#He has some more surprises for her

[beybuniki]

they should go on a fishing trip pt.1

[nelkcats]

Distant family

Danny didn't quite know how to feel when his mother asked him if he wanted to go visit his aunt for a few days. He assumed it was his Aunt Alicia but apparently not, which didn't leave him with much of a choice as to who it might be. He wondered if it was safe to leave Amity for so long.

Later, his mother rectified herself by saying she was more of a distant aunt of sorts, which didn't help the halfa's confusion in the least but he ended up agreeing to it. Mainly because Jazz asked him to take a vacation.

That's how he found out his aunt was Wonder Woman, because sure, why not, Aunt Diana seemed to be just as curious about his existence but didn't tie him up in her shiny golden bow so Danny considered it a win.

Apparently his grandmother was an Amazon that left Themyscira after falling in love. His mom had met Diana when she was separated from her homeland as a sort of united group of exiled Amazons.

Danny wondered what that meant for Jazz's future, at least he had a story to tell Pandora, she would be proud of his origins...probably.

[chirpsythismorning]

Can we talk about how Jonathan might've been able to clock Mike simply because of what happened with him and Nancy in season two?

This will be a long post, so you might want to strap in or save it for later.

In Will and Mike's case, it would obviously be much different from Jonathan and Nancy's situation, given that you know, they're gay. But we still have Jonathan arguably going through a similar experience as Will, while Mike is going through a similar experience as Nancy.

In s2, we see Nancy confront Jonathan about how she waited for him before getting back with Steve, which is a revelation to him. Then they're at Murray's and she's struggling to say she loves Steve, after a handful of moments between them that felt like she might return Jonathan’s feelings. And you can clearly see it in his eyes, listening to Murray imply that they have feelings for each other, with him looking back and forth sort of in awe of what's happening, like he's starting to question if she might actually like him back.

Will doesn't have that same affordance as Jonathan to really hope, at least not anymore. Which is why these relationships in s2 and s4 end differently for these two brothers.

Based on all the signs he was seeing that Nancy felt the same, Jonathan decided to take the plunge to admit to Nancy how he felt, and at that same moment Nancy had the courage to show how she felt. In Will and Mike's case, Will wasn't ready to take the plunge to admit to Mike how he felt, at the same moment Mike didn't have the courage to show how he felt.

What's so painfully hilarious to me about all of this though, is that Jonathan arguably starts the season in the same shoes as most of the audience, where from his perspective, it's becoming obvious to him now that Will like's Mike, but that Mike does not feel the same way.

First at Rink-O-Mania, Mike appears a little uncomfortable upon hugging Will. Then as the happy couple continues on their adventure into Rink-O-Mania, he watches Will lagging behind moping. And then unfortunately he's out of commission for the rest of the evening...

But once he's sober and back to being an attentive brother the following morning, we see him watching them at breakfast, with Mike barely sparing Will a glance, all while Will is blatantly staring, almost like he's waiting for Mike to look back, only for Mike to get up and walk away.

All of these instances gotta be SCREAMING unrequited gay love to Jonathan. He's already gotten signs for years that Will is gay, these are now just the signs that are instilling his suspicions that Will has feelings for Mike. He could have easily interpreted their relationship in the early seasons as young best friends, with Will seeming to have a crush on Mike, and with them growing up and that potentially including Will's straight friend distancing himself from him because he doesn't feel the same. It's not the most unexpected thing in the world considering.

But then there's a shift.

Suddenly he's creeping up on them talking in his room. And we know he was listening in on the conversation because he brings up Owens when he sits down. As he's eavesdropping, he's probably thinking something innocent like Aww they're making up! And like, hey! Even if Mike doesn't feel the same, which is okay and entirely expected honestly, at least he still cares about Will enough to make things right after acting so out of character. Still, I'm not gonna lie, that sounded a lot like flirting to me--

Then he's knocking on Will's door like 30 minutes or less later only to find Mike and Will back on their bullshit. Mike suddenly isn't going out of his way to ignore or put Will on the back burner. In fact, he's on his bed and they're talking, again! The door is even closed this time, which is interesting. This has gotta be a good sign in Jon's eyes. Nothing to worry about! Right? Right...?

