#Is this meta?

[brainwormcity]

We all know there's a fat erasure problem with Good Omens art and photo edits. We've gotta stop being afraid to let them have skin folds, stretch marks and soft bellies but another thing we don't talk about is how important it is leaving them their wrinkles, their eye bags and their imperfections of age. It's part of their beauty but it also signifies something incredibly important, in my opinion.

Part of what makes Crowley and Aziraphale such unique and wonderful examples of representation, is that they're not perfect, model-like young adults. Middle aged queer characters are so important because queer elders as a whole are so rare. The world's respective governments significantly failed queer folks during the AIDS crisis in the 80s and as a result, older queer couples, especially mlm or masc presenting couples aren't particularly prevalent in media, and having that example is a strange little beacon of hope.

So please, let Crowley have his forehead wrinkles and let Aziraphale keep his eye bags. Not only are they lovely, notable parts of their appearance but they symbolize something larger than just that. Let these old, alt, soft, queer man-shaped beings be just that.

[ineffable-baker-street]

it's the fact that crowley became more protective of aziraphale after he thought he lost him in the fire.

he experienced what it would feel like to lose him and he knew he never wanted to go through that again, so in season two he does everything he can to keep him from harm.

he threatens and he fights and he leaves only to return just as quickly, and he makes the promise "i won't leave you on your own" because the last time he left in anger he came back to find that aziraphale was gone.

and if he has to experience that heartwrenching grief that had him sobbing on the floor of a flaming bookshop ever again then what would be the point of it all?

[syrena-del-mar]

An Ode to Older Siblings: New in Dead Friends Forever, Episode 9

Spoilers ahead for Dead Friend Forever Episode 9. Allusions to suicide and all other triggers that have accompanied this show will be here. Tagging @slayerkitty for the DFF Meta compilation.

Can you imagine New, who sacrificed his relationship with his little brother to make it into a university abroad with a scholarship, one that would open opportunities that Thailand did not have to offer him, having to come back on a plane ride? A minimum of 12 hours in a plane, in an airport, packed with people going on business trips and vacations, yet where nobody knows that you're going to back home to a hell that you never could have imagined? It was supposed to be a holiday for him, a chance to see his family again after months of being apart.

But instead, his baby brother was now missing. The same baby brother that had given up on having any semblance of a relationship with him because he felt abandoned, forgotten. His little brother who would find no difference if he was abroad or not, because it's not like Tan had ever paid him any attention when he was so focused on just getting out of their home. But New was trying, extending an olive branch, hoping that Non would accept even the smallest bit of it. He'll bring him the best snacks that England has to offer, he'll listen to any problems that Non may have, even while he's thousands of miles away. But no calls ever came from his little brother's number. No, he hadn't even known that Non had gotten into trouble until his mother called him. Non's missing.

And, now he's returning home. The snacks that he had promised Non probably weighed like a ton of bricks as he carried them, they were his burden to carry. Maybe if he had been there a little more for Non, had been a little bit more present, maybe Non would have reached out. Maybe he wouldn't have had to turn to his tutor. His home is broken, but it's still a home. He's the oldest, he's the one that has to repair it when his parents can't.

He knows his mom had mentioned Non's boyfriend in passing before, even though Non had never told him directly. So he had searched through Non's belongings, looking for his number, hoping that Phee might have more information. He's doesn't, they're both at a loss. Maybe Phee didn't know Non as well as he thought he did, but New knows his brother. Non was never good with his words, never good at speaking directly of the problems he faced, but he would have left a sign, something, that might show them what demons he was facing alone.

So, he pretends that he can go back to his life in England, pretends for his parents' sake, so they don't have to worry about their only other son. But he can't, not when his little brother is out there...alone, again. He takes a leave of absence from school. Maybe it's crazy, reckless, but he puts himself back in high school. If the cops won't give him answers, then he'll get them himself. He forges his records, pretends that he was Non's same age, changes his identity. He's now Tan. A new kid that just happened to meet Phee at the office on their first day of school. Tan can charm his way into the same friend group that likely destroyed his brother. Tan can dig for the answers that nobody was willing to get.

