#when you don't know what will happen in the episode

[ipusingularitae]

also, i think it's very interesting how that friend of vi who she met on the streets of piltover immediately gets out when he sees caitlyn is accepting what ambessa is proposing. he gets that it's not about saving people, that what ambessa wants (and caitlyn is going to do) is targeted violence, on top of a structural system that created this mess in the first place. she's now only seeking revenge.

and can we talk about how Vi and Caitlyn on the lore were always Vi punching and asking later, and Caitlyn being the most "careful" one, and now in Arcane we're seeing the absolute opposite? i think that's so fascinating to watch because, especially with the little lore we have, when making headcanons, a lot of ppl put vi in this position of carelessness and caitlyn reasoning her. but right now we're seeing the complete opposite because Vi had years to put her anger out in prison (bc of very unfortunate situations), but caitlyn not only is a person that is out in world while in her anger phase of grief, but also is on an authority position and has free access to weapons and is being manipulated by someone who is exploiting her anger to the extent of using outside army

[loves0phelia]

Hi! I don’t know if you’ve watched part 2 of outer banks yet, and if you didn’t this request is a spoiler!!

Can you do JJ Maybank’s sister seeing him die and Rafe is just watching her break down and he’s comforting her while she cries in his arms? I’m sobbing over JJ right now 😭

Thank you!

Gone

Summery: outer banks season 4 episode 10/the anon

Words: 1.6k

Warnings: SPOILERS, death, grammar mistakes.

A/N: i also sobbed, i cant believe it and thank you for requesting love youuu.

The sandstorm hit suddenly. The air was thick, nearly solid with dust. You stumbled forward as the wind blew strongly, You screamed, begging JJ to come down before something terrible would happen but even if you pulled the scarf tighter across your nose and mouth every breath felt like swallowing shards of glass making it hard to speak. 

Everything was clouded and your goggles were smeared with sand dust. It was impossible to see your brother who was up high on that statue trying to find the blue crown you, the pogues and Rafe have been risking your lives for.

“Come down JJ!” You screamed as loud as you could, hoping he could hear you over the screaming wind. 

A surge of panic rose in you, he wasn't listening, only going higher and higher to reach the top.

“Hurry please!” You screamed again as the sandstorm was getting worse and worse. Squinting your eyes you could see JJ finally descending the statue after a while, carefully holding on to the rock.

“JJ, holy shit are you okay?” You rushed forward to him as he stumbled around frantically.

“I'm good! I'm better actually, I'm great. Look!” he yelled over the storm and held up the blue crown, it felt like a dream having it in front of you.

“No way, you found it” You both looked down at the dusty historical crown in silence for a second, sinking in it the victory that was so rare when it came to you and your twin.

“We got it!” He cheered, pumping his fist, jumping into place from all the adrenaline. The victory cheers didn't last long though, the next thing you knew shots were fired at you from the group who wanted to steal what was rightfully yours.

“Run, run, run” JJ shouted behind you as you ran through the sand blindly and desperate to find shelter.

The sandstorm roared with life around you, Yours and JJ's footsteps vanished almost as quickly as you made them, erased by the wind.

You coughed, your lungs stinging as you struggled to run down the stairs you had found leading inside the monument. 

But suddenly, a shadow appeared out of the storm. A strong hand gripped your forearms and in a sudden movement, your back was pressed on your “father's” chest, an arm around your neck holding on tightly, cutting your airflow and a sharp blade pressed into the side of your face.

“JJ!” you called out, trying to get out of his grasp.

“Let her go!” JJ shouted, his voice trembling with anger. He lunged towards you trying to rip you away from him but he only pressed the blade harder making you cry out. But Groff only shook his head.

You cried, struggling, and your heart pounding as Groff’s grip tightened. You fought against him, but his hold was unbreakable.

“You’re just like your mother,” Groff hissed, his gaze cold and unmoved. “Always standing in my way. Well, this time, you’re not going to stop me. Give me what I want”

“Let her go” He begged.

“If you had listened, we wouldn't be here JJ, you could have had everything. WE could have had the life we deserved as a family. All three of us. But now you get nothing. Nothing at all” Chandler pants like a maniac.

“I already have everything,” JJ says, shaking his head in disbelief. “I have everything I ever wanted. You want the crown? Sure, take it. I don't want it. Just let my sister go.”

“Give it to me, hold it out” He reached toward JJ for the precious object, his grip on you not loosening.

In a swift moment, an exchange was made. Groff grasped the crown, and JJ pulled you out of his arms.

“I got you” JJ breathed out with relief, like a weight was removed from his shoulders. He hugged you protectively. Holding your head against his shoulder like a shield. But then again, the victory was cut short.

“JJ, y/n” you were interrupted by the voice of your father, his call made both of you separate and turn to face him, JJ’s body still shielding you from further harm.

“It's a shame…you and I” You furrowed your brows and a gasp came out of your mouth when the sound of flesh being pierced rang out. 

“You should have given me the rope” Time was moving at a slow pace as the scene unfolded. Groff twisted the knife in JJ's stomach before pulling it out rapidly and running out into the desert.

"JJ!" You screamed, your voice raw with terror. You saw JJ stumble back, his hands flying to his side. Dark red blood was spreading through his shirt and across his fingers, and the sight of it hit you like a punch to the gut.

The world narrowed to the scene in front of you as you watched JJ fall, his face contorted in pain. 

“No, no, no” you cried, desperation thick in your voice.

You rushed to JJ’s side, catching him just as he stumbled. He looked up at you, his face pale and stained with tears.

“It's okay JJ, it's okay” You pressed into his wound, shaking terribly, sobbing when he let out a pained groan.

“No, please” you murmured, pressing your hand over the wound in a desperate attempt to slow the bleeding. “You’re going to be okay. Just stay with me, okay? Stay with me.”

“Hey, hey,” He whispered, his voice breaking. “Take care of the others for me, okay?”

“No! No” Your breaths shakes, your chest tight with sadness.

“I love you, y/n. You're the best sister anyone could ever have.” His gaze was beginning to drift, his eyes unfocused, and the strength in his grip was fading. Panic clawed at you.

“I love you, please don't go” you begged, but it was pointless he was already gone.

“No! No, no. Please! JJ, please” you shaked his shoulder weakly.

“John B!” You screamed, your chest burning from the lack of oxygen your lungs were getting.

“Pope! Rafe!” Your hands gripped your brother refusing to let go.

“Please JJ!” Your heart shattered completely, a part of you gone forever. Your brother, your twin, your best friend, the other half of your soul, gone. 

“Please” You pressed your forehead against him, your tears falling over the blood-soaked shirt.

The pogues came running towards you, sinking to their knees, calling out to him, crying, sobbing, mourning.

Everything in you gave out as you held onto him, you couldn't even fight when hands grabbed onto your shoulder to bring you away from your brother's corpse.

Your body fell limp into Rafe's lap. His hands held your body up as if he was your lifeline. 

“It's gonna be okay” He whispered against your forehead but you barely registered any of it, only sobbing, and screaming in pain against him. 

The Pogues stood in a tight circle, all eyes fixed on JJ as if somehow their stares alone could bring him back. But no one spoke, and in the heavy silence, the truth crashed over them, settling deep in their bones. JJ was gone.

Kiara’s shoulders shook, a small, trembling motion that quickly overtook her entire body. She fell to her knees, hands pressed to her mouth as she fought to hold back the sobs. 

Pope was beside her, his eyes frantically looking over the scene, he didn't want to believe any of it, as if it was a cruel joke.

John B stood, rigid.  His fists were clenched so tight his knuckles were white, and his jaw was set, teeth gritted as he tried to hold it all in, to keep the pain from breaking him apart. 

Rafe's arms wrapped around you gently, his hand resting on the back of your head as he let you fall into his chest. You buried your face in his shoulder, the grief and sorrow pouring out in waves as he held you.

He didn’t speak of the rivalry, the old wounds and the bitterness between your families; none of that mattered now. At this moment, all he saw was your pain, and he was there, his own heart breaking a little as he watched you crumble.

When the sobs finally subsided, leaving you weak and exhausted, Rafe pulled back slightly, brushing a strand of hair from your face, his eyes filled with something you’d never seen in him before—softness, understanding. 

“It's okay,” he murmured, his voice a promise, his hand gentle as he brushed a stray tear from your cheek. “I’ve got you.”

You sat on the sand as a fire crackled in front of you, you had just buried him, the silence was thick nobody wanted to believe the truth. 

Your head pounded, even when you were softly laying on Rafe's legs using them as pillows. His calloused fingers gently rubbed your hair and you tried to concentrate on the movement in an attempt to forget about the previous moment but you failed.