But then suddenly this shift continues, going in a direction he probably didn't expect.

I mean, this is literally an identical jancy parallel we have here with byler on the hood of the car, with Jonathan right there to witness it. Despite him maybe only now subconsciously picking up on the similarities between Will and Mike to him and Nancy here, he's at least taking note (I mean he's even got his gay map out and everything).

It isn't until the van scene happens, that I think Jonathan starts to genuinely consider his suspicions, which is that Mike might actually like Will back.

EVERY time we get a shot of Jonathan looking back at Will and Mike in the van, followed by a shot of his POV from the rearview mirror, we're faced with Mike looking at Will while Will is looking away.

As Jonathan is hearing Will confirm his suspicions about his feelings for Mike, he's simultaneously witnessing Mike not looking at Will with disgust, but something more akin to reverence. All of those moments in the van that we witnessed, including all the ways Mike looked at Will and everything that was said, Jonathan was right there.

And what's even more insane about this scene, is that it circles back to Jonathan as a character himself.

I remember when people were talking about how odd it was that we never saw Jonathan with a camera in s4. After 3 seasons in a row of making his passion for photography a big part of his identity, that part of him was apparently absent entirely this time around... But was it really?

This is the same guy that said, "Sometimes, people don't really say what they're really thinking. But you capture the right moment, it says more."

Jonathan might not have had his camera in s4, but this was without a doubt one of those moments where he captured something more.

Something that I also think get's highly overlooked about this scene, especially when it comes to Jonathan looking back at them, being followed by a shot of Mike staring at Will, is that he could see both of their reactions the whole time, from beginning to end. Will nor the audience had the affordance of knowing because Will was facing the other way at the end, while we on the other-hand were blurred from even having the chance, despite Mike literally being in the frame. But not Jonathan. He even lets us see what he sees, a few times, but not at the very end, which would have been nice after they didn't let us see Mike's reaction seconds before this.

Let's just stop right there for a second though and circle back to what I consider to be the first time Jonathan really picked up on Will's feelings for Mike, which was at the end of s3, in a sequence that is a little too relevant to the van scene if you ask me, given that they are almost direct parallels.

While these parallels are pretty spot on visually, they are also near spot on narratively when it comes to the evolution each of these characters are experiencing.

For Will in the first scene, it's sadness that he's moving away from his friends in Hawkins and also feeling like he's losing Mike, after what looks like him and El making up, which makes him scared he'll distance himself again. For Jonathan, it's sympathy for his brother who appears to have some very deep feelings for his friend, feelings he can't quite grasp yet but soon enough will.

For Will in the second scene, it's heartbreak that he has to accept that Mike will never feel the same, knowing that supporting his relationship with El (encouraging it honestly) will likely turn out just as it did last time, with him losing Mike all over again, for the last time. For Jonathan it's sympathy for his brother who has now confirmed his suspicions that the feelings he has for Mike are more than just that of a friend.

Given that this parallel reinforces the same feelings Will and Jonathan had in s3 to now, why would this not also reinforce those same feelings that Mike had in s3 to now?

In the first scene, Mike was visibly distraught, with dialogue from Hopper in the background applying a little too perfectly with what he was feeling in that moment, which was scared. He’s apparently back together with El now, despite them doing just fine as friends for the last 3 months, as well as him and Will just having finally gone back to them being on good terms again. But now, it’s like he’s right back where he started at the beginning of s3, feeling obligated to be the perfect boyfriend to El, and as a result, having no choice in his eyes but to distance himself from Will. Mike then walks into his house looking like a zombie, almost emotionless stepping into his mother's embrace.

Now, I say almost emotionless because it looks like Mike was trying to hold back showing how he truly felt in this moment. He's not crying like he did in s1 when he lost Will that first time. Time has passed and things have changed (he doesn't want things to change). And he's trying his best to keep it together. But the in-focus close-ups make it clear that he is definitely not okay.

