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im-this-kind-of-girl · 1 year

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Aziraphale and Crowley's unhinged character analyzis (pt1)

Controversial opinion:

Aziraphale and Crowley at the end of Season2 managed to accomplish the main goal they each had since the beginning of time. Only to realize that what they wanted no longer made them happy.

It sounds crazy, but to explain myself I have to do an in-depth analysis of their personalities and the possible transformation arc that both characters are probably going to have at the end of the Good Omens story.

Disclaimer: I have no idea about what is going to happen in Good Omens. This analysis could clearly be considered a theory since I'm not Neil Gaiman, but as someone who knows about narrative and character structure, I'm going to elaborate. Also, English is not my first language, so sorry in advance.

Aziraphale

First let's talk about Aziraphale. For two reasons, firstly because he is the one who seems to deserve the most defense right now; and second because Aziraphale, in my opinion, is the main character of Good Omens. This is because Aziraphale, out of the two, is the one who is likely to have the biggest change in his personality once his arc ends.

In a story, especially one like Good Omens with many characters, it is common for there to be many arcs, as every character has something to learn. Crowley, as a co-protagonist and love interest, is clearly going to have a change at the end of the plot, but his change won't be as big as our angel's.

First things first, what is a transformation arc?

It is the transformation that a character undergoes from the beginning to the end of the story. Basically, at the beginning of a story, a character is in a certain state of equilibrium, he lives and thinks in a certain way until he is exposed to a situation that forces him to act outside of his comfort zone. During this, he will undergo different changes that will be reflected in actions that take him away from his natural state until the climax, where the character will make a decision that will change his normality forever. This is important. In every story, the climax marks a before and after in the protagonist's life: whatever he decides at this moment has no turning back and will mark his life forever, so that after the climax, the character may again have a state of equilibrium but different from the initial one.

What is the climax of Good Omens? Well, in the 1st season we have the bodie swap and in the second season the separation of Crowley and Aziraphale. But of the story itself? It's still a mystery.

Neil Gaiman has already confirmed that Good Omens is a three-act story, so its climax will be located at the end of season 3. We still don't know what definitive change there will be in our characters… although throughout the series we have enough clues to at least know what they probably have to work on changing.

Aziraphale's Role

In order to analyze Aziraphale we must begin by understanding his role within the angelic hierarchy. Aziraphale was created as a Cherub and then, after Eden, became a Principality. Both ranks have one thing in common: they are guardian roles.

Cherubs are second in the highest circle of heaven, below Seraphims. They are described as "guardians of the universe from a divine plane and without direct contact with humans, although they positively influence them". On the other hand, Principalities are seventh within the last circle of the angelic hierarchy, and the highest rank within it. They are the guardians of nations and countries, overseeing global events within politics and commerce.

So, Aziraphale was created with the main purpose of being only one thing: a soldier. His function is to obey and protect objects, places and beings. That is why he was the angel who received the sword of fire, his task was to protect Eden. But he also has a very strong sense of intrinsic goodness that has led him to make erratic decisions throughout history that question just how much he is willing to obey orders.

If Aziraphale feels that something is wrong, he won't do it. It doesn't matter if he has to go against Heaven or sin. It doesn't matter if killing a child saves the rest of the world, he won't do it. It doesn't matter if God will grant Job new children, he can't stand idly by. These actions make him stand out from the rest. A simple soldier just obeys while Aziraphale has a critical mind, he has too strong of an opinion about right and wrong. If an event happens that he considers evil, Aziraphale will go to great lengths to prevent it.

It is remarkable that the first thing he did having free will was to give his sword to Adam and Eve. Of course he did it with the function of protecting them but, by giving them his only weapon, Aziraphale was left in a serious state of vulnerability. He did it because he is good and kind, but it could also be considered an act of sacrifice. Here enters another important issue when talking about Aziraphale that relates to religion itself.

The Martyr Hero

One of the most basic conceptions about the Christianity is that without sacrifice a person cannot really be good. Jesus was crucified to free us from our sins; Job sacrificed his whole life to prove that his faith was genuine. Even centuries later, the ecclesiastical institution maintains that the more you suffer, the poorer you are, the more chances you have of ending up in Heaven.

All the sacrifices made in life will eventually be rewarded in the Kingdom of God. It is the eternal figure of the martyr that is worshipped in Church, the idea that to really love, to really do good, sacrifices must be made.

Aziraphale believes this blindly. Now, he is an angel, not a human. He will not have an eventual reward of any kind, and that does not matter to him, because he considers himself lucky to be able to be a being of light who brings happiness to others no matter the price he has to pay. He was willing to fall only to save the lives of Job's children just because it was the right thing to do.

Performing actions for your own happiness without thinking of the consequences is frowned upon throughout the Bible. It is considered selfish and is a great source of guilt for all its faithful.

There is a line from the Good Omens Musical that has always stayed with me. When they argue, Crowley tries to talk some sense into Aziraphale by claiming all the reasons why he should help him avoid Armageddon, to which Aziraphale replies "you and I are not important."

Why didn't Aziraphale quickly give in to the proposal to stop the end of the world? Why didn't he tell Crowley where the Antichrist was without hesitation? Why did he help Gabriel in spite of everything? Why didn't he kiss Crowley back although he wanted to?

Truth be told, Aziraphale does not prioritize his own happiness because he does not consider himself important.

At the center of it all is God, good and ineffable who would never let anything happen unless it is not amenable to the greater good, then there is all the rest. Aziraphale believes he is just a soldier with a mission: to protect the Earth and everything he considers worth saving. He is not on this list: his welfare does not matter to him because, in the grand order of things, Aziraphale does not believe he is important.

There is no afterlife reward for him, though that doesn't stop him from feeling guilty about wanting it.

Aziraphale's dilemma

Aziraphale's great dilemma ould be summed up as:

Do I do what I want or do I do what I must?

Should he obey the rules or get what his heart yearns for now that it is within his grasp?

Throughout Good Omens, we learn Aziraphale has given into various temptations such as food. But these sins are small in comparison to what he really wants. For how does he explain to God that what his heart desires the most is to be able to love the Serpent of Eden?

He is madly in love with Crowley. He could lose everything: his bookstore, restaurants, music, art, but the feelings he has for him will never go away. It were years of repression, believing that if he loved him in silence, everything would be okay.

Now, in the season finale, Crowley expresses it, confesses and kisses him, offering him what he has always secretly wanted on a silver platter.

But Aziraphale was also offered a place in Heaven, finally being accepted by the family he misses. Aziraphale spent the entire 2nd season getting involved in trying to save Gabriel, in bringing Maggie and Nina together, getting perhaps a little too invested because he clearly missed having a purpose.

He was not well emotionally. He missed feeling that he does good because, despite everything, he believes in the potential that Heaven has. Aziraphale knows that if he is in charge, if he gives up everything that makes him happy, if he stops being selfish as he was all these years, he can make the necessary change to prevent the End of the World.

Aziraphale is a soldier whose main goal has always been to protect. Becoming the supreme Archangel he is able to protect everyone he loves. Because of this, he decides to sacrifice his earthly happiness and make the most difficult decision but the one he feels is right: to leave Earth, reject Crowley and become Head of Heaven.

The end of his arc and Crowley

Like any arc, Aziraphale's is clearly at the end of the story. He's already changed a lot, and he's done mostly so because of Crowley. Not just because of love, no, Crowley manages to awake something in him. Crowley is the driving force that encourages change in him, that reaffirms or questions his beliefs whenever he is in doubt about whether something is right or wrong. He inspires something that Aziraphale, an obedient soldier of the Lord never had: freedom.

Obviously, our angel always had that spark of freedom, though repressed, hidden in the darkest part of his being because he knows it is something that makes him different from the rest and he doesn't like to admit that he doesn't fit in Heaven.

Because this means that he doesn't fit in Hell either, nor on Earth completely. Ergo, admitting to being different means confirming his suspicion that he doesn't fit in anywhere. But he never had to pretend this with Crowley.

Knowing all this, how will Aziraphale's arc end?

Well, he's going to have to choose between heart and duty again. Aziraphale is going to want to save Earth at the Second Coming, that's obvious. He is going to be forced to disobey Heaven once again as he realizes that he cannot change them. In this way, he will confirm something tragic: his sacrifice was in vain.

But it is necessary that he can assume this in order to understand that he is wrong:

It is not necessary to suffer in order to deserve love.

It is not necessary to sacrifice everything that makes you happy to prove you are good.

Eternal sacrifice is not the solution. Aziraphale has to learn that being happy and being loved is not a reward that has to be given, no, it is something he is worthy of without the need to sacrifice his life. Aziraphale must understand that he does not have to prove that he is a good person by martyrdom. He is a good person because he is empathetic, smart and sweet.

The secret is to find the balance between love and duty, between good and evil, to embrace his freedom and find happiness by accepting his mistakes that make him different from the rest. The easiest way is to learn to love in the most genuine way: the human way. Discovering that love does not necessarily have to be painful or repressed, that he can do it openly, that what he feels is not a test of faith, but the reward he has been waiting for all these years.

Aziraphale will ultimately become free through Crowley's love.

