#which is why forgiving Scott is such an important part of her character

[crystaljellie]

Scott and Pearl analysis moment

Because I’m sick and tired of people mischaracterising C!Scott he is not evil!! Pearl does not hate him!! She’s bitter sure but she doesn’t hate him.

Starting with them in last life Pearl and Scott always sticking by each other always being there for each other, I’ve seen so many “Scott was using Pearl” because he wanted a life from her. Like he’s trying to live?? It’s different from Grian stealing a life from Scar and then tormenting him and giving him nothing in return. Scott does his absolute best to protect Pearl protect their house and spend time with her.

He’s a good friend. And he’s absolutely heartbroken when she dies, because Scott knew she was going to but he didn’t want her to go before him. And he definitely keeps his cool because Scott isn’t the kind of guy to go if the rail easily, the way you can tell Scott is angry is by how reckless or determined he gets. In third life he’s distraught by Jimmy’s death and then rushes in and dies quickly because he doesn’t want to be alone. And in last life he kills Ren because he killed Pearl. He’s doing it to avenge her.

He’s glad when he wins but he’s not upset when he dies either. He’s annoyed that he didn’t get to choose his own death but. He celebrates winning because he doesn’t have to lose anybody else.

And so jump to double life and all of a sudden the person he loves so much and has gone out of his way to protect doesn’t even take the time to go looking for him, so you can see why he’s upset. And it’s the biggest miscommunication moment ever because Pearl is expecting to go back and have Scott waiting with open arms for her, and she can’t explain to him and doesn’t understand what she did wrong, which tbh is nothing but that doesn’t make the way Scott feels invalid either.

And then it kind of all goes to shit, Scott’s more snappy and on edge this season because he won the last one and ya know winners trauma. And he honestly doesn’t want to win again so when Cleo suggests tormenting Pearl (I think that’s how it happens I don’t remember it might have been scar with the snow buckets first) he’s all for it!! Because he’s hurting!!

And pearl on the other hand is left alone and has no idea what to do with herself, because sure she can handle being alone but she can’t handle being alone like this, where’s she’s forced into isolation, she’s going crazy because she feels like everyone she loves has left her, she’s mad at Scott and she’s more mad at Cleo because she feels like Cleo has stolen him from her. And so she lashes out because it’s all she knows how to do here, and in a death game what’s a better form of communication than violence?

But she doesn’t want Scott to die not because she wants to live but because she still cares even if she doesn’t want to care. She wants Scott to hurt because she’s hurting, but like Scott in last life she can’t bare to see him die before her.

She’s winning this to prove herself to be someone who doesn’t need Scott. But she still cares so much and she hates it, that’s why she spends the first couple sessions trying to win him back.

And Scott is with Cleo but he feels alone too, because Cleo’s relationship with Martyn isn’t as strained as his is with Pearl. And he knows it’s his fault, he does. That’s why he starts trying to sabotage other relationships, so he doesn’t have to feel as bad.

That’s why he’s careful to stay alive, so he can make it up to Pearl in some way.

He avoids everything he can that might make him face that guilt. But he’s hurt and is stuck with all the blame placed on him. Everyone KNOWS it’s Scott’s fault Pearl is the way she is. But no one but Cleo acknowledges this which makes Scott more bitter, and honestly he’s a little bit scared of Pearl not that he’ll admit that to anyone ever.

But him feeling this guilt is why he kills himself at the end that and because he’s scared of winning again. But he knows he doesn’t deserve getting to where he’s gotten to, and with his self sacrificial nature he’s trying to make it up to her. If she watches him hurt and hurt and die, maybe she’ll feel better.

AND SHE DOES FORGIVE HIM!!! NOT BECAUSE SHE LIKES SEEING HIM HURT!! SHE HATES THAT PART!! SHE FORGIVES HIM BECAUSE SHE CAN SEE HOW MUCH HE CARES! And obviously she’s still a little bit bitter because like who wouldn’t be. But she forgives him and she can see he’s trying that he feels awful about it, so awful that actually kills himself.

And you can see how double life effects both of them moving forward, mainly Scott, he’s scared of hurting anyone the way he hurt pearl, so he goes out of his way to let his friend and allies kill him over and over so he can be of use to them, because he’s realised that his life, lives can be used as currency as friendship as a way to get people not to hate him. He’s putting himself on sale.

He does it in secret life too giving up his lives his hearts his safety, just to be of use. He can’t even bring himself to really care when people betray him, because hey he betrayed Pearl worse right?

Pearl is so much more unhinged after double life too so much more reckless. Because why try and stay hinged when you’re going to loose everything anyways?

And coincidentally all of pearls allies start dying before her, and Everytime it happens she’s just reminded of double life, of that tower, of everything bad that ever happened. And because of that she can’t bring herself to forgive Scott yet. Because she doesn’t feel loved yet.

And then wild life comes, and they team together again, and yes it starts with some bickering and fighting but they needed to get that out they needed to bring it up so they can let it go.

Pearl has her own issues with Gem that season sure, but she gets something close to closure with Scott. Not proper closure, because they’re in a death game, they don’t have enough time they never will. But she gets a real end, and gets a chance at a real friendship with Scott again. She even gives him her hoodie when he turns red. They stick together they’re friends again.

Pearl doesn’t hate him!! He doesn’t belittle her!! I keep seeing “oh Scott didn’t trust Pearl oh he’s treating her badly because he’s keeping her on a leash and not enabling her chaos!!” HES WORRIED ABOUT HER??? HE WANTS HER TO BE SAFE AND KEEP THE TEAM SAFE AND THE ONLY WAY IN SCOTTS BRAIN IS TO CONTROL??? HE DOESNT NOT BELIEVE SHE CAN DO IT HES JUST WORRIED FOR HER FUCK OFF MAN

Anyways, and then Scott dies before Pearl and she doesn’t have the time for a reaction.

It’s not over for them, it’s not close to being over, but it’s getting better. And they’re BOTH getting a chance to heal, not just Pearl, because Pearl wasn’t the only fucking person that got hurt.

Sometimes I wonder if people watch the series with their eyes closed and volume off because how could you ever believe that Pearl truly hates Scott?

[coraniaid]

Top five Buffy characters who only appeared in one episode? Or if you want just top five Buffy characters you'd want to have seen more of

I think any list of the top five Buffy characters I'd liked to have seen more of would be pretty predictable: Faith, Amy and Kendra for sure. Probably Jenny Calendar too (although this requires the Season 2 writers to actually care about her enough to make her an actual character with a personality and motives). Not sure who the fifth would be. Ethan, maybe? Drusilla? Mr Platt?

For best one episode characters though, I'm a bit more confident on my list.

Billy Fordham [from S2E07 Lie To Me]

Lie To Me is a great episode, setting the tone for the rest of the season to come, and while Ford isn't the only reason it works so well he is definitely one of the reasons it does. There's a trend in the first couple of seasons where the show will introduce a character we've never met before, claim they have some important connection to the cast, only for them to die that episode and never be mentioned ever again. Ford is definitely in that tradition -- and I think later seasons of the show would have given him the Scott Hope or Parker Abrams treatement, introducing him a couple of episodes earlier before the big betrayal -- but in his case suddenly appearing out of nowhere works in a way that Xander's various former bullies and Willow's constantly changing intellectual competition don't always manage to do. The impact of his actions on Buffy by the end of the episode doesn't seem unearned at all.

Ted [from S2E11 Ted]

Arguably one of the show's best single episode villains ever from a consistently under-rated episode. An episode which asks deep questions that the show will come back to again and again; questions like "what if the Slayer accidentally killed a person? can she justify that to herself?" and "how would Buffy's mother react if she told her she was the Slayer; would she think Buffy was crazy?" and "what if there was some kind of freaky robot? that'd be weird, right?". But for all the goofiness of the end of the episode, there's something genuinely unsettling about the way Ted veers between John Ritter's usual sitcom dad persona and the controlling, abusive figure that only Buffy ever sees. If anything, the reveal that Ted is an unkillable monster with a string of murders to his name makes him significantly less scary than he was before.

Gwendolyn Post [from S307 Revelations]

Mrs Gwendolyn Post has so much fun being evil and making everybody's lives a little worse that I'm willing to forgive her for the fact her actual plan is laughably short-sighted and was obviously never going to work for long. Of all the Watcher-affiliated characters we actually see on screen (so, not counting Faith's first Watcher or Kendra's Watcher, both of whom I wish we'd seen as well), she's the one I wish we'd seen a little more of in the show.

Fun fact: depending on where exactly you draw the line, Gwendolyn Post is arguably the adult human woman with the fourth most speaking time over the show's entire run (after Joyce Summers, Jenny Calendar and Maggie Walsh). And yet she's only in this one single episode. Bonus fun fact: that sucks, actually.

Sunday [from S4E01 The Freshman]

Bizarrely, Sunday is one of the last named vampires the show would introduce, despite her sole epsiode falling in the first half of the show's run. I think there are ... what, maybe half a dozen more after this episode? (I understand the various factors behind it, but I think it's a shame that there are fewer and fewer actual vampire villains in the show as it progresses beyond the high school seasons.) Sunday is really fun though; I like The Freshman a lot (as I've said in another post recently), and she's a big part of why. She should have been in more episodes, frankly.

Cassie Newton [from S7E04 Help]

I've talked before about how much I like Help (and the early episodes of Season 7 more generally). I like the human level focus. I like the idea of Dawn getting to go to a new school and make new friends. I like Buffy having the chance to metaphorically go back in time and try to save her younger self. I like all the callbacks to the high school seasons. I like how unsubtle the name 'Cassandra' is. I like Cassie. She was great.

(Yes, the actor returns later this season but the character herself doesn't, so she counts.)

[hershelchocolate]

Gregory was the one to crash the elevator, not the Mimic

Hi I'm making a theory post because me and my bestie are so fucking deep in thinking about Ruin and how it completely changes the game of Era 2 fnaf so bear with me! This one has a long road to get there, but it'll be worth it I promise.

First off, just to establish some ground rules, I am following what Scott himself said about the books when they first came out and refusing to see book-only events as canon. Nothing about the Mimic we see in Ruin can be tied to the version from the books, so I'm not going to be using ANY book material as evidence unless it's also been shown in the games. The books have always taken plot points and twisted them to make something new, the Mimic is no different.

I also think Gregory deserves to be a little shit sometimes but that actually didn't cause this theory, it was a whole thing and I am forcing you all to follow along with me

(All images I use to explain things (as well as some of the points I make) were sent to me by @arcaneyouth thanks for taking the time to go through the game bestie!)

Okay. Hopefully this makes sense.

1. The Mimic that we know goes as far back as Help Wanted

I know I said this was going to be a long rant, so yes we are indeed going this far back so I can establish some things I find vital. After Ultimate Custom Night, Help Wanted was a HUGE shift in the franchise, to the point where everything after UCN is basically its own timeline. Fazbear Entertainment exists, and they did commit crimes, but Scott exists in-universe and there's no evidence Afton is anything more than a fictional villain FE can point fingers to.

Enter: the Mimic

It's been here the entire time, taking the form of Glitchtrap and learning through the code put into the game. All of its distorted voice lines are taken right from Tape Girl's files, and it seems to be emulating the thing that made people so fascinated with fnaf: the murders and who did them. So, it picks the form of a yellow bunny, but it's distorted. Spring Bonnie has never properly existed, so it chooses its own shape, which is easier as Help Wanted is entirely digital (similar to the AR world in Ruin).

Now, the most important part of this is hard mode night terrors: Pizza Party.

Now, it's implied in Help Wanted that you are simply testing this game. You are the next beta tester from the company that got sent the game after Tape Girl's got shut down. The game is unfinished, and still contains her tapes as well as things that wouldn't usually be there during a finished game (I can see why they kept the unfinished Showtime button in there because of this, and why there are some random events that can happen).

So because of this, it's very possible that Pizza Party...doesn't exist.

They didn't have a finished ending to the game yet, but the Mimic had been watching you play, and wanted to keep going. Maybe it was studying you, maybe it was studying the game, but it needs the game to be on to study either. So, to give you a fun final challenge, it creates Pizza Party.

It doesn't make sense. Corridors connect to each other in strange ways, bits and pieces of every single minigame are strewn about randomly, with characters only doing the simplest of actions (Chica going for a pizza, Marionette sitting in its box, Springtrap standing in a doorway, etc.) All of this leads to that finale we all know and love; taking Freddy's place on stage.

And here is where the first thing relevant to Ruin comes into play.

One thing from this ending dialogue doesn't match up. It's in that third image.

The narrator refers to himself in the first person.

Now forgive me if I'm wrong, but he has NEVER done that in this game before. It's always "we" or "Fazbear Entertainment". Never "I", or in this case "my". It even replicates the exact phrasing and structure of the sentence before it, it's the same sentence. This is the Mimic.

And here's the proof;

2. It literally does the exact same thing in Ruin (aka: how it affected the VANNI system)

Now, those of you who have played Ruin may have noticed that, in certain dialogues, Helpi looks...different.

Points where Helpi is yellow seem to indicate times when the Mimic is manipulating what it says (anything that tells Cassie how to shut down the security, anything that gets her deeper into the Pizzaplex. Helpi only goes back to blue to clarify what it said to keep her safe while doing it).

But there's one other thing that's different

Just look at all of those instances of first person language.

And, in case you're wondering, Helpi NEVER does this

Helpi talks in a very corporate way, always only referring to Cassie herself. Helpi isn't a character, it's a tutorial program.

This implies one really huge thing: The Mimic has access to the VANNI network and what it can do. It's using this to push Cassie further into the Pizzaplex, but there's also one thing in particular it's connected to.

3. The Mimic learned how to splice together sentences after connecting to the VANNI network

As stated before, the Glitchtrap in Help Wanted is heavily implied to be the Mimic (there is SO much more evidence I didn't touch on) but the most important part was what I stated before: It was using dialogue from other people to make its own sentences. But not in the same way it does in Ruin.

In Help Wanted, ALL of the dialogue implied to be from the Mimic is direct sentences it has taken in their entirety. It's not making something new, it's just repeating back what it's heard. That's clearly not the case in Ruin, it's talking all the time! It's able to instruct Cassie on what to do!

But, all of the things it says are bits and pieces from Gregory's dialogue in Security Breach. ALL of it. It just learned, through Helpi and the VANNI system, how to start piecing together its own sentences that still make sense. In fact, you can hear it very clearly right when you get towards Roxy Raceway, and Gregory announces he "finally has a clear signal", one that lets you hear exactly where all those cuts in the dialogue are happening.

Almost immediately after you deactivate Roxy, you get this popup

After this happens, there are only a few things the Mimic says to you.

All of these are direct 1 to 1 quotes that Gregory himself has said in Security Breach. (The exception being Cassie's name, but the Mimic would have had to heard him say it at some point in the first place to have been using it all this time)

As soon as the VANNI network became disconnected, the Mimic no longer had access to what it was using to splice together audio.

The fact that "you saved me!" is said differently twice is even proven by Help Wanted where, even though the line it copies in that ending dialogue is just said again, it's delivered differently.

Which leads to the ENTIRE point of this post: the Mimic did NOT interrupt Gregory in the elevator.

It has been proven even without all of this in-game that the Mimic isn't quite that good at fully replicating things yet. You can hear the splices as soon as you get close enough to it, it even points out that it finally has a clear signal, which was the reason Cassie never noticed before. Not to mention that Gregory never said anything like his speech before. None of that dialogue was in Security Breach.

None of the elevator speech was the Mimic. That was all Gregory.

[teenwolffan-with-nolife]

The Witch and The Wolf Pt.39

Word Count: 2,319

Characters: Derek Hale, Peter Hale, Isaac Lahey, Reader

Pairings: Eventual Deek Hale x Witch!Reader

Warnings: angst, some fluff

A/N: last part of the year?

A/N 2: Can literally anyone leave some feedback on the series? I want to know if people are actually enjoying it

A/N 3: Happy Holidays

Masterlist   Series Masterlist

“Derek, what are you doing?” you felt his hands travel down your waist as he stood behind you.

“I missed you,” he whispered. 

He pressed his lips towards your neck as you closed your eyes softly, clenching your jaw.

Before you could protest, you felt your back hitting the wall, Derek’s lips pressed against yours as he put his hands on your thighs, lifting you gently. You wrapped your legs around his waist as he began walking to his bed. He put his hand on your head, pulling it back roughly, pressing his lips on your neck.

You breathed heavily, closing your eyes as you held onto him tightly.

---

You opened your eyes, taking a deep breath as you jumped up, feeling your neck aching. You must have fallen asleep.

You sat on a chair, next to Derek’s bed as he still laid there, unconscious.

Maybe he was really tired, and maybe that’s the reason he didn't wake up.

You checked your phone, scrolling past the messages from everyone. It was nearly 7 AM, which had made about four hours since Derek collapsed. 

Your mind thought back to your dream before you shook your head.

You’d be lying if you said you didn't miss him, that you didn't still love him, even after everything. But the pain you felt after he cheated on you, even after he said he didn't love you and he never did, it still hurt. You tried to ignore it for the most part. The two of you were doing just fine as friends for the past couple of weeks, before last night anyway.

You began to grow more worried, seeing Derek still asleep. You ran your fingers through his hair, looking down at him.

“(Y/N)?” his eyes were still closed as he said your name softly.

“Derek, I’m here,” you frowned, holding his hand.

“What happened?” he opened his eyes, holding your hand before sitting up.

You sat next to him, stroking his hand softly.

“I don’t know. You just collapsed. Are you okay?” you asked.

He nodded, rubbing his head.

“Headache?” you said.

He nodded again, as he massaged his head softly.

“I don’t think drugs work on wolves,” you said.

“Do you have any idea what happened?” you asked.

“No. Well, sort of. I’ve been blacking out since I healed Cora,” he replied.

“Since you healed Cora? It’s been weeks,” you frowned.

“I’m aware. But I’m fine. I’ll get through it,” he said.

“That’s not good,” you shook your head.

“I'll be fine. Uhm, thanks for staying with me,” he nodded.

You smiled softly as you heard Peter’s voice, as the door opened.

“I didn't interrupt anything, did I?” his eyes motioned to Derek’s bed then back at the two of you.

You let go of Derek’s hand, inhaling deeply as you stood up.

“I’ll see you later,” you smiled softly, walking away.

---

You stood at the door, in front of the McCall’s house. Your phone had died before you had a chance to text Isaac. You knew he was staying with Scott now.

“(Y/N)? It’s been a while,” Melissa wrapped her arms around you tightly, snapping you out of your thoughts.

“Yeah, it’s been a while. How are you doing?” you stood next to her, walking into the McCall house as the two of you walked to the kitchen.

“Well, everything is crazy, but we’re managing,” she started.

You heard someone’s voice behind you, turning around as your face dropped.

“Agent McCall,” you said in a monotone voice.

“(Y/N),” he replied with the same tone.

“I think you need to get to work,” Melissa motioned to Agent McCall, glaring at him.

Before either of you said anything, he walked away.

“So… he’s staying with you,” you started.

“He’s on the couch, it’s nothing special,” she shrugged.

“I know it can't be easy,” you replied softly, putting a hand on your shoulder.

“As I said, I’m managing,” she smiled softly.

“Well, how about you sit down? I know Scott and Isaac probably aren't up yet, so I’m gonna make you some coffee and some breakfast,” you said, leading her to a chair.

“Oh, (Y/N), no,” she started.

“I insist,” you said.

She nodded softly, as you began making some eggs, and some coffee.

“Hey, Mrs.McCall, me and Scott,” you heard Isaac start as his face dropped, looking at you.

“Hey,” you said.

“Oh my god,” he ran to you, wrapping his arms around you tightly as you hugged him back.

“You’re… alive! Where have you been?! Why didn't you answer my calls? Or texts? Or tell me you’re okay? You’re back! Oh my god,” he began to bombard you as ran your fingers through his hair.

“I’ll explain it all later,” you shook your head.

“Uhm, no. You’ll take me to school and you’ll tell me everything,” Isaac tugged on your arm.

“Wait, I’m making Melissa breakfast you little needy. You need to sit down also,” you motioned to the chair as he rolled his eyes, sitting down.

You could see the smile on Melissa’s face as you continued making eggs for the four of you.

---

“That’s… something. No powers? At all?” he asked softly.

“Not until I figure this demon crap out. But being human is so boring,” you sighed.

“So, you basically, spent the last few weeks with Derek,” Isaac started, raising an eyebrow at you.

“What are you trying to say?” you frowned.

“Nothing, I’m just saying to use a condom,” you immediately smacked Isaac’s arm.

“Shut up. God, you're worse than Stiles,” you sighed.

“So, you’re telling me you don’t still like him?” Isaac asked.

“I didn't say that,” you shook your head.

“So you do like him,” Isaac said.

“I didn't say that either,” you sighed.

“I don’t get it,” Isaac shook his head.

“I’m saying that I don't want to talk about this right now, okay? Of course, I still care about him, but I’m not ready to forgive him for Jennifer. About what he said. I just don't want to talk about this, okay?” you raised your voice slightly, resting your head on your hand, and your elbow on your car window.

“I’m sorry,” Isaac said, his voice low.

“It doesn't matter. Sorry,” you shook your head.

“Well, for what it’s worth, you two belong together,” Isaac replied.

You scoffed slightly, driving into the parking lot of Beacon Hills High. 

“Well, how are things going with you and Allison? Are you still madly in love with her?” you replied.

“We’re friends, okay? And Scott’s one of my best friends,” Isaac rolled his eyes.

“I thought you said Scott said it was okay,” you asked.

“He did. I still feel bad,” Isaac sighed.

“Well, that guilt is what makes you a good person,” you gave him a fake smile as he rolled his eyes.

You smirked, before hearing your phone off, getting a text from Derek.

“Hell no,” Isaac said, as you looked up, seeing the twins approach Scott.

“They’re… what's going on?” you frowned.

“So much crap has happened since you left. For example, Scott, Stiles, and Allison are going crazy. But that's not important right now, I’ll tell you later. I need to go help Scott,” Isaac grabbed his bag.

You kissed his forehead softly.

“Be careful,” he waved to you as he got out of your car, walking to Scott.

---

“Stop moving,” you glared, taking the needle as you stuck it into Peter’s finger, hearing him yell out.

“You know, you don't have to be so rough,” he winked as you pulled the string through his finger.

“That hurts,” he grunted.

“Good.” 

You continued sewing his finger back on, as he continued whining. You ignored it, purposely pushing the needle into the wrong place.

“Okay, that’s enough,” Derek said, covering a small laugh.

“I don’t get why I can’t help you with this,” you shrugged.

“You don’t have powers. It’s just Peter,” Derek assured you.

“Exactly. It’s just Peter,” you sighed.

You turned to face Peter, before clenching your jaw, running your fingers through your hair as you sat down in front of him.

“So, now’s the part you tell me what I risked my life and digit for,” Peter said.

Derek looked at you, before opening the box, revealing Talia’s old claws. It was all that was left of her after the fire.

You held Derek’s hand softly, knowing this wasn't going to be easy for him. 

“They’re all that was left of her after the fire. I need to ask her something, and this is the only way to do it,” Derek explained.

You laid the claws on the table, looking back at Peter then at Derek.

“Fine, but under one condition. I get to keep them afterward,” your face dropped as you gave Peter a look.

“Sentimental value. She was your mother, she was my sister,” you could tell Derek was holding back his tongue as he raised an eyebrow.

“What? Am I not allowed a little bit of sentiment?” Peter exasperated.

You looked at Derek, as he looked back at you. He motioned to Talia’s nails silently, asking you your opinion.

You shrugged, shaking your head. It was his choice.

“Fine,” Derek put the claws back into the box, handing them to Peter.

Peter smiled cheekily, as you got up, walking away with Derek.

“What do you think he wants with them?” you asked.

“I don’t know, but he can’t do anything that bad… right?” Derek asked.

You leaned against the wall, as he crossed his arms, standing in front of you.

“I have no idea. We’ll just have to keep a close eye on him,” you said.

“Well, let’s do this, yeah?”

---

You sat on your knees, in front of Derek while you held his hand, stroking it softly.

“Peter, I swear if something goes wrong, I’ll kill you,” you threatened. 

“That won’t be my fault,” he replied.

“Whatever,” you glared at him, looking back at Derek.

 Derek opened his mouth to speak, before shutting his eyes tightly, squeezing your hand as Peter stuck Talia’s claws into the back of Derek’s neck.

You looked at Peter, as he breathed heavily, clearly struggling as Derek’s grip on your hand softened.

You waited there anxiously for a few minutes, before Peter pulled away, pushing away from Derek. Derek gasped for air, his face covered in sweat. 

“What happened? What did you see? Did she say anything about me?” Peter immediately began asking Derek questions, as you stood up next to him.

“Are you okay?” you asked.

He nodded softly, clenching his jaw as he looked at Peter. His eyes were bloodshot as he looked up at you.

Peter continued to nag him, asking him about Talia as Derek ignored him. Derek stood up, pushing past Peter as he walked out of the loft.

“Derek?” you ran after him, running out of the loft.

---

“That’s… a lot. Peter’s the last person I’d expect to have a kid,” you stood outside the loft, leaning against your car door as Derek stood in front of you.

“Yeah, tell me about it,” Derek scoffed.

“Are you okay?” you asked softly.