What's so impactful about these parallels is that it presents the inner struggle both of these characters are having, both queer and experiencing doubts, but in different ways and for different reasons.

Will is the one who covers it all up with lies, hiding the tears in his eyes, because boys don't cry.

Mike is the one who has never cried to them, just to his soul (RUN AWAY! TURN AWAY! RUN AWAY! TURN AWAY! RUN AWAY!!!).

If you actually try to get a gage on Mike's in-focus emotions in that first scene vs. his out-of-focus emotions in that second scene, well they're not that far off from each other.

We go from Mike smiling vibrantly at Will, to him now slowly turning away to look back down at the painting, with whatever the hell emotion this is...

It's near impossible to catch because of how out-of-focus it is, but looking a lot closer, it honestly appears like Mike is feeling something akin to sadness that he's trying to mask. For a moment it even looks like he turns his head to wince emotionally, only to correct himself.

And call me crazy, but these shots also low-key parallel each other. Mike looking down trying to keep his emotions in check and failing miserably, only to look up and meet eyes with someone whose witnessing it.

With each shot before this of Jonathan observing Mike looking at Will, with him showing all the emotions Will never got to see and everything else in between, I wonder what Jon saw this time? Probably another thing he didn't expect.

Can you just try to imagine the silence in this van, accompanied by Will's muffled sobs, and then try to imagine Mike turning to look down at the painting, only to sneak a glance, and then go right back to looking at the painting, IN SILENCE, and then try to tell me how the assumption that Mike didn’t notice Will crying makes any sense, like realistically?

Yeah me and Jonathan are confused too.

Right now, Jonathan's probably wondering why Mike was acting a little fruity and repressed during the painting reveal. And that although he may have a penchant for being able to 'capture the right moment', Mike is sticking with his story (despite all the stalling and doubt). He is 100% straight!

And so maybe this is where Jonathan tries to accept what is being presented to him as the truth, despite the contradictions in front of him. It's likely that despite the way Mike looks at Will and acts around him, in ways he would have assumed coming from Nancy in s2 would've been evidence that she felt the same, it probably doesn't apply to Mike.

Maybe Jonathan's ready to accept that it's a lot more likely Will is experiencing unrequited love as a gay kid growing up in a small town, the most predictable experience a gay kid could go through, and in contrast Mike just feels too bad to let Will down easy.

Or who knows, maybe Mike could still be a little bit gay too...

But it doesn't matter anyways. Mike seems to be adamant about this and so there's really nothing else Jonathan can he do besides tell his brother he'll be there for him no matter what. And so he does just that.

But then Mike just has to surprise him one last time.

For those that don't know, the line Mike gives here in his monologue was in part pulled from Will's monologue in the van. Most don't know this because this line didn't make the final cut for the van scene, but in the official script the writers posted, what we find is an almost a direct parallel.

Which makes the reaction shots of Will and Jonathan directly after Mike says this all the more epic.

From Will's end he was probably hearing Mike say this and just thinking 'Damn. Well, that's what you get for using your feelings to inspire Mike to profess his love to El.'

But from Jonathan's end, I don't think his outside POV of these events overlapping was nearly as naive as his brothers understanding of the events. Because why the fuck would Mike need to use Will's feelings to inspire him to profess his love to El in the first place? Is this what Mike has been struggling with? Really? Why before every moment Mike takes action in this scene, is Will's hand literally pushing him into it? Why is Mike being so dramatic about saying I love you, stuttering and rambling about her being a superhero, not saying nearly as meaningful of things as what Will said in the van?

And then it hits him.

Mike is reminding him a little too much of another Wheeler right now...

Nancy Wheeler, who was afraid of what would happen if she accepted herself for who she really was, leading her to retreat back to the safety of Steve. Because Nancy liked Steve, but she didn't love Steve.

And now here is Mike Wheeler, who has went from being incredibly distant with Will after reuniting with El, something that is very unlike the Mike he knew in previous seasons, to something more himself again after they make up, with him looking at Will with adoration after hearing his words in the van, only to turn away and look heartbroken. Mike who is now struggling to simply tell El he loves her with Will right behind him literally yelling at him to do it.