“Groff said he was going to Lisbon” Rafe whispered above you, making your eyes open and looking up at him. His eyes met yours and he continued.

“If he was my friend or my brother… I would go after the guy that just killed him” The mention made your heart burn but he had a point.

“He's not wrong” Kie whispered, agreeing with your inner thoughts. You snuggled against Rafe's legs one last time before sitting up and leaning your head on his shoulder. 

“JJ would already be on his way to kill him if it was one of us,” you said and everyone's eyes snapped towards you, those were the first words you had spoken since it happened. 

“He'd get even,” John B added.

“Let's get revenge,” you said, your voice more confident than it was before, you felt a hand grasp onto yours and slowly you turned your head to face Rafe. He nodded and tightened his grip in a comforting way, never letting go.

Send request please xx

[johanna-swann]

I actually have sooo many issues with 911 lately that haven't even got much to do with any ships.

Like. They wrote out almost all of the side characters. Chris is gone, Linda and Sue are gone, Athena's kids are gone (even though Harry just moved in with her and Bobby again? Seriously, where is Harry?), Ravi is gone, Carla is gone. I know the GA maybe don't care that much, casual viewers might not even have noticed that this many characters have just vanished from the show, but in my opinion this is one of the things that give a show running as long as 911 life. Having a big cast is a good thing. Otherwise things are going to get very monotonous very soon.

Actually, that's my second point. They keep repeating storylines! Every season Hen and Karen have to fight a custody battle over one of their kids.

Every season Eddie ends up realising he has a lot of repressed trauma and issues which keep him from leading a healthy happy and free life.

Every season Bathena realise that they have communication issues and they fight about it, but then something traumatic happens and they forgive each other without ever really talking things out.

Every season we are reminded that Maddie's most prominent character trait is "traumatised", the writers just alternatingly bring up Doug again and sometimes the ppd arc.

Every season we see Buck being somewhat restless, looking and searching for something that will bring him true happiness and cycling through love interests that never stick around and each time when you think "oh, there it is, he's getting somewhere now" the writers go "BEEEP! WRONG!" and we start all over again. [This is not just about recent events aka Tommy, the break-up and Buck potentially going back to his 1.0 ways, this also happened in season 6 when he had his "it doesn't matter what other people see in me, I'm enough" revelation only to suddenly be like "omg, Natalia just sees me".]

And Chimney- he had his moment last season with the wedding episode, Kenneth Choi really ate that episode up, but his most prominent character trait is "Maddie's supportive husband". There's really not that much going on with him otherwise.

Another point I briefly touched upon above is consistency. Like Harry moving back in with Athena and Bobby and then just vanishing. Or Gerrard being more like a slightly unfriendly grandpa than an actual antagonist in season 8 when he was still spouting slurs in season 7.

And the timeline! We talked about this before ("last March", Mara's fostering to adoption timeline, Tommy tranferring to harbour "5 years ago"), but the newest "Tommy was actually Abby's Tommy" twist just adds to that. Tommy was with Abby for over 2 years. They were engaged. This was at a time when he was still at the 118. Tommy dated Abby presumably because he was in denial or maybe because he was hiding. In either case, wouldn't his team at least have heard about his fiancée, Abby the dispatcher? Wouldn't that have rung a bell when Buck eventually brought her around only a year or two later? Tommy did talk about his private life at least a little at work, even under Gerrard. It just doesn't make sense. (Not to mention this seems wildly out of character for Tommy who around the same time also said about himself "being single is easier".)

Then there's the pacing. This was a huge issue in season 7. They jumped from one personal soap opera drama to the next without taking any breathers, had almost no procedural in their drama the whole season, still somehow decided to spend one third of the entire season just on the opening disaster and also squeezed in a "Bobby begins for the third time now" episode. But okay, it was a shortened season, there were strikes, they switched networks, they were under a lot of pressure - I'll cut them some slack. At least they set up a bunch of interesting stuff for the following season.

But we're in season 8 now. The renewal was announced very early, they had a lot of time to plan this time. Also they have almost double the episodes they had last season, there's really no need to rush any of the major plots. I am done cutting them slack.

They wanna do a 3 part opening disaster again? Okay fine, you have the time now. I feel like they could've easily done it in 2 episodes (especially 8x02 felt a little "eh"), but okay. Better than the breakneck speed you were going at befo- Oh, what's that? 8x04 flying in with a steel chair. You resolved 70% percent of the plots you set up last season in one single episode with no build up, no emotional pay off and no lasting consequences? And you also squeezed in multiple unrelated calls at the same time? Damn, okay then. Good-bye potentially interesting storylines. Fuck me for being invested I guess. I thought there would at least maybe be some follow up in 8x05, but no.

Now that Halloween episode wasn't bad, it was actually the best episode of this season imo, but instead of following up on previously established conflicts and developments they just hit us with new Wilson family trauma and conflict that was also immediately fixed again. And now 8x06 has speedrun and dumped another storyline that had potential to go to deeper and interesting places. Not gonna talk too much about that though because this post is about the show as a whole, not ships.

And I am not yet convinced that there will be much more to come on the only thing that's left from last season: Eddie's deep dive into his trauma and repression. It's totally possible at this point that being told "you deserve nice things" by a random stranger actually solved all of his problems, it would be very in tone with 911's new style.

What are they even gonna do with the rest of this season? Revisiting the Hotshots set sounds fun, but ultimately inconsequential. You know what's great about a regular old procedural drama with ~20 episodes per season that comes on weekly? You have time. You can let the viewers sit with their emotions and thoughts for a week and keep them engaged by stretching things out a little.

But why should I bother getting emotionally invested in problems the characters are gonna solve within the same episode anyway? Or rather, even if I wanted to, how am I supposed to care if you don't give me the time to develop any feelings about anything that's happening? "Henren lost in court and are now completely forbidden from seeing Mara at all!" Damn, that must be so har- "JUST KIDDING! Ortiz is exposed and everything is perfect again now." Oh. Okay then, I guess.

Bottom line: The characters are all stuck in their own hamster wheels, they keep cutting side characters that could bring a breeze of fresh air (I'm honestly surprised they even kept Josh until now), they rush through all the storylines a such a ridiculous speed that I don't even have time to feel any sort of way about it, they don't even try to keep a consistency or sensible timeline going and they seem to strongly prioritise random funny bits that'll entertain the very casual viewers right now in this moment (tiger call, Billy Boils, Bee-nado, the 'Stache tm, "wait, it's the same Abby?", Gerrard being a fangirl at heart) instead of playing the long game and catering to people who actually pay a little attention to the show.

[On that last remark: I'm not talking about hardcore fans who analyse every single frame here, I mean casual fans who've watched the show on and off again for a while and who may not be involved in fandom but genuinely care about the show.]

I mean. What am I even still doing here? The show is treading water and I end up disappointed more often than not. I'm still holding out a little hope that they actually will do something interesting with Eddie and his sea-monkeys, but I wouldn't be surprised if they didn't.

[sage-nebula]

This has been spinning around in my head since I watched season 2 arc 1, and I can't refrain from putting it down to post anymore.

In season 1, Jayce and Viktor get into a fight when Viktor evades the blockade to go speak to Singed in Zaun. During their fight, Jayce snaps at Viktor that he didn't know that Viktor's friend was from the undercity, and when Viktor asks why that matters, Jayce says the above: [people from the undercity] are dangerous (earlier he had also said, "there are people down there who seem hell-bent on destroying us!"). That's when Viktor grows cold, reminding Jayce that he is from the undercity, and even after Jayce apologizes, Viktor knocks his hand away, choosing to stand up on his own.

In season 2, chembarons hired by Ambessa (though no one knows that at the time) attack the memorial for the dead council members. In the aftermath, Caitlyn calls them animals. Notably, Vi shows no reaction at all to this; she doesn't so much as flinch at Caitlyn's word choice. Instead, while she does downplay what happened to an extent ("they wanted the spectacle, they're trying to scare you"), what's notable is that she separates herself from the people of Zaun. This is especially notable when she tells Caitlyn to call off the invasion, because of the risk it poses for those not from Zaun:

"Down there, you'll be on their terms."

Viktor seems to have pride in the fact that he is from Zaun. He has love for his home. As difficult as life was there, as much as the pollution led to his illness and disability, he has no shame that he's from Zaun and he still sees value and has love for the people there. This is why, when Jayce writes the Zaunites off as "dangerous", Viktor grows cold. He is no different from them, in his mind; if they're dangerous, then so is he.

Vi is . . . different.

