have never seen the movie, let alone seen a shark in person can become irrationally afraid of getting into deep water because they've absorbed the pervasive cultural phobia, which goes onto shape environmental policy as sharks are overhunted or killed out of spite for their perceived threat.

So it was for wolves, even after they were largely hunted to near extinction by medieval and postmedieval societies, the fear of them was so ingrained into cultural traditions that wolf and werewolf panics were a thing that went hand in hand with witchtrails. France had a country wide one as late as the 1760s and the movie based on it ended up inspiring Bloodborne. Alternatively look at the anti-wolf efforts during the colonization of the Americas, right up to the opposition to reintroducing wolves back to Yellowstone park.

On that note (and because we can't have a Monsters Reimagined without some kind of class analysis), lets talk about how these fears are propagated: On many levels it makes sense for everyday people to be afraid of wolves, they're a hunting species that can absolutely pose a danger to us, and when you're living or travelling outside the protection of a settlement you really are vulnerable to a coordinated pack of carnivores running you down.

However, the primary threat that wolves pose to humans isn't predation, it's property damage, specifically in how they kill livestock. While we can talk about individual farmsteads beset by beasts, in reality the herds that wolves were most likely to prey upon belonged to the landowning classes, powerful people who had a profit incentive in seeing wolves driven off or exterminated. This is where you get bounties on dead wolves, not just paying for the value of the hide but actively rewarding people for going out and killing as many wolves as possible to the point of it becoming a profession. This practice has existed for MILLENIA and is still active today, primarily in places where big agriculture influences governments.

It seems incidental at first but then you realize that it fits the model of just about every other kind of cultural panic: widespread ignorance and fear that just so happens to mobilize the populace in a way that financially benefits a select few. You can see the same thing happening today in england with badgers of all things, which have been identified with the local dairy industry as a threat to their herds. This is not only led them to petition the government to cull the badger population, but to put out anti-badger propaganda, eventually turning it into a culture war issure to the point where conservative mouthpieces like Jeremy Clarkson openly encourages killing and gassing badgers on sight.

Returning to the land of fantasy for now: I think it's worth taking the idea of the warg and mixing it with a few other "black dog" cultural archetypes, which can also include the creatures like the shuck or church grimm. In this instance the warg is a sort of curse made manifest, the fear of a haunted place given literal teeth. People who transgress into these forbidden spaces find themselves pursued by a manifestation that dogs them till they're exhausted and vulnerable, much like a wolf harrying its prey.

The bhargest is also of special interest here, considering how I like to relate goblins back to the feywild. You could easily see bhargests as agents of fey that feed on human fear, leading a pack of goblins or hobs that occupy the desolate lands they've called to haunt. My version of Maglubiyet would also delight in employing such creatures as his emissaries.

Going back to the vargr/ Norse mythology angle, it's interesting that most of the wolves that show up are destined to devour something, whether it be a god or celestial certanty like the moon and sun. It's like the concept of an inevitable chase is so fundimental to what a wolf IS that it became a theme of ragnarok's inevitable certantly. Consider having certan packs of wargs be offspring of some fenrir style god eater, beasts of forboding doom who's mere presence is an omen of ill times.

Alternatively, if you wanted to play on the big bad wolf angle, give wargs the ability to take on flimsy human disguises, all the better to get close to their pray and sow fear among the townsfolk. Historical wolf panics after all are not all that different than serial killer panics, and it'd be a fun twist on a traditional werewolf adventure to have the party on a creature that didn't play by the usual lycanthropic rules.

Artsource

[wheredidhiseyebrowsgo]

So… I already have like 70 Sterek fic tabs open on my phone (there’s so many good authors in this fandom it’s not my fault!) but I was thinking that despite some fantastic tumblr posts about it I don’t think I’ve actually read a necromancer!Stiles fic.

I went through your fabulous tag page but I didn’t see one so hopefully I didn’t miss it. If you or your loverly followers have any recs I sure would appreciate it!

(And no rush, I seriously have so many tabs but I am greedy)

Hi @arora-kayd! @kevaaronday made this list for you.

Murder, Magic and a Masterclass in Denial by Noxnthea (9/9 | 41,940 | Explicit | Sterek) “No, seriously, I need to talk to you really quick,” Stiles interrupts. “Before Peter gets out here.” 

Derek braces himself. “Okay.”

“I need you to make sure I can be alone with the body for a few minutes.” 

Derek stares at him. “You get that that’s like…a really weird request, right?”

In the three months since Derek left the NYPD and joined the FBI’s Behavioral Analysis Unit, he’s gotten used to a lot of things: he’s learned to deal with seeing Peter every day, he knows how to hide his enhanced senses on the job, and he doesn’t mind the late nights and early mornings.

One thing he’s still not used to, however, is Stiles Stilinski.

You only Live Once… or Twice by WonderWolf (6/6 | 32,949 | Explicit | Sterek) “Anything,” Derek’s eyes are determined, boring into Stiles’. 

Stiles huffs a laugh, “Careful there, big guy. Don’t want to be promising anything to every necromancer you meet. Some might ask for your soul or someth—”

“I’ll give you my soul to bring her back,” Derek says, his voice steady and strong with resolve, “if that’s what you want.”

Stiles’ mouth gapes open for a moment before his brain kicks into gear and he stutters out, “N-no, I don’t ask for that. I only ask for money.”