And now it's like all those little moments are starting to add up to Jonathan.

Suddenly all those signs he picked up on from Will when he was younger are now blending in with moments Will shared with Mike. It was Mike who jumped in after him and his mom's speech to Will in the shed in s2, with tears in his eyes recalling the day that they met (without being asked, let alone pushed to). And it's Mike who is now looking like he's at war with himself as he attempts to give encouragement to El, just like he did with Will in s2, but this time he needs someone to push him to do it, and that person just so happens to be Will. After just finding out about Will's feelings and also while assuming El wants him to love her that way still, Mike is stuck.

I don't think it's takes a genius to consider Jonathan is capable of realizing how fucked they all are in this situation.

As much as Mike isn't ready for a sleuth of reasons, Will isn't ready either.

This provides a huge contrast between the bylers ², because while Jonathan and Nancy went through a similar experience to Will and Mike, them being ready to accept it and act on it didn't involve nearly as many factors and risks. Will and Mike also have the added barrier that is homophobia.

Will's internalized homophobia lies in part with assuming Mike could never feel the same based on some of the words he said in their last two fights, with parts being painfully reminiscent of the things his dad and bullies used to say about him. These are also words that contradict Mike's own words and actions from the previous seasons, things that did once give Will hope. The shame and guilt that comes with falling for your best friend, who you now know will never feel the same after being foolish enough to believe it not too long ago, and who might not even want to be your friend anymore upon finding out the truth, is understandable. He can't have hope like Jonathan can. It's just not the same.

Mike's internalized homophobia lies with assuming El wants him to love her, along with their relationship being expected and socially acceptable from everyone around him. Though unfortunately for her he feels abundantly more in love in the moments he shares with Will. Despite trying to make it work with El as hard as he could, because she's amazing and all any guy could hope for in a girlfriend, he can't ignore the fact that the feelings he has for these two people are different. The shame and guilt that comes with you, a boy, falling for your best friend, who is also a boy, and who is starting to show that he feels the same, all while you can't muster up the courage to break up with your girlfriend, nor can you muster up the courage to tell her that you love her, not when she's begging you, dying or even just simply at the end of a letter, is pretty understandable too. He can't have hope like Nancy can. It's just not the same.

Spoiler: They were not ready.

PS: I'm still not over the fact that they low-key confirmed these events elsewhere in the story...

[caluupin]

Finished TGAAC around 2 1/2 weeks ago but only finished the doodles today. but still, here ya go!

[fizzytoo]

nothing better than a pancake breakfast

and im reminded of when a teenage adrien made pancakes for a baby julie 😔

[ultimateinferno]

Will I ever expect Nintendo writing a Ganondorf who's trying to break the curse and end the cycle? No. I simply think their faithful adherence to the nature of fairytales about the knight rising up to face evil and save the princess is simply that strong. It's a classic (in the most literal sense cite Perseus and Andromeda). It's why I don't believe in a playable Zelda until I see it with my own eyes.

While the earnest nature of providing interesting spins on this millennia old formula is rather endearing, I would welcome earnest breaks in turn as well. Yet until I see it, I simply won't be holding my breath for when it comes.

[generalsmemories]

ya'll please i haven't even finished the 1k requests and we're already nearing 2k.

[iamdeltas]

It has been years and yet it still tickles me that Glimmer from SPOP counts as an Unscrupulous Hero. I mean I agree, she definitely does count as one, but it's just funny considering the usual characters that get to be this trope.

For minor context, Unscrupulous Heroes are on the Edgier(TM) side of the Anti-Hero scale. It's not the Absolute Edgiest(TM) end of the scale (that honor goes to Nominal Heroes, which... kinda self-explanatory IMO) but it's only one notch less Edgy(TM) than that.