#stay tuned for crowley's analysis #some day i'll get over these two #but that day is not today #good omens #aziraphale #aziracrow #aziraphale and crowley #ineffable husbands #neil gaiman #character analysis #terry pratchett #crowley #good omens aziraphale #martyrs #transformation arc #good omens theory #amazon prime #give me s3 or give me death

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one-squash-one-end · 7 months

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I wrote a giant Raven Cycle analysis

Hi! Over the last year or so I've been working on a sort of essay about various themes in the raven cycle series, and I finally finished it a few weeks ago.

It is titled: "Why I love The Raven Cycle - An excessive analysis of the themes of friendship, queerness and growing up".

And since tumblr loves its meta (and bc I love peer validation) I've decided to start uploading it bit by bit here, making this the masterpost (if I can figure out the logistics of the linking lmao, bear with me)

(beware of spoilers up to greywaren starting at like 3b!)

Introduction

What even is the Raven Cycle?

Trust me, the characters are queer as fuck and I can prove it a) Blue Sargent b) Gansey c) Adam Parrish d) Ronan Lynch e) Noah f) Henry Cheng g) Honorary mentions

The Gangsey is a polycule

Analyzing the reoccurring themes a) Friendship b) Being a teen/growing up c) (Found) Family d) Magic (as a metaphor) e) Further themes I appreciate

Drawing a conclusion

Click here to start with the introductory parts!

1. Introduction

So here’s the thing: I love fiction almost as much as I love my friends. There’s something deeply comforting about the escapism, even if the book actually makes me want to scream and throw it on the floor (only one book has been thrown so far, I promise!). Fiction is a healthy thing to occupy my thoughts with: headcanons! Quotes being on loop in my brain! Just fandoms!

And for me, if I am hooked on a book (series), it does not even need a good plot where a lot of things happen. In fact, I would say that my enjoyment of a book is made up of 30% plot and about 70% characters and vibes. If the characters are bland, if they do not make me feel much emotion, it likely won’t be more than 4 stars (additional info: I am way too nice rating books!). I really, really need to love the characters, to be able to relate to some aspects of them, or it just won’t become an obsession.

Since I have already started explaining that a bit, let’s look at this question: What is important to make a book special to me? 1. I need to cry reading it. 2. I have to think about it often, even weeks to months after having read it. 3. Obviously, I need to love the characters. 4. I need to be in the fandom! This can be hard with some books, but the internet is a whimsical space allowing you to find at least a small number of people who are obsessed with a work of fiction to a similar extent as you are.

Now, why am I elaborating on this so much? It’s because The Raven Cycle did all that for me. It is my favorite comfort book series at the moment, for all those aspects mentioned, but of course I cannot just leave it at that. No, I wrote a whole-ass analysis on headcanons and some of its themes. You’re welcome.

2. What even is The Raven Cycle?

The Raven Cycle is all I adore and live for (next to my friends). So, naturally, it’s a book series, specifically a four book young adult contemporary fantasy series by American author Maggie Stiefvater. The books in question are: The Raven Boys (2012), The Dream Thieves (2013), Blue Lily, Lily Blue (2014) and The Raven King (2016), and yes I will admit that the publishing dates are a bit of a red flag. There is also the very relevant follow-up series called The Dreamer Trilogy (Call Down The Hawk, Mister Impossible, Greywaren), but it’s a lot less easy to get into that here as I do not know these entire books by heart, so I’ll stick to the original tetralogy here.

To stick to red flags, the books are set in the fictional Henrietta, a rural town in non-fictional Virginia, US, in the 2010s. However, that doesn’t really say *that* much about the plot, so let me summarize that really quick, because I can do better than the official synopsis! (Or let’s pretend I can.)

Blue Sargent comes from a family of psychics, yet she does not have any powers of her own. Even worse, she is a bit of an amplifier for the others, meaning she is always somehow but never directly involved in the business. As if that isn’t enough for an identity crisis, every psychic she has ever met has told her that her kiss would kill her true love. Yikes.

But because she is that amplifier, she comes to a church watch on St. Mark’s Eve, where psychics see the spirits of those to die within the following year. It’s important business, but to her it’s really just staring into the dark. Until she does actually see a spirit: That of Gansey. Of course this is not a coincidence. No, to add to this teen’s mount of problems, there are only two reasons why a non-seer would see someone’s spirit: They are their true love, or they killed them. Or, in Blue’s case, maybe both.

The aforementioned Gansey is Henrietta’s Golden Boy, the son of politicians (read: he’s fucking loaded). He does not run with the Republicans though, he runs with dead Welsh kings, meaning he has been searching for the probably dead, presumably sleeping Welsh king Glendower (*1350; †1416; yikes) for the past like seven years. Why the fuck would he do that? Well, legend says that he will grant a wish to whoever wakes him, and our favorite PTSD-ridden guy really wants that favor.

Aiding him are fellow Aglionby students Adam Parrish, Ronan Lynch and Noah Czerny, plus Henry Cheng, though only a lot later in the series, but I really did not want to leave out that menace (affectionately) here. The paths of Blue and the boys cross because of Gansey’s search for Glendower, plus the fact that Blue works at a popular pizza place, but that’s a lot less whimsical. And, well, there’s the implication that Gansey might also be her true love, but perhaps she just kills him because of his bad fashion sense, it would be justified. Anyway, in true Famous Five fashion (Ronan is the dog; I won’t elaborate, the girls that get it, get it) they are of course not the only ones searching for the king, so it’s not completely a wholesome friend bonding activity all the way through.

Be prepared for: friendship and growing up, lots of treasure hunting, family mysteries, magical forests, illegal and slightly distasteful activities (our favorite of course), but most of all, heavily queer-coded (or even canonically queer) characters. Be Gay, Do Crime.

#y'all better like this it took a while #trc #the raven cycle #gansey #blue sargent #ronan lynch #adam parrish #noah czerny #henry cheng #the raven king #the raven boys #blue lily lily blue #the dream thieves #let's hope i don't forget about this after the first part #please talk to me about your thoughts

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ourflagmeansgayrights · 3 months

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ok so like i get where ppl are coming from with the “the crew loves izzy” takes but also like. ok. i think that take involves a certain amount of reading very deeply into the text to a degree that is almost reading against the text at some points. it’s like when ppl pour all this energy into an underdeveloped and unportant side character—none of those layers ppl add to the character are strictly contradicted by the text, but it clearly wasn’t what the writer intended for anyone to really focus on. and yeah, death of the author, just bc the writers didn’t intend for ppl to think abt something that hard or care about it that much doesn’t mean we’re not allowed to do whatever the fuck we want. but bc i love analyzing the shit out of this show i do want to talk about WHY i think the textual support for this headcanon isn’t rlly there.

first of all. when archie is like “why are we trying so hard to save this guy, he’s kinda a dick” and jim’s like “yeah but he’s our dick.” rather than elaborate on what makes izzy special to them they’re like “it used to be that the crew all had each other’s backs no matter what and things were better back then” while reminiscing fondly about 1. olu and 2. that shot from season 1 where the whole crew is hanging out except for izzy who’s sulking in the background hating everyone. if this was supposed to be an “izzy’s a dick but we love him anyway” moment i would expect jim to talk about. yknow. izzy. instead to me ot comes across more like an “izzy’s a dick but crew is crew, we stick up for each other even if we don’t particularly like each other bc it’s us against the world” which isn’t as impactful from an izzy stanning perspective but i think makes for, like, an interesting allegory abt the queer community. we all gotta defend the rights of ppl in our community even if those specific ppl are dicks and we don’t get along with them.

second of all. after they save izzy’s life and get caught by ed they all leave the room and then a few minutes later a gun goes off. maybe someone saw ed leave the room before the shot was fired, but either way they think either ed just killed izzy or izzy just killed himself. and then they DO NOTHING ABOUT THIS. nobody checks on the body. they put all this effort into saving izzy’s life and then when their efforts are foiled they do not seem that bummed out about it. the next scene with any crew member in it is frenchie talking to ed on deck, and ed is like “go take the day off” and frenchie is like “oh nice!” and he’s like, confused and a little concerned about ed suddenly steering the ship rlly erratically, but he also seems pretty excited about getting some time off (after so many raids in a row i would be too lol). and THEN!!! in the next scene where we get the whole crew, they’re crowded in the hallway that leads out to the deck and the conversation they have isn’t “oh my god i can’t believe ed killed izzy after we cut off izzy’s leg” it’s “maybe ed’s better now? maybe killing izzy was all it took? he seems pretty cheerful for the first time in ages, maybe ed’s okay?” like literally they think ed just killed izzy and they are more worried about ed’s emotional state than they are grieving a beloved shipmate

then in 2.04 the crew B plot is so blatantly “the crew struggles to trust each other again but after seeing izzy be incredibly sad and pathetic they remember that a good crew has each other’s backs no matter what and so they extend izzy some unearned kindness and make him a new leg” that i’m amazed that other interpretations even exist. like literally they’re all drawn away from screaming at each other with weapons drawn by izzy making some dramatic announcement and then falling and then drunkenly crawling away and refusing their help rambling “youre born alone you die alone” over and over again or whatever melodramatic bullshit he said. like he’s muttering abt being miserable and alone and there’s a WHOLE ROOM OF PEOPLE!!! standing RIGHT THERE!!!! like “oh hey man do you need help standing up? no? no ur just gonna crawl away? um. ok.” and then they all go “well at least we’re not as fucked up as that guy. maybe we should do something nice for him?” like they are literally almost explicitly motivated by pity, not fondness. which yeah, it’s probably fucked up the way they use izzy’s new disability to sort of emphasize how pathetic he’s being, but i think the intention there is not that izzy’s pathetic bc he’s disabled, he’s pathetic bc he’s refusing to accept help. like the crew doesn’t go “yikes 😬 at least we don’t have his issues” abt izzy falling down when his makeshift prosthetic breaks, they go “yikes 😬” when he bats away their hands and goes on a weird mumbling tirade. definitely not the most sensitive way to depict izzy in this mental state, but that’s a different post probably. for the sake of THIS post tho: the takeaway i got from this scene is that the crew is remembering how to be there for each other again. it’s easier for them to let go of their paranoia and stop being so defensive and distrustful when izzy is there as an example of what happens when you’re TOO defensive and distrustful. “the crew makes a leg for izzy bc they care about him on a personal level” did not seem to be the focus of that story arc. to me.

