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amaranthineghost · 6 months

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I'LL LET YOU GO IF THAT'S WHAT YOU WANT ( lando norris. )

lando norris x reader

a little over half a year later when the season ended, they haven't found their way back. At least not on purpose, but the universe knows better than them

authors note: I was thinking of making a happy ending, but not everything always ends up that way </3 after this, I'll work on two max imagines and then I'll see what I can do while I'm on spring break

part 1 found here

IT’S BEEN EIGHT MONTHS since she last spoke to him.

two hundred forty-three days since she last saw that sad look on his face in the rear-view mirror as she drove away from the past she half-wished was her future.

five thousand eight hundred thirty-two hours since she last felt his touch, his arms consoling and unwilling to let her go and yet she still left.

three hundred forty-nine thousand, nine hundred and twenty seconds since the peak of his performance at the beginning of the season. now she watched as he tried and failed to be what he once was. maybe not a winner, or a champion, but he’d had her, which was practically equal.

but now he had lost her.

now she watched as the season came to an end. poor performance after poor performance after poor performance where not all races ended in crossing the finish line.

she never stopped watching, yet she could never reach out, and neither would he. he was always going to be ready to accept her back into his life, yet he knew she needed time.

but she didn't know if she could do it again, though at the same time she kept eyeing his life in envy because part of her wished she could live the way he could without being bothered by the media. part of her was jealous he could live his entire life in front of a camera and be so nonchalant about it.

scrolling through his socials, they still followed each other and it caught people's attention. she read through countless tweets, theories and rumors of their relationship still carrying on behind the cameras, and though she partly wished it to be true, she hated that it wasn't. the fans still wished, and she would too.

the random appearances in the paddock had come to an end, unfortunate for the fans who loved whenever she’d show up in support of her boyfriend, turned ex.

because now all she did was stay within the confines of her apartment building, shielded from the possibility of running into lando. she couldn’t handle bumping into him when she still felt as fragile as glass. she felt like she would shatter if she saw him again, no matter how much she wanted him back.

but living in monaco means you're bound to run into someone from his circle of life.

it felt bittersweet because she wanted him back so badly, to have him hold her in his arms and tell her they’d make it work. but it’d never happened, and truthfully, she hoped it never would. because she knew that if she saw him, she wouldn’t go running back into his arms as if making it work again was the easiest option. because really, if she saw him, she would run, not towards him but away, and she dreaded the fact that he would let her.

he’d watch the love of his life run from him rather than to him and be totally fine with it. because he knew that when the time was right, she would find him again, or he would find her, and only then she wouldn’t run from him.

but he feared for the day that he would realize that she was never coming back to him. he feared for the day where he would realize he shouldn't have let her go.

and he hopes for the day, though it may never come, where she does find the right time to come back to him. he prays for the day where he would make the right choice he should've made the first time.

because in the infinite universes that are said to exist, even if she never returns in nearly every one, he hopes to live the one where she would.

but he knows that if there's a universe where she comes back, even after his idiocy of letting her go to begin with, there's also one where this could've been avoided all together. a universe where he didn't have to watch her pack her bags while shuddering with sobs.

a universe where he wouldn't have to go without her for eight months, where his performance improved when she attended grand prixs.

the one he'd rather live with her than without.

it was unsure when they would ever see each other again. they'd gone this long without seeing the other, who's to say they ever would?

it was chilly in the streets of monaco, contrast to the usually warm, sunny climate the area was known for. she wore a thick coat while she walked down the sidewalk, past the seasonal market with nothing more than her phone, wallet and tote bag.

she needed to get out, to think. she couldn't stand being trapped in the box of her apartment surrounded by nothing but reminders of him. not that it was a bad thing.

she couldn't take another second overanalyzing the helmet he had left for her. she knew it was part of his plan to have her back. to make her want more helmets dedicated to her, which he continued to do despite her not being with him. she'd be lying if she said his plan was failing.

the hoodie, probably tied into the same plan, covered in his damn cologne he knew she couldn't get enough of. it had faded over time, becoming replaced with the smell of her instead. she didn't know what to think of it.

she considered purchasing that same cologne again, drowning the fabric in its fragrance. it wouldn't be the same.

she felt like she could breathe easier with the winter air rather than the stale air of her apartment. sure, she could've stepped onto the balcony, but it was always nice to find a way out of her apartment complex.

hands stuffed in her pockets, she wandered around aimlessly at the shops that lined the streets and stalls set up to buy from.

riddled with things that caught her eye, she couldn't help but stop at nearly every stall. it took an incredible amount of self control to not buy everything she wanted. she didn't have lando by her side to buy everything.

this was her life now. she had a job that she could do from home and it paid her rent. it was enough to live off of while she completed her last years of school before she started a career for herself. tiny little trinkets seemed good in the moment, but she knew long-term that it’d eventually hurt her financially, and besides she didn’t have that much space in her apartment.

she didn’t know how much time had passed. everything was a blur as she mindlessly walked on. she hadn’t noticed when she bumped her shoulder into somebody’s chest, and she had immediately begun to apologize.

“i’m so sorry, i wasn’t looking where i was—lando?” she recognized the curly-haired guy in front of her as she stood there frozen.

“hey, long time no see,” he spoke slowly and warily, looking her up and down at the changes of her appearances that occurred over the last eight months.

“uh—what are you doing here?” she questioned, stuttering over her words just slightly as she looked at him tensely.

lando looked around with a brow raised, hands in his pockets while he answered, “uh, i live here?”

she nodded, “right.”

the air was awkward as they stood in a tense silence. people ushered around them, occasionally bumping into them. they hadn’t known what to say to each other because they weren’t expecting this impromptu meeting.

“how’ve you been?” he broke the silence.

she nodded again, “fine, and you? i saw that your season wasn’t too good.”

he grimaced softly at her words, “yeah,” he scratched the back of his neck, “just some technical issues.”

“right.”

the silence was back and more deafening than the first time, standing awkwardly looking at each other didn’t help.

again, he was the one to break it, “could i buy you a drink?”

“isn’t it a bit early for alcohol?” she questioned, looking at the brightness of the sky before her gaze settled back down at him with a weird look.

he scoffed, “i mean the coffee shop down the street,” his voice was a half chuckle as he began walking, leaving her to follow.

“well, you’re unpredictable these days,” she fell into step with him as they walked side by side in silence.

it took all of two minutes for them to arrive at the coffee shop lando had mentioned. they could smell the aroma from a ways away, the door left open to let in the cool breeze.

the shop was warm and cozy, most tables were occupied except for a few scattered around. she reached for her wallet to buy herself a coffee, but he quickly shut it down.

“it's my treat,” was all he said before he walked up to the counter with his card in hand to order as she took the two seater by the window, setting her bag down on the ground. she watched the world from where she sat, the people walking by.

groups of friends, pairs that weren’t quite at the stage of being a couple, or the single person walking by every so often. all without crossing paths. it seemed crazy to her how so much could change because of a stranger on the street.

looking back to where lando stood ordering, she wondered what her life would’ve been if they hadn’t met. they wouldn’t have traveled the world, stayed out late on rooftops, or partied in clubs despite her hesitancy. he wouldn’t have dedicated nearly his whole career to her because she was forever a piece of him.

she realized how much she had meant when she saw just how much of her he still kept. he wore shirts with printed pink bows, the one gold bracelet he wore among the silver and fan bracelets given to him by her and he never took it off. the way he styled his hair in the way she taught him, the matching rings they still wore, the references of her personality on his helmet for every race rather than a specific track, her name on his car.

her name on his car.

her name printed in pretty cursive across the top of his steering wheel and the halo for him to see.

he still managed to include her in his life despite her absence because he considered her his lucky charm. having reminders of her anywhere he could would always manage to boost his spirits, but only her presence would boost his performance.

the chair across from her pulled out with an uncomfortable scrape of the legs against the floor. she grimaced slightly, but it quickly disappeared when she refocused on the hand that slid a mug filled with hot coffee to her.

clearly they were going to be here a while, judging from the mug and not a to-go cup. she watched the steam swirl into the air as she softly blew on it while lando sat across from her with his beverage of choice. she also noticed the chocolate-chip cookie in a paper bag he held.

he remembered her love of sweets. she took a sip of her coffee. he remembered her order to the finest detail. he still remembered.

“thanks,” she spoke quietly before taking another small sip of the hot beverage. it slightly burned her tongue and throat as she drank, but she didn’t care to notice.

she was sitting across from lando norris, the one person she had been hoping to avoid this whole time, and now she’s sat with him at a coffee shop they used to frequent when they were dating.

“you’re welcome,” he muttered, his saddened eyes unmoving from her face, watching every expression of hers unfold. “so, how have you been?”

“you’ve already asked that,” she stated simply.

“i mean,” he started, leaning forward with his arms crossed against the table, “how have you really been? i don’t believe for a second that you’ve been fine when i‘m barely holdin’ it together.”

she sighed, taking another sip and grimacing at the burn, “it’s been difficult, but i know it was for the best that we broke up.”

he nodded in response, his fingers circling the rim of his mug as he stared into it.

she spoke up again, saying the words he dreaded to hear, “and i think it should stay that way.”

his shoulders visibly dropped and he bit his cheek before he looked back at her with colorless eyes, “but—” he began when she hastily cut him off.

“i need you to let me go,” her voice cracked as she spoke and tears filled her eyes as she avoided his gaze, “you have to let me let you go, lan.”

“please, don’t make me do this,” he begged, leaning forward again with a look that could make her change her mind in a second.

“please, don’t make this harder than it already is,” she shook her head as the tears began to fall, “in another universe, it might’ve been me and you, maybe the circumstances would've been in our favor, but not in this one.”

“it’s just right person, wrong life.”

“i’ll find you in our next lifetime then,” he promises, his eyes brimming with tears. he tried his best to hold back, for her, “i promise.” he tried to remain strong, for her.

“I know you will.” she said simply, smiling through her tears as she pursed her lips, sniffling as she played with her fingers. “y’know, i'll always be your number one supporter, lan. i'll still cheer for you, just from behind a screen. in that other life, i would come to your races.”