(Or the one in which Stiles is a necromancer who needs help stopping a rogue alpha and Derek is the solution, but at what cost?)

I See Dead People by Asteria_Star (13/13 | 15,318 | Teen | Sterek) Stiles has been able to see Ghosts for as long as he could remember. Having a ghost tell you that you are a necromancer and that the supernatural exists was nothing. What isn't nothing is trying to navigate your best friend becoming a werewolf while trying to hide what you are. 

Features Stiles and Talia having a mother-son dynamic that I didn't know I needed.

Sarcasm, Suspicion and Raising the Dead: A Necromancer’s Guide to Getting the Guy (Your Murderer and/or Your Boyfriend) by Aerica_Menai (1/1  |13,917 | Teen | Sterek) Stiles met Derek’s blue, blue eyes - still striking, even bloodshot from crying - as he slid into the other side of the booth. Immediately, the request came tumbling forward: “Could - would you bring her back?”

“I can - I will - but only temporarily,” Stiles warned.

“Thank you,” he breathed. “Whatever extra time I get with her will be - “ He took a deep breath as his voice broke. “ - appreciated,” he finally choked out.

And that’s when Stiles knew he was in trouble.

formed in the very poetry of nature by frankie_31 (4/4 | 7,984 | Explicit | Steter) Stiles can raise the dead. Stiles can put them back down. But what happens when one of his undead minions stays up?

Peter Hale is back from the dead. Kind of. And he'd like to stay that way.

Burial Rituals by aurevell (1/1 | 4,989 | Gen | Sterek) The necromancer freezes halfway over the fence, stuttering to a halt the second Derek flashes his red eyes. It’s an awkward pose to hold: leg hiked up over the waist-high bars, hands gripping the rail for balance. The fence’s wrought-iron spears dig into his calf a bit as he settles, clearly caught off guard.

“Uh,” he says lamely, his face pale in the scant moonlight. “Shit.”

Derek guards an abandoned cemetery. Stiles is the necromancer trying to break in.

[n0r]

WHAT DOES DARLINS REACTIONS TO CERTAIN SITUATIONS SAY ABOUT THEM AS A CHARACTER?

A Darlin analysis >:)

Darlin is first introduced snooping around Wonderworld, looking for Quinn Fox, and is found by Sam, who happens to be on patrol that night. Right from the start, we learn a defining feature about Darlin: they are reckless when it comes to their own well-being.

Darlin’s first character arc centres on finding Quinn, a dangerous vampire with whom they had a brief relationship. They actively hide that they’re looking for him from David. They are caught by Sam, who quickly becomes defensive, knowing Darlin shouldn’t be there. After discovering they detected a six-month-old signature, Sam snarkily remarks, “If you were that good of a tracker, you should be in a lab being studied, not running around in the moonlight on some wild goose chase.”

When David finds out Darlin lied about still being in Washington, he calls Sam and sets up a meeting to discuss Darlin and the risk they’re putting on themselves, and unintentionally, the pack itself, dubbing it a “vigilante vendetta.” He explains that Darlin was never very close with the pack, which led to them “falling in with a less-than-savoury crowd” and finding Quinn. David continues by telling Sam about Darlin ignoring most of his check-in texts, how he looked into the two new members of the Solaire clan, and how the circumstances of their turning reminded him of Quinn. He therefore discovered that Quinn was never apprehended by the Department. While Darlin claimed they kept the information from the pack to protect them, David dismisses this as “short-sighted and bull-headed, but well-intended.”

Though Darlin constantly puts themselves at risk, it’s always in the name of protecting their loved ones. However, they clearly lack self-preservation skills, convinced of their own invincibility due to their accelerated healing ability. In the "Vampire Tends to Your Injuries" audio, Sam calls Darlin about information on Quinn and notes that they sound weird. They admit they’re hurt. Sam immediately expresses concern and chews them out for not going to see a healer to avoid being asked questions. When he arrives at their house, they ask if he is okay with the blood, despite being very hurt, their concern obvious despite their condition. He heals them up before lecturing them on taking on two vampires without backup: “You’re a werewolf, not a damn tank.”

When Quinn is caught, Darlin is out the door with David immediately. Sam meets them there, and when they find out Quinn will only speak to Sam, it upsets both of them. Still, they quickly agree because a girl’s life is on the line. Sam agrees, albeit reluctantly, though he makes a point of stating, “He should have to see you, hear you—he doesn’t get to hide away.” Darlin clearly appreciates Sam’s feelings on the situation—if kissing him was anything to go by (plus I was fully ready for Darlin to launch through the two-way mirror).

Another instance of Darlin’s reactions I adored was with Alexis at the Summit. At this point, they hadn’t interacted with her at all, with Sam actively dreading the inevitable. When Alexis refers to Darlin as “Sam’s latest conquest,” Darlin immediately corrects her, telling her that they’re mates. Alexis, who turned Sam because she wanted to be with him, is bitter about them being together and manages to get a rise out of them quickly. Porter is quick to save them from a public display, remarking, “You looked a second away from taking a swing at a half-century-old powerhouse, and that’s a fight I’d rather not witness.” This furthers the fact that Darlin is quick to react, and that reaction is usually violent—if past references and Alexis feeling the need to say, “Problems don’t get resolved by hitting them,” are anything to go by.