in 2.05 we get our first ever instance of a character expressing appreciation for something izzy said or did or some trait he expressed (except for stede that time in 1.06 when izzy backed stede up on wanting to do a fuckery, which he only did specifically bc he wanted stede to fucking die and ed was taking too long), and it’s lucius saying he loves the shark izzy whittled. but during the entire episode leading up to that scene izzy is either in syede’s storyline where he’s not engaging with the crew or he’s getting snarked at by lucius, and not in a fun teasing way. like during that whole bit where izzy steals his cigarettes and calls him “twatty” lucius just looks so fucking annoyed and then uncomfortable. and then at the end of the episode izzy is sort of offering him advice and lucius is just sarcastically like “that sounds healthy.” and within this storyline, the point of these scenes isn’t rlly abt the developing and deepening relationship btwn izzy and lucius, it’s abt lucius individually coping w his trauma. izzy in this episode kinda exists in a weird place in the narrative, where he plays a supporting role in two different characters’ (lucius’s and stede’s) storylines without getting a central arc for himself. and both of those two storylines are only really about lucius and stede respectively, izzy is just there as this a static character who imparts wise advice. which is a very weird role for him to take, imo, but on top of that it doesn’t rlly contribute any sense of like, actual bonding btwn izzy and the other two.

and in 2.06 they just enjoy the show izzy puts on. they like listening to him sing. it’s all very cute! but also. i would not say that it shows the crew really cares about izzy?? i was in pit orchestra in high school and all the lead theater kids were always fucking assholes but they were also rlly good singers and it was fun to listen to them. i would mouth along to the words being sung by bitches who seemed to be trying to be sharpay evans irl for some bizarre fucking reason. like, cartoonishly mean girls. so like, the crew listening and dancing to izzy’s song doesn’t rlly sell “the crew loves izzy” to me. if anything, i would say that actually a stronger indicator of the crew loving izzy would be wee john sharing his makeup, and it’s a shame that we don’t get to see this happen. i mean that genuinely, i think that would’ve been a great moment to rlly strengthen izzy’s arc and it just. doesn’t exist on screen. and this isn’t like the finale where we know for a fact that they had to force a 40-minute episode into 30 minutes, Calypso’s Birthday has a runtime WELL under 30 minutes. it would’ve been SO easy to add another like 45 seconds of izzy and wee john getting ready together, but the only moment they show us is izzy walking in and discovering drag for the first time. it feels like the focus of this scene is less about a moment of connection between two characters and more about izzy individually having a gender breakthrough—and that carries on with the rest of the performance, too. bc it’s a performance, it’s everyone looking at izzy, it’s izzy a half step away from the crew as he puts on a show. the narrative framing of all this puts the focus entirely on izzy as a solo act, not on izzy as part of the crew. they like his performance, but we aren’t rlly shown evidence of the crew liking him as a person.

and that’s kinda it for izzy and the crew! up until he’s actively dying in ed’s arms and they’re all in the background silently weeping, at least (and btw, speaking from experience but uhhhh it’s pretty normal to cry when u watch someone die even if u have literally no connection to the person dying). even when they’re helping him back to the ship, ed is the one who notices he’s injured, nobody notices until he’s already giving izzy support. and i fully believe roach flips off izzy’s grave marker with fondness, but that’s also like. the only little personal moment any of them aside from ed has during the funeral. they do all laugh at his pinocchio joke earlier in the ep but idk if that one line can carry the entire weight of “the crew loves izzy” on its own. apparently there’s some shots during the zheng v stede fight where izzy can be seen in the background close to jim and archie??? but like, you can’t tell me a background shot of izzy standing near some crew members is strong textual support for the crew loving him. and i don’t think i need to argue abt any scenes in s1 bc literally every single crew member who was on that boat, ivan and fang included, was about to fucking drown him in the fucking ocean.

there is one single scene that gives actual strong evidence that anyone other than ed likes or cares about izzy. it’s the part at the end of impossible birds when fang is crying after ed shot izzy. so maybe fang specifically loves izzy, even tho izzy used to pull fang’s beard a lot and fang didn’t like it bc it hurt. idk.

here’s the thing tho. in 2.01 the writers use dialogue very effectively to tell us about the kraken era. the crew doesn’t say much, but what the do say tells us a lot: we know that archie thinks the kraken era is all normal pirating stuff, jim felt like the wedding raid (which seems like their only raid on a civilian ship and not a military one) was a step too far, frenchie is Not Okay but he’s doing a fantastic job repressing everything, izzy looks tired but the specific thing echoing in his head right before he starts crying in front of the crew is ed telling him “if you can’t do the job, someone else will.”

and we know fang, who’s known ed for decades, has never seen ed like this. and the specific thing he mentions as something he’s never seen from ed before is not batting an eye when ivan died. meaning that even before meeting stede, fang would’ve expected ed to have some sort of reaction to ivan dying.

and the thing about ivan is that we know next to nothing about him. he has very little dialogue in season one. we don’t even know how long he’s been working with ed—long enough to have at least heard about fang having to put his dog down bc “the love of a pet makes a man weak” when fang joined ed’s ship years ago, even if ivan wasn’t actually there yet at the time—but we do know that watching ed tell ghost stories was apparently the most open and available he’d ever seen ed get. so it doesn’t sound like ivan and ed were especially close. ivan was almost certainly less close to ed than izzy was.

if fang expected to see ed have some sort of reaction to the death of an ordinary crew member (who mightve been working for ed for decades, might’ve been working for him for months, we really can’t say) who wasn’t even that close to ed, seeing ed casually and unflinchingly inflict a life-threatening gunshot to his first mate must’ve been fucking earth-shattering. and interpretation is also supported by what fang actually says while he’s crying at the end of 2.01—it’s not “i can’t stop crying, izzy’s hurt” or “i can’t stop crying, izzy’s going to die.” its “i can’t stop crying, ed shot izzy.” more than the imminent demise of a crew member, fang is shaking and sobbing and traumatized because he can’t believe ed would do that.

and if that feels like a reach, just remember what happens after the leg is cut off, after the crew most likely believes ed shot izzy again, this time 100% fatally: the whole crew is crowded in the hallway, and fang asks “do we think he’s… better?”

fang is not sad about izzy. or if he is, it’s dwarfed by how much more sad fang is about ed.

in conclusion: have fun with ur headcanons i am not the boss of you but also there is less canonical textual evidence of the crew loving izzy than some of y’all seem to think k byeeeee

#ofmd #our flag means death #ofmd meta #izzy hands #dizzy izzy #israel hands #crew of the revenge #s2e01 #s2e02 #s2e04 #s2e05 #s2e06 #s2e07 #s2e08 #txt #meta #mine #og

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championashley · 3 months

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True Love: Why FifteenxRogue Works

WOW. Man, that Rogue episode, huh? Watching that live was probably the greatest experience I’ve had recently regarding Doctor Who. Not just as a queer viewer, but as a queer media analyst. Fifteen and Rogue truly feel like a relationship written for me to analyze, because there is simply so frickin’ much to talk about. So, allow me, gentle reader, to be your Lady Whistledown of queer alien fuckery, and guide you through analyzing the latest dalliance of our Time Lord extraordinaire with the most honest bounty hunter in the galaxy.

We’ll be covering a LOT of ground in this: the theme of facades/masks, an interrogation of The Doctor’s perception of romantic relationships, and a deep dive into The Fifteenth Doctor’s character overall. So, needless to say, this is going be a LONG LONG piece. Grab a snack, some water, whatever you need, cause we’re going deep on this one.

You’re still here? Fantastic! Then let us begin! Specifically, with the Fifteenth Doctor himself. Because above all else, this episode works as a dissection of his character overall.

I’ve already done two metas regarding The Giggle’s ending and The Doctor’s perception of romance pre-Season 1/14, so if you want more elaboration, go read those here: 1, 2. But in case you don’t, I’ll sum up and expand based on what we’ve learned since.

The Doctor, as a character, has always struggled with commitment and attachment. They never stayed in one place for long and when they did, they had an unhealthy relationship with it (Trenzalore, Darillium, Bill’s University). Romantic connection is a permutation of this larger issue, as every romantic relationship we have seen The Doctor take part in since 2005 either was unbalanced (holding back problems/outright lying) or ended in a really bad way. However, thanks to the 60th specials and a bi-generation, The Doctor went through a massive change, and with it, came a new perception of openness and love. Fifteen is more expressive, and willing to verbally identify beauty. He openly points out how beautiful people are, and talks about previous exploits with pride. But this supposed openness betrays a deeper dishonesty still inside the Doctor. As much as Fifteen talks the talk of openness, he doesn’t often walk the walk when things get tough.