The typical go-to example of an Unscrupulous Hero is your "ends justify the (very violent and morally dubious) means" types of guys, like the Punisher. The Punisher imo is kind of the best example of this, though some depictions can make him swerve into Nominal Hero territory. Huntress and Jason Todd are pretty good examples too, though I don't read a lot of DC so I could be off-base there.

So the concept of the examples of Unscrupulous Heroes being angsty, violent vigilantes in grimdark comic books, cynical characters who do What Has To Be Done in gritty crime dramas, troubled hardboiled detectives in the film noir genre... and a pastel pink glittery princess from a reboot of a 80s toyetic cartoon? It's fucking incredible.

[torgawl]

lyney's character story about his vision revealing arlecchino didn't allow him to use a delusion and was genuinely angry that he would do something lynette wouldn't want for him, encouraging him to find other solutions... the way she was also sad lyney didn't feel comfortable relying on her during the quest... she really cares about the kids. her smile while speaking to furina also looked sincere. even though one can debate if this is all an act to make them trust and be loyal to her (as said by her, "good actors hone their craft to mesmerise the whole crowd") or acknowledge the fact she's using the kids by making them part of the fatui, she genuinely seems to cherish them. at least she goes through lengths that aren't really necessary for her not to care. the way she reformed the orphanage, the way she helped freminet get closure on his mother's fate... i just think it goes to show and confirm once more how biased everything/everyone in the game is. sometimes bordering unreliable, really. scara and childe's lines about her paint her in a certain light, which i'm not saying isn't true quite the opposite, but that persona seems to coexists with the version the kids from the house of the hearth know.

[taibhsearachd]

Okay, having finished Glass Onion, it is a masterpiece on par with Knives Out...

I will actually lose my shit if I don’t get a romcom fic of Benoit Blanc and what’s-his-name Hugh Grant.

[hassianlovebot]

just finished the little boy blue quest and now i'm wondering if one of the reasons hassian stays in bahari bay is because going "home" would remind him that taylin is gone. obviously he does like the bay, i'm not denying that, but i wonder if being out there while she went missing somehow helps him feel closer to her. like there's a part of him that's still hoping for another letter from her about how she's coming home now.

we know he likes to look at the stars for the same reason. i wouldn't be surprised if being in sifuu's house is just too much of a reminder that taylin isn't there anymore.

[wildflowercryptid]

i finally played through the galar chapter of the villain arc in pokémas and it was pretty alright, it at least made me feel kinda vindicated about my stance on rose being a redeemable villain. i will say that i think the chapter would've been stronger if (01) bede was present & played a core role in the plot and (02) oleana switched sides to help rose see that he can't save the future if he keeps going down the same path & tries to do it alone.

[thedreadvampy]

so me and Sam FINALLY watched the last season of Capaldi's Who

and tell me how, after literally over a decade and for perhaps the first time in his fucking career, Steven Moffat wrote a not just tolerable but really actually good two-parter and fully stuck the landing. like the editing and pacing were still a bit off but the storyline was original, fun, interesting and emotionally invested, and most importantly, rather than ending on a damp fart or the most furious autofellatio in history, the final part didn't fumble it and ended in a way that felt emotionally satisfying and like it made sense for the characters. like the last time he successfully wrapped up a multiparter in a way that didn't feel cheap and hollowly disappointing to me was literally The Empty Child/The Doctor Dances, and a) that was in 2005 and b) tbh The Doctor Dances is about a tenth as compelling and memorable as The Empty Child.

so after 12 years of either hackery or great ideas that fall apart in the second act, Steven Moffat writes what I would genuinely consider to be a memorable Good Doctor Who serial. it ends with bittersweet pathos, a solid closer for all the main characters, and sends Moffat's showrunning career out on a genuine high despite failing ratings and budget cuts (and the fact Doctor Who hasn't been consistently good since about 2009). good job Steve. with grudging respect I admit you pulled it out of the bag on this one.

wait what's this there's one more episode left? and it stars Mark Gatiss? and you literally spend the whole episode inexplicably just shitting all over the legacy of Doctor Who by inventing a version of the First Doctor that bears literally no resemblance to the character that William Hartnell actually played, just so you can spend the whole episode saying misogynistic things to run yourself off to how much more Totally Feminist your version was than the version you made up in your head of what Doctor Who was like in the 60s? and it added literally nothing to the season except to take all the wind out of the sails of the actually good finale you already wrote?

even when he writes a good episode this fucker still finds ways to disappoint me.