Porter and Darlin seem to have a dynamic of harmless teasing and aggressive reactions, the first of which is in the "Vampire Boys Have It Out." Darlin opens the door to let Porter in, and he immediately takes a dig at Sam, which I can only imagine was met with a tense response. They’re more controlled around Sam, no doubt because the oncoming lecture wouldn’t be worth it.

Darlin’s tendency to jump to violence at the first sign of trouble complements their obvious strength. This is described by Sam at the start of the 2024 Valentine’s Day Sam audio: “Do you have any idea what it’s like to see a wolf of that size push off a tree, hit a guy jumping at vamp speeds, ash him, and still land on your feet?” Their ability to fight off two vampires and force Quinn makes this very clear.

They’re clearly a force to be reckoned with, and to top it off, they’re dating a fine-as-hell cowboy vampire who would both die for them and give them a lecture from hell for it.

Proofread and edited by @achios I LOVE YOU <333

[ronanceautistic]

Here is my mostly Ronance, mostly Nancy-centric fic masterlist :D

Meta

Nancy Wheeler full character analysis with a focus on autistic traits (the autistic nancy doc)

Over 200K

Stranger Things rewrite where Nancy goes missing instead of Will (Ronance, Wheeler Siblings, platonic Stobin) - 41 chapters

50K - 100K

Nancy and Robin gay pining during summer 1986 (Ronance, minor Byler) - 15 chapters

10K-50K

A collection of prompts given to me from my asks - (Nancy-centric, click here for specific list of prompts) - 6/? chapters

Modern Selective Mutism!Nancy AU (Ronance) - 15/? chapters

Nancy grew up in Hawkins Lab AU (Karen & Nancy, Ronance, Barb & Nancy ((unrequited love))) - chapters 9/9

The Last Of Us AU (Ronance, Max & Nancy, Max & Robin, platonic Stobin & minor Lumax) - 8 chapters

Nancy can freeze time (Ronance, platonic Ednancy) - 5 chapters

Grosse Pointe Blank AU where Nancy is a hitman for hire (Ronance, platonic Ednancy, platonic Stobin) - 6 chapters

Season 4 rewrite where Nancy is cursed instead of Max (Ronance) - 4 chapters

One shots set inbetween Season 1 and 2 (Jopper, Boyce, Byler, Wheeler Siblings, Eleven & Robin) - 6 chapters

5-10K

Six years after they save the world, Robin and Nancy reconnect (Ronance platonic or romantic, Holly & Nancy) - 1 chapter

Nancy & Robin fall in love, Nancy recovers from OCD (Ronance) - 1 chapter

Nancy is stuck in a death loop, Robin has to watch (Ronance) - 1 chapter

Modern AU where Robin and Nancy do a school project (Ronance) - 1 chapter

The Good Place AU (Ronance, Minor Steddie) - 2 chapters

Two one shots, werewolf!Robin and werewolf!Nancy (Ronance, platonic or romantic) - 2 chapters

Pirate AU based on Monkey Island (Ronance) - 1 chapter

Under 5K

Robin and Nancy meet on Nancy's first day of Kindergarten (Ronance, platonic or romantic) - 1 chapter

Depression/Healing fic where Robin takes care of Nancy (Ronance, platonic or romantic) - 1 chapter

Nancy has a flashback with only Mike around to help (Wheeler Siblings) - 1 chapter

Nancy angst with Robin loving her (Ronance, platonic or romantic) - 1 chapter

Ronance aquarium date! (Ronance) - 1 chapter

7 year old Nancy scripts a D&D-ish game for Robin (Ronance, platonic or romantic) - 1 chapter

Robin needs stitches, but is afraid of blood. Nancy is here to help and pine. (Ronance) - 1 chapter

Horror Movie AU where Robin & Nancy stay the night at the Creel House (Ronance, platonic or romantic) - 1 chapter

Nancy and Robin are werewolves, who turn during S4 E7 (Ronance, platonic or romantic) - 1 chapter

Nancy is not okay, Robin notices (Ronance, platonic or romantic) - 1 chapter

Nancy’s Vecna Vision from Max’s POV (Max & Nancy, minor Lumax) - 1 chapter

Robin and Nancy take care of each other after the gates open (Ronance, platonic or romantic) - 1 chapter

Nancy is afraid of heights (Ronance, platonic or romantic) - 1 chapter

Nancy survivors guilt character study (Ronance, platonic or romantic) - 1 chapter

The night after Fred’s death (Just Nancy) - 1 chapter

Nancy loneliness character study (Just Nancy) - 1 chapter

[arsene-fixates]

Informant Really Does Care (About Family)

I got brain worms the other night so (arms stretched wide) hi everyone thanks for tuning in to yet another analysis of this guy

this one's a combination of a continuation to my older 'he cares about the townspeople' analysis and also a third parter to my analysis about his family

spoilers under the cut as always ^_^

Initially i had thought that Informant didn't truly like his family, with how dismissive he was when he first revealed himself to felix in the forest-- his words being 'i had to leave my friends, home, and family' with family being the last in the list (mild hinting at how he wasnt really a fan of them from the start)

or how when informant and felix first reunited, they had almost gotten into 2 arguments, first one due to felix almost resigning as the mayor and informant trying to convince him not to do so, which led to informant revealing that felix has never really listened to him when they were children and was always making decisions for him

the second argument being how felix wants informant to come back and throw away his life of being the informant and just live as his brother which leads to informant cutting himself off from the family

but in the scene where he decides to cut himself off from his family, he says this

but the thing is that even with how detached he acts towards felix, he genuinely does care still

like.. informant was going to sacrifice himself by becoming the wolf forever for the sake of felix, to put his worries at ease, and just before he was going to do it, he asked me to give him a locket which contained a picture of him and felix when they were young and he says this