Fifteen’s character struggle is trying to break out of the Doctor’s previous patterns of unstable attachment and commitment while continuing those patterns. He values emotional honesty and encourages it in others yet simultaneously runs from it when the spotlight is on himself, even when he knows it’s beneficial and necessary for him to do so. So, with all of that in mind, let’s deep dive into Rogue (the episode, not the character, but also the character).

The best word to describe this episode is ‘deception’. Setting the episode in Bridgerton-esque Regency-era England was an appropriate choice, likening to a show that is all about facades and posturing to gain wealth and social standing (yes I am oversimplifying, don’t hurt me). Throughout the episode, we see characters who aren’t who they present themselves to be and use all manner of tools or tactics to disguise themselves to meet their ends.

We have the Chuldur, creatures who gain pleasure from cosplaying. They thrive on creating fake entertainment for their amusement, honesty is useless if it can’t satisfy them. While this is meant as an obvious commentary on fan culture and how dangerous it can get when taken to the extreme, it also functions as a darker reflection on The Doctor’s habits. Because think about it: what are Fifteen and Ruby doing in this episode? They are having fun, dancing alongside the other partygoers. They’re wearing the outfits but only to blend in. Ruby doesn’t know how to dance, she has to wear psychic earrings to keep up. She watches the fake fight between ‘Emily’ and ‘Lord Stilton’ like she would watch an episode of Bridgerton. Her fight with Emily later in the episode is set to Lady Gaga’s ‘Poker Face’ playing in the background.

What we’re seeing in the villains is The Doctor’s pastimes becoming toxic, taking a companion and bringing them to a culture far removed from their own. But it’s not only a commentary on The Doctor overall, it’s also Fifteen’s philosophy in a darker context. Posing as sincerity and maybe containing it to some extent, but ultimately not completely honest. Through the setting and the villains, the episode is already priming us on a subconscious level to be thinking about disguises and dishonesty, a topic that both The Doctor and the Fifteenth incarnation specifically have a complicated relationship with. And then comes Rogue.

Rogue himself is such a fascinating part of the episode because he is such a deliberate disruption to this cultivated environment of deception. Rogue is the complete antithesis of everyone in the plot. He’s terrible at improvising, he’s socially awkward, he dances without needing psychic earrings, and he never cleans the inside of his ship. Rogue intentionally disrupts the narrative of lies by not being able to play the game. Even when he tries to wear a mask, the mask of an uncaring bounty hunter, He doesn’t wear it well and gets rid of it after the ship scene with The Doctor. Rogue is a character who cannot help but be who he is, he’s a character who not only can’t wear a mask but doesn’t want to. To put it simply, honesty is Rogue’s kink. That’s why the episode is named after him; it’s not just because he’s a central character, but because he provides the counter-argument to the themes of lies and deception. Rogue, the disruptor to The Chuldur’s acts of fake entertainment, and the disruptor to The Doctor’s act of cosplaying with Ruby, and on a deeper level, disrupts Fifteen’s oscillation between sincerity and repression. But we’ll get to that, we have Mount Everest's amount of context to analyze first, starting with their first meeting.

The Doctor and Rogue’s beginning scene sets the stage for the main obstacle in their relationship: their masks. ‘Cause right now we’re operating with two versions of the characters: the facade/mask versions, and the real versions. We get our first look at Rogue when Fifteen looks around for interference on the psychic earrings. He finds him being the most conspicuous while wearing the ‘bounty hunter’ mask: on a balcony (separated from the party physically), not speaking at all.

He is standing out here but only in the way someone who knows disguises would recognize. The Doctor, remember no. 1 liar, of course he’s gonna recognize that. So much so, that he gives Rogue pointers on how to put on a better “brooding” face, literally teaching him how to wear the mask better. Rogue is an amateur mask wearer, going up against the master of mask-wearing. And that’s why Fifteen smiles when he sees him, he’s intrigued by that contradiction and wants to know more.

Rogue meanwhile, is being rude and dismissive to scare him off, trying to keep to the mask he’s built. At this point, he knows that Fifteen also stands out from the rest but right now is assuming that he’s still a random partygoer. Notice what he says to him:

He’s still using language and ideas someone from that era would understand. Where this deviates is this little exchange that felt familiar to me, but I couldn’t figure out from where. Until I remembered this:

(credit to @ngatwa for this set, you're amazing)

This is the first instance in the episode where Fifteen and Rogue’s relationship calls back to previous romantically-coded relationships The Doctor has had between companions. But it’s not just romantic subtext, it’s subtext that explains where the two are in the relationship. Victorian Clara was far more than what she appeared to be (a governess masquerading as a barmaid/echo of a companion scattered in the Doctor’s timeline), and the Doctor was more than he appeared to be (an alien who lived in a blue box). In asking those questions, it’s both recognition of the masks and inquiry for the real person underneath. Same thing here: Rogue and Fifteen at this point are trying to figure each other out, trying to see beyond the masks of the uncaring bounty hunter, and the flirtatious partygoer. Where things start to go wrong is that neither party fesses up to who they are. Rogue instantly assumes Fifteen is The Chuldur he’s looking for, while Fifteen assumes Rogue is a regular partygoer looking to…*ahem* create a scandal in the gardens if you get what I mean. This explains why a violin rendition of Billie Eilish’s ‘Bad Guy’ plays in the background. It’s not just a Bridgerton reference, it’s contributing to both characters’ perception of each other in this scene: both characters think the other is the “bad guy”. The lead into the scene is deception, we leave it the same way. No breakthrough yet.

Now we’re moving on to the scene in the garden, where both masks of Fifteen and Rogue begin clashing with their real personalities. Fifteen is still being semi-sincere, still complimenting Rogue. And like water, all of it is rolling off of him because he’s still under the assumption he’s talking to a shapeshifting alien. He rudely asks about The Doctor’s info dumping and doesn’t respond to The Doctor’s compliments.

(credit to @klausbens for the gif, you're awesome)

He’s not engaging because he thinks the Doctor is not who he appears to be, and for a character that values honesty, everything Fifteen says is gonna wash over him. The moment this changes is when the two are accusing the other of the murder. Quite literally finishing each other’s sandwiches (C’mon, you know I had to throw a Frozen reference in this somewhere).

This is a very interesting scene given our current context. Trope-wise, this is meant to communicate to the audience the bond between the two characters, they’re thinking the same thing. But the trope is flipped on its head because both characters take it in opposite directions. Both Fifteen and Rogue are in perfect sync, they are being honest about how much they understand about the situation, but that information is leading them to completely different conclusions (i.e. the other person is the Chuldur). They’re slapping more masks onto each other, this time with information they know is true, which leads to them locking in their heels and simply not being honest altogether until later. This scene is a repeat of the previous one, except this time it’s them showing their hands a bit more, making the backslide all the more difficult. Getting close to sealing the deal, then heel turn at the last minute, a classic Bridgerton move.

So, what needs to happen to break this backslide? Well, plain and simple honesty. The scene on Rogue’s ship is when both masks start coming off. What Fifteen is doing on the ship during the scene is essentially trying to figure out Rogue. He finds out the ship is meant to be piloted by two, and he discovers the origin of Rogue’s name, the Kylie Minogue music. Which is a moment I want to zoom in on. Right before this happens when Rogue gives a cheeky response to Fifteen finding out about the name, Fifteen makes a joke and starts emphasizing his Scottish accent. This is Fifteen putting on another mask to make a joke, and Rogue doesn’t appreciate that, given his dirty look.

Then Fifteen finds the music, which he then again uses as an opportunity to joke around and make fun of him (and flirt a little bit with him). Fifteen is removing Rogue’s mask, while he is staying enigmatic and mysterious, which is why Rogue is still stonewalling him. HOWEVER, two can play that game, and Fifteen makes a big mistake in showing Rogue the psychic paper. This is the first time Fifteen is completely honest about his feelings towards Rogue. No mask, no posturing, complete honesty. And we see Rogue responds positively to this:

This is the first time the two are both on the same level, communicating honestly. And that’s where we start to see genuine romantic feelings and attraction.

But it’s not enough, so what does Fifteen do? He pulls out the big guns. He shows Rogue the truth: he’s a Time Lord from Gallifrey and has lived many different lives over hundreds of years. He not only rips off his mask, he quite literally reveals all of the other masks the Doctor has worn throughout the ages. And what is Rogue’s reaction to this?

Complete besotted awe. If honesty is Rogue’s kink, then The Doctor revealing their faces just supercharged it. This is the moment that Rogue falls in love because he’s finally seeing who this mysterious flirty person really is.