In season 1 arc 1, Vi expresses to Vander that she has bought into and believes that those in Piltover are more than those in Zaun:

Now, here, Vi is still grouping herself in with the rest of Zaun. But there is a level of self-hatred (and hatred for one's home) that we don't see in Viktor. Viktor doesn't see himself as lesser than those in Piltover. He doesn't see the Zaunites as lesser than those in Piltover. Vi, however, does. She states this as if it is a fact. And while she loved her family, and has parts of Zaun that she likes (e.g. Jericho's food), it's worth noting that at the end of season 1 episode 1, she isn't telling Powder that they'll liberate Zaun, or fight for Zaun, or anything like that. Instead?

"This city's gonna respect us." This city. Not our city. Here is the first moment we see in which Vi puts some separation between herself and the rest of Zaun. She wants to make them respect her (and Powder). Even if she's less than those in Piltover, she still sees an opportunity for herself to be above those in Zaun.

All of this is to say that, when she has no reaction to Caitlyn calling Zaunites "animals", when she refers to them as "they," when she refers to Zaun as "their terms" . . . ultimately, it isn't too surprising. Vi represents a type of person who does exist in marginalized groups: the self-hating type, who hate others in their group for "drawing aggression" or "negative attention."

Think about queer people, for instance, who hate those who are flamboyant or open about who they are and who they love. The ones who think, "If we just assimilate more, be less of a bother, be less obnoxious, then the queerphobes will accept us." Obviously, other queer people find this type of person extremely frustrating, sometimes even infuriating, because we know that it doesn't matter what we do or how we act; bigots will never accept us.

But what we should understand, and extend compassion for, is that self-hating marginalized people are that way because it's a defense mechanism -- a survival mechanism, really. They can't square why bigots hate them, so they reach for any kind of explanation they can find, even if that explanation ultimately blames others in their own group and does more harm than good. Not to mention that hating yourself for who you are is often a result of long-term, systemic abuse -- the exact same kind of abuse that comes from living under an oppressive regime that murdered your parents and will assault you at any given opportunity, even for something as petty as your little sister miming shooting them with finger guns.

Vi says that she, "grew up knowing [she] was less than them." This is extraordinarily damaging to the psyche, and Vi's self-hatred -- and the extension of that hatred toward Zaun, not wanting to save them but wanting to make them respect her -- is a trauma response to that. One that Viktor, obviously, doesn't share (and neither does Ekko, or Jinx) -- but everyone reacts to trauma differently.

The point is, we saw shades of this already in Vi's childhood; her statement that she's less than topsiders, but that she wants those in the undercity to respect her. So when Caitlyn calls the Zaunites animals, Vi doesn't flinch. She agrees. And she speaks of them as separate from her, because Caitlyn has already designated her as one of the good ones (reinforced to her by what Maddie told her Caitlyn said right before the memorial), and because, well, those who attacked the memorial did do something horrible. And maybe if they wouldn't do that, and maybe if Jinx hadn't blown up the council building -- maybe if they were better behaved -- then the enforcers wouldn't have to invade and do what they were about to do, now would they? Those in Zaun -- or at least those in Zaun who decided to strike against Piltover -- brought it on themselves, so Vi isn't with them. She's with Caitlyn, and is okay with referring to them as animals.

It's interesting to think about.

[glitter-stained]

Agreed! And personally when I say he should mess up, he should mess up greatly. This is probably because I'm starved for representation of abuse that doesn't portraits abusers as monsters evidently evil and full of ill intent, but I'm totally down for abusive Bruce Wayne. Yeah, sure, have the literal Batman berate and psychologically abuse his kids, neglect to address super important stuff in their background only for it to blow up in your face when they're confronted with it on the field, I'm even down for him to hurt his kids! As long as the narrative doesn't agree with it.

The thing is, with the narrative (and some takes from some very hardcore fans) is "this isn't actually abuse because you're missing key context". And then you look up and the context can be super complicated, with a whole lot of intense stuff going on, and it can be a very good explanation for what is happening, and it is still abuse. I think the issue is with the portrayal we usually have of it we see "abusive" as a personality trait, something really bad people do. It's safe, and comfortable, and it allows us to feel comfortable in our knowledge that because we're trying our best, we couldn't possibly accidentally become abusive. And on that ground, it's perfectly valid to refuse your childhood hero being some terrible monster who hits his kids! But the thing is, abuse isn't a personality trait, it's an action, and actions are extremely context dependent. If you're in an extremely high emotional situation, and trying to handle three different crises at once, and your child is being intrusive while you just need some space and you're mental ill and having an episode and you hit your child -that is still physical abuse. (And yeah, you can also abuse your adult children). And that means you have to acknowledge that it was abuse and it hurt them and you shouldn't have done it. What that doesn't mean is you have to define yourself as a horrible person and a failed parent.

The danger resides in two complementary courses of thinking that follow from these ideas :

1. abusers are awful and terrible. + i hurt my child, doing something that follows usual definitions of child abuse. + I know that there was a lot of context going on and I feel like it's not fair to define myself just based on that action while ignoring the context = I don't fit my conception of an abusive person because of the context = the context means that I wasn't abusive = the context justifies taking actions that would be usually characterized as abusive => chronicization of abuse.

2. abusers are awful and terrible. + my parent hurt me doing something that follows usual definitions of child abuse + I know that there was a lot of context going on and I feel like it's not fair to define my parent, whomst I love and consider good, just based on that action while ignoring the context = they don't fit my characterization of abusive parents because of the context = the context means they weren't abusive = the context justifies actions that would otherwise be characterized as abusive = I wasn't actually abused = child doesn't speak up /avoids potential help/remains in the unsafe situation.

These are called justificative thoughts! And of course, we get similar thoughts in bystanders who know there's a lot of context going on, know the abuser personally etc. (They also work with intimate partner violence and even murder!) Examples include the all time famous "but he loves me!", "it's not what it looks like, she was only trying to keep me safe", "but what if I'm not stern enough and he grows up and become a criminal? He'll get hurt worse in prison, I'm protecting him!" "He can't possibly be an abuser, he's so kind! He was so sweet when he supported me after my mother died!"

The thing with the "you know I'm only doing this to protect you" line is we often know it as a very vicious manipulation technique. But it's not always the case! It's not necessarily a lie. Punitive abuse isn't (necessarily) practiced for the pleasure of hurting the child, it's a parent trying to raise their child and believing that this is the best way to teach them. That's why it's so important to acknowledge that good intentions in abuse exist and they don't justify it! Whether or not someone is lying to you, manipulating you or not when telling you this isn't what matters most: it's that right now, they feel hurting you is an acceptable way to get to that result, and it's still abusive, and you don't have to accept it just because they mean well.

So yeah, I'm pissed off when dc does exactly that, brushes Bruce being abusive aside and justifies it time and time again instead of addressing the abuse. I think the reason I personally want abusive Batman rather than a huge retcon is that a hero, someone who does so much good and tries and fights so hard to protect what he loves, someone like that failing so bad at parenting and then learning and becoming better, would have been revolutionary growing up. Still would be today, honestly. We need to humanize abuse, because we're gonna feel empathy towards abusers whether we like it or not and we have to choose if we avoid the discomfort it causes by using that empathy to justify not acknowledging the abuse, or treat abusers as human people that are capable of learning, that are sensitive to context (internal and external) and that can be, on many other fronts, perfectly good people. Instead, dc feeds us heaps of justificative thoughts like it's their personal mission because THEY have the same thoughts and don't want to contend with batman being "a dirty evil abuser" but they also love their edginess and shock value too much to stop writing conflict the only way they know how. And like, I know they're not gonna address it the way I want them to but then at least stop doing it- straight up stop portraying batman as abusive and justifying past abusive actions - and bury it under enough new, better batman/batfam stories that we can put this behind us as some kind of "edgy batman dark age". At this point that's all I'm asking, my expectations are so low but come on. I'm so tired.

The thing is that DC’s consistent choice to have Jason Todd blame himself for his own murder comes across less as maturity (the intent) and more like his self-esteem is so far down the toilet it’s been filtered through the Gotham water treatment facility and is currently being sprayed over Wayne Manor’s lawn.

[welcometohellfilm]

Congrats to everyone who has been working on W2H2! 🎉 If it's alright, I'd like to ask to ask 2 questions:

Is there by chance an official ref of colors for Debbie, or is it still up to interpretation at the moment?

Would you say that your personal, real life experiences within the 10 years moving from W2H to W2H2 shifted the tone/story of the series in some way? Something that I've always been fascinated with when I started looking more into W2H was the shift in Sock's character from the original comic -> first film -> second film, and Jonathan's character from the first film -> second film.

Thank you! ✨

I actually just made some 'official'-ish colors for Debbie! Her voice actor Kaitlyn wanted something to use on a banner for conventions haha... so here you go!