'it reminded me of what truly matters'

or when he had to submit to the witch to figure out why he was acting so recklessly, (the thought parasite arc) the thing that calmed him down was a childhood memory and he has also kept keepsakes from their childhood. I Am Crazy

I feel like this strained behavior that he has around his family is connected to an inferiority complex he has, similarly to how he doesn't talk about himself much, he also tends to brush his own issues aside

note how he says it has a passing remark, lets it linger for a bit and then just moves on as if it isn't a big deal

"i still bring my loved ones so much trouble" and "i thought felix would be better off with me"

i think this was a product of the thing that felix had said to him just before informant disappeared

"I have no time. There's a pile of papers i have to deal with" and while felix did admit that the paperwork was more important to him than informant at the time, his disappearance was a burden on his shoulders <- his words

and reminder, informant was already a pretty solitary person (and frankly, quite lonely) before he became the werewolf, a person who had always kept to himself

i imagine felix saying this was also a blow to his self esteem. He never felt he fit in with the people around him, and now his own family is turning him away? it must be hard to have to warm up to family again after being apart for so long

he misses him, but he acts detached, arguing as if they were young and then cutting himself off from the family... Informant feels too kind for his own good if i could be honest, kind and independent to a fault.

i was absolutely fooled by him.. he truly does care...

ALSO i don't know if i mentioned this in the previous family analysis stuff but one thing i love about felix and informant is how they perceive each other's actions differently

Felix is protective of informant because he's his little brother, and by quite a large age gap too so its natural for him to feel like an instinct to worry and want the best for him but but informant perceives that as felix being controlling

and WHILE YES, THAT BEHAVIOUR ESSENTIALLY MAKES FELIX NOT QUITE CARE ABOUT HOW INFORMANT FEELS ABOUT THE DECISION MAKING, FELIX'S INTENTIONS ARE OVERALL GOOD BUT INFORMANT TAKES THAT AS NEGATIVE

and Informant wanting to take back that control of his life.. felix perceives that as informant rebelling and "not him" because informant had been obedient to him for so long and now that informant's doing his own thing felix feels apprehensive to it

blood is thicker than water but neither water or blood can account for separation from it's source. they've existed outside their roles as siblings for so long with different experiences that they're just different people at this point

[itsoverfeeling]

Hi, I watched Werewolf by Night a second time. I have more thoughts.

So, in my first analysis post (which you can find here, I'm not gonna repeat my main points here, so if you need clarification, there it is), I was mostly just rambling out my ideas. I'm still doing that! But I want to focus on some other points bouncing through my head.

Firstly, the film is absolutely about family and legacy. Every conflict in the movie exists due to these motifs. Jack is likely a werewolf because of a family curse. Elsa is fighting only because she didn't live up to the expectations bestowed on her. Jack is on the rescue mission in the first place because he wants to help Ted, someone Jack admits to considering family. Elsa's trapped with Jack because her step mother resents her. The competition is only happening in the first place because Elsa is no longer considered enough of a daughter to Ulysses Bloodstone to inherit the stone automatically (though I am very curious as to Ulysses's actual views as opposed to the ones filtered through the step mother's bias). Every inner and external conflict stems from family history and relationships.

Something I want to focus on especially is the scene where werewolf Jack pins down Elsa. Because guess what? The two major physical manifestations of their legacies are right there. Jack, caught in the symbolic generational cycle of literally being a monster, is not only in his werewolf form, but also is wearing his Día de los Muertos makeup. Elsa, in her dead father's home having just stopped her step-mother from attacking Jack, has the bloodstone in her back pocket.

They are both well-armed with the weapons their parents have passed down to them, whether their parents ultimately planned to give them these gifts/curses or not. They both can easily harm each other or even kill each other.

But they don't.

They both decide in that moment to stop the violence. Elsa puts the bloodstone away and Jack willfully leaves her alone. They both are the strongest people in the room who have a history of violence. And by all means, their violence towards each other would make perfect sense. It would be so easy to justify. But they actively choose not to. Despite being in such heightened emotional states (Jack being a werewolf and Elsa trembling in terror), they still don't hurt each other.

And I think that while they could explain their actions however they wanted later as whatever story that would fit their lives best, the fact is that at their core they chose to be good in that moment. Unlike everything that influenced them not to be.

Earlier on in the movie, Jack said that you sometimes think there is one thing you can do that will change everything your ancestors did before you. And maybe Elsa and Jack thought this story was about getting the bloodstone and saving Ted. But maybe it was about meeting each other and choosing to be unlike what their heritage dictates.

I'd also like to bring attention to how despite there being an emphasis on breaking the cycle of these legacies, there's still a layer of respect under it all.

Jack, despite whatever complicated feelings he may have about his curse or his past, is wearing the Día de los Muertos makeup to honor his ancestors. He manages to defy his family curse (unconfirmed but probable considering the film themes and his comic origins) but his respect for them is literally painted across his face.