“but even in this one, i'll still celebrate your first win, your first championship. i'll vote you for driver of the day, even if you’re dead last.”

he chuckled sadly at the last part, the corner of his mouth twitching with a smile, “how will i know for sure you didn’t get bored of watching me race?” his hand reached across the table, his tan slightly faded and his rings cold.

she rolled her eyes softly, “you’ll know. i promise.” she laid her hand on his, the last somewhat intimate touch they’ll ever have with each other because after he watched her stand, pocketing the cookie he bought. he watched her through the window as she walked into the crowd as if their paths never met.

he watched with tears in his eyes, silently crying as he watched the love of his other life turn her back on him forever. he let her.

because if there was one thing he knew how to do, it was letting her go.

part of her wanted him to chase after her, wipe her mascara-stained tears just like that regretful day in their old apartment because part of her still wanted him in her life. she wished she could still go back sometimes.

he wished she would just come back. he wanted to experience life with her, he wanted to win with her, be a champion with her.

but he lived in the wrong universe, and he was unsure if he'd ever see her in this life again, in the way he wanted. they would bump shoulders on the street, looking longingly for just a second as they ushered by in a hurry. not looking back, but never forgetting how much they had meant to each other for the time they were together.

how crossing paths, even for what seemed like the shortest time to them, changed the trajectory of their lives forever. they would subconsciously look for qualities of each other in the people they moved onto. telling stories to their kids and grandkids about the other in regretful tones because they wished it was the kids they had together that they could tell the story of their relationship to.

because now they were just strangers, she was just a name he would forever keep on his car, and he was just an old lover turned stranger she would send flowers to after every podium and win until he would retire.

—

taglist (found here): @slut4lrh @taylorslovesswifties13 @leclercdream

proofread by @foreveralbon <333

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dandylovesturtles · 10 months

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havin' all these Splinter and Leo thoughts. augh.

this is partly the fault of @/turtleblogatlast's post about Leo just wanting to make Splinter proud.

post-movie

...

Seven days post-invasion, and Leo is feeling (relatively) pretty good. Sure, he's still on a truly ridiculous amount of painkillers and he can't walk two steps without collapsing, but he's able to stay awake and talk to his family and considering where he thought he would be right about now, well... that's everything.

So yeah, he's feeling pretty good. He just finished his lunch of soup and a protein shake, warm and a little drowsy while he listens to April talk about some of the more ridiculous conspiracy theories that have started spreading on the surface. Donnie's tinkering with one of his smaller inventions while he listens, Mikey is nestled in Raph's lap, and everything is calm and cozy in their makeshift medbay.

And then his dad walks in and says, "I would like to talk to Blue, please. Alone."

And suddenly Leo doesn't feel so good anymore.

"Aha, wait," he says quickly, reaching out and grabbing April's sleeve just before she rises from her chair. "Whatever it is, you can say it in front of everyone, right?"

Splinter shakes his head. "This is a conversation I think it is best we have in private." He makes a shooing motion at the others, and April pulls her sleeve from Leo's fingers with a helpless shrug.

"See ya in a few, Leo," she says, then walks out. The others look from Splinter, to him, then back to Splinter, and one by one they each get up and shuffle out, too, with their own hasty farewells.

Traitors, every single one of them.

The door closes, and Leo finds himself alone with Splinter for the first time since coming back from Staten Island. Or at least, the first time he can remember. He was pretty out of it the first few days; most of what he remembers is muddled and confused. And embarrassing. He cried a lot more than he'd care to admit.

Splinter hops into chair April was sitting in and pulls it closer; he has to stay standing to be anywhere near eye level with Leo. He wishes he could read Splinter's face, but his expression is giving nothing away. Sometimes it's easy to forget he spent a not-insignificant part of his life as an actor, until something like this happens.

Leo decides to speak before he can. Head him off at the pass, or something.

"If you're going to yell at me, just remember my eardrums are already damaged."

Which is true - turns out being 1, too close to an exploding alien spaceship and 2, getting punched in the head repeatedly by an alien very mad about said exploding spaceship is bad for the ears, even when you don't have outer ears like a human. So super loud noises are a bad idea right now, and thus Leo cannot be yelled at. Flawless logic; maybe he can keep using that every time he gets in trouble.

For the first time, his dad's expression shifts, just a little. A deeper frown, a heavier set to his brow.

"You think I came in here to yell at you?"

Leo feels his stomach twist. Does he have to spell it out? "I mean, didn't you? That's usually what kicking everyone else out is leading up to."

"I see..." Splinter is still unreadable, looking a little too intensely at Leo. "And what do you think I want to yell at you about?"

He really does want it spelled out. Leo suddenly realizes that there won't be any yelling because this is his punishment: to admit everything he's done, to speak all his sins for his dad's ears. Lay it all out in his own tongue and show that he understands, really and truly, the depths of his screwups.

Oh, he understands. He understands it so well he may choke on the words.

"...For losing the key," he says finally, and it stings on its way out. He hasn't talked about it since it happened; every time he tries to say anything to the others, they shush him, saying, "It's okay, Leo, everything is fine now."

It's not okay, and everything isn't fine, and this is when he finally hears about it.

Finally, an identifiable emotion on Splinter's face: horror, dawning clear and present. And Leo doesn't understand that, because doesn't Splinter know he lost the key? He was there for that conversation, wasn't he? Leo's memories of that day have grown a little hazy between the drugs and the recovery and the fact that thinking about it for too long makes him go fuzzy around the edges, but he's pretty sure he remembers Splinter being there. He flicked popcorn at Leo's head. He probably should have done more than that; maybe then Leo wouldn't have made such a mess of things.

Splinter doesn't say anything right away, just stares at Leo with that horrified expression, and the silence is so scary that Leo starts filling it without even thinking.

"I was kidding about the whole... not yelling at me thing. I know I deserve it. I mean, I was fooling around, doing what you and Raph told me not to do, and I doomed the whole world doing it! Some leader I am, right? And I know I'm not exactly your favorite son to begin with, and that's fair, because I keep letting you down, but this is definitely my worst screwup to date, and you yell at me when I don't close the fridge door all the way or throw balls around the TV room so why wouldn't you yell at me for destroying the planet, right...?"

His voice peters out at the end, too hoarse to continue. That's the most words he's strung together over the last week, and for the first time he's glad for his injuries, for stopping him from spewing any more embarrassing word vomit just to fill the air.

Splinter is still looking at him with that same horrified expression. If anything, he just looks more upset, which means that Leo at least accomplished his goal.

Leo's waiting for the yelling to start, but when Splinter finally says something, it's, "You think I have a favorite son?" throwing Leo for a loop once again.

"Uh, yeah?" he says, because that's all there is to say. He's always assumed it's Donnie - the "funny one", the one who fixes Splinter's TV when it's broken, and the only one of them likely to get a real job and move out of the house. But even if it's not Donnie, it's gotta be Mikey, or Raph. His brothers are amazing and talented, and all Leo has ever been good at is winning the Lair Games.

Splinter closes his eyes a moment, and when he opens them his face moves back to a more neutral expression. "I do not have a favorite son," he says, firm and serious. "I love all of you just the same."

Leo thinks that can't be true - if it is, he feels bad for the other guys. But he doesn't think he can just say that, so he says, "Yeah, Dad, of course," instead.

Splinter looks a bit crestfallen. "You don't believe me?" he asks, and shoot. Leo has no idea how to respond to that.

"...I know you love us," is what he says. And that's true, it is! He just doesn't know how his dad could like him as much as the others.

Splinter's expression turns sad. He reaches out and lays a furry hand on Leo's arm, careful of his bandages and all the many wires he's hooked to. "You think you doomed the world?"

"I lost the key," Leo repeats. "It was all my fault. It's why I had to..." His voice fumbles over the words, and he revises. "It's why it had to be me."

Splinter's mouth twists. He climbs out of the chair and onto the mattress, careful not to jostle Leo as he settles down on his knees.

"Blue," he says softly, gently palming Leo's face this time. "None of this was your fault."

Leo's stomach twists again. He thought he was being punished, but somehow this is worse.

"Yes it was," he argues. "I lost the key," for the third time, "and... and I ignored the order to retreat, and got Raph captured, and and and, I ignored the guys and tried to force our way into Metro Tower, and it was me who told Donnie to try to fly that stupid ship, and because of me Mikey had to-"

"Leonardo," says Splinter, sharp, and Leo goes silent. His dad looks devastated, but he keeps his hand on Leo's cheek, brushing with his thumb, and for the first time Leo realizes his skin is wet. Splinter sighs heavily, his entire frame seeming to droop with the weight of it.

"Leonardo," he repeats, softly this time. "You did not doom the world."

"But-"

A furry finger on his lip quiets him.

"You did not doom the world," Splinter repeats, once again firm and serious. "You did not take the theft of the key seriously, because you did not know what it was, the threat it represented. But it was the Foot Clan who chose to use that key, fully knowing what evil it would unleash. That is not on you, my son. The responsibility falls squarely on them."

Leo doesn't know how much he can believe that - isn't it their job to stop the Foot Clan? But Splinter looks so sure as he says it, and his hand is still tender on Leo's cheek, and for the first time a little bit of doubt seeps into Leo's heart, telling him that maybe, just maybe, this wasn't all his fault after all.

But still...

"Even if that's true," he says, with heavy emphasis on the if, "everything I did after that-"

"You are young," his dad interrupts. "You are inexperienced. You are learning. And the amount of growth you showed us all, even over just that one day... You shined as brightly as I know you can."

Again, Leo's stomach does a twist - but it's a happier one, this time. Splinter's voice is sincere, leaving no room for doubt, and Leo can almost, almost believe that this is true, that his dad has believed in him from the very beginning. Has seen something in him, whatever it was that led him to make Leo the leader, that lead to him putting trust in Leo.

He just wishes he felt like he'd done more to earn it.

"You did not doom the world," says his dad again. "You saved it. But, it never should have been like that to begin with. You should never have been facing down such a fierce foe so young, especially as alone as you boys were. And you-"

His voice becomes choked up, and Leo's heart lurches.

"You... sacrificed yourself to save us all. I... I am your father, and I... could not protect you."