2. I'm not really sure how to answer this one, haha. I mean I've definitely changed as a person over the course of making each iteration of W2H. I started the comic while I was at community college, before I went to art school. I adapted it into an animation for my graduation project. And I started W2H2 a couple years after I graduated college. So there's a good 2-3 years between each attempt at W2H I've done, haha. I think a lot of my original ideas from the comic had to change because it needed to be condensed into a short film. I didn't even GET to Jonathan yet in the comic! Some things just didn't make sense to me anymore, like the idea of Sock already having a human body count. It'd just be absurd for him to be able to hide it for so long! Plus, if I made it so that Sock has only ever entertained the idea of murder, it makes his new job that much more appealing-- it's a chance for him to really lean in to this thing he's always had to hide. Between the first and second films though, I mean... I think there's been some tonal shift, for sure (I don't know about a character shift? We'll get to that haha) But basically, when I was first thinking about W2H2, my idea was "Sock and Jonathan hang out and attempt to figure out touch physics, also there's some drama about a journal Jonathan keeps." All of the hell stuff is something that came from bouncing ideas around with my friends, Michael and Neil. I was worried that sending Jonathan to hell would be too bonkers for a "2nd episode", but we all kinda agreed that enough time had passed that the fans would probably enjoy something higher stakes, so it would be fine. (I'll give everyone a moment to realize this conversation would've been happening in 2015-16... ha.)

We also kind of thought, y'know... I have no idea how many more of these there's even gonna' be, so why not go a little bigger with this one? W2H2 is a higher stakes story than what I set out to make in the beginning, that's for sure. It is interesting to compare all of them.. the employee handbook was actually from the comic and I cut that because it wasn't helpful for W2H... but then it became helpful for W2H2, so it came back! Haha. I'm curious to know in what ways people think the characters have changed though. (And is that a good thing or a bad thing?) Especially a character like Jonathan, no one's really even seen that much of him yet, I think most of the characterization comes from fandom, or like... art I've drawn, I guess? Haha... I'm not sure! I guess Sock's a little more confident and antagonistic in this one (though he'll have his moments of hesitation... we're only at Part 1 right now!), and Jonathan has had to become a more vocal/active character, just by nature of the kind of story it is, I suppose. But yeah, I'm not sure! Happy to hear your guys' thoughts though!

[badasscoffeemug]

okay, so, i tried to pull as many interviews as i could to see if i could parse what the original plan for bucktommy was (or if there even was any), and subsequently, if there had been a pivot of any kind. now, we are not privy to any bts talk, and storylines are never set in stone, even from when they've been teased or promoted (henchim friction? hello?) but interviews are really all we have to go off of. so, idk, i compiled some quotes, all bolded emphasis is mine.

i kinda got the impression that it really was supposed to be a 4-episode arc for tommy, after which he would gracefully bow out and leave buck a newly realized single bisexual. for some reason, that changed and they chose to keep him around and extend that storyline (gelled rather well in the story? opening the door for potential future storylines?). except then they had them break up anyway, leaving buck in much the same place he would have been had they called it quits in 7x06, only much more heartbroken (essentially wasting over half a season's worth of buck storyline, except he's sadder now, i guess). but, judge for yourself.

march 28, 2024, TM: Showrunner Tim Minear also teased future episodes for Tommy. “He’s going to be around for a little bit. He’s not going to be a member of the 118 again, but he is going to be involved in some stories.”

april 4, 2024, TM: “I was kind of bored with the hamster wheel of the relationships [Buck] had been in. His story needed a slap. It needed some something fresh. This felt like it could be important to some people, and it felt like it was right for the character.”

OS: “I’ve always had in my head that I wanted a partner for Buck to be someone where it wasn’t easy”

TM: “That’s what I like about this. He’s not siloed off into some love interest story with a character who has nothing to do with the main characters.”

Minear noted that Tommy is currently an important romantic partner for Buck, largely because “it’s sort of the entry-level relationship.” Yet at the same time, he noted that he doesn’t think “anybody’s making wedding plans.”

“It really is a first fling for Buck right now. What that might amount to, only time can tell. But what I’m interested in is not something that’s fraught. I’m interested in something that’s tender and positive”

april 4, 2024, OS: “The focus was on it being important, but also not wanting it to feel like the bravest episode in television. We just wanted to tell a lighthearted love story that happens to be a queer love story.”

april 5, 2024, TM: “[what] I don't want to do is the mistake that I think we've made with some of the other love interests, which is siloing those characters off into their love life and they have no kind of organic connection to the rest of the characters in the story. [...] Going with Tommy allowed us to start to play a story without just inventing a whole new character just for the purpose of being the bi character or the gay character or the male love interest for Buck.”

april 12, 2024, TM: “that moment at the end of the episode where he sits down with Tommy and says, “You said I wasn’t ready. I don’t know what I’m ready for, but I’m ready for something. I’m just sure what that is yet.” But he feels safe with Tommy. So even though he doesn’t know exactly what road he’s stepping onto, he’s willing to roll the dice.”

april 12, 2024, LFJ: "So, it happens in phases. My manager said 9-1-1 called, and I was like, 'Cool.' And then he is like, 'All right, well, they called for an arc.' And I'm like, 'Four episodes? Cool.'

"Given the circumstances, we just kissed. There's something there. We go on a date, and then Eddie happens to show up because there's only one restaurant, I guess, in L.A., and I would totally understand if he was nervous and whatnot." (this quote has nothing to do with my point really i just think it's so fucking funny. this entire interview is so messy.)

"I have no idea," he explained when asked what the future could hold for the duo. "If the writers do choose to extend this storyline and make it into its own thing [...] I'm just as excited as you are to find out."

april 12, 2024, OS: "I just hope he continues down that path and I think we will see him opening up more and more, and being louder and prouder about it. I want to tell real stories where not everything is going to be straightforward, but I don’t want the angst or the trauma to be in these kind of negative troupes that we’ve seen before. I want them to have real world problems that couples or people who are first dating have, but I don’t want it to be rooted in outside people being homophobic or anything like that. Those are stories we have seen and we’ve told, and sure, of course, happen in the real world, but I want to tell a happy story between these people and a real story. They have issues and they have things to deal with, but I just want them to be real world, everyday relationship issues."

april 18, 2024, OS: "we want to tell it in an honest way where not everything is going to be easy and carefree. There are going to be issues, but we also don't want it to feel like it's down or too heavy. We want to tell this queer love story in a very honest way, but also in a very loving way."

"Tarlos is a beautiful relationship," Stark says. "I'm just honored to get to tell a story that can kind of partner up with that and maybe continue with a similar thread."

"I really want to see Buck continue to explore what it is that really speaks to him, and what he's into," Stark says. "He's obviously going to continue down this path with Tommy for now. I don't know what that story is going to end up being, but I would really like for Tommy to stay a part of Buck's life, regardless. He's obviously opened this door for him, and I think it would be really nice if [Tommy] was able to continue to hold [Buck's] hand and could help guide him through this process. As somebody who's a little older and more experienced, to kind of help shepherd Buck into this new phase of understanding who he is."

april 23, 2024, OS: “I really enjoy [Lou]. I really enjoy working with him. I think he’s been a great addition to the show, and I look forward to — assuming Tommy sticks around for a while — continuing to develop that relationship with him on-screen and off-screen.”

may 2, 2024, JLH: "I’m really excited for Buck, because I think he’s a person that has never quite settled into who he is. And if this is who he is, it’s beautiful,” Hewitt said. “I was so happy Maddie felt that way, because that’s how I would feel. And I’m really happy that she’s there for him. In Season 8, the actor hopes Maddie gets to “understand what all that means, be in that with [Buck], and get to know Tommy better.”

may 3, 2024, KC: “I think it was the brilliance of [co-creator] Tim [Minear]. Even introducing the storyline of Buck and Tommy, he said, "I don't want it to be this very special episode of 9-1-1. I'm going to make this a f---ing romantic comedy, man. You won't see it coming. It'll come out of left field." And I think that's the same thing he did with the revelation. There's no sit down, there's no big discussion or talk about it. It's what it would be. This guy has found love fina…. Well, I think love finally.”

may 3, 2024, KC: "When I heard about the storyline, I was super excited. And on a selfish note, I'm really happy because they brought Lou Ferrigno Jr. back. We've become really good friends, as he was in "Hen Begins," "Bobby Begins Again," and of course "Chimney Begins," and we formed a tight personal bond. I think he's a terrific actor, and I think this new dynamic brings this newfound energy into that storyline and into the show, and I'm excited to see how it blossoms."

not dated? post-7x06, KC: “It’s one of my favorite scenes,” Choi says. “It’s a reveal for most of the characters that Buck has found a love interest he’s actually interested in. It’s adorable, it’s cute, it’s perfect, and the audience is going to love it.”