(I'll also say that Día de los Muertos is for family members who've passed and a few articles/interviews imply that Jack is centuries old. So, his makeup is possibly not just for his grandparents and relatives, but his parents and sister as well (again, those family members are not specifically confirmed, but somewhat likely due to the comics))

The same for Elsa. Would Ulysses consider this whole thing a failure? Eh... well, maybe not (he literally put his best hunters in a death game that only would've lessened the overall success of the monster hunting mission: less hunters, less dead monsters. I think he would have found this whole thing funny as fuck). But it's unconventional for sure. And despite Elsa probably going in an unintended direction from her legacy, she still respects the actual bloodstone. Enough to fight for it as her father intended. She describes it in the beginning of the film as rightfully hers, showing that she's not as dismissive of her family legacy as implied by her step mother.

In a strange way, Jack and Elsa continue to honor their families while altering the legacies they've been left behind.

[sadquickchristmassnowman]

Hiiii I have a community question I wanted to ask!!

Abed mentions all sorts of movies and tv shows through out Community, but I just wanted to know if maybe you have like a list of which ones are real and which ones he seemed to like more than others.

I can only think of the dark knight because of the dvd Annie broke, and the Star Wars movies (except he apparently hates the prequels) and cougar town!

great question! sorry for the delay on a response.

so, he mentions/references an insane number of movies and tv shows throughout the series, and I unfortunately do not have a list of every single one. although, I am (VERY slowly) working on an in-depth episode-by-episode analysis of the entire series, and listing every pop culture reference is a subsection in that. but that's not helpful right now. moving on

I don't have the picture, but there's this questionnaire abed filled out (outside of the show, it must have been uploaded to a website as promotional material for the show). he says his favorite movie is a tie between:

ghostbusters (1984, comedy/horror)

an american werewolf in london (1981, horror)

back to the future (1985, sci-fi/comedy)

blade runner (1982, sci-fi/action)

stand by me (1986, adventure/comedy)

stripes (1981, comedy/war)

star wars (1977, sci-fi/fantasy, also called "a new hope")

star wars: the empire strikes back (1980, sci-fi/fantasy)

star wars: the return of the jedi (1983, sci-fi/fantasy)

ferris bueller's day off (1986, comedy/drama)

jaws (1975, thriller/adventure)

raising arizona (1987, comedy/crime)

jurassic park (1993, adventure/sci-fi)

seven (1995, crime/mystery)

the matrix (1999, action/sci-fi)

the goonies (1985, adventure/comedy)

the breakfast club (1985, comedy/romance)

real genius (1985, comedy/sci-fi)

better off dead (1985, comedy/romance)

the fog of war (2003, documentary/war)

pulp fiction (1994, crime/thriller)

(btw if anyone knows what I’m talking about and has the screenshot please rb with it! I cannot for the life of me find it lmao)

I believe this is a list he apparently made in 2009, either in the first few weeks of school or right before the school year started. so it's possible he would answer differently as the series progressed. also, I do take some of these extra-canon things with a grain of salt, as on the same form he said his favorite place on campus was study room D or something, when obviously they definitely meant to write study room F. so, the credibility of my source for this information isn't exactly rock-solid. although, he does mention a lot of these movies on screen, and expresses love for many of them (the most notable ones probably being star wars episodes IV-VI, the breakfast club, and pulp fiction)

as you can see from the list, abed particularly loves american movies from the 80's. just a trend I thought I’d point out.

here's a few others he mentions loving, or just pretty notably references:

the dark night (2008, action/crime, as you mentioned)

rudolph the red-nosed reindeer (1964, musical/animated, is the whole basis of 2x11 abed's uncontrollable christmas)

the shawshank redemption (1994, horror/crime, is the basis for his plot with troy, annie, and shirley in 4x05 cooperative escapism in familial relations)

freaky friday (I believe it's the original one from 1976 specifically, but it's been remade a bunch. comedy/fantasy. it's the basis of abed and troy's story in 4x11 basic human anatomy)

rambo/first blood (series starting in 1982, action/thriller. abed talks about how messy the progressive series titles are in 3x14 pillows and blankets)

ocean's eleven (2001, crime/thriller, the basis for the heist scene from 3x21 the first chang dynasty)

hearts of darkness (1991, documentary/war, abed mentions it while pointedly filming dean pelton's production of his greendale commercial rather than helping with the commercial itself. similarly, hearts of darkness filmed the making of apocalypse now)

apocalypse now (1979, war/action, see the above explanation)

die hard (series starting in 1988, action/thriller, abed mentions wanting to do a die hard homage for christmas multiple times throughout season 4)

good will hunting (1997, thriller/romance, troy and abed's story in 1x24 english as a second language is filled with references to this movie. abed is doing homages on purpose, troy is not)

my dinner with andre (1981, comedy/drama, abed does a very elaborate homage at jeff's accidental expense in 2x19 critical film studies)

indiana jones (raiders of the lost ark, temple of doom, and the last cruscade only. he mentions loving the first three indiana jones movies in 1x04 social psychology)

aliens (1986, action/adventure/sci-fi, he and troy dress up as an alien and ripley in 2x06 epidemiology) (side note, I believe they're specifically referencing aliens, which is a sequel to alien. could be wrong though)

blade (1998, horror/action, they watch it over the course of 3x15 origins of vampire mythology after troy and abed assert multiple times that it is an amazing movie)

I think he generally talks about movies more than he talks about tv shows, but he does mention quite a few of them. some notable mentions are:

friends (1994, sitcom, mentions at least twice)

m*a*s*h (1972, sitcom, mentions in passing in 1x05 advanced criminal law, and references throughout 1x13 investigative journalism)

the cape (2011, action, mentions throughout 4x13 advanced introduction to finality)

who's the boss (1984, sitcom, is the premise of his whole storyline in 2x20 competitive wine tasting)