He's crying. His dad is crying, and Leo feels panic, reaching out to try and stop this.

"Dad-"

"No." Splinter holds up a hand, giving his head a hard shake. "All I ever wanted for you boys was to save you from the sacrifices asked of our family. And yet I could not - and for that, you paid dearly. You almost paid the ultimate price, and we almost lost you forever."

A thick knot forms in Leo's throat, and he can barely get out, "I'm okay, Dad, I'm here."

"Yes you are." Splinter squeezes his shoulder desperately. "You are here. You are safe. But that doesn't change that it should not have been you to begin with."

Leo watches in dawning horror as Splinter steps back, then kneels over on the mattress.

"This is why I came in here, Blue. Not to yell at you. To apologize."

He presses his forehead against the sheets.

"I am so sorry that I could not protect you."

He's crying. So is Leo, openly now. He reaches out for his dad, fumbling for his shoulders and urging him to straighten up.

"No, Dad... This wasn't your fault!"

"But-"

"No! It was just... it was just a really, really shitty thing that happened, okay? It was the Foot Clan, and the Krang, but it wasn't- it wasn't..."

Splinter raises his face and looks at him, and suddenly the words he's been trying to get Leo to believe for the last several minutes barrel into him and Leo crumbles.

"...I didn't have to do it," he says.

"No." Splinter gets up, coming closer. "You had nothing to atone for. You did it because you are brave, and you are kind, but this was never yours to fix."

Leo sucks in one harsh breath, then another, and then he's sobbing harder than he ever has in his life, and his dad hugs him tight, his arms warm and his fur soft where Leo buries his face in his shoulder.

All the feelings he's pushed aside - the ones he didn't think he had the right to feel, because he'd had to do it, he had to make up for his mistakes - bubble over, gripping him with grief and despair but also relief, that he's still here to cry and be hugged by his dad.

"I was so scared."

"I know."

"I thought I wouldn't see you guys again."

"I know. We thought we had lost you, too."

"I just... I didn't know what else to do... I couldn't let him... I couldn't..."

"Shhh, it's alright. It's over now. We're all safe."

Leo hugs his dad back, as tightly as he can with his injuries, and sobs and sobs until he's all out of tears. And all along, his dad tells him he is safe, he is good, and he is loved.

Later, Leo feels even better than he had before.

#dandy fanfiction #rottmnt #rise leo #rise splinter #this is probably the most self-indulgent thing I've written in like #A WHILE #I hope this is coherent at least lol #as usual I have no idea how to end anything #god this is sappy but whatever #I AM CRINGE BUT I AM FREE

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batfambyval · 1 year

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okay. So.

Serious Red Robin theory coming.

Tim wasn’t put in the Lazarus Pit. But. That doesn’t mean they didn’t use it on him. The pit’s healing properties have been shown to work in small portions. Like, the healing is proportional to the amount of lw used.

The cave with the pit isn’t exactly a sterile environment. So either the pit was needed or it was an attempt to put Tim off balance, a psychological weapon. Though the White Ghost’s reaction to the assumption seems to dispute that. If the pit’s healing is proportional to the amount used it makes sense that the psychological effects are to, along with the duration of those side effects.

Ra’s had serious reasons to use the pit on Tim, between the additional room for emotional manipulation and Tim’s life threatening injury which wasn’t immediately treated and was in fact exacerbated like, a lot… yeah. Tim lost a lot of blood. He lost was stabbed in the organ that filters blood: meaning all your blood passes through your spleen. He was bleeding out, he should have died, he dragged himself and another person to a car, drove said car back to the city, and got them both up to the penthouse. Recovering from that would take a long time, he shouldn’t have survived at all. But he healed quickly and well, it isn’t an issue, it happened and it was over. I know we as a fandom like to have fun with Tim’s missing spleen and what that means but… canon didn’t and looking back I feel like there was a lot pointing at the pit being used in a much more insidious was, not just in the logistics of Tim’s recovery.

Ra’s was insanely trusting of Tim. Not just in his ability to do what he wanted but in his belief that Tim would ultimately come around to his way of thinking. Now, I can obviously see that Tim was in a very vulnerable position and if Bruce hadn’t actually been alive Ra’s could definitely have succeeded. But it feels like more than that, especially with Tim’s ensuing behavior. A lot of his time with the league is glossed over or seen from Tam’s perspective, but Tim was acting different. It’s easy to attribute this to the objectively terrible situation and the year he’s had, but his behavior isn’t the same as it was at the beginning of the run either. And the difference in behavior fades. As Red Robin Tim is more ruthless and pragmatic, mostly due to necessity. Even stealing from a museum and fighting for it makes him incredibly uncomfortable. He still did it. But he was still acting like Tim, making jokes and doing his best to diffuse the situation and keep everyone alive. After the surgery his focus gets even more single minded. He barely puts up a fight about leading the league. Of course partly for Tam, and he tried to keep killing to a minimum but cmon. He was leading the league of ASSASSINS. There were assassinations happening. People died when he blew all the league bases and he barely registered that beyond thinking that the council of spiders probably made it out, implying part of him knew death was a possibility and he didn’t care. But he didn’t think about the moral implications of that in a way that was very reminiscent of Jason’s selective morality. If he had stopped to think about it he wouldn’t have done it, but he was focused to much on beating Ra’s, on not compromising, that the complexity of the situation didn’t sink in. The obvious effects of his actions, the possible deaths and injuries of anyone inside a league stronghold wasn’t acknowledged while the underlying message sent to his opponent was the only thing he could think about. Just like when Jason attacked Tim at Titans Tower to send a message to Bruce despite his hardline stance against hurting kids.

So. The League did use the pit on Tim, just a little. Maybe two tablespoons in the wound to accelerate recovery and weaken his morals a bit. It would certainly make a lot of sense. And the writer did change when Tim came back to Gotham so it’s entirely possible that it was meant to be touched on later but was discarded.

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max1461 · 2 years

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only tangentially related but sometimes I wonder if survivorship bias makes us view modern art as less than older art, that time and cultural memory acts as a natural bullshit filter, that actually people were just as vapid and pretentious back then, but none of the vapid and pretentious work had enough cultural value stick around to be examined now

I think it's partly this, but it's partly something else.

This is probably gonna piss a lot of people off, but I think in a particular sense, contemporary art is just... straightforwardly more advanced than older art. I know, I know, but hear me out: I don't mean that as a value judgement. What I mean is like...

Ok, take math as an example. Math started out talking about things that everybody's heard of: triangles, circles, whole numbers. But as those concepts were better understood, they got abstracted more and more. Symmetries of shapes where abstracted to symmetry groups, numbers abstracted to rings and fields, eventually it was all abstracted to category theory, and so on. And now if you look at major research topics in modern math, things like e.g. the Langlands program, as a non-expert, it often looks like a bunch of fucking nonsense about bullshit objects that don't have anything to do with the real world! But even though I don't understand the Langlands program itself, I know enough math to understand why all the levels of abstraction that I have understood are meaningful and valuable, and I can see why going even further would be too. And math is useful enough that the results often speak for themselves.

So I think contemporary art is much like this. If you read contemporary art theory, you will immediately see that it is all very meta. Art used to be made about very concrete things—people and nice looking vistas and so on—that anyone could understand. And then theorists came along and built up frameworks for thinking about art, because they wanted to understand why that art worked, why it was powerful and emotive. And then new, avant-garde artist came along and made art about the frameworks, pushing at their edge-cases or exploring their unintuitive implications. And then new frameworks were built up to understand that art, rinse and repeat. This account is, as I understand it, a little bit ahistorical—the building and the pushing of frameworks was often simultaneous and often not clearly articulated. Although, frankly, the same could be said for the history of math. But in retrospect I think a pretty undeniable picture emerges.

So, to put it bluntly, I think one of the reasons so much contemporary art looks vapid is that it isn't for you. It's about things you've never heard of, in the same way that category theory is about spaces and morphisms, and explaining that to someone who's never heard of groups or topological spaces is basically impossible. And I think there are some differences—art is obviously, you know, totally vibes based in a way that math isn't. If a big wire sculpture with styrofoam cups on it or whatever doesn't speak to you then it doesn't speak to you, no one can defend it on "objective" grounds. And art isn't useful in the way that math is, so it doesn't demonstrate its validity to people who don't get it in any way. But what I wish people understood is that there are people, who know a bunch of art theory and art history, who that wire sculpture with styrofoam cups on it does speak to. It makes them go "oh, I love how it plays off of X and contrasts with Y" etc. etc. And that isn't going to happen for you because, like, you don't know what X or Y even are! But that doesn't make it valueless, it just makes it insular. Which, you know, contemporary art really is! I think there are a lot of contemporary artists who claim to not be doing what I just described, who claim to be making art "for everybody", but I think if you read their artist statements and stuff it often becomes pretty clear that this is not the case. And this is a valid criticism of contemporary art! But "vapid" is mostly not.

Pretentious, definitely. It's pretentious as fuck.

#anon #navel gazing

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thatsmybook · 6 months

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A few times, I've heard Lisa and Rojda talk about how Young Royals is about the class system and a queer Prince, but also, it's relatable because not only do the cast look like teenagers, they act like teenagers in today's world. So it's also a show about teenagers. With that in mind, I'd like to talk about Simon Eriksson, working class, immigrant, and mixed race student at Hillerska, falling in love with the Prince.

Simon, in S1, deliberately kept any problems about Sara and his life at Hillerska hidden from his mum because he did not want to burden her. He lied to reassure her when she'd get worried about Sara and equally made decisions to help Sara's wellbeing at school. It seemed that he was taking care of his mum and sister when his dad left and after the abusive relationship that seemed to have really affected the whole family. This is why he doesn't share anything bad that he's going through with his mum. He's trying to protect her. He always has.

As to the comments he is getting. I think he is reading them because often they concern his family and are from the people in their town. That, along with the phone calls at night and hate-mail mentioned by Linda at the court hearing in S3 ep1, this means that he's on hyper-vigilance about threats to him and his family. So, my theory is that he is monitoring his comments and engaging to try to defuse things. But just like in all 3 seasons, his actions often lead to more problems.