And Phee helps, maybe he helps a little too much and little too close. For a moment, a part of New's heart breaks for his baby brother, as he sees his boyfriend get close to one of the bastards that had a hand in Non's disappearance. Maybe this is why Non always felt abandoned. So New smokes, one pack turns into hundreds more. A bad habit that he picked up with his English friends as they hit the pubs. It's the only sense of normalcy he has anymore.

He builds a makeshift lab with the money his parents wired him, nothing like the state-of-the-art equipment that he had grown accustomed to at his university, but it was enough. He researches, he experiments with the one concoction that might finally get Non's friends to tell him the truth. He's so close to perfecting it. Then his dad calls, and it feels strange. He rarely talked to his dad, it's his mom that usually calls him. Mom's dead. For a moment, he forgets that he was supposed to be in England, that he was never supposed to be in Thailand. He's not Tan anymore, he's just New. His house isn't just broken anymore, it's crumbling.

His father resents him. He's drunk and he's spitting fire, New can't blame him. Afterall, he is a liar. He lied that he was back at university, back in England. He never visited his mom when they were only miles away from each other and now she's dead as well. Was Non right all those years ago? Does he abandon everyone? He was never his dad's favorite, he knew that, but how he could he go and leave him behind too?

Now there was no broken house, no dilapidated house, no place that he called home. He couldn't fix this anymore. And he's tired, he's so tired. There's nothing for him to salvage anymore. Maybe if he takes a hit of his own concoction, he can end his pain as well. But Non... Non deserves justice and New is so scared, scared of failing him again. He wants this to end, he can't save anyone. But Phee arrives and holds him steady, lets him cling tightly to his shirt like he used to cling to his mother as a child.

Maybe he won't live for himself anymore. This all started with the bastards who were supposed to be his brother's friends. They cost him his whole family. No. he wasn't going to give them the satisfaction of destroying his home, of destroying his baby brother. He once told Non that he would steal his novel, get it sold for other people to read. Maybe it can't be sold anymore, but maybe Non's story can finally be told as Non had wished.

How could New have ever known that getting onto that plane would just be the prelude to the hell that he was about to raise? He's the oldest brother of the family, he was supposed to protect them, take his responsibility for his parents and his baby brother, but he failed. His dad was right, he wasn't a good enough son or brother, but maybe this could be the start of his atonement.

[groove-on-boogie-down]

It’s not explicitly stated, but I do think in a way, Mae and Sol are both on journeys of redemption that are connected and opposite each other.

Mae had a crime pinned on her. The fire she started to figuratively burn Osha’s dreams became much worse than intended and added to chaos. In pursuing the jedi, she sought to clear her name, hoping for a rebirth that she thought her coven and sister would never witness.

Any guilt Mae possibly carried evolved into what the jedi actually did. She pleaded for help and didn’t get it. Instead she watched the “keepers of the peace” invade her home, attack and kill her family and leave her home in ruins. They left her alone and left her for dead.

Sol carried this lie with him for 16 years, and when he reunites with Osha and finds Mae alive he plans to confess the truth. BUT!! He also thinks proving a vergence will outweigh the harm he’s done. That’s why he’s so hellbent on getting both sisters. To clear his name.

Sol thinks that proving the vergence to the council with both twins will absolve him of the crime in interfering with the coven on Brendok in the first place.

So as this journey of retribution evolves into justice, Mae discovers Osha is alive, and she pivots. Being with her sister is more important now. Together, they are the last remnant of the life they had on Brendok. When Osha rejects her, she seeks a confession, through Sol.

When everything comes to a head, Mae prefers Sol tell the truth. But this is before he rambles about the origins of the twin’s birth. He’s telling Mae things she doesn’t care about, buying his time. But Osha overhears the most important detail, the truth that he killed their mother.