Now, I’m gonna pull out another previous Doctor romance for two reasons: One, I’ve been seeing this comparison floating around for a while, and if you know me and my old analyses, it’s that I cannot leave an inaccurate take alone, and two, because I think it applies here. I’ve been seeing comparisons online of this episode to Girl in the Fireplace, in which a new character falls in love with The Doctor and gets the rare opportunity to see their true self. But what makes Reinette different from Rogue is that honesty kink. Reinette was attracted to the mystery of the Doctor, her childhood hero who somehow doesn’t age. Note when he comes back the first time, she focuses on how strange he is:

She learns more about them later, but she was already in love with them before that. Rogue doesn’t want the mystery. In reality, The Doctor wearing masks is a turnoff for him. He only wants the real thing, so when Fifteen reveals the truth, that’s when the genuine romance begins.

(We could also extend this comparison to the discussion of consent: Reinette found out everything without The Doctor's permission, while Fifteen revealed all the info by himself, but whether we can consider this consensual depends on your definition of consent under duress/threat. So I’m not entirely sure what to make of this conversation, feel free to expand in the tags/replies cause I want to hear more about this)

So now we’re moving along to the TARDIS scene. We continue with the theme of disguises with the whole “bigger on the inside” routine, Fifteen riffing as Willy Wonka for a hot moment singing Pure Imagination, and we have Rogue’s momentary slip-up:

(credit to klausbens for the gifs, you're awesome)

This is a great sign of character growth because while he’s maybe not wholly honest about his feelings towards The Doctor, he still is open about his love for the TARDIS, an important part of The Doctor’s life, so big step right there.

I want to pay attention to the heart-to-heart here because watching what Fifteen says and how he reacts is extremely important to getting his view on the situation. Because right now, I wouldn’t say The Doctor is in love with Rogue back. While there is a lot of attraction and hints at a deeper bond, Fifteen is still operating with most of his mask on. Notice that when he asks Rogue about the person he lost, Ncuti Gatwa’s blocking has him leaning on the railing at an angle to the side of Rogue. He’s purposely staying at a distance, yet is leaning on the railings to appear casual.

And when Rogue starts opening up, he moves closer and they’re at equal distance from each other.

We get a really sweet (and allegorical to the queer community) moment about The Doctor’s motivation of living out of respect for the dead, to keep living each day that they lost. And then we get Fifteen inviting Rogue onto the TARDIS. I want to focus on this because he doesn’t seem upset or disappointed by Rogue countering this offer by inviting The Doctor to travel with him, meaning he doesn’t see this as a “take it or leave it” offer. In fact, the compromise Fifteen comes up with, “let’s argue across the stars” and Rogue accepting it, is what leads to the almost kiss. So that prompts the question, what is Fifteen trying to say here?

Well, what Fifteen is asking for is to continue seeing Rogue. It doesn’t matter to him if he’s on the TARDIS or not, all that matters is that he still has him in his life. The choice to see him more. Why does that sound familiar? Because that’s exactly what I wrote about in my dissertation on The Giggle’s Ending:

“In giving Fourteen their own TARDIS, Fifteen is allowing his younger self to have what they always removed from the equation: free will. The Doctor can still go anywhere they want, which makes them even more motivated to stay and fix themself. Fourteen can feel safe staying with Donna, Wilf, Mel, Rose, Shaun, and Sylvia because the option to travel is still there.”

Fifteen’s love language is giving the people he cares about the freedom to express the love they already have within them. He values freedom above all else, and when Rogue accepts that freedom, that’s when we get the almost-kiss. This is the moment where The Doctor falls in love with Rogue back because it’s Rogue being willing to meet The Doctor where they’re at. He’s allowing Fifteen to set the pace and not force himself on him.

Additionally, this willingness to be as slow or fast as The Doctor needs means far more to The Doctor overall than to just Fifteen. Many people have already pointed out the similarities between the line “let’s argue across the stars' and previous lines the Doctor has said to villainous characters like The Master and The Toymaker:

"We can take your games back to the stars."

"We can fight across the constellations if that's what you want".

Now, why is that? It’s because again, The Doctor’s perception of Rogue is evolving in this scene. Remember, up to this point, The Doctor doesn’t entirely know Rogue’s morality. All they know is that Rogue is a bounty hunter, and is not afraid to use his gun when he deems appropriate. There’s even a little line in this scene before the heart-to-heart where Fifteen specifically imposes his own brand of morality on the situation: “Whatever the Chuldur has done, I can’t let you kill it.” Now, we know that The Doctor’s morality and romantic life can conflict: River being a known murderer/psychopath, their longtime situationship, and later attempted rehabilitation of The Master/Missy. This is another feature of The Doctor’s character: while they do act like they have the final say on what is right, they also compromise that morality for people they care about.

Like how The Doctor surprised Rogue by showing all of his faces, Rogue surprised the Doctor right back by not only being honest about his past but by being willing to accept The Doctor’s compromise. This moment is when The Doctor finds out that Rogue is a good person, and that The Doctor doesn’t need to compromise their morality when entering this relationship.

This heart-to-heart is about Rogue not only winning over the Fifteenth Doctor by agreeing with his values of freedom but also winning over The Doctor overall by just genuinely being a good person. But of course, the moral duty of taking care of the Chuldur rears its head in the form of the TARDIS alerting that the trap is ready. The bubble has popped and we still have a long way to go.

(Plus, Fifteen’s facial expression in this shot perfectly captures that trademark “Oh.” moment, realizing you’re in love with someone but then taping it down to focus back on the immediate problem. Love you Ncuti Gatwa, you do great work)

Alright, now we’re at the dance/fake proposal scene. Oh lord, so much happens here with both dialogue and production regarding character, so let’s take this one at a time. Fifteen, Rogue and now Ruby have figured out the big plot regarding the Chuldur, their obsession with cosplay and dressing up to create drama. In response, Fifteen comes up with the idea to essentially beat them at their own game: create a fake scandal to draw them out.

Now on paper and in terms of beating the bad guys, this is a plan that could and does work, but in terms of his relationship with Rogue: THIS. WAS. A. BAD. IDEA. Why? The very idea of masks and faking not only was the leading cause of them not connecting in the beginning but specifically doesn’t work with Rogue. You can see it in how Rogue nervously looks at Ruby and Emily when Fifteen asks him to dance, and even questions the validity of the plan:

(credit goes to @carricfisher for texted gif, you're awesome)

It’s not just that he doesn’t know about homophobia, he just doesn’t like the idea of pretending at all. But the reason why it doesn’t collapse right away is because it’s not entirely pretending. The dance may function on the surface to create a scene, but for Rogue (and Fifteen albeit to a smaller extent) it doubles as an intimate moment between them. This connects to the choice of dimming the lights in an unrealistic way (which btw, as a film student, had me going insane watching it live). We’re seeing a deliberate break in reality, a dishonest showcase of the story being told, that serves the purpose of highlighting an ultimately honest and sincere act of love. Both The Doctor and Rogue are warping the aesthetic of deception in terms of the narrative by fabricating a scandal, and in terms of the production by changing the lighting.

But of course, things start going to hell right there. Fifteen tries to up the drama and Rogue can’t keep up. Rogue overcorrects and proposes to Fifteen, who freaks out and leaves the room. Now, I don’t want to get into the question of whether or not Rogue was playing along by proposing or being genuine (Personally speaking, I think it was both. 70% true, and 30% fake). Instead, I want to clear up why Fifteen freaked out here. I’m sure a lot of the long-time audience could already guess that it was parallel to River Song, The Doctor’s wife, but I think it’s more layered than that. Why would a reference to River scare the Doctor so much, aside from reminding them of a close person they lost? Because the last time the Doctor got married to someone they truly loved, it involved a 24-year stay on Darillium, which he knew would end in tragedy. Note the word choice here:

“Sorry I…I can’t.”

Not ‘I don’t want this’, it’s a void of agency (which connects to my piece on The Giggle’s ending and freedom). The Doctor can’t have that with Rogue, he was fine with them being casual to avoid the possibility of losing him.

But on my first watch, I couldn’t help getting a little bit cross with Fifteen here, because the amount of ball fumbling on display is outright ridiculous; The Time Lord brings himself onto the dancefloor, with a guy he nearly made out with two minutes ago, gets all up in his face and starts shouting at him to “tell me what you heart wants!” and then completely freezes when said guy starts proposing to him. What in the fuck did you expect was going to happen, bud?! What made you think this would go off without a hitch?

I want to preface this by saying I had a completely different reading of this scene for a long time. My original thought was that Fifteen was trying to do multiple things simultaneously. He potentially was trying to lure out the Chuldur by creating scandal and at the same time, was trying to have a serious talk with Rogue about where he’s at emotionally. These lines in particular have fascinated me since my first watch: “You would ask me to give up my title, my fortune. But what future can you promise me?”. It did feel like these lines hinted at Fifteen’s thought process at this moment, he chose those specific lines to use for this moment. Was Fifteen trying to have an honest conversation with Rogue about their relationship while being fake to everyone else? But that doesn’t make sense considering the previous conversation in the TARDIS showed Fifteen comfortable with the idea of them being casual and Rogue respecting that, so it doesn’t make sense with where Fifteen is progression-wise.

But it wasn’t until writing out this piece that I realized I had it all wrong and the truth was far simpler: this is a repeat of their meeting on the balcony, albeit with higher personal stakes. Let’s take a step back here: What is happening in this scene? Fifteen and Rogue are completely missing what the other is trying to say. Fifteen ignored Rogue being visibly uncomfortable over being back to playing with masks, and Rogue is not getting if Fifteen wants him to be genuine or not. Just like on the balcony and the garden, where both sides think they’re saying one thing when it’s the opposite. Before, both parties were wrong about who they were, now both parties are wrong about what they want.