This is a 16 year old kid, the youngest in his family, doing things an adult should be doing. This is very relatable for many working-class single parent families. Something to add about first-generation kids of immigrant families, having an extra layer of working to help the family navigate the country and society they're in.

Also, as to the comments, there have been many real life incidents, unfortunately , of teenagers getting hate comments online from their peers and bullied to the point of taking their own lives. Simply telling them not to read the comments may not have worked for them. (Yet so many reactors to this season think it's that simple).

Simon is getting a volumous amount of hate comments, which started right after the sex video was released in S1. At that point, the comments were in the print media.

He needs actual support, less obliviousness from the adults in his life about what is happening to him (that includes the Royal Court), and understanding about the actual effect of comments on his mental health from everyone around him. He is a victim of actual hate, and when I hear about any child going through that kind of regular abuse, my heart goes out to them.

Seeing how supportive Simon's dad could be in this 3rd season in his conversations with Sara, we can see how much Simon actually misses his dad. Because had he had a relationship with him, without the baggage of Sara's need for distance, he would have probably noticed that Simme needed help and been quite good at it, when he could manage it.

However, we as the audience seem to be blinded by Wille's more important problems, partly because the show is largely from his POV, but also because his pressures seem bigger. As a result, I've seen fans come down on Simon for not putting his life's woes in perspective to support Wille more. We start to see big cracks in their relationship and start to feel that they just won't work out.

But, they're also just kids in their first relationship. Miscommunication is completely normal at that age. They've only just been spending actual time with each other this season and getting to know each other. Yet they are dealing with adult problems, and so many of us fans are shouting at the screen - talk to each other! I feel like, if I were one of them, there is so much weight on me that I'd be too scared to open the floodgates and actually tell my boyfriend what's happening because I don't want to scare him. And no wonder they spend most of their time making out. It's the easiest part of their relationship and what gives them actual joy at the moment.

So I give grace to these characters and kudos to the creators of the show, for showing ACTUAL teenagers dealing with real life problems, amplified for drama because of the dichotomy of being a Prince and a commoner. But, I don't judge ANY of the characters when I apply the same analysis I've given here to Simon to all the other four characters. What this show requires of us adults is empathy for their plight and maybe a closer look at the teenagers in our lives. What it does for the teen audience is show them that they're not alone when they mess up or are dealing with life pressures. We as a society won't judge them. We will work to understand them and share their burdens.

#young royals #yr s3 spoilers #simon eriksson #cyberbullying

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anderscim · 1 month

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✦ a really old minitheory about jax that had been left in my drafts for nearly a year

title is pretty self-explanatory.

// spoilers for the pilot episode of TADC

so, this is actually an old theory that i had created back when the pilot first came out—but i decided that it’s worth sharing now. basically, it summarizes what i think could possibly be a reason behind our favorite rabbitoid’s behavior.

take everything with a grain of salt. (^^)

this might sound like a weird place to start from, but i swear there’s a line of thinking behind it—what could be some of the reasons that a character abstracts?

at the very least, we know for sure that abstraction occurs if a character’s mental state entirely collapses—which could happen for a myriad of reasons. mental breakdown, existential crisis, you name it.

however, the most important effect that comes with abstraction is that they completely lose their sense of identity—which is also shown externally with the abstracted character’s appearance.

this led me to think that a possible reason for abstraction could also play into identity—whether that’s losing it, somehow messing with it one way or another, or, in a crazy scenario, doing something (aka recovering original memories, for example) that would cause them to clash with their current identity. things like that. obviously there’s some very strong theories out there as to what could also be other reasons for abstracting, but for now i’ll stick with the simpler explanations.

okay, but what does this have to do with jax?

basically, i needed to set up the previous context in order to be able to explain a possible reason for jax’s… jacka$$ery. yeah. that works.

as far as i can tell, it looks like he’s essentially being mean to everyone else just for the sake of it. from (allegedly) placing a centipede in ragatha’s room, to constantly bullying gangle, to pretty much every snide comment in general—it seems that he’s completely cemented his role as the “mean guy” of the series. but what if that was his goal?

the reason why i partly discussed identity in the abstraction section is because, to me, it seems like jax is setting up his own identity as the rudest and most chaotic character in the cast as a way to ensure his survival in this digital world for as long as possible. or in other words, this identity of his is something he can consistently fall back onto no matter what happens, which allows him to keep his mental stability a bit better than others. it’s a simple role that was developed only within the context of the digital circus, and he seems completely comfortable with staying in it.

additionally, here are some other circumstances where he could just fall back on his “identity”— - something bad happens to him? sure, let’s call it karma. - in the event that he does something that causes a bit too much destruction? it’s fine, he’s supposed to be the guy that would do something like that anyways. (edit: he did exactly this in episode 2. just my luck. help me.) - hurts someone on accident? wouldn’t be out of the question. maybe even intentionally if the time calls for it.

overall, it feels like his current place as the “rude character” makes it a lot easier for him to stay consistent and keep things less complicated. being nice is difficult and nuanced, you may unintentionally hurt someone by saying the wrong thing—but if you’re already known to harm people one way or another, there’s absolutely no mistakes you can make.

and for jax, it’s a way to keep himself grounded while causing a ton of chaos on the side—which he seems to like doing, so it works. this is pretty much a foolproof method of survival for him; at least, until something happens which he doesn’t expect.

but this is all just speculation. feel free to chime in with some of your own insights (´∀｀*)

———

edit: yes, this is pretty old haha. but i think it still somewhat holds true for episode 2, so i’m posting it for now. would be kinda funny if i was entirely wrong about this though (￣￣)

#bagel’s train of thought #the amazing digital circus #digital circus #amazing digital circus #tadc #jax #tadc jax #theory #tadc theory #jax is an asshole and i love him for it

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lucielmars · 1 month

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Why I think Geto's "meaning" is love and why Gojo failed to really understand him.

As I was writing the last chapter for my fic, I thought a lot about what Geto meant when he talked about "meaning" in the infamous KFC break-up scene. "You can kill me, there would be meaning in that."

Here is my theory : First of all, we know that as a teenager, he thought that being a sorcerer was meaningful because "the strong must protect the weak." I saw a lot of people interpret that as him meaning that the strong are responsible for the weak, due to their strength.

While I don't think that's what Geto meant by it, I do think that's how Gojo interpreted it.

See, Gojo was raised to become a sorcerer because he is strong. His strength is the justification for his exploitation since birth (the recent Gojo interview having confirmed that he was working even as a child.) He's also been brainwashed into thinking he tipped the balance of the universe and has to set it straight. So to him, although he's initially pissed off that he has to bear this responsibility, he interprets what Suguru says this way because it makes sense to him.

Gojo's moral compass will, inspired by Geto (but not properly understood), be focused on this idea of responsibility. That's why he kills Toji before he becomes dangerous, and that's why he takes Megumi and Tsumiki in not long after. That's why he became a teacher, because he felt responsible to make sure what happened to Geto doesn't happen again. That's Gojo's strength, but also his weakness. He doesn't really question the dangers his students face for most of the manga because he believes that they are also responsible for the weak (he's morally grey partly because of that).

However, what Geto actually means by it is that a society in which the strong don't protect the weak is a failing society because it is a society without love. It means we let the weak die just because they can't fight for themselves. He is correct, as many historians believe the first sign of civilization is a healed femur, a proof that we cared enough to protect someone until they healed.

When Gojo and Geto are friends, this difference in 'reason for being sorcerers' doesn't impact them negatively. When they protect Riko together, Gojo thinks he has a responsibility to let her make her own choice and help her, since she is weak compared to him. Geto, on the other hand, does it because he's grown attached to Riko. It works out. (Initially he agrees to it because he loves Gojo and wants to please him, he's the biggest simp fr.)

However when Riko dies and the cult claps they consequently analyze the situation very differently. Gojo asks Geto : Should I kill them ? (Meaning, I'm the strongest, it is my responsibility to kill curses and dangerous people). Geto tells him there would be no meaning in that, which means no love. Gojo would only be doing it because he has to, but it wouldn't save Riko, it wouldn't help anyone at the moment.

But then, while Gojo goes on thinking of this as his failure (he didn't protect someone he was responsible for), to Geto this event is life-altering. To someone who does things because of love, the idea that there could be people who clap for a kid's death, that Gojo almost died because Toji needed money, it's a brutal realization that they are being used. (Geto is kinda innocent for not realizing that sooner, Gojo isn't as naive.)

I think the whole "monkey" thing, refers to his understanding that non-sorcerers have a utilitarian relationship to sorcerers. They use them, they let them die. Even if most of them are unaware of that fact. To Geto, that makes them inferiors (unloving).

It also ties to Geto's deep-rooted feeling of being unloved (from his childhood I imagine, although we don't know that for sure, the fact that he killed his parents can't be random.) That's why when Gojo distances himself from him, he's deeply hurt by that.

Then Haibara dies and Geto, I think, gets even deeper into this spiral of anxiety that he will die unloved. At this point he's already suicidal, having lost what he thinks is his reason to live (+ his bff, who he doesn't understand anymore). But to know that two kids younger than him died as mere tools makes him realize that he will die like that too.

Then he finds Nanako and Mimiko, and he decides to love them. Since it's his way of functioning, it works for him. He can finally kill the people he hates, it is justified. There is a reason and a meaning to it (his daughters / the young sorcerers that he would save.)

He leaves Satoru with a last piece of philosophy, in two parts.

"Are you Satoru Gojo because you are the strongest, or are you the strongest because you are Satoru Gojo ?" To him Gojo is by definition associated with love. So what he's asking him is, is love driving you to become strong, or are you just willing to let them use you for your strength like a tool, give their meaning to your life ? Gojo has the wrong answer to this question (still does until the end)

"You could kill me, there would be meaning to that." Love, he means there would be love in that. Geto is willing to be killed by Satoru. He wants to die by his hand, because that would mean his life has meaning, and that he was killed for love (because Gojo didn't want to let him become a monster.)

That brings us to JJK0, when Suguru is acting all insane and attacks Gojo's student. I think he expected to die by Gojo's hand long ago, and he hates himself more and more with each passing days. There is no real love in what he's doing, it doesn't work for him and the system remains the same.