OS: Stark likens Buck’s journey to “a hamster wheel”: “He’s been taking one step forward and two steps back, as is quite typical of being in your late 20s and early 30s, trying to find yourself,” the actor explains. “As we’ve moved into this seventh season, he’s found a way to really discover who he wants to be.”

july 8, 2024: 7x09 deleted scene released

september 9, 2024, TM: “They’re still getting to know each other a little better”

september 11, 2024, TM: Minear says not much time has passed between the events of the season 7 finale and the season 8 premiere, so there haven't been many developments in Buck and Tommy's relationship. "But we see that they're more comfortable together," he explains. "We'd definitely call them a couple. Obviously they're comfortable hanging out with Eddie, but when you couple with somebody, it takes up some of your time, so that also leaves Eddie a little bit out in the cold. Well, not out in the cold, but Buck doesn't have as much free time as he did before, let's put it that way." (yeah so, this barely happened?)

september 20, 2024, OS: “We don’t really have too much of a time jump moving into this season, so the relationship with Tommy is much where it was left off,” explains Stark. “It is in its early stages. They’re still learning and figuring things out about each other and what a relationship might or could look like.”

[ennn]

Unpacking the Deals of Ep 8: Why and What They Mean

So episode 8 is... let's say a bit of a mess. I know there's some confusion around why Agatha proposes her terms for the first deal, why Rio flipped into cackling villain mode, why Rio makes another deal, etc.

Here's my read that hopefully helps draw a line from point A to B to C.

Let's consider the context of the first deal: Agatha's not having a good day. Two coven members who Agatha never expected to care about have died trying to protect her – a thing that has never happened before. And Death happens to be a person she can blame.

Death, who is pressing on that bruise ("Your coven is shrinking") and making her shitty day worse because she wants the kid Agatha is hardcore projecting on (and also didn't plan to care about) to die. Just like Nicky.

But Agatha then realises she has leverage on Rio. For the first time in forever, she has an advantage she can exploit. She can be in control.

And it's almost instinctive for Agatha at this point: finding the best buttons to push, the best terms for her given the opportunity.

Agatha: If I deliver Billy, you let me go. Rio: You will eventually die, Agatha. Agatha: But I want you to stop pursuing me. I want you to stop making my life hell. And when I die, a long, long, long, long, long time from now, I don't want to see your face. Rio: ... Okay.

The terms that Agatha sets out seem cruel because they are. She says what she does because she wants it to hurt. Agatha's not only rejecting Rio's continued presence in her life, she's denying all the love that Rio's given her, building on what she's said before ("You gave me nothing.")

From Rio's POV, Agatha's cutting words aside, this entire deal sucks. Because the options are:

(a) Agatha doesn't hold up her end, which Rio knows might happen: Rio knows Agatha cares about Billy ("I know how you feel about him"). Rio's constantly reminding her he's not Nicky. She was already doubting Agatha would deliver her usual number of corpses. She saw how affected Agatha was after Alice's death.

If Agatha doesn't help, she'd be choosing a boy over everything Rio's done again – and this time another woman's.

And if Rio somehow manages to take Billy anyway, Agatha will end up hating her twice forever.

(b) Agatha does hold up her end, which might also happen: Rio knows Agatha's manipulative and smart and capable. More than that, she's well aware Agatha hates her. That Agatha still doesn't see what she's done for her ("No one in history has had special treatment like you").

That she knows Agatha does care about Billy but maybe hates her so much that she's willing to go through with this to cut her out from her life. Billy would be a dear price but one Agatha's maybe willing to pay.

Even if it was a 50:50 chance for these options, I think Rio realises her relationship with Agatha is doomed either way.

Either way she does her job, with or without Agatha's help, she's going to be rejected and lose. One's just a slower path than the other.

I think that's why Rio gives in to her rage and bitterness and spite. Agatha thinks Rio's been making her life hell? She'll show her hell.

And Agatha, well I think there's some merit to the thinking that she didn't expect Rio to fold that quickly and completely.

Now for the context of the second deal, it's not clear whether Rio knows what happened with Tommy. I assume Rio doesn't – not yet anyway – as she doesn't mention it at all and seems focused on squaring that one life Billy stole.

Now here's where it gets a little squirrely, to borrow Schaeffer's language. Because if you don't look too closely, it seems to make sense: Billy stole a life so to maintain the natural balance, Rio needs to take a life, the one Billy has now.

But how does Agatha's life work as a substitute for this imbalance (“This means you’re coming with me”)? Would any other person’s life work? Could Rio have swapped someone else's life to save Nicky then? Agatha would have been all too happy to arrange for that murder.

I doubt the show is ever going to explain this so I offer few possible theories to deal with this weirdness:

Billy Maximoff is a product of chaos magic, so his existence and everything he affects already throws off the natural order, just to different orders of magnitude. Agatha’s life works as a substitute because his life is now intertwined with hers e.g. his hex probably saved her life from the Salem Seven and has the potential for greater imbalance

Rio is aware of Agatha’s tendency towards chaos and defiance of the natural order. Rio bent the rules of the universe only for Agatha. Taking her life would protect the balance in the larger scheme of things – if only so Rio won’t be further tempted to give her special treatment.

When Rio’s torturing Agatha it’s before she presents the second deal. So she’s still intending to go after Billy, she’s just removing Agatha as an obstacle while lashing out in rage and heartbreak.

In this moment Rio probably thinks Billy's in the wind. She saw how upset Billy was with Agatha at the end of episode 5. And Rio knows the reputation Agatha keeps ("Why do you let them believe those things about you?"), Rio probably thinks Agatha deliberately drove him off to keep him safe.

Then Billy pops up and Rio sees that Billy and Agatha care about each other and they're both aware they care about each other.

Fuckin’ great. Rio's not bitter at all.

Looks like you two are finally on the same page. So I'll let you decide. One of you stays with me. The other walks free.

Agatha proposed a deal designed to hurt her? Now it’s her turn.

From Rio's POV, I think here are the possible outcomes:

(a) Agatha sacrifices herself for Billy: Not impossible I think. Rio knows Agatha cares about the boy but she also knows Agatha will do anything to survive. She thinks she's above death. But again, I think Rio also knows Agatha would have sacrificed herself for Nicky if she had that choice.

What did Lorna want from the Road? To save her daughter.

This isn't an ideal outcome for Rio but she’s already resigned herself to losing Agatha I think, one way or another. This way if Agatha wants Billy to live so badly, this is the price she has to pay. The high cost of living.

(b) Billy steps up and sacrifices himself: Very possible given that Billy’s a young heroic sort and already showed up, risking his life to power up Agatha. Rio gets to do her job. Agatha will probably hate her more given the Nicky trauma but Rio’s already resigned to this on some level already, which is why she's raging.

Either way Agatha's going to hurt, and Rio's going to hurt.

It's interesting that when Billy does volunteer himself and Agatha seizes the opportunity to remind Rio of their earlier deal, Rio just shakes her head and looks amused.

You can also see for a brief moment Agatha looking almost remorseful about doing this before slipping her theatrical villainous mask on, overcompensating for her true feelings.

Do you remember pain? It kinda tickles doesn't it?

By the letter (not the spirit or intent) of the first deal, Agatha did ultimately fulfil her part:

I can arrange that. I can get him to the finish line and deliver him to you.

This is an opportunity that's almost impossible to resist for someone as calculating and ruthless and selfish like Agatha. She has power (chaos magic no less), she can have Rio leave her alone forever (she knows Rio honours her word), she knows Billy cares about her but can she really trust him?

But Agatha ultimately decides to take a risk. A calculated one sure, but still a risk.

I think the beauty in the kiss and her sacrifice is how – despite her calculating the odds – Agatha is choosing to give in to what she feels and wants in that moment.

Because she does want to protect the boy in a way no one did for her when she was young. She wants to save Billy like she couldn't with Nicky. And she does want Rio so much despite everything that's happened.

[theallyandhisbeast]

About bucktommy and 911 in general

You know, in the end, this just feels extremely cheap and cruel.

Showing bucktommy be incandescently happy in all the episodes but 8.6? Even in this ep you can feel how much they care and genuinely love each other. Audience was largely optimistic and excited about them, in a way we have never seen for other buck's LI.

Only to what? Throw it all away because you can't be bothered to write a satisfactory arc for them? Because Buck is the epitome of the guy who dates a lot but always gets broken up with? That to be able to decide if you want to be in a committed relationship if you are bi you have to explore first or else your decision is null and void?

What a way to waste potential and your characters arc.

The special thing about Tommy was that he was beloved by not only bucktommy fans, but GA, and most importantly he was a sort of representation we don't see all that much in media. People loved him because they saw themselves in him, they could connect to his journey and they were genuinely rooting for him to find love and family with Buck. To waste it all away, and to do so by basically throw at us all that we loved about them is unnecessarily cruel.