“Yeah… I don’t think I realized how much I missed her,” Derek started.

“Don’t you ever miss your mom?” Derek asked.

“Well, I don't… sometimes I do. I don’t like thinking about her,” you shook your head softly

“It’s been almost 8 years and I… I still think about them. About all of them,” Derek said softly.

“But that’s normal. Derek, you went through something… something big,” you said.

“I lost just as much as you. You barely seem to think about it,” Derek raised an eyebrow.

“That’s… no,” you started.

“Your grandparents are dead, your mom’s siblings, all dead, you don't have any other cousins or any other family that’s still alive. Well, besides your dad… but,” you tensed slightly as you looked down, pushing your hair behind your ear.

“(Y/N)?” he said softly. Your eyes watered as you shook your head.

“My dad’s not… he’s dead,” you whispered.

Derek was silent for a minute before speaking.

“Do you wanna talk about it?” he asked.

“I lost control of my powers. I killed him,” you sniffled as you turned away from Derek.

“It's not your fault,” he stroked your cheek softly, turning your face to look up at him.

You looked up at him nervously, before inhaling deeply.

Screw it

You stood on your toes, leaning up as you pressed your lips against his.

Oh crap

You immediately regretted your actions as you broke the kiss, your face red as you shut your eyes in embarrassment.

He put his hands on your face, kissing you once more as you stumbled back slightly, hitting your car as it began to honk loudly.

You broke the kiss, as the two of you began to laugh.

“Nice way to end the night, yeah?” Derek smirked.

“Oh, shut up,” you scoffed.

You heard your phone go off, getting a text from Isaac.

“You have to go?” he asked.

You nodded softly, wrapping your arms around your waist.

“Then I’ll see you tomorrow,” he said.

“See you tomorrow,” you kissed him again, before leaving.

---

“Isaac,” you dropped your bags, running to him as he wrapped his arms around himself, rocking softly.

“What happened?” you wrapped your arms around him tightly, as he held onto you.

“I-It was so cold… I can’t stop thinking about… my dad, t-the freezer,” Isaac stuttered as his voice broke. You could feel his tears on your sleeve as you stroked his hair softly.

“What happened?” you asked.

“I-I don’t…” he began to hyperventilate, gasping for air as you shushed him, wrapping your arms around him tightly.

“You don’t have to talk, kid,” you whispered.

You heard Isaac cry softly, laying down in your lap, as you continued to hold him, running your fingers through his hair softly.

[smellycinnamonthundahfudge]

The Black Widow Essay

one of em anw, lol

i'm just gonna start with the very beginning of the film, cause start to finish, they put so much detail in and you can tell everyone really cared to make natasha's story as full & vibrant as they possibly could.

them showing how early on she liked dying her hair or was used to it, even as a child?

as well as such innocent sweet things as this scene

all possibly subtly hinting these girls’ physical capabilities and their dark upbringing or who they really are as spies???

just, how seemingly normal child like things could be subtle hints toward something darker??

but it was STILL something innocent and sweet nevertheless whether they were able to do that cause of their training??

LOVED THAT.

the fact that NAT HAD FRIENDS??? WHEN SHE WAS A KID???

so important to me...

(cause they didn't really need to add that,... but they did)

how the whole operatives pretending as fake families made perfect sense cause they do it all the time in spy movies…

and how yeah, if there were child spies, then they could be used for spy families,

but this was the first movie that DARED to talk about the complexity of it all…

of a fake family being the only family that you had.

I bring this up because I just fucking love it and it reminds me of what they did in wandavision

rushed holidays and birthdays and normal family occasions all in one, because that was all they could get…

the idea of fake empty families in both bw and wv and jac schaeffer being involved with both of em??? gods im in love hahahah

in other spy movies, it’s just so plot focused…

they’re disguised as this to get to this and blablabla

they don’t dare to talk that they were more than their mission

that they have interests hobbies hopes dreams AND LIVES, beyond their work

(say what you will about captain marvel, but I will repeat, it was the first to show women had lives interests hobbies dreams beyond the work that they had...)

i just... the spy families thing is always so plot-centric, but this one, the infiltration aspect had an emotional side to it since it meant that they could all get a reprieve from their normal horrific lives

that's what i ADORE from this film, when they do something, they always hit for the most emotional, most moving, compelling way it can be told or shown

because, all this time we’ve been told, she’s a child assassin, she’s a child spy, she started when she was young dadadaaa

in other movies, they probably could’ve explored this by showing the violence

what was done to her, to show the meaning of what they did to her…

but you know what I absofuckingtutely die for??

they showed the meaning of the violence through this

that BECAUSE of what was done to her…

she could do that

SHE COULD PROTECT SOMEONE ELSE FROM SUFFERING THE SAME FATE AS SHE DID

all, in the first FIFTEEN 15 FUCKING MINUTES…

I just love how the never endless mention of the child assassin thing

the heaviest meaning of that was so beautifully shown like this…

like, YEAH

THIS.

THIS IS WHAT BEING A FUCKING CHILD ASSASSIN MEANS.

SHE’LL STEAL YOUR GUN, SHOOT TO KILL

ALL TO PROTECT HER INNOCENT, YOUNGER, SISTER

oh wait, I also just love the action of the plane scene

it had so much stakes, I was genuinely panicked and fearing for all of them..

melina was shot, nat was flying the plane, yelena was a terrified baby, alexei was even hanging from the freaking wing…

it wasn’t just weightless action, random kicks and punches on screen…

it was a family fleeing for their lives.

I just wanted to commend the incredible stakes the creatives made sure to put into the film’s first action scene is all.

they could have phoned this in and just have hopper punch some dudes

but they WANTED you to root for this family

they WANTED you to feel scared for them, care about them.

THEY CARED.

the first action scene nat ever did, was to protect her sister…

they could have shown her take down some men following after them…

but they DECIDED for nat to show her full capabilities… when it would matter most.

THEY CARED.

AND… NO ONE, NOT NEARLY ENOUGH PEOPLE ARE TALKING ABOUT IT.

you know what I love about the budapest reveal??

they could have just kept it at the clarifying what actually happened thing

and all of us in the audience can revel in the fact that

shooting it out with the hungarian guard and blowing up a building

was in nat’s eyes

just like a literal alien invasion of floating monsters descending from a portal in the sky

just… bask & appreciate the comedy of this guys…

nat’s so funny, I cant…

no okay, they could have just kept it at that…

but they decided to add WHAT HUMANITY THEY COULD IN THAT BACKSTORY.

and they had nat & clint play tic tac toe in the air vents they were hiding out on…

they didn’t have to do that, but they did…

and not enough people appreciate it enough.

people are already talking about how excellent and wonderful it was, the conversations and commentaries on choice are and I’m only here to say YES MORE OF THAT SHARE IT TO EVERYFREAKING ONE GODDAMN IT

in most marvel movies, the female character & the hero usually just either butt heads or the female just helps out the hero in whatever they need to do, they’re the infallible support structure that keeps the hero up

I think… this is why the dynamic between yelena and nat, hits so goddamn hard…

your pain makes you stronger

so much of this film talks about how their pain made them stronger, the best example of this I believe, is the scene in cuba

what I said about the child assassin repetition all concluding to that “I will kill you all, DON’T TOUCH HER” scene…

her pain was LITERALLY what enabled her to do that.

but I bring back the film’s crux line, cause it’s what I think truly separates and makes yelena and nat’s dynamic so much richer more complex and beautiful to me…

the pain of their past.

nat’s insistence of their time together in america not being real, and her dismissing everything in her past as a widow of the red room as horrible and just something she needed to get away from…

it reminds me of a scene from a show my family watches,

new amsterdam. in it, a woman, escapes a house of neglect and abuse. but she also left behind her younger sister in that household, and naturally, feels deeply guilty about it.

but, her therapist said to her, “you saved the only person that you could.”

and, … I can’t think of anything better to fit nat’s situation.

her dismissal of everything in her past as horrible was a fucking coping mechanism…

it made leaving everything behind, easier…

“it wasn’t real, so there isn’t anything to hold onto” nat herself says

she saved the only person she could… herself.

sigh…

most marvel movies usually just have its theme as “be who you were meant to be”

tony, thor, quill, & rocket learned selflessness

peter parker learned to appreciate what HE had, and not focus on what he was escaping from and to

steve figured out who he was in a new world

t’challa reckoned with the sins of the past

(scott’s just a dad)

carol learned to own her power and who she truly was

but nat??

yeah, sure, she could also fall under that theme.

but I just… I honestly believe the abuse, the pain she endured… makes her arc so much more meaningful and poignant…

because it wasn’t just the hero struggling, then the female side character reassuring them & giving them the strength they needed to be who they needed to be

it was her reckoning with what she did…

it was her shutting off yelena who cared about her, because she didn’t want to think about what she left behind

it was her, keeping her heart… when her mother could not.

how despite melina felt she was a rat in a cage

what SHE taught nat, was what kept nat alive…

the pain nat escaped, still found its way to her, in that because of that pain, she caused pain to the little happiness that she had in her past

she caused pain to yelena, because it was all she could associate to her past, which she NEEDED to escape

pain was inflicted on her, and she inflicted pain too

she also just casually stated her mother throwing her out like garbage

was I the only one who was utterly shaken by her statement??

to only then after say, she thought of her everyday even if she didn’t admit it to herself

(don’t even get me started on this search & importance of her past to her being fucking hinted in the place she died, vormir, where she learned her father’s name.

how even after she defeated dreykov… she still didn’t know it, til then…)

I just…

the creatives put so much effort into making nat’s story so full of heart, humanity, and meaning…

the humanity of tic tac toe over hiding out from an army

playing in the yard and colorful dyed hair hinting the dark upbringing

reckoning with what one did to survive…

black widow, is such a heartfelt humanely painful and beautiful film…

it isn’t just another spy movie

it isn’t just another marvel movie

they talked about abuse in it, guys…

they acknowledged it, unflinchingly

the good, the bad, all of it, the entire truth of it…

that alexei wasn’t allowed a chance to be forgiven for what he did

that he can wash himself clean, and that they give him their forgiveness, for HIS benefit…

that it was the very pain inflicted on them, that enabled them to take their abusers down

You think I can’t take a punch?

it was literally her pain threshold & strength that enabled her to break free from dreykov's control

her capability of severing the nerve borne from the training she endured

her pain was literally what made her stronger

they made sure to show that oksana and antonia wouldn’t be forgotten

they let the other widows do their part

and the ones the family saved, came back for them and saved them too

even antonia, as taskmaster, had someone who cared about her. the young widow who told her to smile, went to her when she was no longer controlled.

it was fighting for control, it was looking & focusing on what WAS there

just like how nat learned to accept that not all of her past was horrible,

I want to show you how this movie shows that not all of how nat was treated in the mcu was horrible

the thank you for your cooperation scene, yes

but, one parallel that I haven’t seen anyone bring up yet is this one…

nat did her job, and it’s how they took down hydra

nat did her job, and that’s how they took down the red room

because of nat’s intelligence, due diligence, they had the intel they needed to take down hydra

and to find and save the other widows…

because that’s precisely why I would die for this film…

they. care.

they remembered that small, for most people forgettable, thing that she did- BUT WAS ACTUALLY THE KEY TO THE WHOLE THING

AND MADE DAMN SURE TO SHOW & HIGHLIGHT ITS IMPORTANCE IN HER FILM.

(her copying the data needed to SAVE THE OTHER WIDOWS IN THE WHOLE WORLD WAS GIVEN THE FOCUS & ENERGY NEEDED TO HIGHLIGHT THAT SCENE'S SIGNIFICANCE CAUSE W/O THAT DATA, THOSE WOMEN WOULD BE LOST)

they KNEW that HER COPYING THAT INFO in the lemurian star in tws IN THE FIRST FUCKING PLACE is HOW NICK FIGURED OUT HYDRA’S PLAN

AND DECIDED TO FUCKING PARALLEL THAT TOO IN HER FILM CAUSE THEY KNEW THAT DESPITE HOW SMALL THAT SCENE WAS, IT WAS ACTUALLY THE KEY TO THE ENTIRE THING

they know the significance that nat’s story has, how it’s about abuse, and what it does to people

it makes them want to run away & dismiss everything that happened as purely horrible

sometimes, it makes them betray people (like melina & even to some extent, nat…)

they did all this in a marvel movie

the importance of choice, control, autonomy, of women’s lives, every aspect of it

the mundane, their intelligence, their pain, their relationships, their humor & happiness & love…

this was a marvel movie, starring women, produced by women, written (jac schaeffer, wv creator too), directed (cate shortland), and edited (leigh folsom) by women.

this was an excellent beautiful painfully heartfelt luminescent movie, from start to finish.

so much care compassion complexity & love, woven into the story

they cared about what nat DID manage to do in the mcu, not that she was forced into the sidelines

(though, honestly, I think that line about nat never letting herself be alone long enough to figure out what her story is was such an interesting & cool way of acknowledging it…)

nat never spoke much in the films, and they went with it, she’s not the inspiring speech type, she herself says

behind the scenes, they were making nat look as cool as possible with those poses

but in this film, they made it HER character trait

that SHEEEE, WANTS TO POSE LIKE THAT.

I just think that’s so funny… a cute character trait of her wanting to pose all the time and denying/not acknowledging it??

I think it’s a sweet & funnily humanizing trait of hers :’’’))

they made her funny like that, heh…

most mcu movies, they have arcs, they have great interesting moving stories…

I just think this film is chockfull of love over natasha romanoff, a hero, an avenger’s story…

they put so much in to give her as full of a life as they could… a complex, heartbreaking, painful, happy, tragic, loving, human life…

most mcu movies… they’re so plot focused. find this, follow that.

for me, this film wasn’t.

it was women getting their control back.

behind the screen, and on screen, it was women getting their control back…

after a decade and more of getting bits of meaningful crumbs here and there, the creatives of this film gathered all those up, and built a full complex life and story from it…

it dealt with something so real and tragic but also beautiful and full of love.

I don’t think most mcu movies did this.

and it’s why I wrote all of this.

give credit where it’s due.

black widow is the most heartbreakingly painful and beautiful film marvel’s ever made…

it was a full and concise and finished and complete story, start to finish, about the hero who’s earned it, the goddamned most.

acknowledge what they did with this film.

it’s what they, nat & the creatives, deserve.

acknowledge it.

they didn’t work this hard to give nat such a meaningful loving & complex life and family and story, only for it to be called lesser

than films who tackle their themes in much shorter times

and with themes that aren’t as rooted in reality

acknowledge what they did.

acknowledge it.

I’m not really that knowledgeable over what framing and lighting really means…

but I think those details mean something

how their life at ohio, playing in the yard was flickered with sunlight, and fireflies

how it turned to night when they were forced to flee and return to russia

how it was night when they first entered the red room

but then there’d be more and more light as nat had progressed with their plan, with beams of light, flashing through the window behind her

and then once the dust had settled, the sun was rising on them, the survivors.

but… the most poignant & meaningful of all these lighting shots that I found…

was nat’s endings,

when she said goodbye to her family…

it was almost like, she was saying goodbye to us too…

with daylight, shining all around behind her, as she walked away and whistled her goodbye

this happening with her goodbye to her family

and with her official final shot of her, heading into the horizon, to her destiny

saving the universe, and saving her family

they cared so much to give her these beautifully poetically luminescent images of her, guys…

my heart breaks as I don’t see anyone else acknowledging this…

so please… acknowledge it.

acknowledge, what they did.

acknowledge it.

[tillidontneedfantasy]

A Track-by-Track Breakdown of Taylor Swift’s 8th Studio Album: ‘folklore’

Taylor Swift’s 8th studio album, folklore, starts off with the lie, “I’m on some new shit.” Perhaps to someone who hasn’t been paying attention this would seem to be true. But to those listening, folklore is the essence of her skill and success throughout her entire career stripped down for all to see, but more refined, enhanced, and impressive than ever.

Even prior to her pop-world domination with 1989 (2014), Taylor’s storytelling ability has always been her most compelling strength as a writer. In 2010, she released her third album, Speak Now, penned fully solo to prove to the cynics that she does, in fact, write her own music. And it’s damn good. Widely considered her best song, “All Too Well” from Red (2012) is a five and a half minute epic about love had and lost, all in walks through autumn trees, almost running red lights, dancing round the kitchen, and a scarf reminiscent of innocence, unreturned.  

Yet her pop prowess over the last six years perhaps leads to her storytelling being overlooked to those more focused on the music. There is a particular genius in writing a successful pop song, let alone three successful pop albums, that still has hard-hitting lyrics underneath the synth. Take the excellent “Cruel Summer” from Lover (2019) for example. The song is just under 3 minutes, and the production is so enthralling and infectious that it can take such a hold on you, you might miss the tale being told along with it about a fraught summer relationship that was actually just the beginning of her own love story.

But without the pop production, her stories on folklore demand attention. Swept up by a strong wave of creativity and inspiration, Swift secretly wrote and produced this album in around three months with Aaron Dessner of The National, one of Swift’s favorite bands, and long-time collaborator and friend Jack Antonoff. A surprise album is a new endeavor for Swift, as she generally spends months meticulously planning an album rollout. It is refreshing, and as a dedicated, long-time fan of Taylor, it is thrilling. Due to the album cover where she is standing in the woods, and the genre of the album itself, there have been think pieces regarding the “man in the woods” trope and what it means that Taylor seems to be embodying it. As a result of over-exposure, people are unable to stop focusing on her image and the way she presents herself. It’s understandable, as she is a very smart and deliberate businesswoman, and clearly cares about how she is perceived. But with this album, it is clear that none of that was at play. We are in the middle of a pandemic. Her mother has been battling cancer for years. Isolate a creative person in a dangerous world and they will dream up an escape. She understands more than ever how precious each moment is, and does not want to waste another one. The woods being the landscape for the photo-shoot is most likely attributed to the fact that it is the safest place to have one under these circumstances. She’s not pretending she removed herself from society and became enlightened, she didn’t dabble into a more alternative sound to prove anything; she is just sharing stories she wants to tell that she is proud of, and nothing more.

Of course the music of the album is important, but the lyrics are the heart of it all, and I wanted to focus on them. Upon its release, Taylor explained in a foreword that the album was a mixture of personal and fictional accounts. The beauty of stories is that once they are shared, they never live one single life; each person who consumes a story interprets it uniquely, and the story becomes a multiverse, with different meanings and outcomes than what initially drove the pen to the paper. As explained by Swift in a YouTube comment prior to the album’s release, three songs on the album are all one story, which she has dubbed “the teenage love triangle.” The three points of the triangle are “cardigan,” “august,” and “betty.” But if someone had not seen her say that, they might not have figured it out. Maybe they’d interpret each song as their own story, and connect it to their own. Taylor knows this. It is why she loves storytelling and is why she is so good at it. The album itself is a mirror ball, shimmering with every version of the stories being told, reflecting a bit of each person who listens. These are my interpretations, but they can mean whatever you make of them. 

1. the 1 The melody of this song helps set the scene; picture yourself skipping rocks on a lake, reminiscing on the one that got away. “the 1” is about learning to assimilate into a life without them, resentfully accepting that they might be moving on, too. She ruminates on what went wrong and what could have been. In a very Swift fashion, she puts the blame on herself when she sings, “in my defense, I have none / for digging up the grave another time.” Perhaps this song is fictional, perhaps it’s a revisit of a past feeling or relationship, but its relatability makes it feel real and present. She searches for explanations, restraining herself from asking, “if one thing had been different, would everything be different today?” But it’s good she didn’t ask, because she’d never find the answer, anyway. Best lyric: “We never painted by the numbers, baby, but we were making it count / You know the greatest loves of all time are over now.”

2. cardigan (teenage love triangle, part 1: betty’s perspective) “When you are young they assume you know nothing,” Swift sings in her smooth low-register on this Lana del Rey-esque single. “But I knew everything when I was young,” she asserts. They say wisdom comes with age, but there is wisdom lost, too, of what it felt like to be young; but she has held onto it. In this track, the narrator (Betty) is looking back on her relationship with someone she once loved (James, as name-dropped in “betty” later on in the album). Her insight on his character was always spot on; she knew he’d try to kiss it better, change the ending, miss her once the thrill expired and come back, begging for her forgiveness in her front porch light. As soon as she was feeling forgotten, he made her feel wanted, his favorite. The ending in question is unclear, whether she granted him her forgiveness or not. But what is clear is Taylor’s understanding of the pull of young love, the intensity, the immortalization of all the smallest of details, the longing to be someone’s favorite. It’s why we look back on it so often, read stories and watch films about it, even as we grow old. It’s the cardigan we put back on when we want to be Peter Pan and remember what it was like to fly with Wendy. Best lyric: “You drew stars around my scars / but now I’m bleeding.”

3. the last great american dynasty The story of Rebekah Harkness and her destruction of the last great American dynasty, Standard Oil, is documented in this track, as each verse covers a different part of Rebekah’s life, going from a middle class divorcee to one of the wealthiest women in America by marrying into an empire. Swift paints Rebekah as an outcast, the Rhode Island town blaming her for her husband’s heart giving out. Rebekah used her inherited fortune on her ballet company, throwing lavish parties with her friends who went by the “Bitch Pack,” playing cards with Dali (Yes, as in Salvador Dali. It’s not clear if they actually played cards together, but her ashes were placed in an urn designed by him), and feuding with her neighbors. Then, fifty years later, Taylor Swift bought that very house and ruined the neighborhood all over again, bringing with her the triumphant return of champagne pool parties and women with madness, their men and bad habits. It’s a note on how women will be blamed for tarnishing what is sacred to men rather than celebrated, specifically when its related to wealth and power. They will call them mad, shameless, loud. But just like Rebekah, Taylor learned to pay them no mind, and just have a marvelous time. It is also interesting to note that Rebekah went by Betty. Perhaps Taylor felt inspired by and connected to her and gave her a whole backstory, and thus the birth of “the teenage love triangle,” or maybe it’s just a coincidence; but that’s the fun of it all. Either way, this track is a standout showcase of how Swift has truly mastered her craft as a songwriter. Best lyric: “Holiday House sat quietly on that beach / free of women with madness, their men and bad habits / and then it was bought by me.”

4. exile ft. Bon Iver You know that feeling when your parents are fighting and it’s upsetting you but you can’t help but listen? That’s kind of what listening to this song feels like. Bon Iver’s Justin Vernon co-wrote the track, and he lends his gorgeous vocals to play a man who has been exiled by his ex who has moved on with someone else while he desperately tries to understand where it all went wrong. The bridge is particularly poignant, both proclaiming, “you didn’t even hear me out,” while talking over each other. He thinks he was expected to read her mind, but she is adamant that she gave him plenty of warning signs. Miscommunication is one of the most common downfalls of a relationship, and the emotion in Swift’s and Vernon’s voices really draws you into the argument with them, transporting you back into your own exile from people you once called home. Best lyric: “I couldn’t turn things around / (You never turned things around) / ‘cause you never gave a warning sign / (I gave so many signs.)”

5. my tears ricochet Taylor describes this song in the foreword as “an embittered tormentor showing up to the funeral of his fallen object of obsession.” If you know enough, you can put the pieces together that the tormentor is Scott Borchetta, the head of Big Machine Records, and the funeral is of their professional and personal relationship. Taylor was the first artist ever signed to Big Machine. Borchetta and Swift had to trust each other in their partnership for it to be a success, and oh, how it was. But prior to Lover’s release, Taylor announced that she would be signing to Republic Records as her contract with Big Machine had ended and Republic offered her the opportunity to own all of her masters moving forward and negotiate on Spotify shares for all their artists. It all could have ended amicably there, but then Scott Borchetta sold all of Big Machine, along with Taylor’s masters from every album prior, to Scooter Braun. Braun manages some of the biggest stars out there, and had previously managed Kanye West. Taylor publicly spoke out about this purchase, stating that she was not made aware of this before the announcement, and how much of a betrayal it was considering she had cried to Scott before about Scooter’s mistreatment of her. Taylor has continued to be vocal about this, and so she sings, “I didn’t have it in myself to go with grace.” There is a lot to unpack in this song, but the main takeaway is that this betrayal hurts him just as much if not more than it hurts her, because his career was built on her achievements. He buried her while decorated in her success, becoming what he swore he wouldn’t, erasing the good times for greed, all just to be haunted with regret for pushing her out and stealing her lullabies. The pain is palpable, and it is notable that this is song is placed at track 5, the spot generally reserved for the most vulnerable on the album; it shows that there are different types of heartbreak that can shatter you just as much as those from romance. Best lyric: “If I’m dead to you, why are you at the wake? / Cursing my name, wishing I stayed.”

