#why was he only in one episode

[cinnamon-st1ckz]

im probably gonna say this until the day i die. but he should've appeared in more than one episode. like

[glassrunner]

"That which inspires us to our greatest good... is also the cause of our greatest evil."

VIKTOR, THE MACHINE HERALD | ARCANE S02E06

[applepixls]

I CAUGHT HIM

I FOUND IT.

grian didnt include it in his own episode and lizzie didn't include it either and i didn't see it in mumbos episode? but in skizz's episode you see him add the <3 by his name and then spin around really quickly like he's scared someone saw

[bunnieswithknives]

I feel bad for neglecting Hazel so much, I do have many thoughts about her.. and also a mermaid au that im probably not going to do anything with

[cozylittleartblog]

happy pride month. i did not make this up for th ememe

[thelaurenshippen]

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

[myimaginationplain]

jayvik shippers PLEASE be normal about Mel & Sky challenge, part 2, difficulty rating: (impossible)

[noodlesoup1819]

Do you ever think about how aang was only 12 years old when his people were killed? Like. He wasn't an adult. He didn't have years of memories. He didn't know all of the traditions. He just lived in a land and then he left and got stuck in the iceberg and when he woke up it was all gone. Do you ever think about how he was 12 years old and had to grasp at childhood memories that were both fleeting and felt like yesterday with no adults to turn to and had to rebuild his culture with the knowledge that he had? Do you think about how aang must think about those cultural dishes or customs or traditions that he never quite figured out how to replicate (or the ones he never knew about at all)?

Because I do, and it makes me wanna cry.

[nellasbookplanet]

I know that after Downfall the perspective of 'the gods are a FAMILY' has permeated fandom on both sides of the kill-all-gods argument, but frankly that isn't all they are and acting as if it's suddenly their only motivation flattens both them as characters and the narrative they (and bells hells) are in.

The Wildmother and The Raven Queen didn't 'let' Lolth get away with nabbing Opal and killing Cyrus because she’s their sister. Come on man, we've already seen that the primes are plenty capable of opposing and fighting their siblings on the side of mortals (is the calamity a joke to you??). I'm not saying the primes aren’t capable of picking the lives of their betrayer siblings over mortals (downfall showed as much) but that's not what the situation with Opal and Lolth was about in the slightest.

They let Lolth 'get away with it' not because she’s family, but because this is the very rare instance of them not only having the same goal, but of them actively fighting for their lives. As far as we know that has only happened once before on Exandria, and that time they also entered a truce to defend themselves. The vast majority of the time, the primes picking their siblings over mortals won’t happen because mortals can’t actually threaten the gods (normally), making the 'they're family argument' a moot point. The primes won’t necessarily agree with Lolth's methods, but they won’t go throwing away both hers and their own champions in a meaningless struggle when they need all their strength to stop the fucking apocalypse.

[turtleblogatlast]

One of the earliest examples of Leo’s “I’ll do my own thing to accomplish our goal without discussing it with my team first” is in episode one. It’s super, super quick, and ultimately inconsequential, but it subtly sets up a great precedent that I think is very interesting.

When the boys need to grab the medallion from Splinter without Splinter noticing, Raph, Mikey, and Donnie huddle together with Raph taking the lead in trying to devise a plan to get the mystic device. Meanwhile, Leo slinks away and grabs the device by clocking the situation (by knowing his father well enough to predict his actions - something he does with each family member multiple times in the series) and making a move on his own.

It works out perfectly fine, and is ultimately the best move, and it’s honestly okay that he didn’t consult everyone for something so small when it’s such a non issue to get it, but it nicely sets up how this tends to go in the series, including how it goes in the movie.

To be honest episode one is actually really good at setting up a lot of things for each character in the long run, this is just one example that caught my attention, as small and unassuming as it is.

[bacchuschucklefuck]

okay unironically I love so much that porter is like this world SUCKS its BAD here and it HURTS you why do you care abt it!!! and literally every single bad kid is like ngl we just hate ur ass it does not matter what ur philosophy is

[secriden]

You know what makes me soooo excited for the next phase of Fadel and Style's relationship? It's that they will finally slot into the CORRECT relationship dynamics because this whole time, it's been flipped.

From the beginning, something felt off, and I think it's because Style's true desire is to be pursued. We are shown this pretty much in Style's introduction when he blatantly puts his body on display with the Crop Top Stretch. Style wants to be approached, wants to be propositioned, wants to be desired. Also, remember how he initially flirts with Fadel when his only motivation was his own attraction? He pinned the Heart Burger badge onto his chest to create an opportunity for Fadel to put his hands on Style's body.

Of course Fadel wasn't pursuing Style; was in fact, actively trying to get away (for reasons OTHER than a lack of physical attraction to Style), so it is the plot that has to drive our lovebirds together using Kant's request and partly Style's own desire to get some revenge.

But throughout their interactions, we constantly see glimpses of Style's desire to be pursued: every single time Fadel even shows a HINT of wanting Style, he immediately falls pliant, like he can't wait to let Fadel take the reins. And nothing shows this more clearly than the absolutely blissed out look on Style's face in Ep 4 when he thinks Fadel has finally admitted that he wants Style.

(Fucking hell, just look at how dazed and almost euphoric Style looks here? It's like Style has been starving for the barest hint that Fadel truly wants him.)

Which is also why we've gotten so many fake outs. Because although Fadel IS attracted to Style (Ep 2 made that...abundantly clear), he isn’t remotely ready to pursue anyone. Not only is Fadel nursing a broken heart, barely beating, he also has very justified suspicions about Style’s connection to Kant and Style's unnatural persistence.

So it's Style that has to pursue - he dodges Fadel's footsteps, and bullies his way into Fadel's life; but in between the frustration and annoyance, Fadel's walls begin to crack. And I think it's SO COOL that the first significant evidence we have of Fadel's walls crumbling is because Style puts his body on display for Fadel. Because Fadel responded to something that was naturally part of the way Style operates before he even met Fadel. And there are other, more compelling reasons why I think Fadel begins to fall for Style, but that's not really the point I'm trying to make here.

When Fadel said "If I like you, I'll do the pursuing", it wasn't just to get Style to back off. Because now that Fadel has finally chosen to explore something real with Style, we are seeing Fadel's words in action. I know some people have said Fadel's switch to flirting so blatantly with Style in Ep 4's gym scene came out of left field, but I think it may well be confirmation that this was always the dynamic they were meant to be in. Fadel likes pursuing and Style likes being pursued. They fit, they match, they're perfectly compatible.

(Fadel looks almost faintly amused by how "flustered" Style is. Because he doesn't know that Style is actually afraid of him - why would he, when Style has evidenced zero fear so far? So this comes across like Style is getting shy in response to Fadel's unexpected and more overt approach. And possibly this is Fadel starting to remember how much he enjoys the chasing.)

Unfortunately, Kant's revelation is going to screw allll of this up. But, we are finally going to see glimpses of how they work when they're aligned correctly in their dynamics! And while it will take a journey (and oh, it will be gloriously painful, won't it?), our boys are finally on the road to something lasting and I am sooo glad we get to come along for the ride. <3

[killjoy-prince]

House M.D. but it's when a character says the name of the episode

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[teehee-vibes]

Finally started listening to Riptide, new hyperfixation just dropped

[danandfuckingjonlmao]

so this is why you dressed up nice today like fuck off