Sol spends more time justifying his actions as part of his plan. He wanted everything to go right in his mind, so he could prove everything had a purpose. He tells Osha he did it because he loved her. And he dies with no apology on his tongue. His redemption is not earned.

In the end, his words and actions are cut off, the same way he cut off Mother Aniseya. His reputation is ruined in his death—by a friend, on a large scale—the same way he helped ruin Mae’s reputation in life. It all comes back to bite him.

Mae witnesses the fallout and is freed from burden. She no longer carries her sister’s hate. Their coven lives through them. The Jedi who wronged her are dead. Under the bunta tree, the twins are reborn. Mae’s redemption is earned! But freedom is short lived.

In sacrificing her memories to protect Osha’s choice, Mae is re-traumatized with pain she just released. Back to a starting point we didn’t see on screen. Four jedi have wronged her but they are dead & she doesn’t remember their justice. She doesn’t remember a twin. It’s just her.

This is a death of sorts. She has lost everything. But she is not free like Qimir would suggest.

The Acolyte Season 1 gave us this tragic theme of things uncorrected & left unsaid. However, in Season 2, Mae deserves a healthy, clear mind. Let Mae-Ho Aniseya have the chance to pull the Thread of destiny so that she can be renewed and reborn, again!

End.

[kandyzee]

Fiona cares a lot for siblings but often forgets to take their feelings into account. She gets a lot of criticism about this that I can understand to an extent, but no one ever seems to take into account why she acts like that. So many people will acknowledge that fiona was a child when she was put in charge but ignore the effects this would have on her parenting as an adult.

Fiona was too young to really understand emotions when she started caring for her siblings. Her lack of understanding of feelings would have meant she prioritised their physical well-being. Something I always think about is the story of her being left on the side of the road and taking lip & Ian to the clinic. It's one of the first times she's left in charge. Not only that, but it's the first time their lives are in her hands. Her brother could have died if she didn't get them both to the doctors in time.

Her view of mental health is tained by Monica. Most of her experiences with intense emotions involve her mother. She grows up hearing Frank monologue about how Monica is crazy and ruined his life. Monica leaves them because of her poor mental state. When something has caused you so much pain, it is easy to just ignore it. Fiona doesn't want to upset her siblings. Ignoring their feelings, to her, is her saving them from them. Out of site out of mind yk.

I also think it's worth mentioning how fiona never dismisses their feelings for selfish reasons. Even when fiona is doing things for herself, she ultimately gives back to her siblings. During her later seasons, fiona is at her most "selfish". She makes risky choices and does so without thinking about how it might affect the others. Things work out tho and she leaves them with a large part of all her earnings. Cause really she was thinking about them even if not directly. Fiona has always seen herself as the carer, good things for her is good for everyone because she's in charge.

Fiona is a very big picture thinker, she has long plans but struggles with short term. This is another reason why fiona can so easily forget the emotional side of her actions. The positive outcome she's striving for is worth the hard times. This way of thinking makes sense when u consider her role in the family. When ians born she's thinking of it as 18 years she is working towards making him a good person. When Debbie, Carl, Liam are born it's the same thing

I just think its dumb to act like fiona has no reason to act the way she does. For a lot of people it's so clear why fiona would have problems that they don't think deep into it and I wish it wasn't like that.

[massivedonutface]

The originals really should've been obsessed with Bonnie. The way Bennett witches were wrapped up in everything, they most likely knew several of her ancestors over the centuries. Damon too should've come to mystic falls seeking Bonnie out, especially with the somergraham chemistry it could've been really interesting

[fellthemarvelous]

*cue James Bond music*

This is what happens when I watch GO while I'm high.

I actually have more to say about this too, but I'll hold off for now because I already talk too much. 😂

[pastorfutureletthembe]

No but what if season 1 and season 2 aren't the same timeline? What if Lu Guang actually died when he got stabbed? And a Cheng Xiaoshi from the future or another timeline took his place?

What if we were following two different timelines at once in season 2 and that was the real paradox?