So he declares war and attacks Gojo's students, hoping Gojo will kill him (unconsciously.)

In the end, he gets to give his life "meaning" by dying by Gojo's hand. The person he loves preventing him from becoming a monster. It is love, and it is a curse.

As soon as he sees Gojo he is relieved. He is so ready to die by his hand. That's what he's been waiting for all along.

Gojo still believes he has to do it because it's his responsibility. He doesn't get it. He thinks he's giving justice, when in fact, he's giving mercy.

Which is also why I think Gojo says some version of "I love you" in that scene. I just know Geto got exactly what he wanted before he died, reassurance in every way, "meaning."

I could go on as to why it's also these differences in philosophy that made them love each other, but this is about to become a book SO.

#character analysis #geto suguru #gojo satoru #jujutsu kaisen #jjk spoilers #satosugu #dark themes #fanfiction #fanfic

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onesidedradiostatic · 5 months

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swerving off topic to word-vomit about vox’s hypothetic delusional poly relationship with val and al asdfhc he’d call it business and pleasure dhsjdfj but what was vox even expecting to happen if alastor said yes???? like did he think some kinda lady marmalade scene was gonna go down ?? (labelle version! I never knew that lady marmalade was creole and set in New Orleans?)

Vox is so good at cultlike manipulation that he deluded himself into believing he was in a world where Alastor would ever want to share a spotlight. Let alone prolonged eye contact. He’s really drinking his own cool aid. /affectionate

lmao what if that’s how Vox died: (squashed by a tv joke theory my beloved) he drank his cult’s poisoned communion juice by accident, embarrassing… it would parallel so nicely with the theory that Alastor’s death was also accidental and embarrassing: possibly the “best” serial killer of the 20th century; meticulous planner, double life aficionado, (best of both worlds hannah montana transformation twirl) stealth extraordinaire. and he gets mistakenly taken out by local billy-bob-elmer-fudd who can’t see for shit and his dog fido. I mean. I’d be embarrassed.

Dang now I want Valentino to have an ironic embarrassing death. Maybe he was distracted by a bright light while crossing the street and hit a windshield like a bug

Maybe their initial demonic power level is partly determined by how pissed off they were when they died. Powered by spite

wdym what was he expecting to happen KLSDGKSHK he probably expected exactly what he was asking, for his fantasy business polycule to happen. but the world doesn't revolve around him like that so it didn't. considering how he apparently got pissy over alastr saying "no", being rejected clearly wasn't what he was expecting. well he got one of them does that count for anything

I'm not sure if I follow the rest of the ask, I don't really have big death hcs but that's funny LMAOOO, the alastor one isn't even fully a hc though cause being mistaken for a deer and shot by a hunter was something stated by ex-staff who used to work closely with vivzie, but it's not fully canon either so I guess you could still call it a hc

#ask #osrs.txt #sometimes it takes me an unnecessary amount of time to mentally process asks sorry sometimes my brain doesn't work #radiostatic #staticradio #onewaybroadcast #staticmoth #voxval #hazbin vox #hazbin hotel vox #vox #hazbin alastor #hazbin hotel alastor #alastor #hazbin valentino #hazbin hotel valentino #valentino

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dysfunctionalupsidedown · 2 months

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An Analysis Of "STurn": My Turn

Hello, everyone! This is my first real post/analysis of anything Stranger Things related, so please keep that in mind while reading. I'm sure there are quite a few analyses about this playlist already (I'm definitely late to the party,) but I still wanted to add my two cents.

Feel free to let me know if any information I've provided is incorrect. My main source is Genius.com, which isn't at all the most reliable; even still, it'll help to give a clearer picture of each track's meaning and how the general public (which includes Finn) interprets them. I'm attempting to go by what I think Finn's intentions were.

Also, don't forget that this analysis was done under the assumption that the "STurn" playlist is a somewhat play-by-play outline of how specifically Mike Wheeler's S5 arcs might happen. The playlist could be entirely unrelated to ST5. It could be related to all the characters and arcs in ST5. It could be out of order, or based on vibes -- We really have no way of knowing until the full season comes out.

Finally, I tried my best to keep the analysis somewhat objective and reasonable, and I hope I've at least partly succeeded. This is all in good fun, in the end. Now that I've finished housekeeping, please enjoy my thoughts and feel free to chime in with your ideas in the comments! I'm always open to changing my perspective.

1. Ballad of the Texas King

Let's begin! This song starts with the lyrics, "No one saw / Nothing at all, no law was there to fight / All dressed down / Walkin' out in the California night". I believe this is a more surface-level vibe-setting song, considering where Mike ended in S4. It may also imply that the start of S5 begins where S4 left off. A lot of car imagery is also present throughout, which was a big part of Mike's S4 journey.

There are ideas of being separated as well, with lyrics like "My heart won't beat / 'Til we meet again together". This may allude to Mike's feelings towards the end of S4, having been separated from Hawkins/his family.

2. What You're Doing - Remastered 2009

Genius.com claims this song was written about Paul McCartney's then-rocky relationship at the time. The lyrics make this very clear, so there's really no alternate angle from which I can read. Let me know in the comments if you interpreted it differently.

In specific, the lyrics "You got me running / And there's no fun in it / Why should it be so much to ask of you / What you're doing to me?", "Please stop your lying / You got me crying, girl", and "I've been waiting here for you / Wondering what you're gonna do / And should you need a love that's true / It's me" really intrigue me. This could refer to Mike's relationship.

The song suggests that the partner may be withdrawing in multiple ways, with the singer grieving over it and attempting to prove their love. El may be starting to distance herself, and Mike could be struggling with it. At the end of S4, El was understandably focused on her failure, to the point where she hadn't really spoken to Mike in the days following it.

I don't think it would be surprising if everything was too much and she ends up pushing herself away from him. I wouldn't say it's implying a break-up, but maybe distancing issues.

3. After The Earthquake

Again, it's pretty surface-level in the beginning. There was a devastating earthquake in-universe, which supports the theory that "STurn" connects to ST5 in some way. The song tells a story, though, and I recommend looking up it's inspiration.

Despite the choice seeming surface-level at first, After The Earthquake may be implying more for Mike in ST5. Genius.com's contributors interpret the song's narrative as, "[Molly Rankin applying the] concept of post-catastrophe clarity to a couple that got into a major disagreement before one of them falls into a coma from a car crash... In a metaphorical sense, [the song] could describe a more mild situation in which Rankin must put their conflict on hold because something more important turns up." I don't think it's too far-fetched to say that Finn picked up on this. The idea of a disagreeing couple and coma is also prevalent in ST, but like I said in the beginning, I'm going to try to connect these songs to Mike Wheeler specifically.

Although this may be me reading too deeply into it, the metaphorical meaning of the track pairs pretty well with the implications of What You're Doing. It also fits in well narratively, considering that more important things are happening aside from the drama -- the earthquake being one of them. Mike could be putting all of his current issues (internal-conflict-related, relationship, or otherwise) on hold for the moment. He continues to struggle with suppressing his problems later on in the playlist, as well.

4. Promises I've Made

This song is about mourning a lost or ex-lover. The opening lyrics, "Ever since you have gone, the days don't seem so bright / And I wish I could forget you but I can't / Ever since you have gone, I haven't felt quite right / And I promised I'd forget all that you meant" address this quite directly.

At this point, it's possible that Mike has either been broken up with or the pair have gone their separate ways for some reason. It wouldn't be too crazy to say something like that will occur and he'll grieve it, keeping in mind that one of Mike's main fears is losing El. I just don't know why they'd continue to make it the subject of conflict in S5 (unless it hasn't been fully resolved yet.)

Physical distance between the two also makes sense when considering that Mike is, supposedly, teaming up with other characters next season. Personally, I'm leaning slightly more towards a break-up because of what the previous songs have set up, but, ultimately, it's up to interpretation. It's possible they've just been physically distanced while in a bad spot.

5. Angst In My Pants

This song is about a person attempting to be someone they're not, suppressing who they really are, and it ultimately leading to dissatisfaction. The lyrics, "You can dress nautical / Learn to tie knots / Take lots of Dramamine / Out on your yacht" describe a faux lifestyle one lives that only serves to hurt them in the end: The idea of putting on a self-harming persona. This could be what Mike is going through in S5, and his teased wardrobe change from S4 supports this.

The lyrics, "I hope it doesn't show / It'll go away / It's just a passing phase / It'll go away" and, "I hope it doesn't show / It'll go 'way / Give it a hundred years / It won't go 'way" are particularly fascinating and can have multiple interpretations.

For one, it could be Mike trying to hide his real personality following Eddie's death and the collective panic by acting out a more "normal" and "idealized" life -- painfully repressing his true self in the process. This is supported by the lyrics I first discussed. Hiding and embracing differences is a theme in Stranger Things, and I wouldn't be surprised if this is where they take Mike in S5.

Another interpretation involves the previous lyrics, as well as, "But when you think you made it disappear / It comes again, 'Hello, I'm here'". This sounds more like someone trying and failing to suppress a thought. Coupled with "It's just a passing phase", it appears to be a feeling or belief instead of someone's true personality, although I do believe that's a big part of it, too.

Whatever it may be, Mike is definitely struggling with something at this point. He's pushing it down, hiding it, and hoping "..it doesn't show" and that "It'll go away".

6. The Better Side - Audiotree Live Version

Half way through! This one gave me more of a challenge because there aren't any written lyrics to analyze. From what I can gather, the track is about a person yearning for someone who is a better fit(?) The lyrics that best support this interpretation are, "You're on the better side / You're always the better one for me" and "Don't make me do the falling when I'm drinking of you". Again, if you have any alternate interpretations, please let me know. I'd like to take all ideas into account.

The final lyrics are interesting, "And you're all that I need / I'm not gonna miss you anymore". This can be read as the narrator longing to accept a person into their life and bring them closer. I'm especially interested in the final line because it implies there was something to miss, as if an emotional rift or gap was there.