6. mirrorball On Lover’s “The Archer,” Taylor expresses her anxiety over people seeing through her act, her own grief at seeing through it herself, wondering if her lover does and whether he would stay with her regardless. “mirrorball” is about the act, one of the more obviously confessional songs on the album. She talks about how a mirror ball can illuminate all the different versions of a person, while also reflecting the light to fit in with the scene. Taylor’s critical self-awareness is heart wrenching, and it’s clear that the anxiety that surrounds the public perception of her is still prevalent. She describes herself as a member of a circus, still on the tightrope and the trapeze even after everyone else has packed up and left, doing anything she can to keep the public’s attention. It hurts to hear the desperation in her voice, but there’s hope in the song, too. She is speaking to someone (we can assume her long-term boyfriend, Joe Alwyn) and thanking them for not being like “the regulars, the masquerade revelers drunk as they watch my shattered edges glisten.” In 2016, the height of Taylor’s fame and subsequently her farthest fall from grace, all the people who pretended to be her friends and attended all her parties celebrated her (temporary) demise, continuing to dance over her broken pieces on the floor. But he stayed by her side as she put herself back together. And so now, when no one is around, she’ll shine just for him, standing even taller than she does for the circus. Best lyric: “I’m still a believer, but I don’t know why / I’ve never been a natural, all I do is try, try, try / I’m still on that trapeze, I’m still trying everything / to keep you looking at me.”

7. seven Her voice gentle and haunting, Taylor recalls the freedom and innocence of her childhood in Pennsylvania. She asks to be remembered for how she was, swinging over the creek, before she learned civility when she would scream anytime she wanted, then letting out a very pretty one. She sings to her old friend soothingly about taking them away from their haunted house that their father is always shouting in, where they feel the need to hide in a closet, perhaps literally, or figuratively, or both. They can move into Taylor’s house instead, or maybe just to India, just be sure to pack their dolls and a sweater and then they’ll hit the road. She can no longer recall her friend’s face, but the love she had for them still lives in her heart, and she wants it to live forever through story. Just in the way that folklore itself blends reality and fiction, but the truth within it passes on, so will the purity of that love and friendship. Best lyric: “Please picture me in the weeds / before I learned civility / I used to scream ferociously / any time I wanted.”

8. august (teenage love triangle, part 2: the other girl’s perspective) If you had to assign the feeling of longing to a song, it’d be “august.” It’s when you’re teetering at the edge with someone, unsure of where you stand with them, clinging to anything they give you and doing anything just to raise your chances, “living for the hope of it all.” August, the last month of summer, its heat causing it to slip away the fastest in a haze before reality hits. This track is a display of how sometimes losing something you never had causes an even deeper ache than losing something that was yours, and Jack Antonoff’s signature production intensifies the emotion even more. It’s the story of shattered hope, and the longing for the days where it could still fuel you. Best lyric: “To live for the hope of it all / cancel plans just in case you’d call.”

9. this is me trying “this is me trying” is like a drive through a tunnel at night, hearing your loudest anxieties and insecurities echo all around you, caving in. The track is another apt insight into Swift’s struggles with her self-image, with the pressure she puts on herself, so much so that she sometimes pushes herself too close to the edge, her fears luring her out of the tunnel and down, down, down into her own cage, stunting her own growth and keeping those who care out of reach. She tells us how she was “so ahead of the curve, the curve became a sphere.” Every action has an equal, opposite reaction, meaning that she was pushing herself so hard, she rolled back to where she started, and now has to reset. This could be referring to the period between the end of the 1989 era and the release of reputation (2017), or a different time in her life, or just a general sentiment. It doesn’t really matter, though, because no one’s growth is a neat, straight line; growth is jagged. Just like any of us, Taylor will always have to face new obstacles, new pitfalls, new reasons to get back up. She sounds most vulnerable as she cries, “at least I’m trying,” and you feel comforted knowing someone so beautiful and successful has to push herself to try, too, and yet that motivates you more to try yourself. Best lyric: “They told me all of my cages were mental / so I got wasted, like all my potential.”

10. illicit affairs A quiet, slow-build testament of the passion, the tragedy, the secrecy, the inimitability of a romance that shouldn’t exist, “illicit affairs” demonstrates how you can ruin yourself for someone from just one moment of possibility or truth, quite like the narrator of “august” does for the hope of it all. An illicit affair can be many different things: infidelity, forbidden love, a love that can never be fully realized, a relationship that is inherently wrong but electrifying all the same. It’s a reminder of what so many of us would do just to see new colors, to learn a new language, even if the one moment of enlightenment destroys us forever. We might lose the iridescent glow but we don’t forget it; we carry it with us, but must be careful to remember its blinding effect, to remember how fatal the fall is from the dwindling, mercurial high. Best lyric: “Tell your friends you’re out for a run / you’ll be flushed when you return.”

11. invisible string Clearly the most outright autobiographical track, “invisible string” is the plucky pick-me-up needed. The song is like sunshine, as Swift endearingly links all the little connections between her and her boyfriend, Joe Alwyn, since before they even met. She compares the green grass at the Nashville park she’d sit at in hopes of a meet-cute to the teal of his yogurt shop uniform shirt, and gives a nod to her smash hit “Bad Blood” from 1989 with the delightful line “bad was the blood of the song in the cab on your first trip to LA.” She reasons these coincidences as a fateful, invisible, golden string tying them together since the beginning, always destined to meet at the knot in the middle. She thanks time for healing her, (a callback to “Fifteen” from Fearless [2008]), fighting through hell to make it to heaven, transforming her from an axe grinder to a gift giver for her ex’s baby (the ex in question, Joe Jonas, and his wife Sophie Turner, happened to have their first daughter two days before this album’s release). As she has on her previous two albums, she uses the color gold to illustrate how prized their love is to one another. It’s sweet to know in all the gloom that the string has not been severed, and the trees are still golden somewhere. Best lyric: “Cold was the steel of my axe to grind for the boys who broke my heart / now I send their babies presents.”

12. mad woman Throughout her entire career, Taylor Swift has defiantly defended female rage, all the way back from throwing a chair off a platform on her Fearless Tour during the impassioned “Forever & Always,” to her patient, vengeful reliance on karma in reputation’s lead single, “Look What You Made Me Do,” to her most recent tackling of the matter on Lover’s last and final single, “The Man,” where she explores society’s acceptance and encouragement of angry men yet disdain for angry women. “The Man” is catchy and upbeat, and a fun thought experiment into how Swift’s career would be perceived if she was a man, something that is even more interesting to think about now as she releases an album in a genre heavily dominated and lauded by males. But on “mad woman,” she further explores the creation and perception of female rage, though masked under a smooth, haunting piano melody, her vocals subdued, taunting. In the album foreword, she describes the inspiration behind this song as “a misfit widow getting gleeful revenge on the town that cast her out.” This could be the continuation of Rebekah “Betty” Harkness’s story at her Holiday House in Watch Hill, RI, and how she further alienated herself from the rest of the neighborhood as they cast stones at her for the collapse of the last great American dynasty. (Or perhaps Daenerys Targaryen’s descent as the Mad Queen played a part in the song’s inspiration, as Swift has spoken of her love for Game of Thrones and her character specifically.) Taylor herself could also represent the widow, her music and masters as her love lost, and the men behind the crime as the “town that cast her out.” In the first verse she sings, “What do you sing on your drive home? / Do you see my face in the neighbor’s lawn? / Does she smile, or does she mouth ‘fuck you forever’?” It’s the first f-bomb of Taylor’s career (though a much more playful one will come two tracks later in “betty”) and it speaks volume. Taylor has received a lot of condemnation for expressing her anger at their transaction, for calling out their greed for what it is. Some view Swift’s stance on the ordeal as petty and trivial; they see the men as orchestrating a good business deal, and Swift as the girl throwing a tantrum. Ask any woman, and they can tell you about a time a man told them they were crazy for being justifiably angry; it only makes us angrier. “No one likes a mad woman,” Taylor states, “You made her like that.” Swift underscores that here, how they will poke and poke the bear but then blame it for attacking, as if they had never provoked it at all, and how dare it defend itself. Just as they blamed Rebekah for her husband’s heart giving out, they somehow manage to blame Swift for not being allowed to purchase the rights to her own work. And yes, she’s mad, but the song is measured and controlled; she’s used to her anger now, and knows just how to wield it. Best lyric: “Women like hunting witches, too / doing your dirtiest work for you / It’s obvious that wanting me dead has really brought you two together.”

13. epiphany This is another track Swift provided some background on, stating it was inspired by her “grandfather, Dean, landing at Guadalcanal in 1942” during WWII. The first verse paints this image, while the second verse depicts a different kind of war, happening right now, fought by doctors and nurses. She speaks of holding hands through plastic, and the escape folklore has granted you suddenly lifts. Watching someone’s daughter, or mother, or anyone suffer at the hands of the COVID-19 pandemic, just as watching a soldier bleed out, helpless, is too much to speak about. As she points out, they don’t teach you about that vicarious trauma in med school. We are living in a tireless world with barely any time time to rest our eyes, but too much going on while we’re awake to make sense of any of it. “epiphany” is a cinematic prayer, pleading for some quiet in order to find an answer in all the noise. We’re still waiting for that glimpse of relief. Best lyric: “Only twenty minutes to sleep / but you dream of some epiphany / Just one single glimpse of relief / to make some sense of what you’ve seen.”

14. betty (teenage love triangle, part 3: james’s perspective) It makes sense that a song reminiscent of Fearless would exemplify some of the best story-telling on folklore. The final puzzle piece of the teen love triangle, “betty” is a song sung by Swift from the perspective of the character of her own creation, James, attempting to win back his true love, Betty, who he slighted in some way. He proclaims that the worst thing he ever did is what he did to her, without explicitly stating it. Though the infamous deed is unclear, here’s the information we collect from this song: James saw Betty dancing with another boy at a school dance, one day when he was walking home another girl (from “august”) picked him up and he ended up spending his summer with her yet still loved Betty, and though he ended things with his fling and wanted to reconcile with Betty, he had returned to school to see she switched her homeroom (James assumes, after saying he won’t make assumptions. Classic men). So in order to make it up to her, he shows up at her party with the risk of being told to go fuck himself (the second and charming “fuck” on the album! Which is repeated!). Upon his arrival, there is a glorious key change (ala “Love Story”) and all the pieces fall into place for the listener; we realize Betty is the girl singing in “cardigan” as he lists the things he misses about her since the thrill expired, like the way she looks standing in her cardigan, and kissing in his car. He’s 17 and doesn’t know anything, but she knew everything when she was young, and she knew he’d come back. The way I see their story conclude is that she led him to the garden and trusted him, but as they grew older they grew apart, but the love she had for him never faded completely. Listening to this song is like being back in high school, whether you were the person who did someone wrong or the person so willing to forgive in the name of young love, or Inez, the school gossip, you’re right there with them. The other great thing about this song is that it is sung to a girl, and though it is set up so we understand it is most likely from a boy’s perspective, it doesn’t have to be. It’s really great that girls in the LGBTQ community can have a song in Taylor’s voice to fully connect to without changing the pronouns or names (even James, which is unisex and is one of the names of the daughters of Blake Lively and Ryan Reynolds, Taylor’s close friends, mentioned in this song). That is the beauty of folklore: the infinite ways a story can be told, perceived, retold from a different perspective, and told again. Maybe you’ll hear it from Inez. Best lyric: “But if I just showed up at your party / would you have me? Would you want me? / Would you tell me to go fuck myself, or lead me to the garden?”

15. peace One of the most beautifully solemn songs of her career, “peace” echoes the same fears explored in “Dancing With Our Hands Tied” from reputation; will the person she loves be able to weather the ever-present storm that comes with the life of a superstar, but also dwells within herself? Will holding him as the water rushes in be enough? Will giving him her wild, a child, her sunshine, her best, be a fair consolation? Presumably another confessional track and about Alwyn, Swift puts him up on a pedestal, praising his integrity and his dare to dream. She proclaims that she would die for him in secret, just as she told him she’d be on her tallest tip toes, spinning in her highest heels, shining just for him in “mirrorball.” She highlights some of the greatest gifts of love, such as comfortable silence and chosen family. She knows what they have is special, but she also knows the value of peace, the ultimate nirvana, and does not want to deprive him of that. It is so deeply relatable- to me, at least- to feel like you can give someone so much of yourself but know it still may never be enough, and to fear either losing them or robbing them of something better. But looking at what they have together, maybe peace is overrated. Or maybe, she’s looking for peace in the wrong places. The calm is in the eye of the storm, and sometimes, there’s nothing more freeing than throwing away the umbrella and soaking in the rain. Best lyric: “I never had the courage of my convictions / as long as danger is near / and it’s just around the corner, darling / ‘cause it lives in me / no, I could never give you peace.”

16. hoax The truest enigma of the album, the closer, “hoax” is a devastatingly dark ballad about the uncertainty, or perhaps incredulity, of someone’s love for you, a love that is your lifeline. The lyrics are ambiguous, which gives way to a plethora of interpretations. Perhaps she is speaking about a hypothetical situation that has yet to happen (and hopefully doesn’t) in which someone she loves and trusts betrays her. Maybe she is talking about a relationship, real (hopefully not) or fictional, in which despite the torment it brings her she holds onto it for dear life. I’m most inclined to believe that the song represents her difficulty in accepting that someone is willing to love her through such dark periods, that their love must actually be a hoax, but she chooses to believe in it anyway and uses it as the motivation to rebuild her kingdom, to rise from the ashes on her barren land. And even through the downs that come at some point in every relationship, she can still see the beauty in it all. Yes, their love is golden, but waves of blue will crash down around any partnership, because life does not exist without them. So even when things are as blue as can be, she’s at least grateful it’s with him. Best lyric: “Don’t want no other shade of blue but you / no other sadness in the world would do.”

Although we still have yet to hear the deluxe track, “the lakes,” as a fan of Taylor for almost 12 years, it feels so obvious that this is her strongest work yet. The storytelling I fell in love with on Fearless as a teenager (which, much like folklore, was highly inspired by imaginary situations and real emotions) is even sharper now as we have both grown into adults. The music on this album might not be everyone’s speed, and that’s okay. But it allowed Taylor to dip back into what made Fearless such a success: using pieces of her own truth and the whims of her imagination to develop a multi-faceted narrative that becomes universal. During her Tiny Desk concert, before performing “Death By A Thousand Cuts” from Lover, Swift explained the anxiety she felt around the possibility of stunted creativity when people would ask her what she would write about once she was happy. Taylor has released an abundance of beautiful, fun, complex love songs since the start of her relationship almost four years ago now. But “Death By A Thousand Cuts,” which is a fan favorite, helped her prove to herself that she can still write a killer breakup song while being in a happy, fulfilling relationship; the song was the last track written for Lover and was inspired by the film Something Great on Netflix. And so it makes perfect sense that Taylor used folklore to continue exploring this new avenue for songwriting. All of her discography and all of her life experiences have culminated to the folklore moment: as all the best artists do, she will never stop finding inspiration in hidden corners of this dark, mystical, wondrous universe, and falling in love with new ways to share those wonders. And that love will be passed on.

DISCLAIMER - REVIEWER’S BIAS: I love Taylor Swift more than any person in my life, yes including my parents, they are aware and have accepted this fact long ago ❤️

[crackheadgeminibby]

trust pt. 6

pairing: chris evans x black!reader

warnings: language, age gap, angst

word count: 1.6k

part 1 part 2 part 3 part 4 part 5

i do not consent to my work being copied in any way, shape or form or reposted on any other platform

picture credit: @chrisevans on twitter

“Y/N… What are you doing here? Wait, what time is it? Don’t you have to wake up at 6am for work?”

You smile softly at his concern.

“It’s like 4am or something, I don’t really know. I was driving around, and I don’t know, I just ended up here, I guess. Thought we could talk or something…”

“Oh.” Chris scratches the nape of his neck. “Do you want to come inside, or do you want to stay out here?”

“I guess it’s kinda cold”, you shrug. “Inside, then.”

Chris nods at you and gets up. He starts to head inside and whistles for Dodger to follow, which he does promptly. You smile at Dodger and follow behind him.

Once inside, Chris stands awkwardly in the middle of the living room. He gestures for you to sit on the couch then hesitates before taking a seat beside you.

You play with your fingers while thinking about how you want to approach the situation. You subtly look over at Chris and, from the corner of your eyes, you can see that he’s looking at you. He opens his mouth but doesn’t say anything.

You decide to not say anything either and reach for your phone. You unlock it, open your email app and you feel your throat closing again as you open the email that started this whole situation. You silently hand your phone over to Chris for him to read.

He takes the phone and shakes his head as he looks at the picture then reads the text.

You start gnawing at your thumb and breathing heavily as your anxiety rises, “Why?”

He takes a deep breath and looks up at the ceiling. He looks back to you then opens and closes his mouth multiple times.

“I can explain.”

You gape at him and scoff. What a cliché.

“No, I promise I can. It’s not some kind of bullshit explanation to justify anything, I just… Please, just hear me out?”

You stare at him for a couple of seconds then slowly nod and say, “Okay.”

He takes a deep breath then starts, “Okay. You probably remember that a couple of years back I was in a pretty serious relationship with Jenny Slate.” He looks at you and waits for your acknowledgement so you slowly nod your head.

“Okay, so we eventually publicly announced that we were broken up because some of my fans were being very rude and nasty to her. They kept attacking her character and her appearance and we both just couldn’t handle it anymore.”

He then sighs.

“Before we made the announcement, we had already agreed that we were going to stay friends because we got along really well and we each thought that the other was an important part of our life. Then, in June of last year, I threw a small house party for my birthday and she came. We spent most of the night talking and catching up and by the end of the night, we had decided that we wanted to get back together. We didn’t say anything to anyone that wasn’t our family or very close friends, we just wanted to get another, untainted shot at a relationship without anyone meddling. At first, I could feel that it wasn’t like before… A lot of the things that used to make our relationship work seemed inexistant now. Kind of like we weren’t meant to be together anymore. I still tried to make it work but then I met you. And it was like the universe was trying to send a sign saying that this relationship wasn’t it for me. Literally as soon as I saw you in that coffee shop after doubting you were gonna show, I knew that we were meant to be. I don’t know how to explain it… I guess it was love at first sight.”

Your breath catches in your throat when you hear him say that and you know that he saw it. You detach your eyes from his and look at the carpet beneath your feet.

“How come you were kissing her a week ago then?” Chris looks at you and sighs.

“About two weeks after you and I met, I broke it off with her. I didn’t beat around the bush or anything, I was very straightforward. I talked to her about what I was thinking, what I was feeling, and why I thought we needed to break up. I didn’t tell her it was because of someone else because I guess I didn’t want to jinx it or anything. She got pretty mad and said she didn’t want to see me again but about a month ago, she sent me a text asking to meet. Since we’d agreed that we were going to stay friends, I thought ‘Why not?’ So, I told her I was really busy wrapping stuff up but that I was going to stay at my mom’s for a week after. So, we made plans to get dinner two nights before I left. We just talked and stuff and everything was going fine until she started talking about getting back together. I immediately told her that I had met someone and that I was happy and that I had agreed to have dinner as friends only. She seemed kind of bothered at first but as time passed, she seemed to be fine and started asking me about you. I thought she was just curious, so I told her about you and showed her pictures of us and all and she seemed totally fine. Then, when we were leaving, I was waiting for my car and she just lunged at me and kissed me. I didn’t really do anything because I knew that people were watching us since we got recognized during dinner. I didn’t want to make a scene, so I just let her be and when she stopped, I told her not to contact me again. I didn’t think anyone had taken a picture or anything, so I just left without saying anything else.”

He looks at you and waits for you to say something, which you don’t for the first couple of minutes. He scratches the inside of his wrist and it clues you into his anxiety.

“Y/N... Please, say something. Anything…”

You clear your throat and look up at him. You stare into his eyes for a couple of seconds then look to the side.

“So, you just let her kiss you?” Chris grimaces and nods.

“Just because you didn’t want to attract attention?” He silently nods again.

“Not because you wanted to see if you felt anything for her? Not because you still love her?”

Chris rapidly shakes his head and kneels next to you. He hesitates before taking your hands and weaving his fingers between yours. He looks deeply into your eyes and says,

“Absolutely not. I swear to you, I do not feel anything at all for her.”

“What about your family?”

Chris knits his brows together in confusion and asks, “What about them?”

You sigh before talking. You feel a little stupid even bringing that up.

“In the email… She said you haven’t taken me to meet your family because, essentially, you’re embarrassed of being with me.”

“Oh God, no. That is not what that is about. Right now, you’ve only met Scott, Seb, Anthony, and Scarlett. That’s just 4 people, right? As soon as we add more people to that list, in this case, my very big family, the chances of the public knowing grow literally exponentially. I just… Wanted to keep our relationship for us only for a while. I know that as soon as the public knows, it’s gonna be a fucking shitshow and I just didn’t want to put you through that so soon.”

You nod slowly, unsure of how to react.

“Have you talked to her since?”

He shakes his head and answers, “No. She tried to call me a couple of times, but I just declined her calls. I promise you Y/N, the only person that I feel anything for is you.”

He untangles one of your hands and caresses your cheek.

“I love you and only you, Y/N Y/L/N.”

You feel tears sting at your eyes as you gaze into his baby blues, looking for a scintilla of doubt or insincerity. When you find none, you nod and say,

“Okay. I forgive you.”

He smiles the brightest smile you’ve ever seen and gets back on the couch to hug you.

You breathe deeply and whisper,

“I love you too, Chris.”

You can feel him smile even more into your neck and he lets go of you before stroking your cheek.

He then leans into you and kisses you fervently, pouring all of his emotions in this one kiss.

“I think I’m going to call in sick to work. I need to sleep”, you laugh while playing with the hair at the nape of his neck. He chuckles at you and asks,

“How about we go to bed now and sleep in today, huh? Then, we can go get lunch or something?”

You nod enthusiastically and crash your lips on his again.

Sebastian was right: you really did need to just talk it out.

the end

PSA: this is in no way, shape or form hate on jenny slate. i know she is engaged and i’m sure she is a very nice person that is very happy in her current relationship. this is simply a work of FICTION and should be treated as such so don’t come for me please:)

[ongaku-ato-kakikomi]

Do you think you could do Monster Prom comforting their SO who is trying their best as a full time student? (I'm not sure if you take specific character requests but to make it less time consuming you could do only Damien unless you prefer to write the whole cast.) Thanks and I hope you have a good day/night!

(A/N): I do write for the characters individually! :3 I did all of the main ones here, though I wrote them as headcanons, so I hope it’s okay… (it’s less time consuming and I thought it would fit this request better). Anyway… hope you’ll like these!

Miranda Vanderbilt:

- She honestly doesn’t understand why you’re so stressed out; don’t you have serfs to do all your homework and studying for you?

- It takes you a little while to explain to her that, no, you don’t have any serfs to do your work and, no, you don’t want her serfs to do your work.

- It’s important to you that you succeed in your studies by yourself, even though you feel like crying and dropping everything from time to time.

- She still doesn’t quite get why you would put yourself through all that mental and exhausting pain, but she does understand that it’s important to you.

- Don’t expect her to help you with your studies: she’s a beautiful princess, so she will order her serfs to help you study while she enjoys other activities.

- She won’t necessarily notice that you might be stressing out until you start crying.

- When this happens, she might start blaming her serfs for it (execution-), but she will certainly wrap you up in her arms and whisper comforting things in your ear as she pats your back.

- She may or may not have suggested making her guards kill off your teachers at some point… and though the offer was very tempting, you told her no.

- She’s always ready to tell that order just in case you change your mind, and she might have threatened them into giving out less work so that you could ease up a bit.

- After all, you’re the love of her life; and she will do anything to make sure your happiness stays protected.

Damien Lavey:

- That boy barely manages to pass his classes, so he’s not really much of a help when it comes to studying.

- At least that’s what he believes, but he always tries his best to help you out nonetheless.

- You would make study notes for him to use to question you, but he rapidly gets confused and starts cussing at those overly complicated subjects.

- You often end up explaining your studying concepts to him, which more than often helps you learn the stuff.

- He gets annoyed pretty fast though, so you have to find other ways to study without his help.

- You don’t mind that much; it’s the thought that counts.

- If you ever get too stressed out or are about to hit the breaking point, he’s already there to help you out.

- He’s awkward when it comes to ‘saying sweet things’ and ‘comforting hugs’, but what he excels at are kick-ass hairstyles.

- It might seem a little random, but every time you feel his fingers go through your hair, your shoulders instantly relax and the loud thoughts shush down.

- It’s like getting a head massage from your boyfriend, and that’s pretty much what you need.

- He will force you to stop and watch a movie with you if he sees that you’re about to cry.

- You may need to study, but your happiness is much more important to him.

Scott Howl:

- Scott may not understand any of the subjects you have to study, but he’s the best boi when it comes to bringing a smile to your face.

- He will spend the entire day baking your favorite sweets and cooking you your favorite meals, wanting to make sure that you eat enough.

- If he somehow messes up a recipe, he will go out and come back with take-out and eat it with you in your room while you study.

- He will gladly ask you questions about your subjects: as long as you wrote them down with the answers beforehand.

- He’s not really much of any help though, because he often ends up telling you that you got the right answer (when you didn’t-) to make sure you stay happy.

- You get frustrated at him for a few moments then rapidly forgive him, kindly asking him to let you study in peace.

- If you ever get too stressed out, you can be sure that he will make you stop your studies for some well-earned cuddle time.

- He loves to hug you, so it’s honestly just an excuse for him to have you in his arms.

- He’s the best boi you could ever ask for, and he’s very happy to help you stay relaxed.

Liam de Lioncourt:

- You couldn’t think of a better person to help you out.

- Liam has been around for many centuries and knows about almost anything.

- He will gladly help you study; he doesn’t even need study cards, he remembers everything.

- If you need specific sources for an assignment, he will guide you through his own personal library to get what you need.