WHAT IF-

[homerforsure]

Buck brings Abby coffee one day. She tries it and wrinkles her nose a little bit but tries to cover by saying “mmm, thank you.” Buck notices the nose wrinkle anyway so he confirms, “yeah?” “Yeah, it’s great! Just what I needed.” Abby doesn’t drink any more of it and leaves it sitting on the counter when they leave.

Buck needles Eddie until he finally tells Buck what coffee he wants when Buck goes on the coffee run. Buck orders it how Eddie asks. Mostly. But he also notices that Eddie favors the caramel creamer from the station fridge and helps himself to an extra large spoonful when he makes a sundae at home for Christopher and when Buck takes a chance and buys him the caramel special that the coffee shop puts on their menu in the fall Eddie closes his eyes when he drinks it like it’s the best thing he’s ever tasted. Every once in a while Buck brings Eddie the caramel latte but neither of them ever mentions it.

Buck brings Taylor coffee one day. She makes a face and laughs about that not being her order. Buck is more bothered by it than he should be but he laughs and says something about trying again. Taylor kisses him and tells him he’s sweet and tells him that she can get her own coffee.

Buck brings Tommy coffee one day. He makes his best guess based on previous experience but when Tommy makes a face when he tastes it, it doesn’t feel mean. His laugh is warm and easy and comforting. He writes down his usual order on a napkin so that Buck can get it right next time.

[tealvenetianmask]

Okay but imagine you're a seventeen year old girl about to be thrown out of an orphanage because you're getting too old (let’s call this your third or fourth outright abandonment), and some thirty year old man who's a little awkward and very foul mouthed, talks a mile a minute, and carries multiple weapons shows up and adopts you.

You're pretty sure you've just been bought as a sex slave, or worse. There's no law against that, since you're in hell after all. You're ready to go down fighting.

But instead he drives you to his shitty little apartment, tells you to help yourself to the fridge, and immediately moves most of his belongings out of the single bedroom and sets up shop on the couch so that you can have privacy. There are silly little drawings of horses everywhere.

He gives you a job and access to all the weapons and lets you rant at him and call him names and throw punches without ever insulting you back even though he has his own anger issues. You keep being mean to test him and see if he'll throw you out, and he never does.

So most of the time you feel like it's a weird roommate situation or he's your annoying older brother, but for some reason you keep slipping up and calling him Dad.

[aletterinthenameofsanity]

amy pond as object amy pond as little girl amy pond as grown woman amy pond as womb amy pond as forced to choose amy pond as being unable to choose amy pond as a dream amy pond as a fairytale amy pond as a model amy pond as a kissogram amy pond as a wife amy pond as a girl with a crush amy pond as a vessel amy pond as grabbing what she wants amy pond who can only be with the men she loves in death amy pond with an imaginary friend twisted up inside of herself amy pond as the the imaginary friend of a god amy pond as a god without power amy pond whose sexuality is a weapon amy pond whose sexuality is a curse amy pond as a mirror amy pond as the doctor's daughter amy pond as the doctor's girlfriend amy pond as the doctor's failure amy pond as her own failure amy pond as the image of an angel amy pond as an angel amy pond as a devil coded in red amy pond as a story told by others amy pond as a story told by herself amy pond as a story shaped by a man's hands until the very end amy pond who can only ever be amelia amy pond who is not amelia amy pond as the girl who waited amy pond as a little girl in boots in a garden waiting to be picked up and taken to her death amy pond who was dead before she was even born

[theflikchic]

Hey, is your mind boggled by Trump's constant yapping about Hannibal Lecter? Never seen Silence of the Lambs and are invested in the trainwreck of American politics? Well have no fear. In their most political post yet, a Canadian whose special interest is The Silence of the Lambs (aka me) breaks down Trump's misunderstanding and obsession with Hannibal Lecter.

Basically, we have three major points:

1) Hannibal is coming across the border because the border is weak. Hannibal is bad.