Mike has come to a realization about something, as shown in Angst In My Pants, and it might partly be about a new thought he's trying to push down, "It'll go away". It's possible the "thought" is about newly developing feelings he isn't ready to accept(?) I don't want to say for certain, though. Nonetheless, it seems like he recognizes this person's importance and "better fit" for him, despite trying to repress it. A fairly surface-level read, but it's the only conclusion I'm able to come to.

Alternatively, it might be about El. The distance apart could be what gets him to solidify how he feels about her. However, Angst In My Pants and multiple songs establishing a separation precede The Better Side. The track is about a better option, as well. Those facts alone make me think of this interpretation as unlikely, so it's not one I personally hold.

7. Don't Ask Me to Explain

Don't Ask Me to Explain is about two people who are afraid to confess their true feelings to one another, so instead they hide them; with one of the two seemingly more uncertain. It's also, from what I've researched, supposedly about two people of the same gender. There's a possibility that this is irrelevant to the track's purpose in the playlist, but I kept it in mind considering the other songs and my personal interpretation. It's also important to note that these "true feelings" could be about a multitude of things.

The lyrics, "How will I ever know you enough to love you / If you're hiding who you are?", "How am I supposed to let it show / When I don't even know?", and, "Besides, I don't want to be the one who's coming out first / I'd really like to but I'm just too shy" support this reading.

I interpreted the last line, "It's so easy to laugh to myself / And pretend that I could love you but I can't" in two different ways. Either it's the narrator doubting their feelings for someone else, or it's the narrator recognizing that they can't let themselves embrace their love for someone, for one reason or another.

As for Mike, his progression makes the most sense to me in the following interpretation. There are multiple and, again, please let me know your ideas in the comments. I narrowed it down to just the one so I don't start nit-picking.

Mike went from a realization, "It's just a passing phase / It'll go away" (Angst In My Pants) to a sort of acceptance, "You're always the better one for me" (The Better Side) to struggling to admit it out loud, "How am I supposed to let it show / When I don't even know?"

An LGBTQ+ or "new love interest" interpretation is what I'm able to gather from this. It could describe Mike falling for 'someone' and not knowing how to be open about it due to fear and doubt; with the other person feeling the same way. It may be a surface-level reading, and I'm sure there are several other ways to interpret the track, but that's what I've been able to conclude thus far.

8. What Do You Want Me To Do?

This one might be the most difficult for me to figure out, but I'm going to try.

The song and the lyrics, "You walked out, took your chance / You turned your back on our romance / You said you found somebody new / You said the change'd do you good" and "You never even gave me a thought / You figured that would be all right / I nevеr had a chance to persuade you / You nеver let me put up a fight" remind me a lot of What You're Doing.

One way to look at it is that it might have the same purpose as What You're Doing -- adding a sort of angsty frustration vibe. I don't know if it would be used to set up a "come crawling back" moment because I don't think that would make sense (especially in Stranger Things), but it's a random possibility I'm throwing out there.

Alternatively, the 'person' that Mike has feelings for could have rejected him for someone else(?) Again, I don't think this would make much narrative sense in Stranger Things, but we don't know what the next season's going to look like.

I'm personally reading it as the former because there are other songs in the playlist used to set the tone. Keeping What You're Doing and Promises I've Made in mind, an additional break-up song is on theme. There's still the possibility of another conflict, though. If anyone else has different thoughts on what the song could be implying, I'd appreciate the input.

9. Substitute - Live

This track is about an idealized version of someone being put in place of their true self. The narrator describes a scenario in which their partner sees a version of them, "I'm a substitute for another guy / I look pretty tall but my heels are high / The simple things you see are all complicated / I look bloody young, but I'm just back-dated, yeah", that is unrealistic and put on, as seen in the lyrics "Substitute your lies for fact / I see right through your plastic mac / I look all white, but my dad was black / My fine-looking suit is really made out of sack" The couple also seem to be having issues with this, or in general, that they're not addressing, "It's a genuine problem, you won't try / To work it out at all, just pass it by, pass it by"

The concept of a guise applies well to Mike, as referenced in Angst In My Pants. A recurring theme of hiding oneself really makes me think Mike is going to completely abandon his interests for a different lifestyle. I believe Finn has also mentioned that Mike wants to be as "normal" as possible, so I can't wait to see where they take that idea. It could also be him realizing how he's been acting, and admitting that this "romanticized" version isn't true to him. I have hope that Mike will eventually learn to embrace his differences and what he enjoys.

While this part is a bit nit-picky, I feel it's fun to mention that the song was inspired by a lyric in The Tracks of My Tears by Smokey Robinson; the lyric being, "Although she may be cute / She's just a substitute". The line following this (which is also referenced in Substitute's Genius.com entry) is, "Because you're the permanent one". Funnily enough, these lyrics also fit into the narrative the playlist is laying out. They remind me a lot of what The Better Side represents.

Out of context, the lines from The Tracks of My Tears may imply that someone is either using another person as a substitute for an ex, or that someone is realizing they've been using their previous partner as a substitute for someone better. Both routes have the potential to happen in ST5. Although, I don't know if the idea of a literal substitute fits with what The Who was going for. The Tracks of My Tears is also not on "STurn", so take this part as a fun fact with a grain of salt on the side.

At the end of the day, we don't know Finn's motivation for adding Substitute, so this is what we'll have to go off of for now. I feel as though the former interpretation, a less literal "substitute," holds the most merit considering the theme of personas.

10. The Rebel Kind

Like The Better Side, I couldn't find any lyrics, so I'm doing it by ear. Though, I'm happy to say that this song is about a desire to embrace differences and rebellion. "We'll be free to run with the rebel kind" and "It's not easy, but I don't mind / I just want to run with the rebel kind" establish that. The track appears to tie into Mike's insecurity struggles throughout the playlist.

The lyric "They call us the rebel kind" hints to the panic brewing at the end of S4. Mike might start to embrace and stand behind his true self at whatever point this is in the season. The line following, "But they don't understand / The things a man must do to prove that he's a man", can be taken in different ways depending on how the lyrics are read.

It could be the narrator's struggle to keep up with societal norms before finally giving in to their truth instead of trying to conform, read as "they call us rebels but don't get how hard it is to for us to keep up." On the other hand, it could be the narrator commenting on how society doesn't understand people like them, and, by embracing their true self, it proves more about who they are than conforming ever would; read as, "you think we're the rebellious ones, but you don't understand that we're more self-secure and strong than you'll ever be."

I can see both of these interpretations working for Mike and his connection to the Party. The progression of insecurity in Angst In My Pants and potential realization of this guise in Substitute is wrapped up by Mike's self-acceptance here. I really hope this is how it plays out in S5.

11. Block Rockin' Beats

There's not much to analyze because this track has one repeated line of lyrics, but it's definitely here to set a tone. The song may have a similar vibe-setting purpose as What Do You Want Me To Do? and Ballad of the Texas King. That's just my theory, though. (A ST5 theoryyy!)

Perhaps this is a climax of sorts where the cast fight the "big bad." The music's tone is intense and sort of aggressive. It's definitely a fun addition to the playlist, whatever the song's purpose in it may be.

12. Just What I Needed

Finally, we have Just What I Needed. I read this song in two different ways.

The first way I interpreted it was as a love song about the narrator not caring about who this person is, and realizing they need them in spite of it all. The lyrics, "It's not the perfume that you wear / It's not the ribbons in your hair / And I don't mind you comin' here / And wastin' all my time", "Cause when you're standin' oh so near / I kinda lose my mind, yeah", and "I needed someone to bleed / Yeah, yeah, so bleed me" support this.

The second possible reading is that the narrator realizes they were/are in a codependent relationship and they still love the person. The lyrics, "I guess you're just what I needed / I needed someone to feed / I guess you're just what I needed / I needed someone to bleed" and "I don't mind you hangin' out / And talkin' in your sleep / It doesn't matter where you've been / As long as it was deep, yeah", could be read as more of a "you're what I needed at the time, but I still love you and want you in my life." With this reading, it's unclear whether or not the love is romantic or platonic. Maybe I'm looking too far into it, but this is what some Genius.com contributors brought up, and it would feel wrong to not include this understanding of the song.

I'm just assuming, since The Rebel Kind seemed to tie up Mike's self-security problem, that this track is supposed to imply a resolution with his romantic issues. Under that impression, there are a few ways we can look at it.

It could be an acceptance for who he has feelings for. He went from mourning a loss in Promises I've Made, noticing something and hoping it goes away in Angst In My Pants, potentially coming to terms with the fact that this person is his "better" choice in The Better Side, wanting to admit a truth but feeling doubtful in Don't Ask Me to Explain, comprehending that he's able to embrace his authentic self in The Rebel Kind, to now admitting, possibly out loud, that this person was "just what [he] needed". That could be far-fetched, but it's just what I picked up on throughout the playlist.

However, it may also pertain to his self-identity struggle that's hinted at throughout (can you tell that I love this part of Mike?) while also tying into his romance issues. He went through a difficult separation with someone in What You're Doing and Promises I've Made, put on a persona and suppressed his true self in Angst In My Pants, realized he couldn't keep it going and needed to address it in Substitute, embraced himself in The Rebel Kind, and now recognizes that the relationship may have been codependent and holding him back from fully dropping the facade: "I guess you're just what I needed" -- in the moment. I don't know if that's too in-depth of a read, but it's a possibility.

While not relevant to the playlist in it's context, it's fun to bring up the fact that Just What I Needed was apparently also the final track listed on the 'official' "Will's Castle Byers Classics" playlist created by Spotify. It's not available anymore, so I can't really say it as a fact. Although, recreations of the playlist have been made long before "STurn" was a thing, and the song was added as the last track as far back as 2018. I suppose that's proof enough that it was at least on the playlist.

Finn listing it as the final track may be a reference to "Will's Castle Byers Classics", but it's also likely that there's no association. That's why I gave the song an equal amount of analysis instead of writing it off as a reference. As to how canon those playlists are, I don't think it particularly matters. It's true that Finn could've seen Just What I Needed in the Will playlist and put it on "STurn", thinking of it as a fun easter egg. There could or could not be implications for that and I'd be remiss to ignore it. I don't know if this rings true for any of the other songs on "STurn" as well -- if they're connected to any other character playlists. Feel free to let me know if they are!