Fifteen is saying complete bullshit here, not true stuff to their situation but stuff that their audience would react to. He’s being over the top on purpose to elicit reactions. Meanwhile Rogue is thinking he’s being genuine. He thinks Fifteen is, through code speak, trying to genuinely ask him these questions. Which leads him to get down on one knee. And that’s a big problem because Rogue doesn’t know that proposing is wading into a gargantuan trauma pool for The Doctor. This scene is a magnified example of the duo’s problem with masks and not being completely honest with each other.

However, while this scene may have been a cause for regression from The Doctor on the relationship part, Rogue on the other hand has an epiphany. In the scene following this one, we get the truly iconic callback of “Run.” and Rogue taking the Doctor’s hand. Why is this important? Well, there are three specific examples that this moment is calling back to:

Nine meeting Rose ("Run!")

Victorian Clara and Eleven fleeing from the Ice Governess ("I do the handgrabbing! That's my job! That's always me!")

Twelve running with River ("Stop holding my hand! People don't do that to me!")

Nine meeting Rose establishes this idea of protection: The Doctor taking care of someone by leading them away from danger. The other two examples are subversions of that idea: Clara and River are now leading The Doctor out of danger. Same principle here, except here it has a bit more context behind it. Clara and River subverting that act of protection made sense given who they were: Clara as an echo across The Doctor’s time stream knew who The Doctor was and what they needed, even if she didn’t know it consciously when the moment happened. River as The Doctor’s wife also knew who they were and what they needed at the time.

By connecting Rogue’s action of taking Fifteen’s hand and running to Clara and River, it not only again connects Fifteen and Rogue to previous romantic relationships, but it also shows Rogue learning from his mistake. Rogue’s mistake in the proposal scene was him not figuring out what Fifteen needed at that moment, it was a major miscommunication. Now, at this moment, Rogue is starting to figure out what he needs to do. He is, to use relationship lingo, "shelving his agenda" to help the Doctor.

And that progression continues through the last leg of the episode, including the moment when Fifteen thinks Ruby is dead. I’ve always found this moment in particular so fascinating because of how loud it is metaphorically for both characters. Fifteen is taking off the mask of coolness and revealing that Doctor™ anger. This is a complete switch-up from what he’s been like throughout most of the episode. Yet when he lets out that chilling line, “Good. That’s a long time to suffer.” Rogue doesn’t look all that scared or mad at him.

The face Rogue makes here looks far closer to a resigned sadness, almost like he knew that he would have that reaction. Keep in mind that Rogue knows nothing about The Doctor at their worst, all that he knows right now is that they lost “everyone”. Compare that with Donna, who was outright terrified of The Doctor when at their worst (for good reason though).

Rogue isn’t surprised by this at all. He’s not asking “What happened to this person in front of me?”, he’s realizing “This is how much he cares about his best friend.” He’s seeing the depth of this person’s love that is inexorably linked to the depth of his grief, and is realizing he can’t allow that grief to corrupt this person he’s grown to love, even if it means endangering himself. Which is exactly what ends up happening.

This is where the theme of masks finally pays off. At the beginning of the episode, both Rogue and Fifteen are wearing their masks (cold, uncaring bounty hunter, and flirtatious partygoer). Those masks started to come down, but that got messed up thanks to miscommunication. Rogue didn’t understand what The Doctor needed from him, causing their trauma to resurface and The Doctor ran away from having to deal with that grief. This final scene is them being completely honest with each other. Rogue asks him “Can you lose your friend to save the world?”, and Fifteen tells him the truth. He can’t, he can’t let that happen again. And Rogue understands that, he finally knows what needs to be done. And so he kisses him. Why did Rogue kiss him? Again, it’s a repeat of a previous scene, this time the dance. Rogue is comfortable putting on a mask/doing something dishonest when there’s an aspect of truth to it. Even if they danced together to serve a lie, it still was a moment powered by romantic feelings. Same with the kiss. Rogue had wanted to kiss him, so he felt comfortable doing something with an ulterior motive (taking the button from him) because it was also something he would’ve wanted to do regardless of the situation.

But why did Rogue do it? The one line that I kept thinking of in summing up the intent behind Rogue's sacrifice was, ironically, from Frozen: "Love is...putting someone else's needs before yours”. Essentially, shelving your agenda, like we’ve been saying. Back in the proposal scene, Rogue’s mess up was not figuring out what Fifteen needed out of him at that moment. Fifteen needed him to play along in faking and instead, Rogue heel turned into a lot of trauma for The Doctor. So now, after seeing how important Ruby was to Fifteen, so important that he was willing to torture The Chuldur out of grief, Rogue is putting The Doctor’s needs before his own and stopping him from having to choose between her and the world. It's also why Rogue wiping away his tears before the kiss was so crazy because that's normally the Doctor's job. The Doctor is normally the one who turns sadness into hope. This time, someone else is doing that for him.

(credit to ngatwa again)

The greatest act of love in the episode was not the proposal, it was the sacrifice.

To close our tale, let us circle back to talking about Fifteen’s character arc. I opened this essay by talking about Fifteen’s main character flaw being a contradiction: both valuing emotional intimacy and running from it. That doesn’t seem to change by the end of this episode, so much so that Ruby forces Fifteen to take a moment and mourn Rogue’s loss when he wants to steamroll forward. But there’s one little detail left: Fifteen kept the ring. Not only kept it but is wearing it in the season finale to the point of even playing with it like a nervous tick.

That bond, that relationship was so important to him that he doesn’t allow himself to ignore it. It’s only after he has that hug with Ruby that he pulls out the ring and chooses to wear it. Rogue is the one thing Fifteen won’t run away from because what they had wasn’t fake. It was real.

Rogue, the supposed bounty hunter who only cared about wealth, loved The Doctor so much that he was willing to give up his life for his friend. The Doctor, the supposed Time Lord who flees from attachment, loves Rogue enough to remember him every day.

I ask you, gentle readers, how could one resist a love story like that?

NOTE: some extra bits I wanted to include that I couldn’t fit anywhere else: I’m such a sucker for color symbolism, and having Rogue wear blue in contrast to Fifteen’s normally warm color palette, as well as blue being the color of The TARDIS…it just makes me feel things, ya’ know?

Also, by not gendering Rogue’s previous partner, only ever using they/them pronouns, it helps add to the relationship in a social commentary way. It subtly shows that Rogue already has experience/is attracted to people who on some level defy gender norms, which helps prime the audience to buy Rogue accepting/liking The Doctor being able to change gender when regenerating.

Essentially, I'm insane over these two, and I need them back on screen as soon as possible.

#text #meta writing #long post #doctor who #dw meta #doctor who meta #doctor who analysis #fifteenth doctor #rogue doctor who #fifteenrogue #fifteen x rogue

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yakitori-queen · 1 year

Text

working boys spoilers ahead ⚠

Alright Hatchetfield enjoyers here we go again.

So i'm sure we can all agree Working Boys was very good. Among other things, it was very funny. AMONG OTHER THINGS.

I feel that, given we are the Implications fandom we are not talking nearly enough about The Implications. So I'm gonna go on a long ramble about Hidgens' character, and all the implications about him given what we saw in the new short.

Working Boys had all the workings of a good piece of Hatchetfield media. Good horror, good comedy. But also and what i want to focus on here - it's incredibly telling.

Henry Hidgens as a character has been recurring for a while. In every story where he appears as a major character (TGWDLM, The Hatchetfield Ape Man, and now Working Boys), there's a trend - he starts off as someone eccentric at best, and ends up going completely off the rails.

Until now, we were all left to speculate about what his deal was. Now however, if you consider what we know with Working Boys, the implications suddenly get a lot more tragic.

Throughout the short, Hidgens appears as overly-perfectionistic and endlessly unsatisfied to the point of being well, kind of an asshole. That whole bit does its job well of being great comedy, but i feel the need to point out how, after watching the end of the short (Hidgens' explanations of the original working boys' death and his subsequent breakdown), it's worth going back to that to observe it in a new light.

I'm sure we all sort of expected that his backstory would be something fucked up like that, but i feel it's important to look at the details. Let's analyze the way Hidgens acts about the death of the Working Boys.

Obviously it was something deeply traumatic. He recounts it gravely as "the worst day of my [his] life", for good reason. Then, it's also obvious that this entire Working Boys musical he created is a tribute to honor his dead friends (possibly lovers)'s memory - just before their ghosts appear to him, he laments about butchering their memory ("Oh boys, I'm so sorry.") It appears that the entire in-universe Working Boys musical is an elaborate coping mechanism Hidgens has created in order to handle the horrific deaths of his loved ones.

Knowing this, it suddenly makes a lot more sense why he seems so frustrated and never satisfied with how his vision for the musical is enacted so long as it doesnt adhere strictly to his original script. Working Girls was never going to work - it was doomed from the start, because Hidgens could never handle even the slightest change to his script, because it is of deep emotional importance to him as a work that directly relates to the most traumatic event of his life.

When the Working Boys' apparitions appear to him, he seems to just take it in stride, as though it's a completely normal thing. Notice that he also did this in TGWDLM. Then he completely snaps.