2) Hannibal is a great actor, now dead, he eats jerks, and one time, he said he liked Trump. Hannibal is good.

3) Hannibal is currently in America. Which is bad because every mentally ill person in America could be Hannibal. Hannibal is bad.

What Trump has not mentioned is the jerks Hannibal eats (this is important). Specifically, the version of Hannibal Trump is referring to is Anthony Hopkins' Hannibal in Silence of the Lambs. However, Trump has never said Hopkins' name, just the name of the movie movie. He knows it's a movie but somehow has not ever acknowledged that Hannibal is fictional, implying that a) he thinks everyone knows the name of the actor who played the Hannibal he's talking about (only in a perfect world, D-man) or b) he thinks Anthony Hopkins is Hannibal Lecter (soooo who does he think Mads Mikkelsen is? my mother asks).

Trump is clearly trying to make a metaphor with points 1 and 3. People like Hannibal, not Hannibal himself, are stalking America: immigrants and mentally ill people, sometimes both which is the scariest of all and which Hannibal canonically is.

However, because Trump never specifies a difference between Hannibal and Hopkins, it appears that he doesn't realize Hannibal is fictional at all and really does fear that he's either in America or coming to America to eat people. And yet, he keeps praising him? Why? Especially he's so scared of him, or the ideas he represents and is meant to represent so that we actually simultaneously fear and humanize him through the film's epic protagonist Clarice's eyes while Chilton hates him.

Let's talk about Chilton. In Silence of the Lambs, if you haven't seen it, Chilton is an abuser. He's the man in power at the asylum where Hannibal is. He is intended to be perceived as ableist, self-centered, and misogynistic (something more *ahem* modern adaptations I think have forgotten). At the end of the movie, Hannibal kills Chilton off-screen as revenge and it's...fantastic. It's meant to be.

Although Hannibal is a rich, white, cis man (definitely not straight though, I headcanon bisexual) and although he does horrendous things in this film (I cannot stress enough how disgusting he is), he is still being abused for his mental state. So him killing Chilton is basically the audience being put into the shoes of a revenge fantasy while the abused never learns his lesson of what it's like to be on the other end of that ableism (Hannibal isn't kind about his own patients he had when he was a psychiatrist). Trump recognizes that the ending is meant to be great. He praised Hannibal recently for it. But here's the thing: Trump is Chilton.

He's a misogynist, a preener, and importantly: someone who fears foreign mentally ill people and uses that fear and claim that only HE has the power to control these people to win votes and attention (Chilton does this, resulting in the iconic mask scene you've probably seen pictures of). But again- explicitly- Trump praised Hannibal for killing Chilton. So this leads to two theories that lead into two more theories:

1) Trump is secretly self-aware and knows deep down he's Chilton. But he pretends not to be so he praises Hannibal for killing him because, well, Chilton effing sucks.

2) Trump has no self-awareness and just feels the undertones of that epic final pun Hannibal says (and yes it's Hannibal's final line in the film) so he quotes it because he thinks it's cool and has no friggin clue what's really happening in the scene (this is the most likely theory imo).

Trump has also taps into Chilton by referring once to the Baltimore State Hospital in the film as a "mental hospital on steroids" (which he again recently said to describe irl asylums). He uses this as fear-mongering, to explain to Americans why asylums are necessary and why they should fear the borders being open: asylums are needed to keep these dangerous mentally ill people inside and they're ALL like Hannibal so when they're released...where do they go? In your neighbourhood.

Yet, he seems to love that damn final scene.

So again, Trump is aware it's a movie. But he still doesn't seem sure that Hannibal isn't a real guy. Chilton would never praise Hannibal so why is Trump?

And why the late great stuff?

Hannibal doesn't die at the end of the film and if you consider the 2001 Sequel That Shall Not Be Named canon (I don't), he doesn't die there either! So why all the warnings and then praising? Here are my next two theories and both could be true at this point:

1) Trump seriously does think Hannibal is a real person and that he and Anthony Hopkins are the same person. So he flops back and forth because he gets scared that Hannibal will come and eat him if he criticizes him too much. Thus, he says "he's great".