- He also knows about good websites to get great online articles, which he will happily provide to you.

- He will definitely create tests and exams to help you prepare for the real ones as much as you can, taking the time to explain to you why you got some of your answers wrong to make sure you understand.

- He’s so good at helping you get prepared, you hardly get stressed out about your exams and assignments.

- If you do start to panic about him, he will rapidly manage to calm you down.

- “We’ve studied and prepared you for this for weeks. I know you’re ready. You can do this.”

- If that doesn’t work; he makes you do breathing exercises and repeatedly reminds you that you’re doing great.

- Overall, he’s very proud of you, and he’s very happy to be able to help you out.

Polly Geist:

- Studying is completely boring to her, and she often tries to get you to stop studying so you can party with her.

- You often have to snap at her in order for her to let you work in peace, which she does for a few hours before she comes back whining and trying to get your attention.

- She knows that school is important to you, and it used to be important to her when she was alive, but not that she’s dead all she wants is for both of you to have fun.

- When snapping at her doesn’t work, you usually give out a sigh and accept to spend time with her, to which she responds quite happily.

- Those breaks might give you less time to work, but it definitely helps keep your stress level low.

- If you’re really struggling with a subject and are almost begging her to let you work, she will drop the ‘let’s party!’ act and settle down with you.

- She was at the top of her class back when she was alive and cared, so she picked up quite a few tricks to quickly learn and understand any subjects.

- She often blows your mind when she shares those with you, some sounding quite a little crazy, but you’re really thankful for her help. 

-  As soon as you’re both done, you can be sure that she’ll drag you out to get drunk; or at least watch a movie and cuddle if it’s the night right before your exams.

- She might get a little annoying sometimes, but you know she just wants the best for you, and you love her for that.

Vera Oberlin:

- Vera will only help you study if you really need to.

- She’s a smart woman who knows the importance of studying, but it’s not because she cares about her own grades that she loves doing it.

- So she only steps in when you’re either begging her or she sees that you’re on the verge of crying. 

- Her confidence and calmness rapidly help you ease down as she asks you questions about each subject you need to study for, even though you feel slightly ashamed when you don’t say the right answer.

- She often gives out groans of frustration when she has to explain something to you, but she does it nonetheless because she secretly wants you to succeed and be happy.

- If she sees that you need a little more time to get the hang of something; she won’t hesitate to make her minions kidnap your teacher to get you an extra week of studying.

- She always denies doing it, but you always thank her for it.

- She will most definitely find a way to steal the answer sheets for your exams, then make you learn the specific parts you need to know to increase your success.

- You never know that she does this, and she never tells you the specific answers either, but she’s very glad to see your grades increase ever since she started doing it.

- Let’s just say she’ll do anything to help you crush the others in your classes; she’ll just never tell you how much she cares about this.

[milarvela]

By his own admission, John Barrowman has always been notorious in showbusiness circles. 'I'm known for my jokes, my sense of fun, my high jinks,' he says.

But those 'high jinks' have come back to haunt him recently as a result of serious allegations against his former Doctor Who co-star Noel Clarke.

John's role as Captain Jack Harkness in Doctor Who began in 2005 and the character was given his own spin-off series, the far more adult Torchwood, a year later.

It launched a hugely successful career for John on both stage and screen, taking in leading roles in West End musicals, big-budget US TV shows such as superhero series Arrow, and homegrown light entertainment favourites like All Star Musicals and most recently Dancing On Ice, where he's one of the judges. He was by anyone's measure a family-friendly favourite.

Then a couple of months ago the sky fell in. Following accusations of sexual harassment against Noel Clarke, who played Mickey Smith – the boyfriend of Billie Piper's character Rose – in Doctor Who from 2005 until 2010, historic footage emerged on YouTube of a sci-fi convention, Chicago Tardis, in 2014, released by The Guardian newspaper which had investigated Clarke's behaviour on the Doctor Who set.

In an interview in front of a live audience, Clarke is seen regaling fellow cast members Annette Badland and Camille Coduri with tales of John's behaviour on the set of Doctor Who, exposing himself 'every five seconds'. Clarke then jokes with the audience not to do this at their workplace or they might go to prison.

The allegations levelled against Clarke are extremely serious. At least 20 women have come forward to accuse him of sexual harassment and bullying, 'inappropriate touching and groping' and secretly filming naked auditions before sharing the videos without consent.

He denies all the allegations, but BAFTA has since suspended the Outstanding Contribution award it bestowed on him just weeks earlier, and the BBC has shelved any future projects he was working on with them.

Now John's behaviour on the sets of both Doctor Who and Torchwood has come under scrutiny once again. The furore has led to a video of Captain Jack Harkness being expunged from the current immersive Doctor Who theatre show Time Fracture, a planned Torchwood audio production featuring John and former Doctor Who lead David Tennant being scrapped and doubt about whether he will be invited back to the Dancing On Ice panel.

ITV will announce the line-up for the next series in September. John immediately issued an apology following the emergence of the video back in May, but today he's decided to speak exclusively and candidly to Weekend to give his side of the story.

'The moment has come to set the record straight,' he says from the Palm Springs, California, home he shares with his husband Scott Gill. 'This is the first time – and the last – I will address this subject. And then I plan to draw a thick black line under it.'

Firstly he says it's important to set the scene. On the set of Torchwood, which followed a team of alien hunters and explored themes of sexuality and corruption, he had what might be called a 'relaxed' attitude to nudity, and would wander around in an open robe. But it's claimed that he was well known for flashing and mooning at cast and crew alike on both the Doctor Who and Torchwood sets.

As Captain Jack Harkness I was the star of Torchwood, so I felt it was down to me to lead the company and keep them entertained,' he explains. 'When I was doing a nude scene or a love scene it was clear in the script I'd be naked and everyone would have known about that at least 48 hours in advance. So I'd be waiting in my trailer wearing just a robe with a sock over my "parts". Then, if I were standing waiting to film a scene where I needed to be nude and someone came into view, I'd make a joke to put them and myself at ease. My actions were simply designed to defuse any potential awkwardness among the cast and crew.

'I've never been someone who's embarrassed about his body so it didn't bother me if anyone saw me naked,' he adds. 'The motivation for what I'd call my "tomfoolery" was to maintain a jokey atmosphere. There was absolutely nothing sexual about my actions and nor have I ever been accused of that.' Whether this sort of behaviour would defuse any awkwardness, or actually foster it, is debatable.

WHY I'VE GONE INTO THERAPY

This scandal has clearly not left John unscathed. 'It was upsetting my mental health,' he tells me. 'My husband Scott suggested I talk to somebody. I won't discuss what I've said in therapy sessions – that's a matter of doctor/patient confidentiality – but I don't mind admitting it's helped me a great deal.

'It's made me aware that despite how much cancel culture may talk about respecting people's mental health, too often they don't respect the mental health of the people they're trying to cancel. So I needed to understand what was happening, which is why I went to speak to somebody.'

Has he had more than one session? 'Yes. It's a conversation that's still going on,' he says with a wry laugh. 'Seriously, whatever the situation, if you feel you need to reach out to someone it's very important to keep talking.'

'If what happened had taken place in the changing rooms after a rugby match it would be regarded as no more than a prank,' he continues. 'On the other hand, it's never going to happen in an accountant's office or a supermarket. But my job is not a regular nine-to-five, we're a family working long hours and in close proximity to each other.' Again, one has to bear in mind that a rugby changing room would be an all-male environment. There were many women in the cast and crew of the TV shows.

'In the theatre quick costume changes happen in the wings all the time, with everyone stripping off to get into their new outfits in time for the next scene,' he says. 'Girls might be braless, boys only in jockstraps. That's just how it is and no one gives it a second thought. But I accept that my behaviour at the time could have caused offence.'

Although John's recollection is that no one complained at the time, and he says that no one has complained since, at one point he was called in for a private conversation with Julie Gardner, an executive producer on Doctor Who and Torchwood. She has confirmed to The Guardian that she did receive a complaint.

'My antics had come to her attention and she told me I should rein in my behaviour,' he recalls. 'In blunt terms, she had just two words of advice: "Grow up!" That struck a chord. I did as I was told and my behaviour changed overnight. I'd still be full of jokes and fun, but no more naked pranks. I can see now my actions were pretty juvenile but this was a different time and it's something I would not do today.'

When these rumours were swirling back in 2008, it's also said John exposed himself during a Radio 1 interview in which his behaviour was being discussed. He denies this today.

'I was being goaded by the presenters about my reported behaviour on the Doctor Who set. I went along with it but I didn't actually do anything inappropriate in the studio. What would have been the point, it was on the radio? Still, it created such a stir that the following day I decided to make a full public apology and get on with my life.'

And that might have been that, but for the accusations against Noel Clarke coming to light. 'It seems to me that I've become collateral damage to a much bigger story,' says John.

Given his and Clarke's high profiles and the severity of the allegations against Clarke, this is hardly surprising. Has he spoken to his former co-star since the balloon went up?

'I have not.' Does he plan to? 'I do not. But listen, I'm not trying to cast myself in the role of victim here.' That said, he clearly resents these stories re-emerging, although he has had messages of support.

'In fact many members of the cast and crew have been in touch since this latest storm blew up giving me their support,' he insists. 'I won't name them because I don't want anyone to find themselves in the firing line.'

However, Gareth David-Lloyd, who played bisexual Jack Harkness's lover Ianto Jones in Torchwood, has chosen to go public about working with John. 'In my experience John's behaviour on set was always meant to entertain, make people laugh and keep their spirits and energy high on what were sometimes very long working days,' he said.

'It may be because we were so close as a cast that professional lines were sometimes blurred in the excitement. I was too inexperienced to know any different but we were always laughing. The John I knew on set would never have behaved in a way he thought was affecting someone negatively. From what I know of him, that is not his nature. He was a whirlwind of positive energy, always very generous, kind and a wonderfully supportive lead actor.'

In the weeks following this new public scrutiny John has had time to reflect, and has come to the conclusion there are two issues. One is the aftermath of the #MeToo movement; the other is cancel culture.

'I'm a supporter of #MeToo because no person should ever feel that in order to succeed in their career they can be coerced into doing something sexual against their will.

'My problem with cancel culture, on the other hand, is that it can take the form of intolerance and prejudice. It's a culture with no shades of grey. There's no leeway for forgiveness or room for recognising any change in someone's behaviour. Cancel culture tends to talk at you or past you or through you, rather than listen to you. Dialogue is extremely rare.'

He sounds upset now. 'Look, I'm in a good place,' he insists. 'I've got a great husband, a great family, a great "fan family" around me. But I've found it difficult. And yes, some of the things that were being said have been hurtful.

'Scott and I would go to bed on a Saturday night dreading the stories in the Sunday papers. And then I'd wake up to lies. One newspaper printed as fact that I'd been dropped as a judge by Dancing On Ice. Well, apart from the fact that the new panel isn't decided until the autumn, no one from ITV had spoken to me or my agent about this latest upset.'

Ashley Banjo, leader of dance troupe Diversity and a fellow Dancing On Ice judge, has only worked with John for the past couple of years so did not know him during the time of the behaviour he's now being scrutinised for, but has publicly spoken out in support.

'I've told John I'd readily work with him again,' said Ashley. 'He's always fun on Dancing On Ice and he's been very respectful and considerate. I'd like to see him come back. The impression I get from this story is it's something small and historic, something blown out of proportion. What I'm not a supporter of in regard to cancel culture is when the speed of allegation is much faster than the speed of investigation. Before I make a judgment I want to see and understand the facts.'

There has been outrage on Twitter, with many users pointing out that John's 'tomfoolery' could be regarded as indecent exposure, and that the fact it happened among work colleagues is no excuse. 'You don't do that in work. You don't do it full stop. If you did it in the city centre you'd be arrested,' posted one user.

So does he regret the way he behaved? 'You can't wind the clock back,' he says.

'They were different times, which is why I wouldn't do now what I did then. I've acknowledged that by the way my behaviour has changed. The trouble is that certain cancel culture enthusiasts are not allowing me to acknowledge it. I've always believed that the reason I was put on this planet was to bring joy to people, make them laugh. How I do that has evolved over the years. I'm still using humour, just in a different way than might have been the case ten or 20 years ago.'

Now, he says, he wants to move on, both personally and professionally. Many years ago he bought a house for his parents down the street from where he lives with Scott.

'They're getting on now and I've been their primary carer throughout the pandemic, doing their shopping, getting their prescriptions from the pharmacy and so on. My mother broke her pelvis at one stage but she's on the mend now. I'm just thankful I can keep an eye on her and my father. I'm thankful too to the scientists for coming up with the means by which we can combat Covid via vaccinations, and the healthcare workers for administering them and looking after us so selflessly. We owe them a great debt of gratitude.'

What about professionally? 'Well, I'm at the early stages of putting together a show full of anecdotes and songs that will tour throughout the UK when restrictions are finally lifted. As far as I'm concerned, it's back to business as usual.'

But it remains to be seen later this year with the announcement of the line-up for Dancing On Ice whether John's career too might be put on ice.

***

I can see now my actions were pretty juvenile but this was a different time and it's something I would not do today.'

Well, to be blunt, he’s too old to be doing it anyway, people would just roll they eyes at a pathetic old lech instead of maybe giggling at a younger man’s adorable/innocent/whatever tomfoolery.

'In fact many members of the cast and crew have been in touch since this latest storm blew up giving me their support,' he insists. 'I won't name them because I don't want anyone to find themselves in the firing line.'

I think he should name them. Just for fun. Come on! Because I doubt there have been (m)any. If this story teaches anything, it’s that whatever you say/do can come back to haunt your celebrity status years later in most unexpected ways. Or maybe he was always the intended main course, Noel Clarke only the appetiser...

[neverleaveyoubehind]

Teen Wolf : 1x01 “Wolf Moon”

OMG they look so young! This whole episode has made me feel so old, I can’t believe that it’s been 9 years since this aired. I still remember watching this after middle school and now, it’s been almost a decade, I’m in college , I’m a full adult, unbelievable!

Let’s proceed with the actual reaction, though.

The first scene it’s surprisingly good, I mean, the way it starts all somber with the creepy music, you see all the police department and the Sheriff arriving to the woods, all the police dogs barking , the fog ,... I really liked it. Actually, I had forgotten about this scene in particular.

Like, we actually get to see the Sheriff a little bit, in my mind we weren’t introduced to the Sheriff until later in the episode. That was cool, knowing that he’s the first important character we see (even though you need to be paying a lot of attention to see that it’s him, because they just focus on showing his arm or something like that )

Suddenly, the music changes into an upbeat song, and we are in Scotts house. (God, seeing Scott fixing the Lacrosse stick gave me ALL the nostalgic feelings I could handle) Tyler Posey looks so young, like a little baby, he changes so much during the years. Not like Dylan who looks exactly the same but , with longer hair 9 years later.

Anyway, we have baby Scott (that’s how I will be referring to him for the next 2 seasons aprox) working out , being teenagery , brushing his teeth (his sink worried me a bit, maybe they should think about investing in a new one ‘cause that one looks nasty) Then, he hears a noise and freaks out. BTW, Scotts hair is a whole situation, it’s way too long for such a small face.

He freaks out, gets out of the house with a baseball bat,which might have been the highlight of my day (also,the baseball bat as a deathly weapon was Scott’s idea first ,ladies and gentlemen, let’s take that into consideration) and we are finally introduced to Stiles.

What better way to introduce him than having him hanging for his first 2 minutes on screen? (he being completely unfazed by it, and carrying the conversation like nothing was wrong, is my favorite thing in the world and the reason why I love Stiles so much) if this whole scene isn’t the reason why everyone kept watching the pilot, Idk what to tell you.

Ok, then, after the best interaction ever, Stiles has somewhat convinced Scott to go look for the body in the woods. Because, yes people, there’s a body , this body is missing a half and Stiles wants to find it. Like, of course he does, this man thinks he’s a detective or something (And yes, I did say a half because we don’t know which part is missing) So, in what has to be the most teenager/peer pressure way (reluctantly following your best friend trough the woods with a murderer on the loose) our story begins.

We have Stiles and Scott walking around trying to find the body (every sentence that leaves Dylan's mouth during this episode is gold, that's really my opinion) Scotty is worried about the prospect of founding not only the body but, the murderer, Stiles is living his best life, joking around, walking way too fast for our asthmatic baby Scott, and that's how they get separated.

We properly meet one of the best characters of the show, the sheriff Stilinski, after Stiles gets scared by another deputy that thinks he’s the murderer, and Stiles leaves with his dad. So, now we have us a baby Scott walking alone, in the dark, back home.

He’s walking for a bit, with creppy background music and various animal noises (the music and the ambiance of this show are great. Props to the music team, honestly) Then, he reaches a clearing in the middle of the forest, takes out his inhaler, and when he is about to use it, a bunch of deer bump into him causing him to fall to the ground and drop the inhaler. (I bet he was more worried about dying crushed by deer than losing it, though) When the deer have gone their merry way,and he no longer thinks he’s going to die, he gets up and starts looking for the inhaler with the light of his cell phone (with the light of the screen to be precise. Scotty isn’t the sharpest tool in the shed), but he doesn’t find his inhaler, he finds... The body (the upper part, in case someone was wondering)

Then, Scotty jumps back from the scare, and falls down a hill. When he gets up, a huge black monster attacks him and baby Scott gets bitten!

(The CGI of the first season is truly horrifying but, don’t panic my friends, it will get better)

Baby Scott runs as good as he can manage ,after being bitten by an unknown huge thing and having lost his inhaler,through the woods until he reaches the road, where he is almost hit by a car (our homeboy Scotty is having a really bad night)

SPOILER

The fact that he gets almost run over by Allison and her mom , who aren’t even in the show yet is amazing. Jeff did truly love this 2 because their storyline is truly wonderful, their whole relationship is handled with such care and a lot of attention to details. It makes my heart soft.

SPOILER

They go to school, Jackson looks like an asshole and turns out to be an asshole, normal High School shit. Scotty shows Stiles his bandage and tells him that a wolf bit him, then Stiles proceeds to laugh his ass off because there hasn’t been wolfs in California in like 60 years (Stiles is the kind of person that knows that type of thing) and , baby Scott tells him that he found the body.

Then this whole hilarious scene happens:

They go to class and Scotty starts hearing a phone ringing and turns out he’s the only one hearing it (obviously dude, you’re a werewolf) because it’s the phone of a new girl that’s outside of the High School waiting for the headmaster (I guess, I though someone else was but maybe that hasn’t happened,yet) this new girl is talking on the phone with her mom and she realizes that she forgot to bring a pen (really? You forget to bring a pen to your first day of High School? Someone wasn’t prepared)

So the headmaster brings the new girl to Scotty’s class , her name is Allison, and baby Scott has a crush on her the second he sees her (puppy love has never been more fitting )

Then, he does that whole thing of giving her a pen that she didn’t ask for (if I was Allison I’d be creeped out that someone just gave me a pen after I said outside of the building that I didn’t have one but, IDK, maybe it’s just me)

Anyway, Lydia and Allison become BFFs ,they have Lacrosse practice (we hear the Lacrosse background music for the first time) and surprise, Baby Scott didn’t suck (we also meet Coach aka the most important person of Beacon Hills high school) After school Stiles and Scott go back to the wood to look for the body and the inhaler (seriously, do this kids never learn?) while Stiles jokes about Scotty being a werewolf,and Derek Hale makes his first appearance (God Derek looks like Edward Cullen in this episode) he gives Scott his inhaler back and tells them to get out of his property (like an old man)

Stiles tells Scotty that almost all of Derek’s family died in a fire in his house and baby Scott leaves to go to work. He goes to feed the cats and they freak out, Allison comes to the vet hysterical with a dog she run over , this cutie moment happens :

Baby Scott is in love, so he asks her out to Lydia’s party that friday, Allison is also in love so she says yes. Scotty goes to sleep feeling on cloud nine and wakes up in the middle of the woods (it was a full moon the night before) he sees the big monster that attacked him the other night starts running and ends up falling in someone’s pool (Baby Scott is way to ripped for an asthmatic little kid but, ok)

He goes to school , Jackson interrogates him about steroids (fuck off Jackson, no one likes you. Well, maybe Lydia, but that’s it) Scotty freaks out about sleepwalking 40 miles into the woods, they go to Lacrosse practice and Scotty makes first line so he’s going to be playing in their first Lacrosse game of the year ,Stiles is suspicious because Scott was awful at Lacrosse like 2 days ago , and suddenly he’s a pro (like he should be, honestly, people should listen to Stiles more)

Stiles goes home researches a freaking ton about lycanthropy and werewolfs and decides that yes, his best friend is a werewolf (just like that, that was his first option and he stuck to it) he calls Scotty, tells him that he should cancel his date with Allison just in case he tries to kill her but Scott ignores him.

Melissa and baby Scott have a nice mother-son moment before his first ever date (with a lot more mentions of teenage pregnancies and underage sex for what one would expect from a first date)

Baby Scott takes Allison to the party, everything is going great, until it isn’t. Suddenly Scott starts feeling the bloodlust and the changes that Stiles had warned him about, so he leaves the party (leaving Allison alone without as mush as an apology, and without a way to get back home) Do not fear, though. Derek offers to take her home so everything’s great.

Scotty goes home while having a whole freak out and tells Stiles (who has followed him because he’s the best friend anyone could ever have) that Derek is the werewolf that bit him. Stiles tells Scotty that Derek took Allison home, Baby Scott leaves to have a fucking argument with Derek, and Stiles goes to Allison’s house (Allison was just fine so Stiles leaves)

Scotty and Derek get attacked by werewolf hunters (needless to say, Scotty won’t be sleeping in a while)

In the morning Stiles picks him up from the woods. At school Scotty apologizes to Allison, she forgives him because they are in love (or stupid , if I had been left like that in the first date I wouldn’t have forgiven him) and we are introduced to Allison’s dad

Wait, did I say Allison’s dad? I meant the werewolf hunter that tried to kill him the night before.

Wow that was a roller coaster of emotions ! What did you guys think? Did you remember all of what actually happens ? Did you also realize that you’ve been mixing what happens in each season together into one big season? Because I did

[tsarisfanfiction]

Melt V

Fandom: Thunderbirds Rating: Teen Genre: Hurt/Comfort/Angst Characters: Brains, Virgil Tracy, John Tracy, Alan Tracy, MAX

Part 5 of my entry for @gumnut-logic‘s SensorySunday: Smell. Part 1 | Part 2 | Part 3 | Part 4

Nope, this fic is not back on track at all.  Thanks to Nutty for helping me with Virgil... although Virgil is also the reason we’re back off the rails again, so there’s that.  This is my first time writing TAG!Brains (I have some TOS!Brains in a wip but his stutter is different, and there’s no MAX).  It’s also always awkward writing the pov of someone smarter than me...

“I-It doesn’t make sense!” Brains declared to MAX, who whistled back at him sadly.  His hands were shaking, and he curled them into balls.  John’s call, interrupting some Thunderbird Three maintenance and potential upgrades, had been full of nothing but bad news.  Scott hospitalised, Gordon heading home with broken bones, and all because one of their pods – a pod Brains had designed – had exploded on them.

Calculations whizzed past in front of him, all the variables and what-ifs of a HeliPod’s construction. Had he made a mistake?  Was he sending the boys out with a ticking time bomb? Mr Tracy would never forgive him for such an error.

MAX whistled at him again, insisting that he hadn’t made a mistake, but he just shook his head at his creation.

“N-no, MAX.  There m-must be an explanation.  Thunderbird Five d-didn’t detect anyone e-else in the vicinity, s-so it must be an issue with the HeliPod.”  But what?  The schematics didn’t highlight anything out of the ordinary.  Information streamed from Thunderbird Two on the exact makeup of that particular pod showed nothing odd, either.

He started again, back from the top.  What was he missing?  Nothing was coming up, all the calculations were perfect, assembly had gone without issue, no issues with any of the parts used.  Nothing, nothing, nothing.

In the corner of the display, Scott’s suit telemetry taunted him.  Another failure.  He needed to look into that as well, find a way to improve its heat resistance.  What if Virgil hadn’t been so close?  HeliPods could go a long way from Thunderbird Two. Their suits were supposed to protect them.  It had failed.

Was there a way to get neoprene to resist higher temperatures?  Would he need to argue with Scott about replacing the fingerless gloves with full-cover like his brothers’?  Scott had said he didn’t need them, that the extra dexterity made piloting easier, and Brains preferred not to clash horns with the eldest Tracy brother if he could, but he couldn’t let this happen again.

MAX whistled at him again, turning around in a circle before heading out of the room.  His concentration broken by the sudden departure, Brains heard the unmistakable sound of Thunderbird Two returning to her hangar.  He hadn’t heard Thunderbird One, but that wasn’t overly unusual when he was distracted by his work.

Thunderbird Two. Virgil.

He hurried to the hangar, arriving just as a stretcher bearing a bundled-up Gordon was offloaded.  Alan was already there, bouncing up and down nervously at his brother’s side, but it was Virgil Brains needed.

“V-Virgil!” he called, running across the hangar and almost falling flat on his face.

“Can it wait, Brains?” the larger man asked, frowning down at his brother.  “I have to get Gordon settled.”

“Do you have the H-heliPod?” he asked.  Virgil’s face went dark.