LOST (2004, sci-fi, mentions at least twice)

obviously there are a LOT more, but I just tried to list some of the most important ones, plot-wise and for understanding of his character. hopefully I’ll be able to get back to everyone with a super long list of every tv show and movie he ever mentions lmao, but that'll take a while. (there are lists online that say they list every movie and tv show abed has ever mentioned, but ngl I don't 100% trust those, so I’ll make my own lmao. but I put the link to one of them if you're curious. here's another one too)

at this point anyone who has seen community knows there are some really really big ones that I haven’t mentioned yet. pieces of media that are INTEGRAL to abed as a character. I was saving them for last lmfao. they are:

kickpuncher

inspector spacetime

cougar town

if I had to pick a holy trinity of media for abed, it would be these three things. these are EASILY the things he talks about the most, which is interesting, as both the kickpuncher movie franchise and the inspector spacetime series are completely fictional, and only exist in the community universe. (this is probably so they can show abed actually watching some of the shows/movies he talks about, without the obvious copyright issues that come with playing clips from an already existing movie/tv show on your screen. they kind of do that with blade in 3x15, but they only play vague fighting sounds, and never show their tv on our screen. anyway. not relevant.) to answer one of your questions from the ask, I believe those two are the ONLY fictional pieces of media abed talks about. as far as I know, everything else he mentions is real, including cougar town.

kickpuncher is obviously reminiscent of sci-fi/action films from the 80's, like robocop. like I said earlier, taking their place so that they could have a more substantial role in abed's on-screen life without any copywrite worries. it's a whole franchise, so there are multiple movies: kickpuncher, kickpuncher 2: codename: punchkicker, kickpuncher 3: the final kickening, kickpuncher: detroit, kickpuncher: miami (?), and kicksplasher (?). kicksplasher is apparently shown as a poster on abed's wall, and I’m assuming it's from the same franchise, although that could be wrong. the point is there's a very elaborate universe for kickpuncher, and it's a big part of abed's, and later troy's, film taste. the first time they mention it is in 1x15 romantic expressionism, when abed, troy, shirley, pierce, and chang all get together in abed's dorm room to make fun of stupid movies together. it's funny that it was introduced as a stupid movie to watch ironically, then troy and abed both end up genuinely loving it lmao. classic

inspector spacetime is obviously reminiscent of doctor who. they're both british sci-fi series that have been running for decades. doctor who uses a police box to travel the multiverse, while doctor who uses a telephone box. doctor who has malicious daleks who chant "exterminate," while inspector spacetime has blorgons who shout "eradicate." the concepts of the shows are obviously the same, with the actor for the doctor changing every season, etc etc. they're essentially the same exact show, but, like I said before, changed slightly so they can world-build without getting copywrited. there is something a little bit silly about this, though. it's definitely a continuity error and it's up to everyone whether they want to accept it as canon or not, I guess, but there's an episode where abed is actually wearing a doctor who t-shirt. (it also references bill and ted, but the doctor who part is what's relevant.) here's some pictures:

awesome shirt tbh, but it is a little bit funny that is essentially makes it true that doctor who and inspector spacetime both exist in the community universe. and, these pictures are from the cold open of 4x11 basic human anatomy, which is way after inspector spacetime is introduced to the show (3x01 biology 101). so, is inspector spacetime just a rip-off of doctor who? is abed a fan of both shows? if he is, clearly he likes inspector spacetime better. anyway. I would guess that this wasn't intentional. but that is definitely a tardis on that shirt. maybe it's just a classic season 4 continuity mistake. oh well. I guess that's just how the cookie crumbles. anyway.

cougar town time! yes, it's a real show. I didn't think it was but it is. what's not real is cougarton abbey, the short-lived british remake that britta gets abed into in 3x01 biology 101. but yeah. it has 6 seasons and is streaming on hulu, if you're interested. I’ve heard it's not good but who knows for sure. something cool about cougar town is that abed is actually in an episode. let me be clear: not danny pudi. ABED. it's similar to the story abed tells about being invited to the cougar town set and shitting his pants while having an existential crisis about the layers of reality. here is a youtube clip of the scene. I found out about it while stalking danny pudi's wikipedia page months ago, you know, a typical sunday afternoon activity, and I saw a cougar town credit on there. I didn't even know it was a real show at that point so you can imagine my surprise lmao. anyway. idk if you knew that already but it's one of my favorite community easter eggs. so funny.

okay! I hope this is enough information to suit your needs, and I am once again opening the floor to anyone who wants to add anything 💯 this was fun, thanks for the ask, and stay fresh everyone ✌️

[lichilly]

"It Will Come Back" — Hozier

Werewolf Joseph AU (Song Analysis)

I heavily encourage you to go listen to this song, either along with the analysis or by itself ! This post won't hold the same weight (in my opinion) if you go in blindly!

(tumblr hates me trying to upload my own mp3.. so I had to link to youtube instead..)

I’ve loved this song for a long time, and as I’ve delved into the Werewolf Joseph AU, I’ve noticed that it heavily relates to how I view werewolf Joseph. This song perfectly portrays the push and pull of Joseph’s internal struggle between his human side and his more feral, werewolf nature. Alright, let's dive in!!