2) Trump genuinely has no clue what "the late great" actually means in the English language. I'm serious. He keeps saying "late great" because it sounds good, not because he knows what it actually means.

To top it all off, Trump covered all three of those points in the exact same speech. Plus, I don't think Anthony Hopkins has really ever endorsed Trump. He did an impression of Trump on TV once back in the 90s (he's good at impressions, autistic king) and I seriously think THAT'S what Trump is thinking about.

So what does this all mean? What's the grand conclusion?

Uhhh... I dunno. Trump saw Silence of the Lambs, and it scared the everloving shit out of him but he doesn't want to admit it and now America is in hell because he thinks Hannibal's gonna kill him? He thinks everyone is Hannibal now? That's all I got. I'm honestly surprised he hasn't roped Buffalo Bill (the other villain of the movie) into this what with America's current transphobia and all (please God I'm begging, don't let him bring Buffalo Bill into this).

Uhhh...if you read this far? Thanks. This is how I cope. All I gotta say is if you have the stomach, watch The Silence of the Lambs. Seriously, do it. Watch it chunks if you have to, sound down, with the lights on, in a safe place, any way you want to. I wish it was more palatable for people because it's a very important film, for better and for worse, and criticizes a lot of bullshit happening in the West right now. It's still very relevant...even if now for the wrong reasons (Trump).

[atomicradiogirl]

has anyone thought about how raylan in the pilot/season one is just so internally torn between boyd and ava because boyd and him have history and ava’s a damsel in distress and raylan is so absolutely heartbroken that the boy he dug coal together with has changed so much that he purposefully misses his heart because he can’t bring himself to put him down even though he called it because they dug coal together. and when boyd finds religion raylan is secretly hopeful that boyd changes for the better even though on the outside it’s all lighthearted banter and feuds. but even though raylan loves boyd and boyd loves raylan of course boyd is an outlaw and raylan is a marshal. it’s a tragic love story. or am i just not normal?

[scandalouslamb]

no, actually, I'm going insane. I need someone to tell me right now. has anyone made the connection that Plutarch's name might not just be a reference to the Roman historian who wrote biographies on Coriolanus and Julius Caesar, but also an indirect Shakespeare reference?

Because his Parallel Lives was translated into French by Jacques Amyot and then that version was translated by Sir Thomas North into English, and that translation was used by Shakespeare to help write his historical tragedies (or at least Julius Caesar, Antony and Cleopatra, and Coriolanus).

And if you're thinking who cares what biographies Shakespeare used to write his plays. maybe it is a coincidence. then consider that from my recollection of being a high schooler reading North's translation of The Life of Caesar, he follows the biography pretty closely. Shakespeare uses the anecdotes of the account and notably to high school freshman me, both describe Cassius as lean and hungry with the same speculation at how that pertains to his character.

[edsbacktattoo]

I have Gathered some Data

@skysofrey and I recently got into a discussion about names in OFMD. Specifically, how many times does Ed actually call Stede by his name in the show? We could only think of a few examples each and that didn't seem right. And because I'm insane, I decided to rewatch and note down every time a name was used, who used it, and who was being spoken to. Here are my findings!

Before you proceed, please know that this is strictly for fun and because I was curious. There are likely errors in the data (I'm sure I missed some things, I'm just one person.) but! I still think that what's been gathered is very interesting.

Here are some other fun/important/miserable things that I found in my travels:

There is one more time where Stede calls Ed “Edward,” and the only time it isn’t said to him directly. This is when Stede is addressing the petrified orange.

Of the five times that Stede is called “The Gentleman Pirate,” two of them are from Ed.

Ed calls Stede by his name only twelve times in the series. Only two of these instances are spoken to someone else. There are two others when Ed is looking for him at the pier, and therefore spoken to no one.