Working Boys as a short makes Hidgens' character incredibly more tragic once you realize that it makes it clear that most of Hidgens' sanity was lost in that incident when all of the Working Boys died. And ever since then, he's always one minor inconvenience away from a complete breakdown.

#starkid #hatchetfield #workin boys #working boys #workin boys spoilers #working boys spoilers #workin' boys #workin' boys spoilers #hatchetfield halloween livestream #hatchetverse #team starkid #henry hidgens

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bleachbleachbleach · 4 months

Note

You've always been my go-to for all things Bleach lore and world-building! Do you think Shinigami all sleep in futons or beds? Or maybe it varies from character to character? We've seen the 4th division with beds in their wards, but I think every other character has slept in futons.

Haha, thank you! We do love a furniture deep-dive here, and people's headcanon speculations about shinigami life even more.

I started a list of any time we'd ever seen a character in some kind of bed (futon or frame), but it mostly just ended up being a long list of "_______ at the 4th," lol, so we'll see all those aside (almost all those aside). But canonically, there is a mixture! We see:

Hinamori in Aizen's futon

[Bleach 100]

Ukitake in his quarters

[Bleach e40]

Isane in her quarters

[Bleach 179]

Hisana at the Kuchiki house

[Bleach 179]

I think Rukia had a similar setup during the Bount Arc, as well.

Also, I'd like to note that for the record as I was retrieving *bed pictures* I got emotionally destroyed by my re-encounter with this panel. It is just SO deeply sad:

[Bleach 180]

The incredible, isolating vastness of the room, and the way the shadow cuts across the space. ToT <33333 It also reminds me of a really excellent meta piece done by afinepiece, where she analyzed the panels from Byakuya's story about Hisana and pointed out sections where the panel visuals might suggest Byakuya's memory/headspace more than physical reality. Her journal is deactivated but I know the reblog is on B3 somewhere! I'm inclined to go with that reading here, even though I also feel like the room probably just *looked like this* because every room in Soul Society is like this. (Maybe it's also for airflow, given her illness seemed partially respiratory and possibly contagious? ngl I'm basing this off that one anime elaboration scene and my co-blogger's post about Circus Hisana and Elephant TB).

In my mind Byakuya's convalescent setup was the same as Hisana's (is this the sad Seireitei equivalent of couples' outfits) but I was wrong:

[Bleach 180]

He's in a bed! But from the look of this building he's probably at the 4th and not at home. Put simply, this building is too brutish and workmanlike to be part of the Kuchiki complex:

[Bleach 180]

Hanatarou's quarters (implied)

[Bleach e259]

The tatami floor, layout, and big closet on the right-hand side seem to imply that Hanatarou uses a futon.

Abarai family quarters (implied)

[Bleach "No Breathes from Hell"]

This is probably not the only room in this house and they could put *anything* in those cabinets, but their sheer number and the style of the room suggests that this converts to a futon-filled bedroom, regardless of what might exist in other parts of the house.

Bonus 1: Renji in jail

[Bleach 118]

Is this at the 6th? Is this at the 4th? I always assumed the 6th, though obviously the 4th was involved. Idk, Byakuya left him on the ground. Maybe if you don't pick up your invalids the 4th just stashes them in their jail.

Bonus 2: Hitsugaya in Junrinan (non-shinigami, non-Seireitei)

[Bleach -16 (in between 286 and 287)]

These examples are pretty skewed in favor of futons, but if we think about this collection of characters, there is an overrepresentation of people who trend more traditional in terms of aesthetic, so they might not meaningfully represent the whole. Also, half the list is the same family.

We've seen a number of different offices and meeting rooms for each division, as well as some private residences, which have been a mix of Western and traditional styles in terms of the building itself and the furniture within it. Most of the offices seem to have Western furniture (or at least, the 10th, 6th, and 3rd), whereas Byakuya and Aizen, at least, seem to prefer the traditional at home.

Though, I don't know what this big-ass room is, but given its size and feeling of formal reception, this may well be the 5th's office?

[Bleach 100]

NB 1: I tried to look up what the office looks like under Shinji, but what is happening here:

[Bleach "No Breathes from Hell"]

NB 2: The 2nd also has traditional receiving rooms (used by both Yoruichi and Soi Fon, wherever the division between Shihouin and the 2nd is. But I assume Soi Fon's office is not the Shihouin Family Receiving room).

My feeling is that the differences are more regional/Division-based than personal preference-based, and *when*/by whom this design language was established depends on how much time and money the people in charge want to devote to furniture.

But that doesn't necessarily mean each Division is uniform, since we can see Isane and Hanatarou, both seated officers of the 4th, have different-style rooms! Maybe this is an effect of the 4th being an early bed adopter for their general professional purposes. Unohana is 100% a futon lady. I feel like Isane just accepted whatever was originally in the room, and that if there were no bed at all in the room she would sleep on the floor before asking to remodel. Does that mean a previous 4th VC wanted to modernize the VC quarters?

Was that previous 4th VC the original bedframe proselytizer, and got permission from Unohana to do up their quarters like a model home that gave examples of both types of room? Do Isane and Unohana live in an IKEA showroom?

What are the benefits of futons?

the room can be multi-use, a general common room by day and sleeping dorm by night

don't have to make a bunch of bedframes

Given what a big deal everyone makes out of transporting goods from the Living World, I feel like they probably make all their furniture and don't import particleboard from Nitori, so this would be expensive! Plus, given the amount of building reconstruction that needs to happen, I feel like there's probably a fairly small quota of wood released to civilians and/or divisions for non-essential use.

What are the benefits of bedframes?

BUNKBEDS

easier cleaning/long-term savings?

Yeah, you'd have to make the bedframes and have a whole separate common room, but having beds implies you've probably done away with the tatami in the room, since you're not really supposed to put heavy furniture on the mats. And I don't think in a barrack with heavy use you'd be able to rely on shinigami simply "being careful." Same logic as college dorms and their "IKEA, but completely indestructible" furniture.

So if you decide in the long-term that you don't want to do tatami maintenance/replacement and want wood furniture on wood floors, maybe the bed route is for you! ("You" here meaning "your division"!) At which point it'd be a matter of:

caring enough to do a cost/benefit analysis about this

whether or not you want to preserve the traditional aesthetic

whether you have the initial capital to invest in making the change

Some additional thoughts:

We know that at least a portion of the 2nd has heated floors, as financed by Oomaeda. I'm not a heated floors aficionado--though I stayed at an AirBnb once with a heated driveway--NUTS) but I feel like that would...not work with tatami? That over time the heat would dry them out too much and make them brittle? So maybe the 2nd has beds.

Despite the fact that the 10th office changes out their couch out a few times during the canon timeline, I feel like there's a 0% chance Hitsugaya has considered a bedding/architecture overhaul during his tenure at the 10th. He's spent the last 15 years developing a real filing system and an actual budget procedure. He didn't come in with extra money to put towards beds and the 46 doesn't generally approve that kind of line item. That's more of a "gift fund" expense.

Shinji is trying to get a Pod Hotel proposal approved, on the grounds that the idea would benefit more than just the 5th. They could implement it in the Tsumesho (Gotei WeWork)! And provide them in strategic outposts across Rukongai!

During what decade was the 11th briefly "HAMMOCK DIVISION" because it seemed like the cheapest, most low-maintenance option?

#if anyone more (non-4th) bed pics please feel free to add them!#also if anyone knows what chapter has the panel where ukitake is holding a compress to his head please god tell me because it's not where i #thought it was and i spent more time looking for it than i did writing this entire post #shinigamiology #bleach headcanons #bleach meta #bleach furniture #bleach architecture #bed society #no brain just bleach

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ofbreathandflame-archive · 5 months

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Well, again, the issue is not that Rhys has done bad things, it’s how those actions are framed in the story. Let’s think about this – if Rhysand’s actions UTM were framed as negative then perhaps we would not be having this conversation.

Of course, we can argue that Rhysand (1) has developed negative coping mechanisms / perspective (2) Rhysand’s trauma informs the things that he does (both pre, during, and after UTM), and (3) Rhysand’s position was uniquely isolating because of the nature of the role he was forced to play. These are points that I believe can be argued and offer an interesting view; but for any of that to happen, we have to acknowledge that the behaviors are negative. That’s often the problem with the arguments that begin to arise – no one wants to admit that Rhysand has developed (or just has) negative qualities and behaviors. No one wants to contend with the reality of consequences. “Rhysand has always admitted that he would be willing to do terrible things for his family” – and yet there’s no elaboration on those “terrible things.” No one wants to talk about those proposed negative qualities. The story (and the audience) don’t want to admit that Rhys doesn’t really have a solid moral high ground over Tamlin, or admittedly other villains. Just because Rhysand “admits” he’s prone to basically being abusive doesn’t…make it any less abusive.

My proposed argument about Rhysand’s actions UTM are this: he chose to sexually assault Feyre, he chose to “protect” Feyre in ways that were extremely sexually explicit. I believe these are choices that Rhys chooses to make – and I believe they say something about him. It’s noted, to me, that Amarantha scarcely makes Rhys do anything that he does to Feyre. I also believe that his actions regarding Feyre were done with an air of autonomy; as in, I believe Rhysand takes these measures into his own hands. Ultimately, I believe that while Rhysand has to contend with the horrors, he himself becomes beholden to them at some point and ends up perpetrating the same behaviors.