You know better, babe, you know better, babe Than to look at it, look at it like that You know better, babe, you know better, babe Than to talk to it, talk to it like that

These opening lines reflect Joseph’s internal conflict. The “It” throughout the song refers to his werewolf side—a part of him he believes shouldn’t be acknowledged. By referring to it as “It,” Joseph distances himself from this aspect of his identity, as if it’s something separate, something dangerous that could easily latch onto the MC if provoked.

Don't give it a hand, offer it a soul Honey, make this easy Leave it to the land, this is what it knows Honey, that's how it sleeps

This verse speaks to Joseph’s primal nature, which is deeply rooted in him and exists beyond his human control. The line “Don’t give it a hand, offer it a soul” is a warning to the MC. Engaging with Joseph on a deeper level—offering more than just superficial affection—awakens something in him that he struggles to suppress. The "land" here symbolizes Joseph’s instinctual connection to his feral side, which only "sleeps" when left undisturbed.

Don't let it in with no intention to keep it Jesus Christ, don't be kind to it Honey, don't feed it, it will come back

This verse highlights the inevitability of Joseph’s return to the MC if they show him kindness or affection. His feral side cannot be ignored, and the MC’s kindness, fuels Joseph’s obsession. The warning “Don’t be kind to it/don’t feed it” suggests that even a small gesture of kindness has significant effects on Joseph. It awakens a hunger in him.

You know better, babe, you know better, babe Than to smile at me, smile at me like that You know better, babe, you know better, babe Than to hold me just, hold me just like that

This verse echoes the earlier warnings but with a more personal touch. By this point, Joseph and the MC have developed a closer bond. The MC’s smile, their touch—simple, human gestures—have a powerful effect on Joseph. Their growing closeness blurs the lines between affection and danger, making it harder for Joseph to maintain control over his instincts.

I know who I am when I'm alone I'm something else when I see you You don't understand, you should never know How easy you are to need

This verse is crucial in understanding Joseph’s internal struggle. When he’s alone, he has a sense of control over who he is, but the moment he sees the MC, his control begins to slip. He becomes “something else,” his feral nature taking over. The line “you should never know how easy you are to need” reveals how irresistible the MC is to Joseph, a fact that he knows the MC could never fully comprehend.

It can't be unlearned I've known the warmth of your doorways Through the cold, I'll find my way back to you

This lyric can be seen as both literal and symbolic. In the fanfiction I’m writing based around this song, the MC is staying in a cabin in the middle of winter. The cabin represents a warm, safe space, not just physically but emotionally—a place linked to the MC. Joseph feels a sense of warmth and safety in their presence, something he’s never experienced before.

Oh, please, give me mercy no more That's a kindness you can't afford I warn you, baby, each night, as sure as you're born You'll hear me howling outside your door

This verse marks a turning point for Joseph. Here, he fully succumbs to his true nature. The line “You’ll hear me howling outside your door” signifies his complete loss of control. Hozier’s almost growling delivery of this lyric emphasizes Joseph’s transformation—he’s no longer the man he once was, but something far more primal and dangerous. His howling outside the MC’s door is both a warning and a declaration that his obsession has taken over completely.

Don't you hear me howling, babe? Don't you hear me howling, babe? Don't you hear me howling, babe? Don't you hear me howling? Don't you hear me howling? Don't you hear me howling, babe?

This is my favorite part of the song ( no surprise there hehe). The repeated question, “Don’t you hear me howling?” serves as SUCH a haunting conclusion. The repetition, combined with the loud drumbeat that, to me, mimics knocking on a door, suggests desperation. The haunting, eerie nature of these lines reflects the idea that Joseph is no longer fully in control—he is now fully driven entirely by his feral nature and his obsession with the MC.

-

I hope you enjoyed this analysis! It was quite difficult trying to wrangle all my buzzing thoughts together but alas, I have done it. If you're interested in learning a little more about the werewolf AU you can find more about it over on my twitter linked at the top! Fair warning, most of it is incoherent rambles asdjldkfa

[ditaliaa]

I think I’ll make another masterlist with all of my previous writing linked in the post so people can find them again!! I’ve managed to find all of my analyses through the help of friends 💕

[onthewaytosomewhere]

first line analysis

ok so i got a few tags for this so why not i guess (now that i've posted 2 more lolz) thanks @sparklepocalypse @stellarmeadow & @thighzp for the tags

RULES: post the first lines of your last 10 fics/chapters posted on AO3 (if you have less than 10 fics posted, post the first lines of all your fics) and try to draw some conclusions

First Lines from most to least recent (not including friday ficlet collections)

Alex is nearly bouncing out of his seat on the plane, and Henry can’t quite figure out why. (bringing home silver - FP)

Alex is in the kitchen at Kensington when Shaan walks in. (in the kitchen, at kensington, with those threadbare pajama pants - alex/shaan)

Alex Claremont-Diaz has always considered himself a bit of an enigma, even before he became a werewolf and opened an all-night coffee shop, Moonlight Coffee. (nights at the moonlight coffe shop - FP)

Alex swears there was still a Helados left in the freezer but cannot for the life of him find it. (my slutty royal - FP)

"Henry, you pick them so well," Philip whispered against Alex's neck. (2 is better than 1 - 3 is better than 2 (when we’re back at 2 wanna stay there with u) - henry/alex/pip)