There are only ten instances of other characters calling Ed something other than his name or “Blackbeard.” Two of these are from Izzy, during the scene in Spanish Jackie’s bar, where he’s informing Stede that Ed would like to meet with him. During this scene, he only uses “my captain” and “my boss.” This is one of the very few times he doesn’t refer to Ed to other people as “Blackbeard” and it’s at the time that is arguably the most important. (He’s an idiot.)

Out of the twenty times that Ed refers to himself, fourteen of those are as “Blackbeard/The Kraken.” He refers to himself with names other than “Ed/Edward” 70% of the time. 50% of the times he refers to himself by his name are during the beach scene in episode nine, and there is only one instance where he uses his name that is not in Stede’s company. ("Actually, I do want to be called 'Ed' from now on.")

Izzy only refers to Ed as "Edward" to other people four times in the show. Two of those times are when he's marooning Stede's crew, and each time he uses his name in that scene, he takes on a mocking tone. Meaning that 50% of every instance he's referred to Ed as "Edward" to other people, he's been mocking his name.

Ed calls Stede "mate" as often as he calls him by his name, but he only calls him "mate" directly.

Stede calls Ed by his name only once more than Izzy does.

80% of the times Ed refers to himself by name happen in episode nine.

[maryallenc]

theres just something i absolutely adore about the way bells hells can be generally perceived in general by other people.

like how vox machina are these living legendary god-chosen heroes put into the history books and continue to be influential figures to this day. even during their time, they were protectors of the realm, slayers of dragons and gods. theyve taken the role of saviors and defending the side of good, despite how much of dumbass shitheads and callous in their ways and words they can be.

or how the mighty nein were these lesser-heard mysterious group of hypercompetent operatives entwined with criminal organizations, politics, governments, esoteric encounters, and divine or arcane secrets. they were shady motherfuckers whose agendas not a lot of people are privy to, altho we all know its mostly attending to each other's well-being and actually trying to do the right thing, and thats if theyre actually thinking some things through.

and now, the bells hells. the interesting thing is, theyre a group mostly comprised of ticking time bombs, and i feel like people can maybe already get some hints of that impression from them after a while? like. you see this colorful group of idiots. theyre actually pretty nice people. theyre appreciative and indulgent of most weird and even stupid shit. theyre not necessarily great at stealth, but theyve got the audacity to walk in any kind of establishment as if they belong even when they clearly dont, and weirdly enough it works. when faced with opponents, their first move is to fuck with them with some ridiculous shit. ghost haunts, booby traps, fake orgies, explosives as a warning. maybe even talk things out. wont even kill you, hell, they prefer not to usually.

but then you push a little too far. or youre in the way and they cant really afford to waste time. theyve got a goal, and theyre gonna reach it no matter what. and now youve got the most unhinged and feral group of people who doesnt give a shit about collateral damage or hurting themselves as long as they can put you down.

theyre also just so non-stop, and even if they were given time and opportunity to rest, theyre just so full of energy and grit.

during their first episodes, even eshteross was a little taken aback by how fast and immediate they move on to the next thing that needs their focus.

so. looking from the outside. theres this group of weirdos, most of them almost monstrous? just plain out weird and really questionable? in origins. theyre very nice people. very friendly. maybe even kind, sometimes at least. they fuck with enemies' heads, sometimes theyre small pranks, sometimes they just set you on fire. but stop short of killing, maybe even heal you!

but theyve also left so many places exploding and/or on fire. they will fucking ruthlessly win ANY COMPETITION OR RACE as undeniable victors.

the frontliners are beaten up and still standing and grinning with blood on their teeth, the casters have the least compunctions in killing, and the healer is fucking with a lot of the damages dealt within a fight.

theyre as quick to announce a big good like the voice of the tempest as their ally as they were with an amoral fey called the nightmare king whom they fully admitted to have been abducting children and innocent creatures for science.

no doubt, theyre all there to save the world. right some wrongs. make a better change.

but theyre just so. wild? and destructive. even to themselves.

im just curious on what the final image of them as a group will be for them.