“Buried under an avalanche,” he said.

“O-oh.”  Brains needed that HeliPod.  Calculations didn’t tell him what had gone wrong; he needed to see the actual remains and analyse them.

“Brains, I have to get Gordon sorted, then get back to the hospital.  The HeliPod is not important right now,” Virgil said firmly, but Brains shook his head.

“N-no, Virgil.  I n-need to see that HeliPod a-as soon as possible. U-until I can determine w-what happened to make it e-explode, I c-cannot allow any of y-you to use a-any of the p-pods.” Brains didn’t like arguing, let alone with Virgil, who was usually the calmest and most reasonable of the on-Earth Tracys, but this was important.  Too important to wait.  “I-I can take Thunderbird Two myself.”

“No!” Virgil snapped. “The site’s too dangerous.”

“Uh, hey, Virg?” Gordon interjected, making Brains jump.  He hadn’t even realised the aquanaut was conscious.  “You know you’ve got to go back anyway?  Thunderbird One?”

“Thunderbird One can wait,” Virgil said stubbornly.  “Sorry, Brains.  You’ll have to do your assessments another way.  We can’t retrieve the HeliPod.”  He stalked away, towing the stretcher with him.

MAX whistled mournfully.

“I know, MAX,” he replied. “I n-need to see the remains t-to see what happened.”

“I’ll take you!”  Alan appeared at his shoulder.  “Come on, let’s find out what happened to my brothers!”

“ALAN!” Virgil roared.  There was the sound of heavy boots pounding across the hangar floor, and Virgil was back in front of them, every inch the angry bear he could be when provoked.  “Absolutely not.  You are staying right here on Tracy Island with Gordon.”

“But… Scott will be happier if Thunderbird One’s back home,” Alan protested, poking the bear in a way Brains could never gather the courage to do.  “And Brains is right!  We have to know what happened to Scott and Gordon.  What if it was the Hood?”

“Then we leave Kayo and the GDF to deal with it,” Virgil growled.  “John is already in contact with them.  Once Scott’s out of surgery, Kayo’s going to the site to see what she can find.”

“She’s going alone?” Alan gasped.  “But- isn’t that dangerous?”

“Kayo’s trained for that sort of thing,” Virgil pointed out.  “You are not.”

“But… but…” Alan started. “But if Thunderbird Two needs to go back to retrieve Thunderbird One anyway, why not go at the same time as Kayo?”

“Alan-”

“It’s in an avalanche zone, right?  So if we wait too long, there might be another one and then Thunderbird One will be even harder to get!”

Brains refrained from mentioning that it was possible, if time-consuming, to construct a brand new, upgraded, Thunderbird One, and that the boys got unhealthily attached to their machines despite his warnings to the contrary.  While it was true, it would do nothing except give Virgil another reason to not go back, and while Thunderbird One was replaceable, the information from the damaged HeliPod was not.

Virgil looked unimpressed, arms crossed and unmoving in the face of his youngest brother’s arguments. Brains feared that he’d need to hijack Thunderbird Two himself the moment Virgil was out of the hangar, but he was no pilot and certainly had no head for heights nor speed.

“Virgil,” he started, determined to argue his case one more time, but was interrupted by John appearing.

“Kayo thinks it’s a good idea,” the ginger said.  “She says she’ll meet you there.”

“John-”

“It’s too dangerous for one of you to go alone to a live avalanche site,” John steamrollered. Brains didn’t often get to see John overriding any of his brothers, but even through the hologram and his limited understanding of fellow humans, he could tell that John was angry.  “Brains is right.  There is absolutely no sign of anyone else there on the ridge that EOS or Thunderbird Five can detect, but the HeliPod didn’t explode until they were out of your sight, which means that something is not right.  None of the theoretical calculations Brains or I have run so far explain that, so we need to at least get detailed scans of the HeliPod, if not the physical remains.”

“I-”

“We’re looking at best case scenario, Thunderbird Two’s pods have a potentially fatal flaw, and worst case scenario, someone is actively trying to kill us – and came far too close to succeeding today.  We need answers, Virgil, and we can’t wait for them.  If you can’t leave Gordon, I’ll be down in fifteen minutes to take Thunderbird Two and Brains out myself.”

“John-”

“Thunderbird Two is going back there no matter what, Virgil,” John told him firmly.  “The only say you get is who’s on board.”

Virgil looked furious, glaring at his brother’s hologram.  Brains waited with baited breath, Alan alongside him, as a silent battle of wills took place between the second and third Tracy sons.

“I don’t like it,” Virgil said finally, his tone leaving Brains in no doubt that Virgil absolutely hated it.  “But no-one’s piloting my ‘bird into an avalanche zone except me.  And none of you are coming with me.”

“But Virgil-”

“Alan, you are going to stay right here with Gordon.”  The blond pouted but nodded.

“T-take MAX,” Brains insisted, quietly relieved that he was banned from the flight.  Thunderbird Two was magnificent, but like the other Thunderbirds had a tendency to make him sick.  His robot whistled eagerly, bouncing on his wheels to show his enthusiasm for the idea.

Virgil surveyed him for a moment, brown eyes severe and obviously unhappy with the situation.

“Fine,” he caved, clearly realising that there was no additional risk to including a robot in the flight.  “But I’m getting Gordon settled first.  Alan, come on.  And John?”

“Yes, Virgil?”

“If you’re not down here by the time I get back from the medical bay, I’ll drag you down myself.”

Brains strongly disagreed with that demand.  Thunderbird Five had the most sophisticated computers in International Rescue, and would be crucial to the investigation.

“I’ll be there,” John promised.  Virgil nodded and stalked back across the hangar with Alan in tow.  Brains didn’t watch him go.

“But John!” he protested. “Thunderbird Five’s c-computers will be crucial in the investigation.”

“It’s fine, Brains. EOS can give us all the information we need,” John assured him.  “If I don’t come down, Virgil isn’t going to go at all.”

“I-if you say so.” Brains was dubious, but there was nothing more he could do.  “C-come on, MAX, let’s get you r-ready for the mountains.”

MAX gave an enthusiastic whistle and eagerly led the way back to the lab.  

Refitting him didn’t take long, and soon he had MAX ready and waiting for Virgil in Thunderbird Two. Brains himself settled in his lab chair, his goggles settled comfortably over his eyes to show him everything MAX’s optical sensors transmitted.

Virgil took rather longer to appear, presumably awaiting John’s descent from Thunderbird Five before entering his launch chute, but he finally did so, greeting MAX cordially enough. Brains thought he seemed a little more settled with the idea and part of him wondered if his brothers had continued the conversation out of his earshot.

“Okay then, MAX, let’s go get Thunderbird One, and find out what happened to that HeliPod.  Brains, you ready?”

“R.A.D.”

“Alright then.”  The cargo transporter moved, trundling forwards onto the runway.  Brains didn’t need MAX to look out of the window to imagine the launch ramp engaging itself; nor did he need the audio sensors to hear the rumble of the main engines igniting.  “Thunderbird Two is go!”

Part 6

[dragonofyang]

On Love and Lions Part 1: An Analysis on Love in VLD

“I have always believed that unity is where true power comes from, and true unity can only be born of love.” --Gyrgan, Paladin of the Yellow Lion

Voltron: Legendary Defender is a cartoon on Netflix that–with the final season available to watch on Netflix–has extremely regressive and harmful messages. The S8 on Netflix carries lessons about how war is good, that men shouldn’t respect the wishes and desires of women, that violence and abuse mean even victims aren’t deserving of forgiveness. Everything about that is 100% antithetical to what VLD was about throughout the prior seasons and each harmful message is another nail in the coffin of the original narratives of peace, respect, and fundamentally how everyone is deserving of love and forgiveness, regardless of the circumstances of their birth.

In fact, the theme of love in VLD is something we at Team Purple Lion wish to discuss. It’s arguably the most absolutely fundamental theme of the show. Love destroys the universe, and love saves it over and over again. And love would have rebuilt the universe, but thanks to the edits ordered by the trademark holder, the universe that should have been born from love was instead born from one girl sacrificing her life because she saw no better option. She didn’t even get to tell her only remaining father figure goodbye. What kind of message is that? In the original final season, prior to the executive meddling, we should have seen how love was such a powerful force in the universe that it could not just repair this reality, but all realities. And it’s not just romantic love, but six types of love.

Now, for those of you more familiar with our work, we’ve discussed some pretty big concepts in VLD and how they’re addressed, and there will be even more in future episodes of our reconstruction Rise and Atone. VLD engages not just with its own predecessors in the Voltron franchise, but Beast King GoLion, Labyrinth, Frankenstein, and Maureen Murdock’s The Heroine’s Journey is all but the story bible for Allura’s arc. The concepts we are about to discuss date back to Ancient Greece, and while love can be more than these concepts, it’s important that we have a framework through which we can discuss and analyze love as it appears in VLD without getting lost in all the examples.

In American culture, “love” is not very well-differentiated between kinds because we only use one word: “love”. While we use it across all sorts of contexts, we have to add modifiers when we don’t mean romantic love or familial love, which are the most commonly-acknowledged forms of love. VLD, being written and edited by primarily Americans living in America, also encounters this issue, but it does not focus solely on romantic love, which can complicate how to interpret love in the show. We, however, would like to argue that not only is it all love, but it doesn’t all have to be good love, familial love, or romantic love. At the end of the day the plot is driven by love in its many forms. Love is so baked into the story that it’s quite difficult to extricate, dare I even say impossible, and that ultimately is part of why we were able to reconstruct so much of what was lost in S8.

The Ancient Greeks had many words for love, but we feel it’s important to discuss the dialogue that VLD engages in with various forms of love, using the Ancient Greeks’ framework as a guide. The model gives us concrete definitions of different kinds of love, and can help us as an audience understand the various forms of love that are present in VLD. It’s important that we define the different ways we can observe love being portrayed because much of VLD relies on the writing adage of “show, don’t tell”.

So without any further ado, let’s dig into what, precisely, is love.

As stated earlier, we’ll be using terminology coined by the Ancient Greeks, specifically six categories of love that we feel are most prevalent in the show. We’ve also deduced our own examples of these forms of love when they’re taken too far or flat-out discarded, which will be discussed in a companion article.

The six forms of love are as follows:

Eros: the most famous kind of love, an intense (and often sexual) passion for another being and seeing the beauty within them. This is the love that most closely aligns with romantic love as we understand it in a modern American context.

Philia: an affection and loyalty between friends, notable for its platonic nature, it is the love that arises between friends, and can be found among family, but the modern equivalent would be the found family trope.

Storge: this is the intrinsic empathy between individuals, primarily the attachment of parents to children. This form of love was primarily used to describe familial relationships, and the patience one sometimes needs when around blood relatives.

Philautia: put simply, this is self-love in its purest form. It is acknowledging your needs, wants, and happiness without apology. The Ancient Greeks considered Philautia to be a basic human need.

Xenia: while many might not consider this to be a form of love, it is hospitality, or as we define it, love between a host and their guests. Specifically, this would be the care a host gives to their guests in both physical (food, gifts, etc.) and non-physical (respecting rights, protection, etc.). Hospitality is massively important because if you are good to someone while they are in your home, they will be equally good to you if you visit theirs.

Agape: this is a Greco-Christian term, ultimately, and is a little more difficult to understand because it can be confused with other forms of love. At its core, though, it is a pure and unconditional love such as that between spouses, families, or God and man. It shouldn’t be confused for other forms of love such as Philia because unlike the other forms of love, which only focus on one aspect of humanity, Agape is the unconditional and universal love for everyone. It’s sexless, unlike Eros. At its core, it’s the love born of goodwill to all people, regardless of circumstance.

While these are only six categories, there are many ways of interpreting love, especially since there are so many avenues to see love–in good and bad forms–in VLD. These categories are also not inherently hierarchical, and are not presented in any particular order. Agape is the main exception, being more convoluted in its nature, and thus is discussed at the end. It also narratively serves as part of the culmination to the plot, so it carries a greater weight in relation to the alpha plot of the whole story.

Now, let’s examine how they present in VLD. As an official reminder, please remember that all analysis of VLD is done from a ship-neutral stance and we are not proposing any endgame romances. The sole purpose of this article is to discuss observable portrayals of love in its various forms, and to analyze both the text and the metatextual messages resulting from them.

Eros: Passionate Love

Eros… arguably this is the most contentious form of love presented in VLD, if only because of all the ship wars that occurred in the fandom. Eros drives the shipping communities of fandoms across the world, because it often stems from on-screen chemistry or the potential of the fleeting seconds where a spark flies but does not catch in canon. The beauty of Eros is that it ripples quietly through fiction, or it can be a tsunami ready to devour the story. It’s the quiet whisper of two women sharing a private moment, to the shouted declarations in the heat of battle. Eros thrums through fandoms in a desperate tempo for seeing a love as passionate as you can feel in characters who may never share more than a glance.

Plato actually had quite the influence on the word “Eros”, because “Eros” or erotic love, was largely regarded as a type of madness brought upon a person by seeing someone whose beauty strikes your heart with an arrow (Cupid’s arrows, anyone?). Eros is the love that drives you to despair if the object of your affections is cruel or uninterested, and it burns like a fire. “Falling in love at first sight” is the key concept here, and you can see it reproduced in fandoms across the world, though many cultures have their own names and terms for it. Henry George Liddell and Robert Scott define “Eros” in A Greek-English Lexicon as “love, mostly of the sexual passion”. Plato, however, redefined the word to include a nonphysical aspect. He discusses it in Symposium and says that while (physical) Eros can be felt for a person initially, with contemplation you can and will fall in love with a person’s inner beauty, which for Plato was the ideal, since he specifically emphasized the lack of importance of physical attraction. In fact, Jung–who coined the Anima and Animus–has a similar approach, with an emphasis on unity within the self by accepting your internal Eros which manifests as your feminine Anima/masculine Animus.

In the text of VLD, Eros is remarkably subdued. This is partially due to its rating. Being a Y7-FV show, VLD can’t really have explicitly sexual content. Sure the implication can exist, but a lot of times sex has to be carried through metaphor if a story is to address it at all. Take the juniberry as an example. It’s a three-petal flower of a deep rose and softer pink, delicately topping a green stem, with a yellow pistil. In much of literary history, flowers represent female sexuality and beauty, and they are common representations of youth across genders.

Now, in strictly biological terms, flowers as a sexual symbol is a 1:1 accuracy in analysis, because the flower is the reproductive organ of a plant. I’d like to analyze the juniberry from a biological perspective, because understanding the anatomy of a flower can help us understand its role in literature as a metaphor for sex. The whole point of the flower is to be able to spread pollen across individual plants, whether by wind or by pollinators such as bats or bees, and breed to produce more plants. The actual reproductive organs of flowers are called the stamen and pistil, respectively. The stamen produces pollen, while the pistil collects pollen in its ovule to fertilize and create seeds. A stamen is a very slender filament, topped with what’s called an “anther”, which is where the pollen is actually released. The pistil, meanwhile, has a thicker base with a long body, usually topped with a few tendril-like structures called “stigma”.

Diagram by the Association of Societies for Growing Australian Plants [ID: A simple cross-section diagram of a flower. Three petals are visible on the far side, with reproductive organs drawn in the center. There is also a stalk and sepals at the bottom. Along the sides of the cross-section there are labels. On the left, a category called “Stamen” is labeled, with “Anther” and “Filament” pointing to two parts of the thinner reproductive organ. “Receptacle” marks the base of the flower, and “Peduncle (flower stalk)” marks out the stem. On the right, we have the label “Petal” and three labels under the category “Pistil”: “Stigma”, pointing to the top portion, “Style” pointing to the stem-like feature, and “Ovary” pointing to the rounded bottom. The label “Sepal” marks the leaf-like structure just under the petals. End ID.]

Now, when we look at the juniberries we see in canon, we can see that at no point are any drawn with stamens. They all have a single pistil growing from the center, and they’re topped with three stigma, meaning that all juniberries drawn on-screen are female juniberries.

Juniberries are a quintessential symbol of Altea, and they represent home to Allura, as well as what she’s lost. However, they also represent how Allura’s relationship to her own femininity is not some mystical thing determined by forces beyond her. Colleen gifts Allura a juniberry that was selectively bred from flowers she had available, and it’s identical in every way (that we can see) to the juniberries native to Altea. The message, though it’s subtle, is quite clear: Allura is in control of her femininity and can define herself however she pleases (“highlands poppy” versus “juniberry”). After the sexual undertones that threaded her relationship with Lotor, this is a very important message to convey, especially since a patriarchal story would punish Allura for the metaphorical sex in physical ways, such as how the season 8 on Netflix does.

Allura isn’t simply a vessel for male desire, nor is she a strong female character who doesn’t need a man. Her story is about finding agency separate from male expectations, without forsaking her own femininity in the process. Like the juniberry, she is feminine, but she is able to define herself, and the dark entity masquerading as Lotor reminds her of that with their conversation about calling the juniberry a “highlands poppy”. That’s what makes Lotor so dangerous to a traditional patriarchal values system: he reminds Allura that she has a choice.

It’s important to note that during their interactions Lotor never gives Allura a choice in the sense that he, a man, is allowing her one; he simply steps back and encourages her to make the choices to which she is entitled and to act on her emotions and desires. She is an agent of her own free will, and Lotor, being first her Shadow, challenges her to be smarter, quicker on the battlefield, and then as her Animus he challenges her to look inward and become in-tune to her own inner wants and needs. The other Paladins can offer some aid in that, but none of them strike her anxieties or hopes the way that Lotor can, being the crown prince and heir to her sworn enemy, and being half-Altean and half-Galra. He is, in a fundamentally physical way, the union of two races that were at war before Altea’s destruction, and to a survivor of that war, that forces Allura to question the beliefs she held in the beginning of the story. The stakes of success and failure are much higher with Lotor in the picture, and it’s easier to focus literary tension on two characters than five or six, so as a result of that persistent tension, we as the audience are given plenty of chemistry between two characters to spur Eros.

As we discussed last year in “Legendarily Defensive: Editing the Gay Away”, Keith was meant to have a gay relationship with another Paladin. We refuse to write conjecture on what his endgame romance was meant to be, however it is important to discuss Keith’s Eros in a metatextual sense. For example, let’s look at Keith and Shiro. Keith is a legacy character that dates all the way back to 1984 Defender of the Universe. His romantic subplot was relegated to excised footage and extremely subtextual if it managed to squeak past the axe. Shiro was able to be queer, however, due to the fact that he’s a DreamWorks-owned character who is new to the franchise, meaning that there isn’t a legacy that needed to be upheld.

Keith’s queerness, however, still acts as a spur to fuel the potential for Eros, and helps build tension between him and his fellow male Paladins. And I specify male Paladins because during season 2, Keith and Allura go off in a pod by themselves to see if Zarkon is tracking either of them. During the scenes with Keith and Allura together, it’s important to note the background music is remarkably flat and lacking in romantic cues. In prior iterations of Voltron, Keith and Allura are implied as endgame (DOTU), have the beginnings of an on-screen romance (VForce), or straight up just fuck on the page (such as in the comics). It stands to reason that this scene should at least imply some form of passionate chemistry here, but largely it’s two friends confiding in one another and trying to find reassurance as they confess their fears. Keith doesn’t have a moment to admire Allura’s beauty the way we see Lance and Matt do, and Allura doesn’t blush like how she does with Lotor or Lance. Without markers for any kind of Eros, the scene is a quiet moment of contemplation away from the stress, only to be broken by Shiro telling them to get back because the Galra Empire found the Castleship again.

So then where do we see passionate chemistry for Keith? At the risk of starting the ship-war again, his chemistry largely exists with Shiro and Lance. Shiro, narratively, functions as his Mentor, someone to guide and believe in him, who then gives up his position of leadership (sort of) so that Keith can grow. Bringing Shiro back prematurely makes it harder to see, but in a traditional Hero’s Journey, the Mentor figure teaches not-quite-enough to the Hero before disappearing, and the Hero grows on their own and becomes their own person. Naturally, this makes Keith and Shiro have tension, especially since Shiro was brought back prematurely due to marketing, so their relationship dynamic had to change to accommodate Shiro’s return. Lance, however, constantly baits and teases Keith, and Keith frequently rises to it and they argue. They butt heads and don’t have that sense of camaraderie that Keith and Shiro do, so right off the bat there is more obvious tension between the two of them. Eventually, Lance and Keith learn to trust each other, and in season 8 we finally see them settle their rivalry as they prepare to face Honerva. So while Keith’s dynamic with Shiro is more focused on camaraderie and growth, Keith’s dynamic with Lance is more focused on pushing each other to be better warriors and teammates.

Philia: Friendly Love

In VLD, we’re shown that friends can be found anywhere if you’re willing to put down the blasters and try to make them. We’re also shown that just because you’re on the same side of the battlefield, that doesn’t necessarily mean you’re best buddies. Commander Lahn pledges his loyalty to Lotor after his base is saved by Voltron, and Keith and Lance butt heads so often you’d think one would sooner drop the other into a black hole. However, we should never discount the power of friendship, or rather, we should never discount the value of platonic relationships. This includes everything from friendship, to the found family trope, to the mystical bond the Paladins have with their Lions. Philia is the companion’s love, firmly rooted in platonic–and often intellectual–admiration.

Philia, as defined in A Greek-English Lexicon by Liddell and Scott, is “an affectionate regard or friendship, usually between equals”. Where Eros is the fiery passion between sexually-attracted adults, Philia is the platonic love between people who respect and trust each other. This is the love that flows like water, endlessly filling and refilling your emotional needs with good company, good advice, and generally just a good presence. Friendships are the ports we anchor ourselves at when the seas become too rough, and in VLD, where space is the most dangerous frontier and most of the universe is your enemy, friends are more important than ever for our Heroes and Heroines.

[ID: A screenshot of S4E1 “Code of Honor” with Allura, Lance, Coran, Shiro, Pidge, and Hunk sharing a group hug with Keith. Coran, Hunk, Pidge, and Allura are all crying, while Keith, Shiro, and Lance are smiling. End ID.]

Everywhere you look in VLD, you’re sure to find some kind of camaraderie between friends. Lance, Pidge, and Hunk make the Garrison Trio (or as I like to call them, The Planck Constant), and they get into shenanigans together. In fact, it’s entirely likely that had Lance and Hunk not decided to follow Pidge up to the roof, they never would’ve found Shiro, and subsequently Blue Lion. Later, when Voltron has allied with Lotor as the new Galra Emperor, they reprogram a sentry to become the eternally-fantastic Funbot. If you want a prime example of the fun that could be had between friends, those three are quintessential to the definition of Philia. They’re the first Youths you meet in the story, and it’s through their eyes we watch as a far-off intergalactic war comes to Earth at last. The show has us follow them as the audience, and we watch as they meet up with Keith, save Shiro, and then find themselves going from Earth to Kerberos in less than five minutes, and then by the end of their day, they’ve awoken Allura and Coran and are on Arus, thousands of lightyears away from their home.

We see the Paladins go from a rowdy group of teenagers with Shiro as the head to a group of five Heroes and Heroines capable of saving the universe. Lance helps Pidge get all the GAC coins she needs for a video game, and he’s always got the team’s back with his sniper rifle. Hunk always is ready to lend a hand, even when he’s scared of flying Yellow, but when the Taujeerans are in danger of falling into the acid as their planet breaks apart, he’s right there holding them up while the team gets the arc ship ready for takeoff. Our Paladins are the embodiment of the power of friendship, trust, and perseverance, and it’s that tenacity and dedication that should have carried our six Paladins to victory and brought the Purple Paladin back into the light he thought had forsaken him. Black, Red, Green, Blue, Yellow, Purple, and White, together in a bond of pure platonic love. There’s an old phrase I’m sure you’re all familiar with: “blood is thicker than water”. The power of Philia and found family in VLD challenges that notion in the original S8 when Lotor is offered his vindication. “The blood of the covenant is thicker than the water of the womb.”

Pick any two of our main protagonists and you’re sure to find a thread of Philia connecting them, because when you fight together as one, you inevitably become closer as the trust builds between you. In fanfic terminology, this is the root of the found family trope: strangers and friends finding themselves in a gripping adventure together, and discovering that they’re stronger together than they could be apart, and coming to see these people as more than colleagues or acquaintances. They become your family and people to defend, and the people you trust to have your back when it’s time to face down an enemy together.

That’s part of why Keith leaving for the Blade of Marmora is so fractious. He’s growing into a leadership role and obviously accustomed to it, but with Shiro’s premature return, there’s some growing pains as the incumbent leader and the former leader unintentionally butt heads. Keith needs to be in Black Lion without Shiro to complete his growth, but without a way to easily integrate him back into the team without messing with the legacy, Keith has to go. And like with any good friend, when you have to say goodbye, it’s a bittersweet affair. The team doesn’t want him to go, but in-canon he feels he can do more good with the Blade, but the meta reason is that his Hero’s Journey has been arrested. But, like with any good friend, the team is able to reunite with him at a later date and he integrates back into the group. They are wiser to the world, harder, but they are together again. And they need that unity when it’s time to face Honerva and go into battle for not just their universe, but all realities.