What hurts the most is that even buck and tommy themselves didn't want to break up. but instead they "must" because bowing down to harmful stereotypes about bi people who are "confused and so they must experiment before settling" is more important than telling a compelling story.

Even without bt break up, I feel like this season took a sharp dive for the worst about well thought storylines in a way that baffles him. Gerrard was reduced to a joke, as was Ortiz, both pgs that could have been used to create compelling arcs that intertwined the 118 even more but instead we got this cheap throwaway joke of a Gerrard, Ortiz was basically throw out of office in a single ep. Hotshot sl could have been fun but instead it's just.... there. And coming back too just for funsies, cause apparently that sl was more important to develop instead of a interesting queer relationship.

Athena once again doing copaganda. Bobby coming back to the 118 without any particular struggle or even guilt about dropping the bag. Things said in interviews that we expect to happen and never even made it to the screen (Eddie's loneliness? Chim and Hen having conflict over Mara? Buck feeling guilty about injuring Gerrard?).

The way Maddie cannot have any sl that is not either tied to a man or about motherhood. Madney having another surprise baby instead of them choosing on purpose to expand their family. Hen & Karen gaining trauma after trauma about their children and not having any other sl that is not tied to that. Josh just existing in the periphery and only becoming important as the "insightful token gay" but not having any type of meaningful screen time since Carson.

The other side characters like Sue, Ravi, Linda, Carla completely disappearing without anyone mentioning them. Ravi has not been given any important sl ever since he talked about having cancer and ever since reduced as a comic relief without anything to add to his character but he's a "landlord".

Chris is out of the picture for who knows how long, and is basically kept around to be traumatized over and over again. Eddie hasn't gotten any character development until first s5 and seemingly now, but i'd argue that the whole thing just felt rushed because what do you mean it takes one chat with a priest for him to do a 180° while he still isn't talking to Chris? And Eddie was the one who got the best treatment of all of them this season.

It's the way this show is slowly chipping itself away. It's the way they start a queer story line promising it would be impactful and handled with care and then half-assing it a best. It's the way the other queer characters are never explored and able to breath and revel in their queerness in the first place. Because, really, when was the last time Hen and Karen kissed on screen? When was the last time they went on a date? When was the last time their arcs were not about children or getting hurt, but just about them as individuals? And on this thread what about Maddie? Or Josh? Or Chim? Or Eddie?

Everything feels reused again and again and again without no real development than then starting the circle all over in half a season.

What a waste.

[spectres-fulcrum]

I have a theory

Okay, I think something spooked Tommy in the loft scene and I think that's part of why he ended it so suddenly. Like how they did it was cruel, but I think I see what ended up spooking him. It was how Buck was speaking to him. Buck wasn't speaking to him like Evan, like his boyfriend, he was speaking like a baby queer in awe of what people like Tommy-older queers from a harder time period.

Like he was talking about how he admires how comfortable Tommy is in his skin because he wasn't always confident in his sexuality. And he specifically says they would have the right to get married "thanks to the brave people that came before, including you."

Like it's good to admire a partner, but as someone who has had a huge crush on a professor, putting a love interest on a pedestal is not... Good. It ends in you in a million pieces on the ground questioning everything that happened because as it happened you didn't see it as it truly happened because he was so far above you and you never saw him as anything but on that pedestal. Sorry that's unrelated but personal.

And that's not what Buck feels, but it's kinda how Buck sounded. In awe of what Tommy has gone through, the storms he weathered. In a baby queer way, not a partner way. And Josh and his speech is 100% at fault for it.

And then Tommy. Who has dated baby queers who didn't love him, but was in awe of his bravery. And then left him bereft and went on to date men they actually loved. It might have happened so many times.

So when Evan starts the same old speech of admiration and people that came before him, he knows this ends exactly the way it was always going to.

Buck realizing this was just awe, his first. And he gets spooked. Because he's actually invested this time.

So he runs. And they could for sure rebound from this but we know as of the airing of the episode they don't intent to.

(I fully believe I just gave this more thought Tim Minear/Oliver Stark did btw)

EDIT: And maybe he doesn't think he's worthy of that awe??? Maybe that's part of it. That's not a huge part of it but a side thought.

[nyc-pizza-rat]

saw @bloodydeanwinchester's tags on this post so

*TW: SUICIDE IDEATION TYPICALLY DISCUSSED IN RELATION TO THIS EPISODE PLS TAKE CARE OF YOURSELVES*

dean's always hated being stabbed. god, he'd have taken a bullet to his head over this any day. what's one last thing that doesn't go his way, he thinks.

it's uncomfortable, is the thing. the hurt, he'll take it. it's nothing he doesn't deserve, nothing he hasn't had before. but the feeling of metal slicing your innards, it's a bitch of a thing. you can never get used to it.

Atleast, he thinks, Sam's here. Atleast, he's able to say goodbye. Atleast he's not alone.

His nerves are all alight, pain painting him bright from the inside, but dean can feel the finality of this burst. it's all too fast and too slow, all at once. dean thinks about being four and the sharp sunlight waking him in his room, his sheets with hot wheels on them. he thinks about baby's headlights shining through thin motel curtains. thinks about....about angels and gods and all that blue light behind his own eyes. he thinks if this is how.. how cas felt, when dean had been stupid and cowardly , when he'd let Lucifer get to him, that night in Washington. he wonders if his soul feels like this too, all sharp angels and live current. he wonders what cas ever saw in him, why he ever tried to save him, even in hell. wishes he could see him, one last time. that wouldn't have been all that terrible.

Still, he thinks. Sam's here. Sam's here. Sam's okay.

he jolts into himself, and realizes that he's been talking, that he's been saying something to sam. he doesn't even know. dean is unraveling. he can feel his body emptying, the slickness of blood at his back.

he grabs at his brother, fists a hand in his chest. Sam's face is twisted in sorrow. Fuck. I love you, little guy, he thinks. then, fuck, don't let me go. i don't want to go. shit's never happened the way he wanted it to, but this is something else. Atleast. well, atleast he's gonna end up in the empty. that's what Billie promised him, right? Atleast he'll be with cas.

Still, Still. he's only human, and he's drowning in his own blood, can smell it, can taste it, it's everywhere, it's —

"I need you to.... to tell me... that it's okay," he says, and his voice comes out trembling, panicked. terrified. God. "I need you to tell me that it's okay."

his brother turns away from him, and dean can't hear him over the ringing in his ears, but he knows the stubborn bastard, the way his shoulders lift. God. God. Cas.

"Look at me," he pleads. "I need... I need..." he can't breathe. god, he can't breathe. "Please, Sam. I need you to tell me that it's okay."

Sam's face swims to the front of his line of sight, all warped like it's on the other side of a fishbowl. dean clutches at his brother harder. tries to, anyway. he's so tired. he's so fucking tired.

his fingers slip.

Something warm, and sam holds him in place.

"Dean...," and in another world, dean would've made fun of the blubbering mess he's become. would've teased him for caring so much about his stupid older brother. "it's okay. It's okay. i— I got you."

it's crazy, dean thinks, that it helps. the tone of his brother's voice. his face, even warped and cracking open with grief. dean raised this kid, and it was a bitch of a job, and man, did he hate it at times, but look at sam now. he did good. he did so good. he did —

dean goes under like he's being put to sleep. almost easy, almost soft. Thanks, he thinks, the last coherent thought in his head. Thanks, kid.

~

He wakes up on a road. The sun shines down bright like it's the start of summer, and there's this pleasant warmth in the air. the world around him is golden, stretching into the horizon on flat land where it meets the brown mounds of the black hills. dean blinks up at the mountains, a strange chill crawling down his spine.

"You're here early," a familiar voice says, and dean turns to find himself standing in front of Bobby's porch. light's drenched this whole place, too, making the wood panelling look blond. Bobby's fucking smiling. Shit. Shit.

dean's starting to feel disoriented, almost.

"And what's 'here' supposed to be, exactly?"

Bobby frowns, his smile slipping. he looks at dean like he's a right fool. "Heaven, dean," he says. "where else'd you think you'd go?"

dean thought.... Fuck. there's a strange emptiness pushing at the inside of dean's skin. he feels like he's been put together upside down. Billie.... Billie....

Billie's in the empty, and fuck. maybe grudges don't get passed down to the new death. fuck. fuck.

Dean stumbles to the porch steps, crumples on them when he can't go further. Absently, he's aware of Bobby moving behind him, the creaking of his rocking chair, his footsteps on the wood.

he stares out at the grass, the outline of the mountains, the clear blue sky. it's beautiful. it's nothing. it's empty. fuck. fuck. what the hell is dean supposed to do now. without — what the hell is he supposed to do?!