TL;DR

This was really hefty post, and I apologize for that, so here's a summary/recap of what I think S5 may have in store for Mike Wheeler.

Summary:

The season likely starts off at the end of S4, with us seeing Mike react to everything that's happened in Hawkins and reuniting with his family. Tension or unresolved conflicts may be arising in his relationship(s) as well, but he puts it aside to focus on the more important tasks at hand. Either his relationship is put aside with this, or there's an eventual separation that occurs, and he mourns it. After, he tries to maintain normalcy and puts on a guise to appease others. During this time, he may start to have a realization about something that he attempts to repress. He eventually comes to terms with it, though, recognizing that there's someone (maybe something?) better for him. He wants to admit to these true feelings, but he'll struggle with hiding, doubting, and fearing them; thinking he can't allow himself to fully love this person or, at least, admit to whatever feelings or "truth" he possesses. Mike will most likely continue to struggle with mixed feelings and hiding his true personality after this, eventually admitting to not being fully authentic. He'll then accept his true self for what it is. This will lead into a climax, where the main conflict of the show will be resolved. Finally, he'll accept and admit his true feelings, realizing that all he needed to do in the end was be entirely honest with (and about) himself.

In Conclusion

I really want this to be where they take Mike in ST5. It would be such a satisfying thing to watch, especially with how he's acted the past two seasons. I think he deserves to have a self-love/acceptance arc because the show has made it clear he's insecure and inauthentic.

Thank you so much for reading, and I hope you enjoyed! Please let me know your thoughts and interpretations in the comments, as well as if there's anything you think I should add/fix. I'd love to hear what others have to say about "STurn" and it's connections to ST :)!

#Mike Wheeler let me into your head challenge #stranger things #stranger things analysis #stranger things speculation #stranger things 5 #st5 #st5 spoilers #mike wheeler #el hopper #eleven stranger things #will byers #byler #<- target audience #byler analysis #STurn

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stardustbuck · 4 months

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im a multishipper. i ship buddie and bucktommy. but if im being honest one side is being incredibly more hateful and toxic than the other side. (aka the one thats been around longer) maybe i’ve taken off my rose-colored shipping glasses, but seeing ppl make hate posts abt tommy/lou gives me the ick. it makes me actually realize why oliver left twt. bitterness will get you nowhere. if buddie is meant to happen then it’ll happen. you cannot force it to happen. everything i’ve seen and read tells me buddie was more of a consideration pre-s5 than it is currently. and that fucking sucks but just because things aren’t going your way doesn’t mean you need to get on the internet and be a bully. it’s truly mind-boggling to see people so intense in their hate for a character that has righted his wrongs, who is now friends with the people he wronged, is well-liked among said characters and is now being a positive influence on buck’s newfound sexuality. their dynamic is also nothing new, pessimist/optimist ship dynamics have been around forever and it’s only a problem because it’s not eddie.

i would be happy for buddie to go canon as much as the next guy. getting buck canonically bisexual is mind-blowing enough in itself, i’m glad we’re witnessing it at all. if ryan doesn’t want to do buddie because he feels its important they stay friends then so be it. platonic friendships between a queer man and straight man are important, especially one that runs so deep like buck and eddie’s. sure, their friendship could be read as romantic throughout the show, but partly because oliver and ryan truly share a great chemistry on screen which helps lean into it but also because these shows are not written with an endgame in mind. 9-1-1 is very much a go with the flow show, and if bucktommy is where the show is flowing then that’s what is meant to be. invisible string theory isn’t because ppl think it was always planned from the beginning, it’s because it’s amazing how well buck and tommy becoming a couple comes together so perfectly out of pure coincidence.

we know buck was supposed to be made queer long ago. we also know maddie originally was brought in for eddie but was put with chimney instead. if tim minear hadn’t left after s4 i truly think buddie could have been already established by now, but unfortunately that isn’t how things work. perhaps the idea of tommy and eddie was pitched but ultimately ryan didn’t agree it would work for these character nor the story being told at the time. buck was already supposed to be queer, so turning it to tommy and buck instead makes total sense.

no one is saying you aren’t allowed to continue to ship buddie. most ships in the world are ships that have never gone canon. buddie is valid even if it’s non-canon. god knows i will continue to read and write for them and enjoy them whilst also enjoying buck and tommy together. the behavior i’ve been seeing though is just weird, especially from larger creators who i understand are very passionate for buddie, but it’s weird when you flip it into tommy/lou hate instead of just talking about buddie itself.

perhaps the theories will be true. we don’t know! maybe buck and tommy won’t last and buddie will be endgame. i’m happy either way because buck’s sexuality is so important for him and at the current state of the show eddie is absolutely not ready for anything romantic because he’s still grieving shannon to a point where he is not ready to move on romantically just yet and we’re literally shown this. even if buddie is happening, it is not happening by the season finale nor is it probably happening by the beginning of s8 considering the current storylines and where they’ll be at by the end of this season. lou probably isn’t going anywhere and from the looks of it, we’ll probably be bumped up into a semi-regular character in s8 like karen. he’s easy to write into the plot, he’s got connections to people and emergencies outside of buck that would integrate him well into the plot. their romance is supposed to be “romcom” esque, they’re taking things slow but they’re obviously happy together at the moment.

im just really tired of the nasty attitudes ive been seeing. sure theres are som toxic people on both sides, but to me its obvious which side is being the bigger bully. reality checks needs to be put in place for some people, go outside and realize you are getting way too worked up over a tv show where plotlines are out of your control. if the show is ruined for you over one relationship then stop watching it.

#911 abc #bucktommy #buddie #venting #maybe some will read it and actually reflect on themselves

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candiid-caniine · 7 months

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im sorry this is a silly question, but what does it mean to be clicker trained? i haven’t been able to find a good answer but it seems hot (although i think everything’s hot tbh)

okie so pls prepare for autistic infodumping on psych and hypnokink below/

so. clicker training is often used for dogs and sometimes cats; basically, you're clicking the clicker every time you give them a treat. eventually, the animal becomes conditioned to associate the clicker with the dopamine rush of being rewarded! that's how it's used on animals. but the overarching concept is (afaik) a form of Pavlovian conditioning.

Pavlov (at least partly) got famous for an experiment where he conditioned dogs to associate the sound of a bell with getting food. eventually, anytime they heard the bell, they started to salivate.

why am i talking about animals? that's weird right? well the truth is that humans work basically the same (tho ofc our minds are more complex): over time, we are trained to associate certain stimuli with certain things. if you listen to the same song every time you go to sleep, eventually that song will always make you sleepy; our brains love repetition. it makes things predictable and orderly, giving us clear signals that help us navigate the world.

now...obviously...conditioning also has its applications to kink ;)

im a simple creature: im *stupidly* easy to condition, esp if i'm being intentional about it. most of the time it happens accidentally tho. here are some examples in my life:

i'm so conditioned to associate a collar with subspace that even touching my neck gets me wet. having the side of my neck sucked on immediately makes me go limp. when i noticed it happening passively, i vocalized it, strengthening the connection by intentionally "noticing" it every time it happened. it has only gotten stronger with time >.>

i also ended up accidentally being able to cum on command. once (i repeat: once) i was super worked up in between changing positions and i blurted out, "if you told me to cum right now i think i could" and owner said "cum for me" and...just like that, i fkn cum on command now. it's been that way for 4-ish years.

now...conditioning, esp when it's accidental, is an inexact science lol. i started getting more into denial. that fact, combined with the fact that i cum on command, eventually turned into *only* cumming on command. this was mostly coincidental: when owner and i moved in together, the only times i'd ever cum were when they were home, usually having sex/playing with me, and would command me. my brain turned that into an inability to cum *without* command. again, once i noticed it, i vocalized it, got intentional about recognizing it mentally, and it has only strengthened over time.

now: clicker training. theoretically, any effect you want (within reason) can be conditioned with enough consistent training. you could clicker train a person to feel sleepy at the sound of the clicker by using it when they're going to sleep. you could tie it to basically anything that isn't too complex, probably.

in my case, the goal is for me to hit the edge every time the clicker's pressed, so i've been clicking the clicker every time i hit the edge.

theory: eventually, my body will be so conditioned to think "click = edge" that i won't need to be touching when it happens.

theory: to really make this stronger, i need to get close to the edge, then use the clicker to get "there." stepping back further and further from the edge until, even if i'm idle, not turned on, or doing something else, clicker = edge, instantly.

here are the effects so far:

i'm not at the point where click = edge when i'm idle, yet, but the clicker does = a powerful clench of my cunt lmao...body's still getting on board.

*imagining* the clicker sound also prompts this effect, but a little less strong. HOWEVER...

suddenly, mysteriously, if i imagine and concentrate really hard on the way my body feels at the edge, i edge mentally.

this takes some concentration. curiously, it also makes me feel like i'm about to squirt; don't know what that's about.

why is this happening? because conditioning a human being is an inexact science. it's messy; the brain is very involved. so, in theory:

because i concentrate intentionally on the idea that click = edge, every time i edge and use the clicker, i'm also concentrating on my body.

concentrating on the feeling as i get closer to the edge. thinking, intentionally, "this is how i'll feel whenever i click this button."

so consequently, in the background, my body/brain is learning that "concentrate on how edging feels = you're edging now, fucko."

in conclusion: ymmv. my theory is that this kind of conscious conditioning method would be less messy and more precise if used with well-practiced, methodical, and specific hypnotism to strengthen and simplify the connections...but for the moment, i'm enjoying the chaos. i do like feeling powerless lol.

#infodump #hypnok1nk #tw: hypnosis #denial #asks #dizzy

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sarucane · 10 months

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Why didn't Ed always protect Stede?

I'm a bit late to the party and only really got into OFMD with S2, so I've started watching S1 really thoroughly only recently. And I've noticed that there's this narrative in the fandom that Ed and Stede are super protective of each other, particularly Ed--but as I've gone through S1 (number redacted) times, it's been driving me nuts how much Ed doesn't protect Stede.