Storge: Familial Love

In English, we have many concepts of love, but generally we only treat the single word of “love” as a word for “love”. As a result, we tend to use other words to modify the type of love we mean, which can get things kind of sticky if you talk about X type of love but don’t specify that it’s X type and not Y type. With familial love, it can be relatively understood without being specified, but as you can see by my explication here, I still have to modify the word “love” with an adjective to describe the next kind of love I will be discussing. Storge, the familial love.

A Greek-English Lexicon defines Storge as “love, affection, especially of parents and children”. Storge, unlike Philia, is not a platonic admiration for a companion in the family, however it does denote respect. Storge is also not the idealized unconditional love of Agape (which we will discuss toward the end of this essay). Storge is the instinctive love for those in your family, especially between parents and children. I also argue the key aspect of Storge is that your family–for all the times you want to tear out your hair–will love you for the rest of their lives. And you’ll love them, because they’re people who have your best interests at heart, even if they don’t always express that well.

Coran, Coran, the gorgeous man himself is Allura’s second father figure (after Alfor), but he’s the only father figure for Allura in the show that’s alive. Coran’s protectiveness of Allura is well-documented. He was furious when she got captured saving Shiro, he warns her to be careful healing the Balmera, he worries for her in Blue, but at no point does he actually prevent her from making her choices. He wants her to have a full life, a happy life, or at least as happy as one can be when you’re one of the only survivors of a war. He’s a father through and through, and even if Allura is Alfor’s daughter by blood, Coran is the one who supports her during the most difficult stage of not just her life but the universe’s life. He loves her, he consistently reminds people to respect her and to think of what’s best for her. Not just as a princess of Altea or the heart of Voltron, but as a daughter. Alfor was her father, but he died before he saw her face the trials in the plot. Coran, however, he gets to see her grow into a woman even greater than what Alfor could have ever imagined. The audience might find him a little frustrating (such as in S8E1 “Launch Date”), and Allura takes his protectiveness in stride, but at the end of the day Coran is a gorgeous man with his heart in the right place, even if his execution is a little off the mark on occasion.

The Holt parents are also good examples of Storge. We see Colleen and Sam fight to tell Earth about what’s been going on, as well as finding their children. Colleen herself is a solid mama bear that anyone would want to have fighting for them in their corner, and we can see she gives no fucks about protocol when she’s told she can’t stay on Garrison grounds with her husband.

[ID: Colleen Holt glaring, her husband Sam behind her looking equally annoyed. She glares at Admiral Sanda (off-screen) as they argue. The subtitle reads, “You’ll get me the clearance.” End ID.]

While Colleen doesn’t hesitate to ground Pidge for running away to space, the fact of the matter is that she and Sam fought like absolute hell to protect their kids in the ways they had available to them. Storge is the love parents have for their children and these two human characters are the perfect examples of it, even if Pidge chafes a bit under being grounded. Sam and Colleen’s love for Pidge and Matt and Coran’s love for Allura are the perfect avenues to explore how Storge is love, even if it’s frustrating, but they also serve as an excellent foil for how that love can be horribly twisted.

Philautia: Self-Love

In S1E1 of VLD, when our human protagonists meet Allura, Sendak is barreling through open space to their location and hellbent on capturing the Blue Lion. Allura is able to talk to Alfor–or rather, his hologram–to seek guidance in the upcoming battle, and he says, “You must be willing to sacrifice everything to assemble the lions and correct my error.”

With VLD, there’s this idea of sacrifice, of giving your life for the greater good, but when discussing acts of love, we also need to talk about acts of love for yourself. We see many instances of characters sacrificing themselves for the greater good, the belief that their death will bring an eventual victory to the Paladins of Voltron and free the universe. Allura throws Shiro into an escape pod so he doesn’t have to suffer the abuse again, but in the process becomes a prisoner herself. Ulaz gives up his life to save the Paladins and keep the Blade of Marmora base secret. Thace sacrifices himself so that Galra Central Command can go offline and the plan can move forward. Keith nearly kills himself trying to break through Haggar’s barrier at the battle of Naxzella before Lotor intervenes and destroys the ship with a blast from his Sincline ship. Sacrifice is a massive part of the show, and needless sacrifices are always undone, but what message do continuous sacrifices leave us with as the audience? It leaves us with Alfor’s lesson: you must sacrifice everything to correct my mistake.

When you’re writing, one of the most basic things you must do to drive a plot forward is change something significant. In the beginning of a story, Character A might think Character B is wrong and has no idea of what it takes to do something, but then Character B later on needs to surprise Character A by proving they can do that thing or that they don’t need to. It forces Character A and the audience to rethink their initial assumptions, and it encourages tension and dialogue between characters that otherwise might not exist. It’s an internal motivation, and one that audiences will pretty much always find more gripping and compelling than a simple monster-of-the-week scenario. VLD is no different. “All Galra are bad/Altea is good” leads to meeting the Blade of Marmora and Alteans who took over their universe. The challenge to a character’s worldview is what makes turning these initial ideas on their head so satisfying.

So what could challenge the idea that you have to sacrifice everything? Especially to correct the mistakes of someone else?

Love. Not for others, not for family, not even for the greater good.

But for yourself.

To quote Audre Lorde, “Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.” Philautia is the love in which you put yourself first, not because it’s selfish, but because it’s self-care. Self-love is defined by the Merriam-Webster dictionary as “an appreciation of one’s own worth or virtue” and Philautia has been recognized for millennia as a basic human need by the likes of Maslow and the Ancient Greeks. Recognizing your own needs and worth is a fundamentally radical decision, especially if you are in a position where you’re expected to prioritize the needs of others before your own.

S1E1 of VLD offers us pretty much every worldview that gets challenged later on in the series, except for Alfor’s. We see Alteans can be equally cruel, that Galra are not all evil. Voltron is a great protector, but it is also a great weapon, and Keith even calls it an alien warship in the very beginning, highlighting the danger Blue–and consequently Voltron itself–poses by merely existing. Philautia is not the exertion or prioritization of your desires, but the assertion of your needs. It can easily swing too far into selfishness and vanity, but making yourself heard is never a bad decision, and for those who are marginalized, women, trans people, disabled people, neurodivergent people, nonwhite people, it is an act of defiance. The sins of people in positions of power are not the burden for their victims to bear. If protesting is too much or too burdensome, simply taking the time to care for oneself is enough, because you can’t pour water out of an empty cup. Alfor’s plea to Allura was always meant to be overturned with the finale, especially since she’s facing down the antithesis of everything she believed in season 1. Honerva is selfish, manipulative, abusive, and an Altean woman. Alfor would ask Allura to give up everything she has left to destroy Honerva, but in the original and unedited season 8 Allura would have taken that plea and turned it on its head.

VLD’s Princess Allura is the first and only iteration to be a nonwhite girl and voiced by a black woman. Having her sacrifice herself is an extremely harmful message to little girls of color everywhere because it’s not the burden of girls of color to save the world. Their duty is to love themselves and know they’re able to be as brave and kind and intelligent as they’d like. Princess Allura’s arc is about a girl learning to not shoulder the burden of violence, but instead choosing to relieve herself and choose healing and creation, and in turn, her reward would be the literal universe at her fingertips.

And Allura isn’t the only character to learn to love themselves. Lance, as well, learns to become comfortable with himself. At first he’s comfortable and cocky and immature in Blue Lion, but then as the seasons progress and he finds Red to be more of a challenge, he learns he has to follow through with his actions and decisions. He learns that to fly Red, he can’t hesitate and just has to roll with the punches. He dubs himself “the sharpshooter” of the group, and at first he gets laughed at, but then he saves Slav from being trapped in prison once more by firing and making a near-impossible shot. He doesn’t have to forge ahead and fight recklessly, he simply has to see an opportunity and take it.

All our other Paladins learn to become more comfortable with themselves, as well. Hunk becomes more confident in being the voice of reason, and becomes an A+ diplomat in the process. Pidge is able to open up and be honest with her team about her secrets and fears, and in return is blessed not just with that weight off her shoulders, but the knowledge that her team is her family just as much as Sam and Matt are. Keith, too, learns that he doesn’t have to go it alone all the time. He’s able to relax and trust his team, and rather than burdening himself with doing everything, he’s able to rely on the skillsets of the other Paladins and make them a stronger team by focusing his attention on directing them, as opposed to commanding them.

Another interesting example of Philautia is Lotor himself, who at no point is uncomfortable with his mixed heritage, even when he’s called a “half-breed” or when one of his parents blames half of his heritage for his failings. The main reason that it’s not as blatant is because by the time the story begins, he’s been at peace with his heritage and his place in the Galra Empire for a long time, and thus does not play a significant role until he has his breakdown at the end of season 6.

This form of love is quite possibly the most frustrating, if only because so much of its payoff was in season 8. We should see Allura not give up her life in the name of sacrifice, but rather choose to become a goddess in the name of love. We should see Lance become unshakably confident in his abilities when it’s time to face the biggest bad guy of the series. The final season was meant to be a season won through love, and self-love is quintessential to that victory, because it gives viewers the message that your acceptance of yourself is vital to the world. It’s an important lesson for little girls everywhere to know that their worth doesn’t lie in how much of themselves they can give away, but how much of themselves they cultivate and grow, because if you trust in yourself and choose love, then you’ll be as powerful and strong as Princess Allura. It’s possible to be the brave and chivalrous Paladin while also being the princess who likes the occasional sparkly thing.

The lesson of Philautia in VLD is one of embracing your limits of what you can give, and reminding the world that you matter, because loving yourself is the greatest act of defiance when you’re faced with an enemy who wants nothing more than for you to make yourself smaller, weaker, more amicable if it would please them. It’s the reminder to be gentle with yourself, no matter what battles you face, because caring for yourself is just as–if not more���important.

Xenia: Love for the Stranger

Hospitality is a massive part of many cultures, I personally had a relative (who has since passed) who would always have an open door for the poor families in their neighborhood and the stove would always have something cooking. My own mother will cook especially for you if you need her to. There’s a reason “Southern hospitality” is famous. Good food, good company, and ultimately safety are what sets Xenia among the categories of love as defined by the Ancient Greeks. In VLD, this form of love is very sparse in comparison to love such as Philia, however it’s extremely important that our heroes engage in it. To quote Coran, “70 percent of diplomacy is appearance. Then 29 percent is manners, decorum, formalities and chit-chat” (“Changing of the Guard”). The remaining one percent, which Allura notes, is actual diplomacy and fighting for freedom. That’s essentially what hosting, good and proper hosting, is. It’s taking someone into your home and providing them with material comforts and necessities such as food, as well as non-physical ones like safety or protection, or extending and respecting their rights.

A good host will anticipate their guests’ needs because they have a love for their fellow strangers, and they show that love by providing for them. Xenia is the love of the stranger who has taken up space in your home and respecting their need to do so, but it’s also a reciprocal love. By extending your hospitality to a person, they will be more inclined to do the same for you and yours in the future. In Greece it was a complicated dance of gift-giving and receiving, spurred by the belief that one would incur the wrath of a god in disguise. While offending the gods was a big fear, it’s important to remember that good hosting and good guesting will create a deep bond between both parties because you’re respecting one another. Respect your wayward traveler and welcome them into your home, and they will entertain you with tales from far away lands, and in the future you will find a place at their table. Respect your host and the space they provide you, and you’ll receive gifts and care fit for a god. This giving and receiving encourages goodwill between strangers, and providing care to someone you don’t know is an act of love in its own right.

There’s a rule in American food language: “never return an empty dish”. This rule is especially prevalent in the US South and Midwest regions, but the general idea is that when you meet someone new (i.e. a new neighbor) you bring them a dish of something to welcome them and introduce yourself. You make small-talk, help them get acquainted with the area, wish them well, and then go on your merry way. Then, once your new neighbor has settled, eaten the food you gave them, and had time to make something new, they come knocking on your door and return that dish to you with a new food in it.

That’s a facet of what Xenia can encompass, and we see Xenia acted out in three key ways in VLD: Allura recruiting people for the Voltron Coalition, Lotor hosting the Paladins during their alliance, and Hunk showing his care for others through cooking.

Allura, for all her charms, isn’t that great of a diplomat, especially in the beginning of the story. When she meets the Arusians, she accidentally informs them that their dance of apology isn’t enough, which then makes them think they need to sacrifice themselves on a pyre. She thankfully recovers and lets them continue the dance, and then invites them into the Castle of Lions later. With the leaders of the rebel planets, she has a good presence and is rather suave with her guests, however when attention moves off her and onto the Paladins, and when the question of Voltron comes up, it’s extremely difficult for her to take control of the situation again. The loss of Shiro was fresh, and she really didn’t have a good answer that would reveal they couldn’t form Voltron, so she struggled with taking control back. This isn’t an indictment on Allura, but it is meant to point out how Xenia is not easy to learn. As we follow the Paladins, however, Allura gains confidence in her ability to speak publicly, and as they gather more allies it becomes easier for her to encourage alliances. She goes from panicking and trying to keep Arusians from dying to being able to communicate with allies and command a room. Xenia doesn’t come as naturally to Allura as it does to Hunk, and Lotor has had millennia of practice, but the important thing about Xenia is that you extend your hand and make the effort, even if it’s a little clumsy, because in the end you’re caring about strangers and welcoming them into your home and telling them they have a place at your table.

However, where Allura falls short in Xenia, we see both Hunk and Lotor shine. Let’s examine Lotor’s expertise, first.

Lotor is ten thousand years old, and it’s implied he’s spent much of that time playing the political game of the Galra Empire, as well as learning about other planets. It’s canon that he has a thirst for knowledge, and so couple his curiosity with his need to survive a very blood-driven political environment and you have a golden host forged in fire. It’s difficult to surprise Lotor, since he’s pretty much always two steps ahead of everyone. When he forges an alliance with the Voltron Coalition after his victory at the Kral Zera, Lotor has banners hung that bear the same symbol that Zarkon and Alfor fought under, which also adorns the shield on Green’s back. He specifically sought to recall the good times between the Galra and Alteans, and personally greeted the Paladins on his flagship. He encourages the Paladins to explore and use whatever resources they need, because as their host, Lotor–and by extension the entire Galra Empire–is now at their disposal. He’s the ever-perfect host, inviting his lower-ranked guests to make themselves comfortable, and acknowledging Allura’s rank as princess and personally escorting her along. In a lot of other high fantasy or sci-fi stories, showing the heroes around would get palmed off to a servant of some sort, especially if the host is duplicitous. However, Lotor affords our Heroes and Heroines quite a bit of respect compared to what other characters in his place might do, even going so far as to offer his own personal time to the princess when he has an empire to claim still. Given the canon politics, Lotor logically should have been in constant communication with various officers and securing their loyalty to him, but instead he takes time to approach his new allies and make them feel welcome in the headquarters of their former-enemy.

So while Lotor is arguably the best example of good hosting I’ve ever seen in a show (without it turning out to be some sort of ploy), Hunk’s style of Xenia is equally good if in a different way. While Lotor is shown to essentially be a master of decorum, Hunk is a master in the kitchen and the art of making room for everyone at the table. Hunk has only been in space for a few months to a few years (depending on when in the series we’re talking), he hasn’t had the millennia to research planets and learn all their customs, or train in diplomacy to make up for any lack of education. He’s just a guy from Earth who likes to cook and who especially likes to cook for others. In all prior iterations of Voltron, Hunk has always been “the food guy” or “the slightly dumb, but lovable one”. It’s not particularly flattering, and VLD even pokes fun at how flat his character is historically in “The Voltron Show!” by adding fart gag noises. In VLD, however, we see that Hunk is intelligent and brave, if anxious, and he’s more at home in a home than he is in a Lion. Hunk is a good Paladin, but he is quite possibly the best diplomat in the whole show.

A large part of Hunk’s diplomacy lies in listening. When he’s out in the field, he’s quite possibly the best listener out of the entire team. When there are guests on the Castleship, or when the Alteans are on the IGF-Atlas, he doesn’t just listen, he welcomes them. In scenes from season 8, we really get to see this shine, because as Hunk says in “Day Forty-Seven”, “food has a way of reminding people of moments in time.” Bringing good memories with food can go a long way to putting stress and anger behind people.

Every person has a dish that, when prepared, makes them relax and think of happy memories. In Hunk’s kitchen, everyone eats, and nobody is unwelcome. Whether you’re Commander Lahn and working with Hunk to save your planet from devastating radiation, or you’re an Altean who just wants what’s best for your people, Hunk will meet you halfway and try to see things from your perspective, and offer you a cookie because he feels like it. Hunk’s Xenia is not wrapped up in protocol or etiquette. His Xenia is found just across the kitchen table, with a plate of warm food and a friendly conversation, ready to listen to your troubles and offer a hug, if not a solution.

Agape: Unconditional Love

Now that we have discussed the five prior categories of love as defined by the Ancient Greeks, let’s examine Agape, which can be difficult to conceptualize. “Agape” originates a Greek term, however it wasn’t used very often until Christianity came into the picture, and thus it encompasses far more than even xenia does, because while Xenia is love in the form of courtesy to travelers, Agape’s prevalent definition stems purely from the idea that God loves everyone unconditionally. In fact, “agape” is the term used in the Bible to describe the unconditional love of God, but when you translate it to English, the word simply becomes “love”, losing the weight that it carries in Greek.

The idea of unconditional and divine love is not unique to Christianity or the Ancient Greeks. Throw a rock in any direction and I’m sure you’ll find a culture with a similar concept to Agape. The key aspects of unconditional love is that it is sexless–meaning attraction is unnecessary to feel Agape–and that it is founded in goodwill for others. It feels cheap to throw the quote “love thine enemy” around in this section, because that discounts the importance of Philautia as we discussed it earlier in this essay, but at the end of the day that’s what Agape means. The Bible–which influences much of the definition of this kind of love–would have people forgive the ones who do them wrong, but forgiveness does not mean forgetting, and loving someone doesn’t require forgiving them either.

In VLD, a man loved a woman so much he tricked his closest friends and allies into opening a rift in an effort to save her life. In the process, they both died and revived, cursed with immortality and a thirst for destruction. Zarkon was a man who loved Honerva so much that he doomed the known universe to 10,000 years of his tyranny. Honerva, when she regained her memories, sought vengeance against Voltron for not just losing her son, but also because she blames everyone around her for being the reason why her own son rejected her time and time again. Honerva is the antithesis to Allura in pretty much every way, and in the edited season 8, Lotor is condemned to a cycle of abuse because he’s never offered an opportunity to speak, just like how he was violently silenced by his mother when he disobeyed his father on the colony planet in “Shadows”. Honerva, however, is not.

[ID: A screenshot of S8, featuring from left to right: Lance, Keith, Allura, “Shiro”, Pidge, and Hunk. They face Honerva, who is facing away from the audience so we see the back of her head and suit. Screenshot from “Seek Truth in Darkness”. End ID.]

[ID: A shot of “Allura”’s hand grasping Honerva’s wrist and vice versa. Screenshot from “Seek Truth in Darkness”. End ID.]

Allura being a paragon of growing into Philautia gives other characters the ability to do the same, but as @leakinghate notes in “Seek Truth in Darkness”, that is not Allura’s hand, just as that is not Shiro next to Allura in the prior screenshot. Allura is not the one who was most wronged by Honerva. She was asleep and hidden from the universe. Lotor, however, was subjected to centuries of abuse by the hands of his parents.

Agape is a complicated love, one that requires a person to be able to love everyone unconditionally, but love does not necessarily mean “forgive and forget”. It’s important that Allura impart the enlightenment she gained on her Heroine’s Journey, because this is the point where she can be at peace and claim her cosmic reward, but she cannot do so without the person who was most wronged being able to face his oppressor: Lotor.

[ID: A close-up shot of Lotor glaring at the audience, with the subtitle text reading, “maybe I will take pity on you when the time comes.” Screenshot from “Seek Truth in Darkness”. End ID.]

As @leakinghate​ pointed out, Allura is the one to use her abilities to restore Honerva’s sense of self, but Lotor being present makes this confrontation all the more poignant and intense. This is the opportunity for us to see Agape in its full glory, but with the edits to the final season it’s a pale shadow of what could have been. The universe is about to be reborn because Allura and Lotor stay behind to repair the rift in all realities. We need that Philautia that Allura is able to embody, but we also need Agape. We’re shown countless times throughout the show that good and evil are not so clearly delineated, and that there are shades of gray everywhere. Lotor has been hurt so much by the one person alive who should have loved him unconditionally.

And rather than continue the cycle of abuse and take vengeance, he chooses to let go. We should have seen him take his power back, not in a godly or violent sense, but his power over his fate. He is not his father. And he is not his mother. He is more. By confronting her in this rift of all realities, we see the foreshadowing of season 6 come into full swing and while we are missing much of that original sequence between him and his mother, it’s important to realize that regardless of the content that was removed post-production, he takes pity on his mother in a sense. She’s a flawed person who made bad decisions. He does not owe her forgiveness, and he does not owe her love, but in her finally letting go of not just him but all the spirits of the original Paladins, Lotor himself is able to be free to love in the way he was denied: unconditionally.

The universe needs people who love themselves enough to choose a path of peace, and it needs to be made with the unconditional love of a parent, a friend, a lover, a god. It needs the eternal goodwill of its new creators because the people of the new universe will fuck up. They’ll make mistakes and hurt each other and Weblums will eat planets and the circle of life will continue. But being able to look at the fucked-up universe and say “I love you” is a power that not many have. It takes courage to look at the universe that has wronged you, wronged billions, hurt the found family that’s accepted you, and still find a way to love it.

The new universe is made of love just as the old one was. It’s made with passion, for friends, for family, for strangers, and for yourself. It’s made by people with love and hope and the intent to make the world they live in a little better every day. And that, ultimately, is the true love that spurs the story of VLD forward.

Stay tuned for a companion meta soon, in which we will discuss these forms of love and how they can be twisted and taken to unhealthy extremes.

Works Cited

Dos Santos, Joaquim and Montgomery, Lauren. Voltron: Legendary Defender. Netflix.

LeakingHate, et. al. “Legendarily Defensive: Editing the Gay Away in VLD”. Team Purple Lion. 12 Mar 2019. Web. https://www.teampurplelion.com/gay-romance-cut-voltron/

LeakingHate, et. al. “Seek Truth in Darkness”. Team Purple Lion. 2 Mar 2019. Web. https://www.teampurplelion.com/seek-truth-in-darkness/ Liddell, Henry and Scott, Robert. “Eros”. A Greek-English Lexicon. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3De%29%2Frws

Liddell, Henry and Scott, Robert. “Philia”. A Greek-English Lexicon. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dfili%2Fa

Liddell, Henry and Scott, Robert. “Storge”. A Greek-English Lexicon. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dstorgh%2F

“Self-love”. Merriam-Webster Dictionary. https://www.merriam-webster.com/dictionary/self-love

Payne, Will. “Botany for the Beginner”. Australian Plants Online. 2006. http://anpsa.org.au/APOL2006/aug06-s1.html

Potter, Ben. “The Odyssey: Be Our Guest With Xenia”. Classical Wisdom Weekly. 19 April 2013. Web. https://classicalwisdom.com/culture/literature/the-odyssey-be-our-guest-with-xenia/

@leakinghate​ @crystal-rebellion​ @felixazrael​ @voltronisruiningmylife​

[aion-rsa]

Anya Taylor-Joy Infiltrates the Boys’ Club of Chess in The Queen’s Gambit

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Netflix’s period piece miniseries The Queen’s Gambit spans a decade in the life of fictional chess prodigy Beth Harmon (Anya Taylor-Joy), a wunderkind whose natural aptitude for anticipating her opponents’ moves is blunted by her addiction to the tranquilizer pills with which she credits her wins. Following gawky teenage Beth through her early tournaments in the 1950s to the aloof redheaded beauty wowing spectators in Europe in the ’60s—and leaving a trail of defeated men in her wake—the seven-hour series was faced with the challenge of making every chess scene equally thrilling to enthusiasts and non-fans alike.

The key, Taylor-Joy explains to Den of Geek, was in having every single game be recognizably unique. “[Series creator and director] Scott [Frank] and I would have a lot of conversations about both the chess and the addiction scenes, and how we were going to make each of them different and each of them fresh,” she says. “Because this show is seven and a half hours, and if a lot of that is the same chess game, people are gonna wander off.”

The cast and crew imbued each chess match with specific emotion, matching Beth’s personal and professional growth, and unique physicality. For the latter, that involved bringing in chess consultant Bruce Pandolfini (who also consulted on Walter Tevis’ 1983 novel on which the series is based) and grandmaster Garry Kasparov to plan out the series’ many games down to every gambit and checkmate. Because neither Taylor-Joy nor her on-screen competitors had played much chess prior to shooting, treating the gameplay as choreography helped them pick up the moves.

“I saw the whole thing as a dance,” explains Taylor-Joy, a former ballet dancer. “I saw learning the choreography as dance, but just with your fingers.”

Costar Harry Melling, who plays one of Beth’s early rivals Harry Beltik, agrees that the authenticity was found in the tactile movements of the pieces themselves.

“One of the most important things in terms of the choreography was the feel of the pieces,” he says, “about how you take pieces—whether you slide it across the board or whether you lift it up or put it down. All of these little details [are] what makes it look like you’ve been doing it your entire life.”

“It’s like riding a horse,” says Thomas Brodie-Sangster, whose chess champion Benny Watts is known for a distinctive leather duster and laconic attitude. “It doesn’t really matter if you can ride a horse, it’s more about if you can get on the horse and get off the horse and look cool doing it. That’s what people pick up on; it shows that you actually look comfortable doing it.”