Bobby's hand is warm on his shoulder. dean feels small, the way he leans into it, the way he kinda wants to cry.

"what's wrong, dean?" Bobby asks, and his voice is all wrong , like he's tried to scrape the gruffness out of it and badly. dean could laugh. but. fuck. fuck.

why the hell is he here? why is he here?!

he swallows. shit's never really gone his way in life, so why would it in death? he swallows again. says, "i don't know, Bobby."

Me, he thinks. I'm what's wrong.

"i don't know."

[thenationofzaun]

Thoughts on Act 1 of Arcane Season 2

The positives:

- The animation is fucking incredible.

- Jinx and Sevika teaming up watered my crops and cleansed my skin.

- Underwater goodbye with Jinx and Silco. That scene was made specifically for me.

- Jinx's voice actress continues to be excellent.

- Loved the designs of all the Chembarons. The glimpse we got of the gang wars was also interesting. Unfortunately, too tiny a glimpse. Which brings me to...

The negatives:

- Too many plotlines. They stuffed the season with too much shit which is why each individual plot gets a much shorter screentime than it should. Smeech is introduced and killed in the same episode. Chembarons' gang wars, a huge issue which has repercussions on the entire Undercity, gets only one musical montage before moving on. And this is coming from someone who loved that montage, as well as the song. My favourite on the soundtrack so far. But musical montages shouldn't come at the expense of the story and definitely shouldn't replace the story. There are just way too many music video scenes in general that feel like a way to condense a storyline into the sparknotes version because they don't have the screentime to flesh it out. And they would have the screentime if they cut out all the extra stuffing. Look I'm happy for the League fans who are excited for the Black Rose and all that, but what the hell is it doing in a Piltover/Zaun show. And with zero foreshadowing in Season 1 too. It would definitely be easier to swallow if they had at least hinted at it in the first season. They could have kept Ambessa's beef with this magic cult for a Noxus show. The P/Z narrative has enough to deal with, enough characters to handle already.

- The new side characters are uninteresting and generic. Maddie and the two other enforcers (we don't even know their names after three episodes LMAO) are bland. We know nothing about their characters or personalities. Maddie looks like a rookie, and one of the dudes is an alcoholic, yet they get chosen for an elite strikeforce to capture Jinx? Isha is pretty generic too - the token cute kid that needs protecting. I get the role she will play in Jinx's arc. But that's the problem - she should be a character in her own right, not just a vehicle for someone else's character development. A good example is Mylo. He died for Jinx's arc, but when he was alive he was a distinct character with his own personality. We had a sense of his insecurities, his goals, who he was as a person. Name a single personality trait of Isha and Maddie other than "generically nice person". That's right. You can't.

- Whatever the hell is going on with Viktor. He wakes up from his coma and immediately rejects Jayce so quickly that it was funny. Apparently disapproves of Jayce using the Hexcore to save his life, but then immediately goes to use the Hexcore to save random Undercity people. Bruh. I also don't really like the way the fridged woman from last season seems to be his motivation so far. Nor the way he seems to have no agency in his Machine Herald arc. Instead of Viktor himself believing in transhumanism and mechanizing himself, Jayce does it for him. Instead of Viktor having an ideological drive and wanting a "Glorious Evolution", he is driven by guilt over Sky. Meh. Also he's not even mechanized, instead he's weirdly fleshy?? In a magical way?? More like The Magic Herald :(

- Vi. Her whole character is a mess. Insanely rushed arc which I find unacceptable for one of THE main characters and one of the faces of the show. She and Jinx are supposed to be the leads, their relationship the heart of the story, but so far only Jinx is a well-written fleshed out chaacter with a believable arc. I have too much to say about Vi so I'll expand more on this on another post.

- So much nuance and detail is missing. How does Heimerdinger feel about his ex-colleagues being killed? Does he care? Does he feel guilt? Relieved that he wasn't in the chamber when the bombing happened? No clue! Let's have comedy Mission Impossible instead! How does Ekko feel about the Council attack? Does he approve of it? Think Jinx went too far? How does he feel that she even survived their fight to begin with? No clue! Here, have him joking around with a Councilor for a bit (someone whom Ekko logically should despise), then he can talk Science with Jayce and all three get sent to another dimension together. Yay. What does Vi think happened to Ekko? The last time she saw him, he was fighting Jinx to the death to give Vi and Cait time to escape. He could be dead for all she knows and she doesn't give a fuck. Doesn't even think about him nor mention him once. It's like the writers forgot they're childhood friends. What does the entirety of Zaun make of Silco's death? I assume they heard about it from Piltover (who heard about it from Caitlyn), but how do they think it happened? His body is gone and to Zaun it seems he just mysteriously disappeared. Are there conspiracy theories? Conflicting accounts and rumours? So much nuance that would give the world and characters more depth, sacrificed so we can pack in more rushed subplots and music videos.

- Caitlyn "Wifebeater" Kiramman. And Caitvi in general. So far Caitlyn has guilt-tripped Vi, manipulated her into joining the enforcers, insulted her and then physically abused her. After Vi sacrificed everything for Cait, wore a badge she hates for Cait, even let Cait kill her own fucking sister (and only intervened when the random kid got involved). Why should I give a shit about such a one-sided relationship lmao. "B-but Cait's mom is dead so she's sad about it", every other fucking character in this show has dead parents. Half the cast has faced unfathomable amounts of trauma and pain that make Cait's pale in comparison. Nothing justifies her hitting Vi. "B-b-but it's a parallel to when Vi hit Powder", a shit parallel then. Because the circumstances are not even remotely comparable. "God forbid lesbians do anything🤪", give me a break with this corny bullshit. Be serious for a second. I'm not even a Vi fan and I think she deserves better than this mess of a relationship. The power dynamic between them makes it worse. The way Caitlyn is one of the richest people in the city and Vi is broke. The way Caitlyn is highly educated and Vi never went to school and spent her entire teen years locked in a box. Did the writers think about all this when writing their relationship? Keep in mind, Vi met Caitlyn like a week ago. She barely knows this chick. She's been out of prison FOR A WEEK. Where she was physically abused every fucking day. Putting her in a relationship with a cop who hits her would certainly be a choice! Do I have faith this show will handle it with care? Not really, no. They already ignore Vi's prison trauma. Most likely they will make Vi forgive Cait way too easily because "muh mummy muh grief".

[utilitycaster]

this may seem needlessly finicky but I do actually believe it's important: calling Verin a himbo is just one of many examples where like, one of the cast says something off the cuff and it's not exactly the right word or it is highly contextual, and that is fine because no one is perfect especially in improv, but then it gets repeated ad infinitum within the fandom when it never really fit in the first place. We have Verin's stats and he's decently more intelligent than average with a 13 (smarter than most of Bells Hells for one; as smart as Pike); it's just he's the guy with a bachelor's degree with good grades followed by military service in a family where everyone has two PhDs - Matt said "himbo of the family" the way in a family where most people are exceptionally tall you'd call the 5'11" child the short one. In Call of the Netherdeep he appears as thoughtful and competent and promoted to a difficult position at a very young age, and in the campaign his appearance is simultaneously as a leader of troops in a dangerous mission, and someone who cares enough about poetry from a completely foreign and distant culture to have tried to learn more about it. I'm sorry, but if you're using the word "himbo" I don't think you're processing a thing about the character yourself; you're just the latest repetition in a game of telephone that's been going on since mid-2021.

And that's not deeply bad on the surface, and I'm using Verin not because he is the character most wronged by this sort of thing but because he's recent and it's really clear where the word came from and that it's not a good assessment, but something I happen to have a decent knack for is pattern recognition in language. I usually find it really easy to pick up on when someone's plagiarized because of the language and pattern shifts. I tend to remember urls and out of place words well. So I do tend to notice when everyone suddenly starts using a single turn of phrase and I tend to flag it. Sometimes that's not bad; sometimes it means everyone came to a similar conclusion and that's the best way to express that conclusion. But like, when Taliesin called the Yios episode a gas-leak episode and the entire fandom started parroting it? The line "bone-dry takes"? The fact that a lot of ship defenses I see were phrased precisely as "I have eyes"? without actually talking about the ship itself? the fact that I've seen a spike in the use of the term "ontologically evil" including in myself and not all uses are actually correct? And extending this beyond strictly language but consider any headcanon with minimal textual support that catches like wildfire (sidebar: remember how we make, or made fun of the SPREAD THIS LIKE WILDFIRE tendency on Tumblr a decade ago? same concept of repetition of a specific turn of phrase without internalizing) all sort of ping this.