[paigemathews]

Who did you think would win in a battle?

Wyatt Halliwell or Hope Mikaelson?

Definitely Wyatt Halliwell! Mostly because I haven't actually watched a single episode of any of the Vampire Diaries shows yet, so I have no idea who Hope is. (The main character in Legacies, I think?) (Don't worry, it's on my to watch list, my watch list is just really long atm.) I will say though that Wyatt is gonna be my answer for most situations. (Also thanks for the chance to do a little meta about Wyatt and his powers.)

From an objective standpoint in regards to powers, Wyatt wins against pretty much anything. I've said before and I'll say it again, I believe that Wyatt managed to break the Grand Design in the unchanged future with the exposure of magic, and I think that means he was able to kill some beings that he should not have traditionally been able to, aka the Cleaners and maybe even the Angel(s) of Destiny. (Which also loops into one of my now favorite headcanons that prophecies are made as a warning that a witch capable of breaking the Grand Design is coming.)

The catch, and how I'm able to write Wyatt in literally any conflict in my next gen fics, is that he has a critical weakness: he is terrified at the possibility of what he's capable of. (I have also mentioned that interpretation before, in connection with how Billie unintentionally makes it worse.) That kind of power is a lot for one person to handle, and Wyatt outclasses quite literally everyone around him by a large margin. I think that in a sense, his own fear serves as a kind of limiter on his power because he won't use them to the fullest extent. This is partially because he doesn't fully know what he's capable of because he doesn't experiment with his powers or push boundaries the same way that Chris does. While Wyatt has that kind of power, he lacks a greater amount of control and precision because he doesn't practice.

In a situation where Wyatt does go full-out, however, I think that he wins, no question. It's incredibly rare for him to do so, but one of his primary powers (projection) is a version of reality warping, y'know? That's not even getting into the fact that he has energy waves that can flat-out incinerate enemies without even trying. The challenge is getting him to a place where he doesn't hold back.

[ironunderstands]

Look either the Tsaritsa genuinely cares for Childe and treats him like her Child(e) or she treats him like a piece of trash that can be discarded at any moments notice. There is no middle ground for me, and I genuinely believe those are the only two options that really make sense for her. The only amount of nuance I will accept is if she does care, but has to keep it hidden for whatever reason

[kingdomoftyto]

Decided to check out the audio drama Fawx & Stallion this weekend and GUYS... guys this show is SO FUNNY. I couldn't stop laughing for the first three episodes straight.

It's the story of some wannabe detectives living in Victorian London. Specifically, they live at 224B Baker Street, just across the street from a certain pair of decidedly more famous detectives--and they're sick and tired of having all their potential cases scooped by Sherlock Fucking Holmes. Luckily for them, while Holmes and Watson are out of town looking into some matter about a dog, a new case comes along and drops--by default--into our would-be heroes' laps.

And just who are these aspiring crime-solvers?

Hampton Fawx: detective and gentleman. What he lacks in common sense he makes up for with raw theater-kid enthusiasm.

James Stallion: gentleman and detective. A loyal friend and companion when he's not being a self-important arse. Runs on approximately 20% gin and 80% spite.

and finally Madge: neither gentleman nor detective. She's just been stood up by her date and she's going to make that everyone else's problem. She'll agree to help on this case just for the Drama.

It's a hysterical romp so far. A lighthearted farce set just offscreen from Holmes' own capers (for now!). Our main trio lacks even a single braincell to share between them, but by GOD they're going to solve this case and I'm going to be cheering them on the whole way there!

From what I can tell, new episodes are typically every other Monday, but the show's on a short hiatus for the holidays, to return in 2023. The first five are currently available to listen to, though, and I highly recommend it!