While Beltik and Benny are as fictional as Beth, the actors were encouraged to draw inspiration from current and historical grandmasters on which to base their characters’ games. “Every game in the show is based on a real game,” Brodie-Sangster says. “If you’ve got a really keen eye, you can probably recognize games from across the history of chess.” He modeled Benny’s moves after Bobby Fischer, while Melling devoted a lot of time to watching current World Chess Champion Magnus Carlsen play.

“That was really fascinating,” Melling says, “because I knew nothing about chess whatsoever—so [I was] starting from ground zero, really, working out how these people operate, what makes them tick.”

Equally important as the dance steps were the dance partners. Taylor-Joy credits the originality of each sequence to who Beth is playing at that moment in time—like Townes (Jacob Fortune-Lloyd), a hunky competitor who flusters young Beth. “The first time that Beth plays Townes, it’s the first time that she’s ever liked somebody that she’s playing opposite against,” she says, “so she wants to win, but she doesn’t necessarily enjoy seeing him crumble, which is a new experience for her.”

Taylor-Joy soon found the game as dramatic as Beth does. “For her, it is life or death,” she says. “This is her intellect being challenged, and her intellect is the only thing she has any faith in. So I definitely felt the pressure, and then—whenever she’s playing with somebody—the power high of that.”

It’s no surprise that Beth gets a power high from defeating her male opponents, as it is a very insular boys’ club into which she enters as a dowdily-dressed teenager in the ’50s. For her first match with Beltik at the Kentucky Chess Championship, Melling says, the former is very much in his element, “and then she sort of enters his sphere, and he becomes completely in awe of her talent, and he knows that she’s a better player than him. His bubble gets burst very quick.”

Though Benny saunters into their first match together, Brodie-Sangster acknowledges that there is also an immediate spark with Beth. “Her presence is a bit of a surprise, and a bit of an enigma for him,” he says. “She is very much in a man’s world and doesn’t really look like she really fits in there; neither does he, and I think there’s a kind of connection there.”

Beth grows up in the world of chess, both as an aspiring grandmaster and as a young woman. Taylor-Joy had a blast playing so many different versions of Beth, though she laughs recalling how Frank initially asked her how young she thought she could play. Fourteen or fifteen was her answer—“eight, you’re gonna have to get another actor to do that one”—and so she portrays Beth from her inelegant teenage years through to her mid-twenties.

Over the course of the series, we witness Beths who are alternately brilliant and awkward, shy and sexy, on top of the world and extremely vulnerable. “Because [the show] takes its time and because you do grow with her, you as an audience are allowed insight into why she is the way she is,” Taylor-Joy says. “You see the things that shape her, and you see her grow from it, and you understand why she’s grown in that direction.” 

To move between those many phases, she would devise her own backstories for the different Beths: “She starts off walking very clumsily and awkwardly and almost side-to-side, and then I was like, ‘Oh, and this is the first time she’s ever seen an Audrey Hepburn movie’ and she starts wearing the black pants and the turtleneck and starts standing differently, if a boy’s around. And just trying on different personalities, as I think we all do, especially in that age range, and probably into our adult life. It was really fun.”

In contrast to her male opponents and love interests who inhabit the same sphere, the two key women in Beth’s life exist almost entirely outside of the chess world. Fellow orphan Jolene (Moses Ingram) shows her the ropes at the orphanage, much like an older sister, but resentment stretches between them when Beth is adopted and Jolene is left behind.

“It’s all in how they’ve grown up with each other and gotten to know each other,” says the theatrically trained Ingram of her first on-screen role and the difficult emotional history between Beth and Jolene. “I think people that truly love one another certainly get the very best, but also the very worst, of each other. When you can see someone that deeply, you can’t help but be locked in to one another.”

Complicating their relationship is the fact that preteen Jolene is the one who introduces eight-year-old Beth to the tranquilizer pills to which she immediately becomes addicted. “Jolene was just teaching her how to cope in the only way that Jolene has learned how to cope,” Ingram explains, but that simple act irrevocably shapes Beth’s approach to chess for the next decade. Initially used to “even out” the orphans’ disposition (and then later banned for their habit-forming tendencies), the pills help Beth envision a chessboard in the shadows of her bedroom ceiling at night. Taylor-Joy says she would track Beth’s mental and emotional state not just by the different matches, but by how the ghostly chess pieces appear to her: “Sometimes they’re familiar, sometimes they’re very threatening, it all very much depends on where she’s at.”

Unfortunately, where Beth is often at is relying too much on the pills to help her focus during chess games, believing herself unable to triumph when not in her altered state. Her dilemma is complicated by the fact that the tranquilizer pills come back into her life care of her adoptive mother Alma Wheatley (Marielle Heller), who initially comes off as a stereotypical ’50s housewife who can’t function without “Mother’s Little Helper.” (Though the pills go by the fictional name Xanzolam in the series, they seem to be a cousin of Azolam and other benzodiazepines.)

In the past four years, Heller has been best known behind the camera, as the director of such celebrated films as The Diary of a Teenage Girl (for which she also wrote the screenplay), Can You Ever Forgive Me?, A Beautiful Day in the Neighborhood, and What the Constitution Means to Me. While Heller had always referenced her history as an actor as “part of my superpower as a director,” she says that she began to feel like “a fraud” when directing stars like Tom Hanks or Matthew Rhys. “I started to feel like, ‘Do I even remember what that feels like, to be an actor, to be asked to do these things, to be asked to go into these certain emotional places?’”

So when Frank, a long-time friend, invited her to join the series and spend a few months shooting in Berlin, Heller saw it as the perfect opportunity to, in her words, “keep my street cred as a director who was an actor.” As a director who seeks out projects about the uncomfortable things that people don’t talk about, Heller found that Alma embodied those same sensibilities: “She’s someone who has a lot of pain in her past, and that makes her most interesting; she’s not some version of a ’50s housewife that doesn’t feel real. So much of what I try to do as a director is to tap into that thing that has made somebody the way they are.”

Despite mother and daughter’s initial friction, as Beth carves out her niche in the chess world, and Alma begins accompanying her on her more glamorous tournaments, the older woman is inspired to revisit her own long-abandoned dreams of devoting her life to a creative pursuit. “For Alma,” Heller says, “she had this dream deferred. She was somebody who wanted to be a pianist and artist and never could, and that’s a pain that I feel is very human, and I totally connected to.”

What’s remarkable about The Queen’s Gambit is that each of its female characters experiences a different and specific struggle for the time period. “Scott did that really beautifully,” Ingram says of playing adult Jolene, advocating for change during the Civil Rights movement while Beth is moving up through the ranks of the chess world. “He didn’t let us forget what point in time we were in the world—we’re in the ’60s, in the smack-dab [middle] of civil unrest, because people aren’t being treated fairly. And I loved that Jolene is out front and being a crusader, being a champion for change, when very clearly all she’s known is white people her whole life. So it was beautiful to see that she’s found herself later, in changing the world—trying to, at least.”

In that endeavor, Jolene describes herself as a radical, though Ingram also feels that the word was a fitting theme for the series overall.

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“I think it’s radical that Beth, as a woman, is this far into the chess world at this point in time,” she says. “It’s unheard of that she’s there, and everyone’s shocked by it. It’s definitely a story of radical love, and radical faith.”

The Queen’s Gambit premieres October 23 on Netflix.

The post Anya Taylor-Joy Infiltrates the Boys’ Club of Chess in The Queen’s Gambit appeared first on Den of Geek.

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[rayshippouuchiha]

I came out of Endgame with tears in my eyes and my heart filled up to the brim with absolute seething rage.

Even as I write this now my hands shake with some sick mixture of sadness, rage, and bitter disappointment.

So I preface this by saying that I am emotionally compromised and some of my views might shift with time and distance.

But, for better or for worse, this is my first rage flushed take:

I am so disappointed and so angry that after all of the tension, all of the build, all of the time and sweat and tears, all of the loyalty, we were rewarded with this.

Endgame had its high points, I’m not saying that it didn’t.  There were some genuinely funny moments and some heart rending ones as well.

Every single second Tony Stark was on screen was flawless as always.  Robert Downey Jr. once again proved why he and he alone was suited for the role of Tony Stark and the task of carrying the majority of the MCU for the past 10+ years.

That’s not to say that the rest of the cast wasn’t good.  All of the actors all obviously brought their A game and then some when they were allowed to by what I loosely call a script.

So yeah, there were some highs.

But when its comes to Endgame’s low points?

Its low points were subterranean.

They lowered the bar and then they dug underneath it.

Again I’m writing this basically fresh from the theater and with my emotions still high so do forgive me if this is a bit jumbled around or if I ramble a bit as I cover some of the real issues I had with the film.

So, first thing to address was the overall tone of the film.

For this to be the much glorified Endgame, the “battle of our lives”, there was, in my opinion, a distinct lack of true tension in this film.  Instead of a fraught, nail biting, tension filled ride, Endgame is more of a ... brisk jog through some vaguely sticky situations.

Instead of playing the story straight and giving the situation the gravity it deserved, the narrative went out of its way to put humor that served no other purpose than to ruin what tension had been previously built.  And, in my opinion, the tone of the film suffered for it.

The humor and jokes were humorous, I’m not saying they wasn’t.  I genuinely laughed out loud in the moment.  But I also feel that, with the majority of the comedy that was wedged into the narrative, the film suffered for it.

Now let’s move on a bit to the actual plot of the film.  Again, forgive me if I bounce a bit:

Jeremy Renner was breathtakingly heartbreaking as Clint Barton.  Renner was finally allowed to stretch his legs a bit in this film and he proved that, had he been given the chance, he would have given us a Clint Barton to take our breath away.

Watching with Clint as his family died helped to set what should have been the tone for the majority of the film from there on while reminding us of just what was lost and just what was at stake all at the same time.

Chris Evans brought heart to his portrayal of a Steve Rogers who seems both lighter and more weighted down in this film than ever before.

Scarlett Johansson’s Natasha finally showed more emotion than “head tilt”, “lip purse”, and “arched brow” and it was beautiful.

The brief flash of friendship and affection between Nebula and Tony was perfect and heartwarming as well.  Nebula was magnificent as the “feral space cat desperately in need of softness and a friendly hand” when placed side by side with a slowly withering Tony Stark who is, even at his lowest moments, still kind to this alien cyborg he doesn’t know but to who he owes his life.  They flowed together with an onscreen chemistry in their few moments side by side that felt organic and aching.

Together Tony and Nebula embodied a truly important life/plot point of “meet kindness with kindness and kindness will be your reward”.

Moving forward in time hearing Tony vent his anger and his pain and his distrust at Steve was cathartic in a lot of ways.

As was watching Tony rip the arc reactor from his chest and slap it into Steve’s hand.

In this moment Tony is handing Steve his metaphorical broken heart and leaving someone else to, for once, try and pick up the pieces.

But then, unfortunately, things go rather steeply down hill from there.

With Tony out for the count in a hospital bed the others hunt down and execute Thanos with basically a hand wave and all hope for the stones is lost.

Until deus ex rat-ina unleashes Scott Lang from the quantum realm and the logic of the film takes a sharp left turn.

Scott Lang was missing for 5 years.

To him it was 5 hours.

To which I say, why did Janet van Dyne, age during her stay in the quantum realm?  If, according to the MCU canon, every year in our world was roughly only an hour for Scott Lang, then why didn’t Janet come out of the quantum realm only 30 hours older instead of 30 years?

I feel like the answer is probably “because” but yeah maybe I’m just fuzzy on my Ant Man so if I’m wrong then just ignore that bit please.

Also, just a side note, I adore how it’s been 5 years, Wakanda is very much an ally and still up and running, and yet Rhodey still don’t have working legs.  But alas, racism.

Moving on. 

So with the main villain dead and Tony Stark having solved time travel in his living room, because I stan legends only, we’re now subjected, and that is the very word I’d use to describe what happens next, to what is called a Time Heist.

Cute.

Also Bruce Banner and Hulk have now merged Steven Universe style despite Hulk being scared green-less 5 years ago.  But that’s all good, Bruce smoked a ton of weed, they meditated, went on a cleanse or whatever.

Either way Bruce finally did that character development that everyone had been shouting at him since Avengers 2012 and accepted Hulk as part of him and they’re now Dr. Hulk which was … something that happened?

A thing that they chose to do.  The direction in which they set their narrative wheels and then powered full steam ahead and plowed us right over in the process.

But yeah, Time Heist!  That’s the way to go, the only way apparently.

Because going back in time to stop the Snappening isn’t an option due to reasons that are explained and still look and feel paper thin but probably just honestly boils down to “Russos”

Our intrepid heroes will now split up and surf through time Bill and Ted style to collect the Stones from different points in history.

Yay.

So the rest of the film is basically that, a big old jewel hunt through space and history where the Russos attempt to fool us into thinking their plot points are cohesive and cool by donkey punching us repeatedly in our nostalgia-sacks.

We’re treated to, in no particular order, such hits as:

“Ah 2012 and the invasion of New York only not as interesting but Tony Stark is very much an ass man, but then we been done known that.”

“The Ancient One and her still very distracting skull vein coming at you right now”

“LOKI YOU LITTLE SHIT”

“The one time I envied Scott Lang because, for a split second, he got to be inside Tony Stark”

“Let’s watch Tony Stark simultaneous take a Hulk to the face and have a small cardiac event all at the same time but from different angles”

And let us not forget

“Tee Hee Hee us white bois just had to find a way to make sure Captain America say “Hail HYDRA” but it was for “spy reasons” so weren’t we clever???????”

Yeah boys, great job.

So edgy.

(Although as a side note I do agree, Steve Roger’s ass really is America’s ass and I’d like to thank him for that. Personally.)

But then, of course, Endgame would not have been complete without:

“Steve Rogers stares longingly and creepily at Peggy Carter from behind a window, further backing up his one defining character trait in the MCU which is the inability to move on.  Also she doesn’t look up at all despite being a trained spy and all around badass who probably should have noticed the 6 foot slab of American Beef staring at her from less than a foot away, dark room or no dark room.”

And then my personal favorite:

“Tony Stark sees Howard Stark, the father he described as “calculating, cold, he never told me he was proud of me, never even told me he loved me” but it’s all good cause Tony’s a dad now so looking back all he sees are the good times with his emotionally neglectful and abusive father who says there’s nothing he wouldn’t do for his unborn kid and now they awkwardly hug while I try not to scream “FOOTAGE NOT FUCKING FOUND HOWARD AND NO THAT ONE 3 MINUTE VIDEO DOESN’T COUNT YOU SHIT” at the screen and explode in pure rage.”

Joy.

Truly a scene that was necessary and fit the narrative of Howard Stark’s personality and was needed for Tony to uh get closure or grow as a man and a father or something …

It totally wasn’t yet another excuse to give a canonically abusive father screen time in a way that seems genial and sweet in an attempt to give them a bit of redemption that they neither earned nor deserve.

But yeah, whatever, moving on.

Also Rhodey remains an absolute gem and he and Nebula get shit done.

Only oops, not so fast.

Because apparently the only one who is going to run into the whole “two of you can’t exist in one place at one time without consequences” rule is Nebula who, despite her bitchin orange stripe/badge of character development, managed to like synch up with her past self?

Because she didn’t turn her bluetooth/quantum entanglement function off I guess.

Either way Orange Stripe Nebula, O’Snebula as I call her, has accidentally air dropped all her files into OG Nebula’s mental iPhone.

So yeah now big old Past Grimace knows what’s up.

Ooops??

So shit goes down and then Past Grimace is like “you need to Trogan horse this shit, least favorite daughter” so OG Nebula does because “daddy issues”.

Dr. Hulk puts on the gauntlet and Kentucky fires his arm bringing all the people lost in the Snappening back to life now, 5 years after they got dusted.

Which is … honestly a recipe for disaster in so many ways.  What about the people, like the guy in Steve’s support group, who have started to move on?

What about the people who have remarried, have built new lives?

All of that’s ruined now.

It’s fantastic all those people are alive again but jobs, housing, food, healthcare, government, all of it is back in massive disarray across the universe.

And bringing those people back does nothing to bring back the people who didn’t die in the Snappening but died from causality instead.  All the deaths caused by suicides, by car/bus/train/plane/ship/etc crashes, by a lack of first responders, by the civil/world/interplanetary wars that probably raged across the universe due to entire governments disappearing?

All of those people are still dead.

The Snappening killed half of all life in the universe.  Causality probably killed another good ¼ after that.

And Dr. Hulk’s Un-Snappening saves none of them.

This isn’t a true solution, it’s a shitty band-aid.

But yeah, Russos so….

Moving on.

Yadda Yadda Yadda, plot plot plot. OG Nebula goes undercover, Past Grimace ends up in the future, there’s some fighting (which was admittedly BAD ASS), shit happens, and Tony saves the day like we all knew he would.

YAY!

Despite the massive rambling up above I’m not gonna plot out the entire movie right here though a lot will probably get covered coming up because here’s where I get down and start talking about the various character arcs too.

Because what a wild fucking ride those were.

Okay to take it from the top Scott Lang’s arc was fine.  Beyond my questions about the quantum realm his was clear cut and fine although I do wonder at his luck at being, apparently, the only Scott Lang in San Fran to go missing.  Well either that or he was staring at some other Scott Lang’s name instead of his own and in that case “awkward”.

Bruce’s arc was … look I could have done without all of the cringy Dr. Hulk stuff that they played up for laughs.  If they were gonna brush Hulk being terrified under the rug they could have found a better way to do it besides just erasing the duality between Hulk and Banner with a hand wave.

But yeah, Russos.

Carol Danvers was beautiful and magnificent and completely brushed aside.  Yes she was out in the universe handling shit, yes I know they did that so they could focus on the core Avengers, etc etc etc.

But it’s a damn shame that Carol Danvers, and her glorious haircut, was reduced to being the sorely needed and totally badass cavalry and last minute ace in the hole when she should have, logically, been a part of the vanguard.  Honestly I have thoughts on why Carol’s entire character should have been saved completely for the next phase of the MCU instead of introduced so late in this one but I digress.

O’Snebula was a perfect shining bionic light and I love her.

Gamora is now alive in the future but at what cost?  Not that her life isn’t worth something on its own, it totally is and she deserved the loophole resurrection 10000%.

Shit’s gonna be awkward though cause she doesn’t love Quill, she doesn’t love the Guardians, doesn’t really know O’Snebula or the universe she’s been thrown into.  She doesn’t have the memories or the experiences or the character growth and even if she does go back to her family she’ll never be the same person.

Now her and Quill’s relationship, if they ever have one again, will be reduced down to Quill going “you fell in love with me once you could do it again despite us no longer having the shared experiences that bonded us together”.  Same can be said for the rest of the Guardians as well.

Guess we all know what the plot of GotG 3 is gonna be about.

And that brings us to the story lines that really and truly upset me.

Which is basically all the rest of them.

Natasha/Clint’s combined story-line, Thor’s everything, Steve’s … Steve, and then finally Tony.

Now the Natasha/Clint story-line started out promising.

Clint’s rage and pain was obvious, his heartbreak poignant.  His decision to use all of those to cut a bloody swathe through the criminal underworld was both Dramatic(™) and understandable.

Natasha’s love and grief for him, her desperate attempts to hold onto what she has left by throwing herself into her new job, was a perfect demonstration that Natasha Romanoff is very much not a robot.  She was exhausted, frayed at the edges, and she had tears in her eyes, over Clint.  And then she pulled herself together, slipped her mask back on, and pushed her way forward.  This was all excellent.

It was also a nice narrative callback/parallel to have Natasha be the one to go out and bring Clint in from the cold.

Natasha plays touch stone, plays stability, for Clint and for many of the others.  For the first time Natasha is truly portrayed as a person all the way down to the core instead of some witty quips in a catsuit.  Plus her eyebrows finally came back from the war and her hair looked good again.  So there was that.

Clint and Natasha’s arc comes to a climax on Vormir as they search for the Soul Stone and Red Skull, the Nazi cockroach that he is, gives them the same spiel he gave Thanos.

To get the Soul Stone you must give up the life of the one you love the most. A soul for a soul.

Narrative wise this is consistent, we all knew this would happen as soon as they started searching for the Stones again.  It was obvious.

It was also obvious that Clint was the perfect sacrifice.

He’s got nothing left, his family is dead, he’s already lost the people he loves the most, he’s spent five years being a borderline monster.

And he is also, without a doubt, the thing that Natasha loves the most.

Clint was ready and willing to go, ready to die for the blood on his hands, ready to sacrifice himself for the chance that his family would be saved.

Ready to lay down on the wire and let Natasha walk over him for the sake of everything.

Clint dying made sense, was narratively sound, and heartbreaking.

All of which are only a few of the reasons why Natasha’s death was such a goddamn betrayal.

Instead of following along with the narratively sound death of Clint Barton, an Avenger that’s been ignored for most of the films as is, the Russo brothers instead chose to fridge Natasha.

Clint dying would have been the perfect mirror to Gamora’s death.

Gamora was a daughter unwillingly sacrificed by her father to destroy half of all life in the universe.

Clint would have been a father willingly sacrificed by a friend to save half of all life in the universe, his own sons and daughter included.

But no, we didn’t get that, instead we got a gratuitous scene of Natasha Romanoff, the Black Widow, splayed angel like and bloody on the rocks below.

Instead they fridged the Black Widow, the only woman of the original Big Six, because they couldn’t bring themselves to fridge a man.

So Clint gets the Soul Stone.

Such a fitting end for the Black Widow right?  Dying in a man’s place, mourned on screen by a circle of men, but ultimately set aside rather quickly.

I understand why Natasha wanted to be the one to go, I understand that she didn’t want Clint’s family to lose their husband/father and that her true family was the Avengers. I get that.  It doesn’t mean I enjoy or agree with the decision they made any more.

It doesn’t make me any less tired of watching female characters die for the sake of men and their families.

Natasha Romanoff sacrificed herself for the universe and her family and that deserves respect even if I absolutely hate it as a narrative choice.

Oh and what about the absolute NERVE of the Russos to have that awesome Lady Power Battle Strut happen but only after they killed Natasha, one of the Big Six?

Bitter? Me? Nooo.

Now, moving on to Thor.

Thor.

Oh my actual God, Thor.

The levels of disrespect Thor, Chris Hemsworth, and the fans were shown with this character arc/story-line in Endgame is breathtaking.

The absolute, shameless disrespect.

They turned Thor into a cowardly, drunken slob who has spent the last 5 years ignoring his responsibilities to what’s left of his people and instead has spent his time drinking, sulking, and literally yelling at kids over PSN??

Endgame’s Thor has the bullshit reasoning that he needs to stop trying to be who he thinks he should be and instead be who he is.

Which flies completely in the face of literally all of his character development from Thor all the way to Thor 3 and then Infinity War.

The entirety of Thor 3 was Thor’s hero’s journey culminating in him finally being the king he was always meant to be.  Finally maturing and stepping forward to lead his people.

I am supposed to believe that Thor, depressed and guilty or not for not killing Thanos when he had the chance the first time, just abandoned his people like that?

I’m supposed to believe that Thor would piss all over everything the majority of his family and friends died for?

I’m supposed to believe that Heimdall, Loki, countless soldiers, and The Warrior’s Three and Lady Sif (I guess), all died to protect Asgard, died for the people and for Thor, and Thor just what? Turns his back on all of that to become a drunk?

No, Thor wouldn’t do that.  Thor should have been down there beside Valkyrie working those fishing vessels when Bruce and Rocket came calling.  If Thor had any hesitance to join them it should have been, “I can’t abandon my people, I am needed here.”  He should have been fiercely guarding the tiny fraction of Asgard that’s left.

Thor’s depression and guilt was valid. Don’t mistake me on that. But they played it for jokes.  They made him a caricature of depression, made him “gross” and incompetent and the butt of the jokes, and in the process diminished what should have been a painful and poignant arc for Thor.

Instead we got Big Lebowski Thor, bathrobe included, who does stand up and fight yes but, in the end, gives up his crown and just fucks off to space to have petty pissing competitions with Peter Quill so he can?? find himself?? despite finding himself in Ragnarok already???

Thor’s entire arc in Endgame was shallow, mishandled, and disrespectful to the character, to Chris Hemsworth, and to the fans.

You, we, he, all deserved better than this.

Now we get to Steve.

Steve Rogers, Captain America himself.

I’ve had a lot of salt about Steve’s character and actions in the MCU but, all of that aside, he deserved so much more than what the Russo’s did to him in Endgame.

Hell he’s deserved so much more than what’s been done to him since post-CA:TFA.

But this is about Endgame specifically soooo….

Steve’s shown leading a support group in the beginning of Endgame, is shown talking about moving on and moving forward and learning to let go. Which is wonderful.  It sounds like the exact character development we’ve all been waiting for for Steve.

Which is, of course, the exact moment when Steve goes “nah just kidding, we don’t ever move on”.

Which, given the circumstances, is pretty fair.  If Steve was only thinking/talking about Thanos and the events of Infinity War.

But of course he wasn’t.

CA:CW should have been the end of the Peggy Carter saga for Steve.  He mourned her, he was finally moving forward, he’d kissed Sharon, he threw everything away to save Bucky, he gave up his shield, etc etc.