And it's fine, truly, to come to fandom and turn off your brain. I know this will sound sarcastic from me, and that's because I don't personally agree, but I do strongly agree that you can do what you want in fandom and you don't have to listen to my opinions so in the end, yeah, it's fine because I am not the arbiter of "fine". But I think critical thought is a vital exercise and I think precision with language is part of it and so if you find yourself using the same exact words and thoughts as everyone else, that should, ideally, trigger a process of "but are these the right words? what do I see when I see this character and how would I describe them? do I agree with this assessment?" Fandom is an interesting and easier microcosm than reality in which to start doing that.

[aristaspark]

Another JWCT season 2 Kenlynn analysis because I'm obsessed and I don't know if the writers are geniuses, or if I'm getting worked up over a whole lot of nothing 😂.

So, bear with me.

Kenji's arc in season 2 is clear from the first episode: he's throwing himself at danger because of the losses he's suffered. He's broken.

But in all that sadness, he has one last glimmer of hope: Bumpy's egg.

He's the one the most attached to it, even more so than Ben. After all these losses, it's the first sign of something good happening in his life. It's the contrary of death, a birth, "someone" new he can love.

During the entire season he's the most concerned with the egg, obsessed with getting it back, almost dying for it (more on that later).

Now flashfoward to episode 8: he discovers that Brooklynn is alive.

When he finds out, he's confused, hurt, mad, shook to his core (but props to the animators, for a split second...you can see that he is just... so happy).

"She's alive?"

But the hurt and feeling of betrayal is too hard for him to grasp, so he pushes all his feelings away. He knows it's not the time.

And what does he do in order to push away his feelings about Brooklynn?

He focuses on the egg, as we established the only thing in his life which isn't tarnished or hurtful. And he desperately needs it right now, now that his whole world is crumbling down even more. This shift in his priorities is shown when he says this:

"The eggs... Brooklynn took Bumpy's egg..."

At this point, Kenji's motivations are still unclear, but this line suggests that his main goal, the thing the most important to him at this moment is the same as it was at the beggining of the season, aka getting Bumpy's egg back... not getting to Brooklynn.

So when he goes berserk, driving like a madman, running as if his life depended on it to get to Brooklynn, of course we have the feeling that he wants to see her, but he's also running to achieve his objective, which has always been to take care of Bumpy's egg, and it just so happens that Brooklynn is the one obstacle to his goal.

We can see he's desperate, but it's left to interpretation as to exactly why.

Until he finally catches up to Brooklynn.

It's Brooklynn's hand he grabbs, not the case. The thing he wanted the most is in his direct reach, yet he grabbs her hand. In this moment, he completely forgets about the egg, not even sparing it a glance, not mentionning it even once.

"Brooklynn..."

All that matters to him is that the girl he loves is there, in front of him, which he thought would never happen again.

We finally have the confirmation that the reason he was so eager to run to that airport wasn't to get the egg back, but to see her. And not to get mad at her, no, just to... get her back.

And then, Brooklynn leaves.

She leaves them, but she leaves him. It's him she looks at the last, his grasp she frees herself from, him who utters her name afterward.

They're still at the center of the scene, and the scene is a direct call back to the break-up scene (also... their colors are matching, it's like not even a little subtle, which tells me there's a reason Brooklynn wore a dark blue shirt the entire season...which is SO NOT her color).

Notice how even there, it's Ben who remembers to ask Brooklynn to give them the egg.

"Wait! Bumpy's egg... it's in that case..."

It's SO FAR from being something Kenji can focus on right now, now that Brooklynn is in front of him.

We then find out that before boarding the plane, Brooklynn has given Kenji the egg. Not Ben (who was the one who asked for it), not Darius, but Kenji.

...And Kenji looks the most heart-broken he has ever looked.

He has just gotten his hands on what he thought he wanted the most, his ultimate goal this season, the very thing he threw himself into fire for, into an ocean beaten by the storm... and yet he's not even looking at it, his eyes instead watching the plane take off with Brooklynn inside.

He's gotten what he thought he wanted, but at what price?

It's not to diminish his link to Bumpy's egg. As I've shown, he risked his life countless times for it. But it just goes to show just how much Brooklynn matters to him. In that last scene, it's made clear that the thing he wanted the most, was for her to come back to them, to him. But she didn't, and gave him the egg to make up for it, as some sort of consolation price.

But it's not, and it will never be.

[aprillikesthings]

okay I know I've talked about it....multiple times...on other posts, but the timeline of Adora and Catra's interactions from s3 to s5 fucking kills me because like

so the portal happens, they're REALLY affectionate in that fake reality, then it falls apart and Catra is furious, blaming her for everything while corrupted, and Adora punches her

and I wonder how much they both thought about how flirty they were at first, in the portal reality? that the reason Catra was so furious was Adora forcing her to confront the fact that it's fake--that Catra wanted to stay in that reality longer.

like DO THEY BOTH THINK ABOUT THAT??? do they lie awake at night sometimes and think about it??? (well, past Catra's literal nightmares in which Adora asks her why she pulled the switch)

what is the story they've each told themselves about what happened in the portal reality, when they were so affectionate? "she didn't mean any of it"? cool, YOU still did.

I just imagine both of them thinking "well shit. I thought I'd gotten rid of all those feelings. eh, it was the portal. not me." BZZT. WRONG.

anyway. a few episodes into s4 is the next time they see each other, they don't even fight directly, Catra tries her old taunting-but-flirting thing and Adora refuses to engage.

and that's it.

for like. an entire season of the show. so about a year. A YEAR.

Catra ends up on the ship with Glimmer, they reminisce and we see Catra smiling while talking about Adora.

but the next time they even hear each other's voices is Catra over the comms saying she's sorry. and trying to save Adora's life. ;_;

[h50europe]

BUCK / TOMMY - HELL HATH NO FURY LIKE A FANDOM SCORNED!

I did some thinking. Never good, but my brain can't wrap around the breakup that came out of the left field.

Recently, it was announced that a spin-off of "9-1-1" is in the works. While no locations have been finalized, Hawaii and Las Vegas have been suggested as potential settings. The showrunner is already working on the project, with filming set to begin in March 2025.

However, one of my biggest fears has come true: the focus of the showrunners is being diverted from the current show to concentrate on this new spin-off. All the energy runs in the new project. Also, at this point, we don't know if the mothership will be renewed. Without an early renewal, we must wait until May for the announcement. That is another reason why they are focusing on the new show. I wonder if this is why the plots feel rushed and repetitive. It's nice to revisit the past, but not ad nauseam. 9-1-1 does it too often lately. What's the point in bringing back Gerard and turning him into the butt end of a joke? What's the point in digging out Abby's Tommy and hanging it around Tommy Kinard's neck when nothing was ever mentioned in the past. The focus is clearly not on the current show. It feels like Tim abandoned the ship to board a new one. It's fresh, it's crisp, it leaves room for a lot of things. Even if the breakup was meant as a shocker. If your focus is somewhere else, you don't see it. Right now, the mothership is leaking and starting to sink. If Tim keeps his focus on the new project and isn't invested in the current show, the lights will go out sooner rather than later.

Bringing in an established character was probably the biggest mistake Tim could have made if he wasn't meant to stick around. Bring in Mary Sue or Marty Stu to be a LI but not a character with a history that connects to so many people on the show. You can't sideline them forever. Especially as Buck's bi-arc was announced as something big. And it was big. A bit too big to be treated the way it was. The fanbase that had built around TEVAN, or BUCKTOMMY, within weeks, was massive. It drew so many members of the queer community into the show. Suddenly, many of them felt seen. Tommy and Buck were different from the other queer characters out there. Different from what was represented on any other show. People were willing to watch to get the slightest glimpse of them. Because they felt real. Their chemistry shot into the stratosphere.

And then you go and end it on such a horrible note? I don't care if the haters call Tommy a plot device. Everyone on the show is one at some point—even Christopher, Eddie, or anyone else from the main or recurrent cast, Karen, for instance, the Wilson kids. You name it. Tommy Kinard came, saw and conquered. So why not give him more room? They did it with Taylor (yes, I know JLH was pregnant then, but that's reason enough? I doubt it). As I said in my other long post, you could cut in a sequence of 5 minutes and show a summary of Tommy's and Buck's life.

Tim makes the same mistake as many showrunners do. Cramming a shitload of plots into 42 minutes of airtime. Is it really necessary to tell that many stories in such a short amount of time? That feels like speed dating. You blink, and you miss an important scene. Every episode, you jump from plot A to B to A to C to B. We didn't have this fast pacing in season 1 or 2. Stop it. Make Quality plots over quantity stuff.

In Tommy's voice: And for God's sake, clean up that mess you created with that shitty breakup, or the audience will wither away.

I'm sorry. I could write a book about what is happening in my head. You'd get Super Brownie points if you made it here.