Liam usually does not go out to clubs, at least not by himself, and hasn’t for years. (and fight the break of dawn - southern philanthropy)

Alex is not sure how it got this far; he put it in the document as a joke, knowing Henry or June would catch it, and if they didn’t, it would surely get noticed by all the editors working on the book. (just a bit of fun - FP)

Henry’s a connoisseur of one-night stands, so when he says that last night’s, who is somehow still here in the morning, was amazing, he is saying something, really. (makin' memories i might remember - FP)

Once upon a time, there lived two young princes, Prince Henry Fox of Windsor and Prince Alexander Diaz of Claremont. (baby just say yes - FP)

He’s got a sucker in his mouth again; the way he sucks on it, Alex just knows that if he ever got those lips around his cock it would be heaven. (something in your mouth - FP)

so analysis - in general (other than a couple) i do a wordy first sentence - you can tell from the first sentence on all except maybe 1 whose pov it's in from the first sentence - that other one is clear by the 2nd sentence tho - with the exception of fairytale i drop ya right into whatever is going on - i've been told that line 5 is an amazing opening sentence and funnily enough it came to me in the middle of publix when i was grabbing some groceries lolz

so tag ur it! (if ya haven't already done this and i just missed it or forgot lolz) @typicalopposite @adreamareads @taste-thewaste @eusuntgratie @emmalostinwonderland

@tinyarmedtrex @firenati0n @thinkof-england @priincebutt @captainjunglegym

AND A BIG OPEN TAG FOR ANYONE WHO WANTS TO DO THIS AS WELL

[nahualnextdoor]

Character Analysis for Shitpost's Sake (long post; tw suicide discussion):

A funny haha, a whimsy silly image. Something I did in like 10 minutes...

Well behind the scenes I spent an entire night dissecting every episode and book paragraph in my head just to see what box fits what character (I take my silly guys very seriously and my shitposts should represent their characterizations accurately otherwise I'll kill myself).

So, here we go.

Active suicide risk: (literally anyone except Cleo and Six)

-Resus: Pretty obvious and intuitive in my opinion. Our favorite trans allegory emo boy that literally sleeps in a coffin. Hates pretty much every aspect of his life, thinks he's a disappointment to his family simply for existing (and sadly kinda is), and is pretty much fine with death as a whole (most of his friends already went trough it, after all).

-Luke: This one was also pretty obvious in my opinion. While not as clear cut or active as Resus, there was this one time where he decided to banish himself to the Underlands, no hesitation, as soon as he found out (or rather was made to believe) he attacked his parent. He's very often ostracizing himself over his lycanthropy hurting those around him, and for the major part of the book series he believed himself to be a burden for his parents. (Also he has like. Zero sense of self-preservation, at least in the tv show).

-Luella: Oh boy. Where do I begin with you girl. Just her living situation alone is sad enough, add in her attachment issues, her lack of control over her emotions, her crush on a guy that treats her... horribly, and her lack of any meaningful friendship in her life up until she became bffs with Cleo in s2. Honestly I'm just glad that by the end of s2 she's mostly content with her life the way it is, but still... at least on the episodes before she got her shit together, I'd say she's kinda worrying.

-Dixon: Yeah this guy's life is just hell lol. I'm not really getting any suicidal vibes out of him, but it is more than plausible.

10/10:

-Cleo: She's just... I love her 🙏🙏 Badass, one of the most interesting characters of the tv show in my opinion, autistic as fuck (they all are, but she's the one I relate to the most), curses the entire town in order to fix her problems and is pretty much happy despite being in an eternal sisyphean cycle.

Needs to retake the am I gay quiz:

-Resus: self explanatory I think. He really needs to get his shit together because I just cannot tolerate when he's all over Luella "oh luella I need your help with this spell and also brain drain dumped me in a wet cardboard box and killed my grandma 🥺🥺" and then going "well thanks for nothing, fuck u and ur stupid useless magic, also even tho we're nothing I will get all possessive over u at the slightest possibility of u liking Luke hey can we kiss to save the world btw" She deserves so much better than him omg. Boy you're queer!!! Leave her alone and just stay with the werewolf!!!

Cannibalised first in plane crash scenario:

-Resus: I just thought this was funny lol

Adderal prescription ASAP:

-Luke: Also pretty self explanatory. Lycantrophy is the magical equivalent of autism and adhd in this universe, I don't make the rules. Both in the books and in the show he's shown having a hard time focusing on class, finding it easier to just focus on his videogames. He spends hours playing on his console, to the point of ignoring his baisc needs, and is pretty hyperactive in my opinion, at least in the show. Really I wish they'd bring back the idea of Eeafa (or maybe even Luella) figuring out a potion or spell to help him manage his wild side, wich, to me at least, is not only his wolf self, but all of his neurodivergent tendencies in general (basically it would be magical meds that makes you have more control over the wolf form on top helping you study).

Missing person:

-Pretty much all the other kids from the books but I choose Kian because he's kinda the one that has the most relevance and the only one with an available image on the internet that is not a 3 pixels wide scan on the Internet Archive (still love them tho). He could potentially be on active suicide risk once he gets old enough to understand what happened to his parents tho, but thinking about that for more than 5 seconds makes me cry so I prefer not to.

And that is basically it! Thank you for listening to my ramblings and analysis of these silly little guys that keep rotating on my head like rotisserie chicken ballerinas. Next will probably be my still pending character analysis for why I assigned the slimes I did on my slime rancher post.