But no.  Endgame finds him right back there, clutching that goddamn compass, and making moon eyes at a woman who we all thought went on and lived a life without him, got married, had kids, and generally existed outside of Steve Rogers.

But no.  The Russo’s had to take that away from us too.

And yes yes I know I know multiverse or whatever but still.

Steve steamrolls his way through Endgame with skill and determination.  He picks up Thor’s hammer, finally worthy, which how??? Why???  (perhaps because he’s no longer keeping secrets??? Or maybe that’s just my salt talking? Who knows? Not me?)

And then he fights Thanos head to head.

(Although him wielding the hammer brought up an entire separate set of issues cause I’m pretty sure Mjolnir doesn’t actually summon lightning. Ragnarok pretty much said that the lightning has always been within Thor.  Mjolnir was just a control accessory.  But, you know, Russos *jazzhands*)

And then, in the end, he insists on returning the Stones on his own.

Only he doesn’t come back like he was supposed to.

Instead we’re given old Steve Rogers.

Because Steve returned the Stones and then ….went and found Peggy Carter and got married and lived an entire life with her ignoring everything he would have known was going to happen to her and around the both of them or something???

Or maybe not if the multiverse thing holds up but then who knows any more???

But then how did Old Steve end up right there by that lake on that day at that right time if he’s technically from a different multiverse???

Either way Sam gets his shield and the mantle of Captain America, which was fantastic, and Bucky more than likely knew Steve’s plan all along but the best read I really got on him was basically “eh” so he might well have been happy for Steve too.

But still, instead of finally achieving peace and continuing to learn to live in the future with Bucky and Sam and the remnants of the Avengers, his family and the life he’s built there over the past years, instead of putting the shield down because he’s learned to let go in the now, Steve only puts the shield down because he chooses the past.

He chooses the past over all of that and all of the people left who love him. Sure the argument could be said that he knew they’d be alright but still.

There is a deep well of dissatisfaction inside of me as to how Steve’s entire ending arc was handled.  Why did peace only come to Steve after Tony and Natasha were both dead and then was only found in the past?

No disrespect to Peggy Carter, I adore her, but were the relationships he had in the future worth so little that the past was the only place he could find happiness?  A past with a woman that he knows loved him but still moved on and found happiness outside of him, lived a full and happy life without him?

Steve didn’t get a character arc so much as he got a character circle.  A character loop.  He went right back to where he started.

Endgame erases all of the character development Steve underwent post-Avengers.  Just brushes it all under the rug.

The Russo’s stole the character development Steve Rogers spent a decade undergoing to give him their version of a happy ending.

They robbed him and us both of every bit of growth and forward motion Steve has underwent and I will never forgive them for that.

And now we get to Tony Stark.

Anthony Edward Stark.

The Iron Man.

Tony’s arc is, was, the longest and best developed arc in the entirety of the MCU.

It’s spanned 10+ years and has been nurtured and hand fed by Robert Downey Jr.

If Endgame got one thing right, one thing at all, it’s how they handled the majority of Tony’s arc.

From him laying the smack down on Steve once he was home, finally venting his emotions and his anger, all the way to him solving time travel before tucking his kid into bed, and then building an Infinity Gauntlet on his own even though Thanos committed genocide to get the one he had.

Tony Stark’s arc was glorious and expected and sad.

I think that my one almost complaint is that Tony stopped for 5 years.  On one hand he deserved the rest, deserved the chance to find happiness.  He was hurt and tired and he’d faced his demons and been left bleeding out with the death of half the universe weighing on his shoulders.

He deserved to just stop for a while.

On the other hand stopping is not something Tony has ever been good at, just like Pepper said.  A part of me thought Tony would be working, frantically, to find something, anything, to turn back the hands of time.  To track Thanos down. To get the Stones and then to get everything else back.

To get Peter and all of the others back.

But that’s not the route they went and I’m … okay? I guess, with that.

Tony was validated and vindicated and everyone would have finally listened to him.  It only took the death of half of the universe to do it.  But he was too tired, too hurt and untrusting to keep pushing.  I can respect that.

But of course once an idea worms its way inside Tony can’t let it go.  So he solves time travel on the fly and sets out to save the world.

Again.

His one stipulation is that he will do anything, everything, he has to in order to keep what he has now.  His wife Pepper and Morgan, his sweet little daughter.

So of course he doesn’t get to do that either.

After all of the blood, sweat, suffering, and mental illnesses, Tony doesn’t get his happy ending.  Not really.

He gets to rest, yes, but he loses out on everything he wanted to do with his kid.  In the process of saving the universe he becomes the one thing he never wanted to be for Morgan, a distant father.

A face on a screen, stories, memories other people have.

No matter how many holograms or inventions or whatever Tony left to Morgan, it’ll never replace him.

Morgan got 5 years with her father.  She’ll spend the rest of her life hearing stories about him, about how much of a hero he was.  And hopefully, with Pepper and all the others behind her, Tony will remain a hero to her and will not, instead, become her version of Captain America.  An untouchable symbol that Morgan will never live up to.

So, in the end, Tony sacrifices once again.

Watches the future he wanted crumble to dust in his fingers, lightning scorching him from the inside out as infinity rips him apart.

And he dies there, surrounded by some of the people who love him best.

His best friend.

His wife.

The son he almost had.

And, despite all of that, it is very very fitting that his death was at his own hands.

Thanos could take out half the universe, he could traverse time and space, he could humble Thor, terrorize the Hulk, rip Steve Roger’s up, survive shield and hammer and so much more, but the one thing he couldn’t do?

He couldn’t kill Tony Stark.

The only thing that could kill Iron Man, could kill Tony Stark, was his own heart.

Tony Stark takes the Infinity Stones in hand knowing how this is going to end, knowing that Stephen Strange set him on this path years ago.

Because didn’t Strange warn him?  Didn’t Strange tell him outright “I’ll let the kid and you both die to protect the Time Stone”?

Tony just never expected it to take a few hours and then 5 more years for Strange’s promise to finally be fulfilled.

So Tony does it knowing that after everything he’s been through, all of the pain and the suffering and the battles, it was only enough to have earned 5 years of happiness, 5 years of his dream.

5 years of being the father he always swore he’d be.

Tony Stark takes the Infinity Stones and dies for the entire universe, for his family, for his daughter.  Dies knowing that he’ll be doing the one thing he didn’t want to do, swore he would never do.

Leaving them behind.

Tony Stark brings us full circle as he stands as both equal and mirror of Thanos once again.

Man to Titan.  Good Father to Bad Father.  Life to Death.

Tony Stark picks up the weight of the universe and then he dies making sure that it has a future free from the same fear that has haunted him for a decade.

A warm light for all mankind, sent to sleep, to rest, knowing that finally everything will be okay.

And all he had to do was die for it.

So, I’ll close this out saying this:

This was written in one solid push after my first viewing and Endgame was dissatisfying for me as you might have guessed.  I am disappointed and angry at so much they chose to do to end out this iconic decade of cinema and to close out these character’s arcs.

There were a lot of points and little details I didn’t get to cover in this and perhaps a lot of points you might not agree with me on.

That’s okay.

Because, no matter what, there is one thing I know for sure.

We, I, will always have Tony Stark and the lessons he taught me.  The pain he endured and shared with all of us.  The bravery and strength he inspired in so many of us as we watched him struggle with physical and mental illnesses on screen.  As we watched him obsess and stress and love and grow.

I have never loved a character more than I love Tony Stark.

I have never been impacted by a character as much as I have been by Tony Stark.

I’m not sure if I ever will again.

So, Tony Stark is Iron Man.

He always will be.

And he saved more than just some fictional universe.

He saved a lot of us along the way too.

And we’ll always love him for that.

[green-blooded]

Hokay, I'm starting Star Trek: Beyond. Going to rant again... maybe say some positive things here and there. Does McCoy get to be a character in this one? Guess I'm about to find out.

Summary:

(Because he did! And also other words! So there’s still some negativity here, but I liked this one best out of the three movies.)

What.... are these aliens. Why do they look like this. Why are they gargoyles. Why are they attacking Kirk. Why is this happening. Why is this in a Star Trek. Okay. I'm. Trying. Let me enjoy this. Let me try to enjoy this. I will stop being grumpy.

Haha he ripped his shirt okay you got me but if the nipples aren't out it doesn't count.

McCoy is onscreen early in a corridor walk that they could've easily left him out of, so that's a good sign? They were a trio for a second.

Why are they showing all Kirk's uniforms as the same? Where is his fat shirt? This is important to me, okay. Wait, I said I wasn't going to be picky.

Whoa, McCoy has a second scene already!!!!!!!! Oh they're having a whole interaction oh no it's cute. WHY IS McKIRK THE ONLY THING I LIKE IN THESE MOVIES? "You know me, Mr. Sensitive." Oh no he's so cute.

MCCOY'S CONTINUING TO BE IN SCENES AND ARGUING WITH SPOCK. It's still about nothing because these movies don't do deep conflict, but. Y'know. There was a tiny trio moment again. I'm being positive.

Okay, those were a lot of establishing shots for Yorktown, so I hope it's actually important...

MCCOY IS IN ANOTHER SCENE WOW.

Oh yeah this is the one where they kinda let us know Sulu's gay? I forgot about that.

Oh no don't make me cry about nimoy please i don't want to deal with real emotions watching these movies. :(

Some of this does feel vaguely Star-Trek, even though it's still taking place in such HUGE environments that it throws me off. Every room is so POINTLESSLY huge.

Um... we're leaving Yorktown so I'm continuing to wonder if those establishing shots meant anything...

The CMO is on the bridge where he belongs, thank you.

Oh, did they let the lady characters have rank now? Soooo progressivvvve.

Do we really need to completely destroy the Enterprise in every movie? Like. Gosh. Where is Kirk's weird sexual attraction to his ship that makes him want to keep it safe? He's sexually attracted to everything ELSE in this version.

Oh my god are Spock and McCoy getting to do something without Kirk there???!!! ARE THEY CHARACTERS????

Everything is so spaced out on the bridge that Kirk has to be standing at the nav station to talk to someone in another part of his ship???

Newer versions of Star Trek keep putting the "evil" aliens in five hundred pounds of latex and makeup... you don't have to make the aliens less humanoid to make them threatening if you just... write better. Also maybe stop creating evil aliens.

I really have no emotional reaction to seeing the Enterprise being destroyed two movies in a row. I don't even have any emotional attachment to this version of the ship because it looks so stupid inside.

... We couldn't get the red alert sound right? Really?

Too much action too much action too much action. Please give me a story so I can care about what's going on.

Once again the gravity situation shows why the Enterprise shouldn't have such huge interiors... I know I'm going on about that a LOT, but it's one of the stupidest design choices in these movies.

WHY DO THEY THINK WE CARE ABOUT THIS VERSION OF THE ENTERPRISE WHEN THEY HAVE MADE NO EFFORT TO MAKE IT FEEL LIKE HOME OR EVEN A SETTING IT'S JUST A BUNCH OF STERILE LIGHT FIXTURES.

Pointless action sequence with Scotty just... getting out of his escape pod. Cool.

Why put Uhura with an alien race where she could use her linguistic skills and then just have them know English? Sigh. Oh well, at least she's getting a scene to herself. Like she's her own character or something, wow.

Hello Spock and McCoy interacting! Thank goodness for small mercies. But a little less exciting when they have no established relationship to this point, but it's fine.

Oh wow they're having a conversation that could be considered somewhat philosophical. Someone saw a Star Trek episode before writing this!

The hot alien lady seems like a D&D character, but that's fine.

I appreciate McCoy yelling at Spock for collapsing in pain. But like, a caring kind of yell. Good job Urban.

I really do keep zoning out during action scenes. I barely know what's going on in the Kirk scenes because it's just a ton of action that doesn't seem to be going anywhere. Like... the character who has already lied... lied again. Wow.

I really would like to have some emotional reaction to characters running around the wreckage of the Enterprise, but I don't. :(

Goodbye pointless alien who screwed everyone over a lot.

"Federation has taught you that conflict should not exist." No, these movies are just really bad at it, latex face alien.

Ooookay, we established Yorktown so we should care that this alien guy wants to destroy it because he hates unity or something. Cool.

Spock and McCoy scene okay. And we directly mention philosophy! Blunt, but cool. Again... it's just hard to get into it because there's nothing established with these characters, since these movies are more into action than character. But that was a good moment between them. Like... McCoy saying he'd throw a party if Spock left doesn't work because we have seen hardly ANY of the banter between them. It's relying on what we've seen in TOS... But Spock laughing was cute.

I like Jayla a lot. She's definitely a Star Wars character, but it's fine.

Lol they had to give us a ship older than the Enterprise to find one that looked a little bit like a Star Trek ship. Sigh. But at least they're doing it.

I love you Karl Urban for trying so hard to sound like you're from Georgia. I forgive you for, y'know, not.

OKAY AGAIN... the "Of course I care..." etc lines are good, but there is NO HISTORY BETWEEN THESE CHARACTERS BECAUSE YOU JUST MADE EVERYTHING ACTION SCENES AND THE ONLY FEELING I HAVE ABOUT THEM CAME FROM DE AND NIMOY.

He just yelled at Spock for collapsing in pain again, which is just the best.

Spock: [dying a lil]

McCoy: DAMMIT SPOCK STOP THAT

Gotta say... I did like the moment where Spock looks to McCoy when Kirk says he needs him to stay alive. All I wanted this whole time was the trio.

Okay, McCoy calling Uhura's necklace a tracking device, then saying that he's glad Spock doesn't respect him--when literally a few scenes ago, Spock said he did respect him--is kinda great. Especially since respect in this scenario is, like, a way of Spock saying he has romantic feelings for Uhura? Beyond is bringing Spones back into the picture, and it's not perfect, but I'll take it.

Scott saying "she's lost people too, Captain" was good. It was real good. There are good moments in this one, thank goodness.

Holy goodness, they're letting Scott be a character too! They're letting everyone be real characters instead of just scene dressing for the Kirk and Spock show!

I appreciate Kirk calling everyone Mr. Whatever and McCoy is just "Bones."

McCoy saying "I'll keep an eye on him" about Spock oh no. Oh no it's cute.

Wow this dumb motorcycle scene is Very CG.

The main storyline of this movie is Also Very Bad, but I can deal with bad plots when there are good character moments.That's why I can watch the worst Star Trek episodes for the most part... So Beyond is capturing the feel of a bad Star Trek episode, which is an improvement from the first two movies.

On the other hand, while I would like to try to judge these movies on their own merit, I CAN'T because they lean on the original series. The Spock and McCoy interactions are just one example where all of the emotion and development was actually in the series, but now I'm supposed to apply it to this version of the characters who have never shown any connection before now. So, I have to compare them to TOS and it's just not going to come out well for AOS in any department but special effects and budget. (And Pine being more likable than Shatner as a person tbh.) Then even the relationships they HAVE developed in the show, like Spock and Uhura, make me feel very little because they didn't develop them well. Again, action scenes take precedence over development, and it makes the entire thing weaker.

But little moments like Kirk going to save Jayla when she thinks she'll be left behind, which calls back on the moment with what Scott said about being a team... that was a good within itself because it didn't rely on anything from the original series without entirely deviating from the spirit of it! I wish moments like that weren't so rare in these movies.

Were all those establishing shots like an hour ago really enough for me to care about what's happening to Yorktown? Not... not really? I mean, it's sad, but. I don't know anything about this place. The only ones I have any connection to are Sulu's family, and that's only because I like Sulu...

AHHHHHHHHHH MORE SPOCK AND MCCOY um... do you see how easy i am to make happy like... i could have easily loved these movies if they'd done a little better

Scott and Jayla are really cute engineering buddies and this is one thing that's 100% AOS that I really appreciate.

This is how I feel when I hear the Beastie Boys too. (Not in a good way. Not a fan.)

Hey guess what I'm about to say! Guess what it is! If you guessed "This action sequence is too damn long" then you get no prizes because it's pretty much a given at this point.

.... Krall is Idris Elba? I could've been looking at Idris Elba this whole time? Stupid latex.

This... reveal makes... no sense? I mean, on the plus side, I guess this means that the evil latex face aliens weren't evil aliens, but bad Humans... Still not great that they use latex to other characters and make them more ~scary~ imo.

Also, this is... basically the same reveal as the Khan reveal, just slightly less stupid because we didn't already know this character like we knew Khan. But they literally did the "different name, and then we find out who they are" thing twice in Into Darkness... seems weird to do it a third time for Beyond.

ALLLLSO I'm really tired of every conflict in these movies being resolved with fighting... isn't the theme of this very movie about how conflict is something we're moving beyond as Humans?

Are McCoy and Spock still just flying around? I'm confused. Too much action has happened and I can't tell who is doing what. I only know Kirk is in danger because people keep saying he is.

Oh, okay, they were still just flying around so they could save Kirk at the last minute. Which is goofy, but okay. Gotta love Kirk continuing to give Spock all the credit when McCoy is the one saving him. GREAT LOVE THAT SO COOL.

Love that Spock's conflict about leaving Starfleet to help his people is literally the exact same in these two movies.

Oh no they're bringing back Nimoy related thing to give me emotions again. Don't do that. You didn't earn my love of Nimoy, movie.

OH NO THERE'S THE PICTURE PART THAT I WAS TOLD ABOUT OH NO MY FEELINGS. OH NO.

Oh, Karl Urban. I appreciate your accent efforts.

....... lol that look Spock and McCoy exchanged about the necklace. Um. Okay. I won't read into that, don't worry, not at all.

HEY HEY HEY THEY LET MCCOY JOIN THE KIRK AND SPOCK SHOW AT THE END WOW THANKS IT'S LIKE IT'S NOT JUST THE TWO OF THEM. AND NOW THEY'RE ALL DOING THE "THESE ARE THE VOYAGES" SPEECH. That's a nice touch.

Okay, this one was the best of the three movies by a lot. Still not. Y'know... great. But they introduced a new character I liked. They had some good Spock and McCoy moments, even if they pretended that the TOS relationship was intact. They let Uhura exist outside of Spock for a while. Scotty got some really great moments. Overall, I'm not as angry as I was while watching the other two!

But now I'm going to watch some TOS, and the next episode I have queued up is Journey to Babel, so. I'm much happier about that. (Yes, this is a call back to the gif I used up top. Look at me, tying things together like a cohesive story would.)

[teamironmanforever]

I went to see the movie and honestly? I hated it. (Buckle up bc this is gonna be like a 10 part ask) First: Tony my sweet baby you didn’t deserve that. Honestly I loved that he finally got to marry Pepper and had Morgan, but the ending just made that meaningless to me. Morgan and Pepper while they had some really cute moments, didn’t serve much purpose to the plot at all other than make Tony’s death sadder. AKA they used his family as a way to manipulate the audience, which is not cool. 1/?

I loved Morgan and I love Pepper, but they could have removed them from the film and it wouldn’t have made much difference other than Tony making that choice faster. It was a cheap way to make us even sadder that he died and I hated it. If a character serves no other purpose than that then you’re doing something wrong. Also, as I understand it, in the comics he wore the gauntlet and didn’t die, so WTF?? Also that moment when he finally snaps at Steve for CACW was ultimately disappointing No one took his pain seriously and was disregarded as him being half dead, starved and delusional. AND Steve didn’t even apologise for his fuck up. They just wanted to get the fans that are mad at CACW and AOU mollified without actually having anyone acknowledge what happened. Gross. And the fact that Tony had to be the bigger man?? I love that my son is healing but it still isn’t right. (I could go on for hours about this, so let’s move on for now) Second: Thor. I’ll admit I didn’t really feel anything for his character until Ragnarok, when I officially adopted him and Loki (who they did so dirty in IW, but let’s not touch that right now). They erased all his character development and made him the butt of fat jokes and did not acknowledge the fact that he was probably dealing with severe depression and PTSD. But hey he got fat so let’s laugh at him! Ugh, it was painful to see what they did to him Also I just can’t get around my head that he wouldn’t be out there helping his people, and instead stayed eating junk food and beer for years (and would most likely have gained weight because he didn’t have to be as physically active as before). Thor at his very core isn’t that, he would have kept going for what was left of Asgard, he would have lead his people instead of leaving them to their devices. And the end?? He wouldn’t have left New Asgard to go traveling through space with the Guardians, that made 0 sense and I stand by this point, HE WOULDN’T HAVE LEFT THE ASGARDIANS, not even leaving Valkyrie in charge, he just wouldn’t have. That whole thing was stupid and probably a way to set up a new Thor movie and I’m not buying it. Also the fact that Steve could lift Mjolnir and that meant he had Thor’s powers?? That’s not how it works?? It is stated in Ragnarok that the Hammer was just a way for Thor to channel his powers, not that the hammer gave him powers, just no. Also him getting Mjolnir back was completely unnecessary and just proves even more how they didn’t care for Thor’s development in previous movies. Bruce: He felt off the entire movie, gave me the creeps. Clint: They made him a racist serial killer vigilante and then they just never mentioned it again?? Was that necessary?? If I didn’t like him before now I like him even less. Nat: I felt her characterisation was good this movie. Then they ruined it by using her as a catalyst for man pain. I don’t like her but she deserved better than that. Nebula: I actually liked her this movie, nothing bad to say here (or if there’s anything I haven’t realised it yet) Steve: I’ll admit I’ve hated him ever since AoU and even more after CACW, I can’t stand him, the salty fics where he get owned are my favourites and I haven’t been able to read any fics where he gets anything remotely like happy ending in years, I shy away from every movie that he has been in, I spent all the movie rolling my eyes whenever he spoke (except for the “I know I know” part because that was hilarious. But even so I don’t agree with what they did to his character in the movie. I hate but I still know what his values are, and Steve wouldn’t have done that, ever. He basically erased all of Peggy’s family from existence, putting himself above others, when the very core of his character is that he doesn’t do that! For me it was just bad and lazy writing. Also the fact that he spoke like 7 words to Bucky in the whole movie was just ??? This isn’t Steve Rogers, I don’t know who this is but it’s not him. Besides that a big thing in his character arcs is him adapting to the XXI century and stating that he isn’t the man he was before he went into the ice!! Erased his character development completely (there are several posts expanding on why the end they gave him is bullshit, there are more reasons than the ones I pointed out) Scott: He was alright. Then every other character that appeared was just there for the fanservice and it showed. Peter was there to make Tony’s death sadder, T’Challa and Shuri and Okoye and all the Wakandans were there because they had to have them there for the final battle, they could have exchanged them for other characters and it wouldn’t have changed a single fucking thing. Same with all the women that appeared in the final battle only, they were there because they couldn’t not have them there, and the scene with all of them was cool but in hindsight it didn’t serve much purpose and was a lazy way to try to make us forget that they’ve never given a single fuck about MCU women. But hey! We had the Wakandans and a scene with all the MCU ladies together!! We can’t possibly be racist or sexist right? It was hollow and it falls apart if you start to think about it even a little. Also the whole time travel rules they explained in such a convoluted way?? And then they didn’t even follow their own time travel rules??? That was just lazy writing to get the characters to fuck with the timeline as much as they wanted without having to worry about any ripple effects through the timeline continuity. Terrible And LGBT+ rep was badly executed and very disappointing. I’m sure there are things I’m forgetting, but at least all of those things make it a terrible movie for me. They did all the characters so dirty. (I’ll never forgive them for this, specially for what they did to Tony)

WELL THAT WAS DEFINITELY A LONG ASK but I am so glad you got that out of your chest my dude!!!!! 

I don’t agree with everything you’ve said, I’ll start there. 

I am a BIG natasha fan so this movie really really did great work with her and while her death hurt me, it is the ONE death I can see myself coming to terms with because if she had to go? That was the way to do it. That’s the Nat I know and love; she chose how she went out and she chose to do it for everyone. She has always been a character craving redemption for her past, and an escape - she wanted a new chance. And while she did not get a happy ending she did good in the world. She atoned and she found as much peace as was permitted in her story. Also let’s not forget she was the one LEADING the avengers when Steve fucked off for 5 yrs because reasons. 

I also don’t think the women in the film were there for fanservice. It IS important to see these badass women fighting, because that’s how it starts. That’s how we get representation. They all had a purpose and a role; they all have a story to tell. As for Pepper she exists completely outside of Tony. Yes it hurts us more because now he doesn’t have his family - but Pepper has been such an integral part of the Iron Man narrative, not as a plot device but rather as her own woman with her own thoughts and goals - that her being in endgame made perfect sense. She and Tony have the single strongest and likely most healthy relationship in the shitshow that is the MCU - there is a level of love and devotion there not seen anywhere else. 

Yes Bruce was definitely off - they tried to dumb him down to show just how utterly necessary Tony was in saving their asses, which I can appreciate, but it still felt very very off. The whole jockey thing didn’t work for me. 

And yup 100% what they did with Thor hurt me deep inside my soul. Like… it was just not right man. 

Also yes the LGBT+ rep promised sucked ass like WOW queerbaiting 101 my dudes!! Are we really back to that!?!?!?!?

As for the rest of things - like I said I don’t agree on everything but it would take me too long to write that all out so I will say this: I REALLY hope you feel better because trust me I am on the same boat of feeling bitter and sad and just unable to see the things that were good in the movie. So yeah I hope getting it out of your chest helped :)