Sure, there's the meme we all love when Ed stands in front of the firing squad--but for most of the scene before that, he's been standing and watching Stede beg for his life. He's upset, but he doesn't intervene until it's nearly do late. And before that, Ed doesn't say or do a thing about Calico Jack treating Stede like shit--sure it's believable that he just doesn't notice the passive aggression, but not even catching the "Steve" thing? That's something that isn't even intervening, Jack could be making an honest mistake. But the thing no-protection moment that's really driven me nuts is this moment

In the scene before this, Ed and Stede have just had an incredibly emotionally intimate conversation. Ed is clearly at least half in love with Stede at this point. This is a relationship that means something important to him, this is a person he cares for deeply. And…and Izzy almost murdered Stede in front of him, because of him, and he just looked away.

But at the same time, Ed does love Stede, he does intervene to protect him from the English--at great personal risk and cost. By the end of S2 Ed's much better about this kind of thing (though I'd argue he's never as super-protective as I've seen suggested).

So what was going on here? Ed's a total softie inside, especially with Stede, so why was he like this?

And I've got a theory! Here goes:

Mr. "greatest pirate who ever lived" is, in fact, an overachieving rule-follower (cough teacher's pet cough).

Ed doesn't intervene to help Stede because Ed conforms himself to the rules set by whoever has the strongest personality in a room, or whatever "code" is being pushed on him/is easiest to follow.

I think this is part of why Ed often struggles to identify what he wants, or hold onto a firm sense of his self-identity. And I think it's a lot of why he's so attracted to Stede, and why that relationship is so important to his development: Ed is much less likely to follow the rules when he's one-on-one with someone, and spending a lot of time alone with Stede gives him much more mental space to understand what he wants.

And just like Stede is most successful when he doesn't try to follow the traditional rules of pirating, Ed is most successful--in his relationship with Stede and outside it--when he doesn't obsess over bending to the rules, and instead picks and chooses which ones to follow and which ones to discard.

I have a partly-written super-long version of this where I go episode by episode looking at how the rules theme works with Ed's character mechanics, but I'm just going to focus on the topic question here (I might get around to posting the long version, but I also might be distracted by something shiny;) )

So let's start with The Art of Fuckery and the thing that was driving me crazy.

Ed's core conflict in this episode was whether he'd going to send Stede to "doggy heaven." Why would he follow Stede to doggy heaven? Because according to Izzy, Stede is categorized as a pet, and Ed has "a policy regarding pets aboard your vessel." It's a rule. Ed has to follow it.

And Ed fully intends to follow it, right up until the kraken turns up and the rules go out the window. And then he's in a safe space with Stede, drowning in memory of the good rules he broke (don't kill people you love). But Stede rejects the idea that Ed breaking that rule makes him a bad person. He appeals, instead, to friendship. And offers his own rule: that they could pretend the murder thing never happened.

Because that's the amazing thing about Stede: he lives at the intersection of aristocratic and pirate rules (which isn't supposed to exist, and which drew Ed to him), and he makes up his own rules.

When Ed's with Stede, he can follow different rules, unlike anything he'd imagined. Can even sometimes make up his own rules. Can actually pay attention to himself, think about what he wants, what he likes and fears.

But when Ed's in a crowd, or alone with someone trying to impose something on him, he conforms. So when Izzy invokes Pirate Rules and steamrolls Ed ("no you're not doing this,") Ed lets him.

It's a character flaw, and it's a serious one...but it's also one Ed works on when he stops complaining about the treasure hunt business. And when he and Stede discuss the idea of co-captains, and arrangement that would break the rule that "a ship has only one captain."

Which Ed is able to do because he's in a safe space. Calico Jack disrupts that, and introduces a succession of games with clearly defined rules, which Ed follows one after another. And Ed has so little self-awareness, is so easily swamped by Jack's personality, that he doesn't notice how Jack's treating Stede, let alone defend him, and he bows to every hint of pressure.

And all that culminates in Ed having to make a decision: follow pirate rules, where everyone's just at "various stages of screwing each other over," or do what he wants. Go help his friend, the guy he loves.

Which just ends up with him being absorbed right back into the pirate system of rules. He tries to use this at first, faking a confession on the grounds that he's a "life is cheap sort of guy." But Izzy's outsmarted him, and Izzy invokes pirate rules again: that Ed told him the rule for a first mate was "above all loyalty to your captain."

Ed doesn't call out for the Act of Grace until the last minute. He could have done it at the trial--he didn't. This is a hard thing for him to do, because he's surrounded by rule-following pressure, from Izzy and from Chauncy. The last time he was in a situation like this, Ed just looked away and let Stede die (he thought).

But the thing about Ed is that he's "half insane." For years, he used the combo of being considered "mad" and also having Izzy around to have his cake and eat it too with rules, to be the world's greatest pirate and also hang onto his own authentic self.

As a result, Ed got good at finding loopholes. Places where you can follow the rules and break them, at the same time. Getting run through, but in a place that missed "all the important bits." Being sentenced to death, but asking for an Act of Grace.

It's a big deal when Ed steps in front of Stede like that. He's acting against pirate rules, risking being absorbed by the rules set by the English.

He does it for Stede--and that starts to set him free. After that, Ed's never just following the rules again. He actually can't, even when he tries: his going kraken at the end of S1 and start of S2 is doomed from the start and full of contradictions, starting with the fact that he's on Stede's ship, the ship with hidden passages where rule-breaking can be hidden until it's needed.

Ed struggles a lot to figure out which rules to follow ("I will abide by the guidelines"), which rules to set aside ("Can we take it slow?"), when to make up his own rules ("So we're innkeepers now."). And Stede helps him, telling him things like "This can be whatever we want it to be," and "you're not a dick, life's a dick."

I don't really have a clever conclusion to this particular meta. It's a messy thing, and individual figuring out how to their life does and does not intersect with society. This theme doesn't resolve neatly, it just stops at the end of the season, like the tension between Ed/kraken/Blackbeard.

But there's a lot of hope here, I think. When Ed acts to protect Stede, and to fight alongside him, he's not just being a protective partner. It's a learned action, the physical manifestation of a decision Ed's made about who he wants to be in the world. Rules be damned.

#ofmd s2 spoilers #ofmd #ofmd s2 #our flag means death #ofmd spoilers #ofmd meta #ed teach #stede bonnet #blackbonnet #izzy hands #gentlebeard #i swear there really is a much longer version of this this theme is hella iceberg #every single episode has references to rules guys this is A THEME running straight through EVERYTHING and i'm a moron for missing its size

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liketwoswansinbalance · 8 months

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The Stymphs' Symbolism and the Storian's Interference

All right, here's our equivalence:

The Stymphs = Fate

Ok, so, with the girls in book one:

Agatha and Sophie are carried off by a Stymph, and they are thrown into their respective schools. No choice. No say in the matter. They've lost their agency, completely.

They are mastered by a Stymph, by fate. Conquered.

Then, the shift happens. They become the masters of their own fate, in riding the Stymph, in steering on top of the Stymph, into the School Master's Tower.

By TLEA, again, their relationship to the Stymphs changes. They're a little beholden to them and fate, in becoming who they are. Fate and the particular Stymph's original actions, its involvement in their kidnapping, I mean, shaped them both, ultimately. The girls are also beholden to the Stymphs for helping them, by not obeying "Rafal" when they help the archer students and Merlin during the second Great War.

⸻

Then, for the prequels:

Who is master of the Stymphs? Rafal, of course.

Yet, Rhian is the "author of own misfortune," or fate.

Rafal is the original master of the Stymphs. In a way, Rafal was destined to become Fate, to become the Balance, had he managed to live long enough to be the One.

Because, he was about to be named the One True School Master, and through the Schools, he would have been master of the Woods' fate, been able to willfully control (or indirectly influence, through the curriculum, the students' educations, and how prepared they would have been, should their fairy tales begin) the fate of all the Woods, all its possible futurities, in theory, to an extent.

But, really, it's the Pen that is Fate, not Rafal himself, when it really comes down to the truth.

However, Rhian disrupted "fate," or the Storian's plans, by being the cause of his brother's death.

And, when he was left with the Stymphs he "inherited," he probably couldn't quite automatically rein them in. I think he had to tame them, or find a literal spell to mollify them with, to get them under his control. Probably symbolically because he was never meant to be Fate or the One in the first place.

And so, of course, Fate's attendants (the Stymphs) wouldn't have followed him willingly, at least, not right away because the ending simply wasn't meant to be, but just so happened to happen nonetheless. (I know the Stymphs' behavior actually must originate from the fact that Stymphs supposedly only like Evers, but I'm looking at this from an angle that's outside of the narrative, and I don't need to rely on the in-universe reasoning at the moment.)

Was there a line after the climax of Fall about this at all? About the Stymphs being disobedient toward Rhian or outright loud and unmanageable, or am I misremembering?

Anyway, Rhian became master of Fate, of the Woods, in becoming the sole School Master. But that only happened when there was no one else left to assume the role. He was the only option, sort of a second-choice. Or, possibly even third, when we consider Pan as the hypothetical third candidate to be the One. Rhian was the default, sadly enough, the lone, surviving one. He wasn't even meant to be School Master, the rightful One, yet he had to be chosen. The Storian was compelled to because there was no one else.

Thus, the "ownership" of the Stymphs and of Fate was transferred over to Rhian.

And remember, once, Rhian was Fate's personal punching bag. He suffered a lot, for his naivete, and from some external causes, like Hook and Vulcan, sort of, even if he was wrongly influenced by the end of it all. And yes, while many events were partly his fault, they also may not have been. The plot could have been the result of very poor happenstance and intersections of the times the brothers lived in, as, we can observe all the turbulence in Rise, during that one particular school year.

⸻

Oh! And I wonder if the Stymphs forevermore missed Rafal, their original master? Did they show any signs of missing him? I'm not sure.

But, I am sure that they knew Rhian replaced Rafal because they can read souls, tell them apart, they way they seemed to instinctually read Agatha's, Sophie's, and Aladdin's souls, to know which Schools they belonged to.

I don't think there's any direct evidence of the Stymphs' mourning though. Did they ever screech, or cry out, as if in pain, like deprived animals? I suppose I could imagine that plausibly happening, with how they were left behind...

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