We cannot argue that Rhysand sexually assaulted Feyre, and then argue that it doesn’t say something about him. It does. In the realm of the story – from a writing standpoint – I think a good author can still make a character like that sympathetic and understandable (see: Nahadoth and Itempas from N.K. Jemisin’s Hundred Thousand Kingdom). If I were analyzing Rhysand’s actions, I would simply make the argument that perhaps Rhysand’s abuse of Feyre mirror’s his own abuse by Amarantha hands, and he potentially sees Feyre (and her hope) as something to be threatened – or even shamed by. If Rhysand’s actions were written in a way that clearly exemplified that his actions are not meant to be praised (and are NOT are reflection of love) then he could be salvaged. I actually believe a lot of the abusive things Rhysand does makes sense given the environment and if the story leaned into this from a storytelling perspective and did away with needing to moralize, then this would all be fine. Framing Rhysand’s abuse of Feyre as something to be praised, admired, and loved for is actually quite insane. If we frame his actions as purely preservational and self-serving, that would make so much sense. Imagine being in Rhysand’s position; I guarantee everyone would do whatever they could to stop such extreme amounts of abuse and sexual violence. And even then, the story could still create a narrative that warns of the danger of sexual violence and consent, it would just be subtextual and more allegorical than concretely written in the text. Starting Feyre and Rhysand off in such a tragic place, having Feyre and Rhysand acknowledged truly what happened, having them discuss ways for both of them to move forward while building up the mating bond in the background. Have Feyre acknowledge this untrusting, sly, slick part of Rhysand and have her not assume her mate does everything out of the kindness of his heart. Build their romance out of a place of mutual atonement – play on the theme of guilt Feyre feels and the whole premise of the court. Let the connection between Feyre and Rhys be that they truly acknowledge each others darkness (and also let Feyre do selfish things – maybe she knew damn well Clare Beddor’s family might suffer a bad fate but its not her family and Feyre would do anything for them; Let Feyre kill those fairies with ease because she cares about her life. Let her contend with reality that she would actually do anything for her family and then have that be a connection between Rhys and Feyre.

Something that has always bothered me about the “we don’t talk enough about Rhysand’s trauma” argument that gets thrown around when we earnestly discuss the validity of his actions is the presumption of innocence in that statement. The unwritten statement is that the trauma somehow explains and simultaneously absolves him of the implications of his actions. I objectively agree with the sentiment – Rhysand’s trauma is not talked about enough and it should be. The argument dancing in the corner is the fact that people believe that Rhysand’s extreme amount of trauma absolves him – even going as far as essentially say that Rhysand’s abuse operates out of fear (or because of fear) which is essentially the exact same ideology the book bashed Tamlin for. In the end, the cycle just comes back around and the abuse gets pushed into the backdrop.

#anti sjm #anti rhysand #anti feysand #anti feyre #anti acosf #anti acomaf #this is more of an analysis of character than anti character rant #I’m just tired of people trying to essentially disregard that rhysand has done bad things #while simultaneously trying to make justification for it

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krinklefry87 · 3 months

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would u care to elaborate on avpd rui... i have avpd myself and love hearing people's avpd character headcanons

HI i just saw this, take everything i put with a grain of salt im no expert.

I have this 10 page google doc analyzing rui's character and i think this section helps explain best why i think he has avpd lol

i'll also grab some screenshots that stick out to me

i cant find my stash of screenshots but i think this'll do. obviously this isnt like. concrete evidence that rui has avpd. its just me having fun interpreting his character. o7

#ask #rui kamishiro

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projectdrow · 8 months

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How the Bad Batch can end well

So here are my 5 thoughts on season 3 and what’s to come after. I recommend @eriexplosion if you like reading interesting thoughts, analysis and ramblings, a lot of their recent posts inspired this one.

First of all, the trailer was a work of art. It gave us some really random scenes, but also some very direct information that we can speculate on like crazy, if we want to. Also, the title-episode list comes in handy, I will refer to it.

1.) Episode 1-3 one go

I’ll come back to why the show needs to end before May the 4th later, and that’s another reason for the multiple episode days.

When a streaming service like Disney drops more than one episode, they often do so because they think viewers might be lost, because the single (first) episode does not have the full “boom-bang-drama” potential.

I think we’ll see the liberation of Crosshair, maybe even Omega, in the first three episodes. The trailer makes no secret of the fact that Cross will rejoin the team. So this story will not be the main focus of the whole season and the first episode might built up solely for the climax of the escape/liberation in episode 3. At least something heavy will happen at the end of “Shadows of Tantiss”

2.) Omega as the main character

Omega’s character is a very typical tool in storytelling. Throw a character who knows nothing into an established system, so she learns everything with/for the viewer. Sure, the boys are main characters, too, but Omega is the point of view of the kids(! - I’ll come back to that later)-show we’re watching. She can’t be gone for that long, because I don’t think season 3 will be a “Omega’s adventures on Mt. Tantiss”. I think episode 6 and 7 (“Infiltration” and “Extraction”) the latest will bring her back.

3.) So what’s the story?

Actually, and some might say that’s a big take, a lot of the first episodes will be about Tech. I don’t think I need to elaborate to anyone why it makes no sense for him to be dead and never had.

When we first saw this Clone X, there were some interesting “Undercover-Tech” ideas, but after analyzing the trailer in more depth and especially what appears to be an attack on Pabu led by this Clone, well, I think that’s Tech. And not undercover, no, the full on brainwashed, highly dangerous Imp!Tech. Episode 10 is called “Identity Crisis”, which could very well be Tech’s. But they’ll get him back, don’t worry, also because the second part will be about the BB finally deciding what to do with their lives. Which leads directly to 5.), but first:

4.) (Almost) no one dies

Two reasons. First: We already had that devastating Tech-death scene. He AND Asajj will be brought back from the dead this season. Any further death this season wouldn’t convince anyone anymore, not even the kids.

Second: The kids. It’s still a children’s show. Yes, Star Wars kills of characters in them too, but @eriexplosion made a very good point in this post: That’s not what this show is about. TBB has been about the struggle of Clones finding their place, finding family, finding a meaning. All of that would be for naught, and that’s why I think everyone survives.

Also: The last episode is called: “The Cavalry has Arrived”.

5.) About the future

I think the Bad Batch was intended to be released earlier. As well as the trailer. But with the strikes and Filoni being promoted, their was a lot going on. With the triplet opening and the double episodes, we’ll finish on May 1st. And that would be just to perfect to announce the follow-up-project on May 4th. I see another Clone series on the horizon. The Clones work, the people love them, it’s all there, the characters, the stories, the animation. It’s a safe bet for Lucasfilm. And sure, it would work with Rex, Cody and more as main characters, but the Batch was intended to be and is a stark contrast to the “Regs”, especially if they get Cross and Tech back.

Sure, Omega could be the leading figure again, but… nah. I am writing this because I’m absolutely convinced that we won’t have seen the last of the complete BadBatch after season 3.

Star Wars is about Hope. So I hope.

#The Bad Batch #Star Wars #TBB speculation

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dreamii-krybaby · 6 months

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Ok i haven’t rlly spoken about EP7 bc I HAVE SO MUCH TO SAY that my brain can’t put it into words, like bro I gotta process words…wordssss man, and organize them in an understandable human language

But I will say this with not to much elaboration

SPOILERS FOR EP7

Warning: This is so fucking long holy shit this was originally going to be super short but my ADHD went beserk holy shit-

So it seems that Yeva is the only drone who successfully has had the “Patch” aka cure work on her in some way (Patch version 2.1.8 according to the files shown in EP7)

perhaps isn’t a one off cure and constantly needs updates bc the solver somehow is able to by pass the previous patches

or it’s simply the only version that has successfully worked and the rest hasn’t, because all of the other test subjects has gotten no effect or got their cores corrupted

and in Nori’s case, it was on progress

But the patch doesn’t seem to get rid of the solver immediately, either it needs constant updates for it to slowly kill it or it keeps it at bay but doesn’t necessarily gets rid of it, maybe it prevents possession or lower it’s chances drastically

Now this is very interesting, it makes much more sense why the first thing they did when Nori got possessed by the solver and shit started to go south they wanted to get Yeva, she is the only one who has somewhat of a success on the patch project.

Or maybe they wanted to bring her so she could calm her bestie down or put her in place lol.

As to why Mitchell left her outside of the cathedral, I think is because he didn’t trust her and feared her, due to her off-standing cold behavior. Like the way she looks at him, how she didn’t want mitchell to hold her hand and sort of slapped his hand away, and well him just witnessing the horrors of possessed nori. And when he saw the sentinels had broken free, he may have used the opportunity for them to kill her off by locking her outside

The other reason as to why Mitchell left yeva is bc he simply well- lost her. Maybe when he looked back at the sentinels had broken free he lost sight of her and assumed they might have gone after her

And it may reinforce my idea that she purposely went outside with her husband to find the cross usb with the patch, she already had plethora of motives imo but her main one would be to find this patch and give it to her daughter.

And with yeva having the patch which may given her more control over her body may explain how Doll also has more control over her body, since she inherited Yeva’s patched version of the AS

or maybe that didn’t happen bc that contradicts with my idea that she was after the patch for her kid due to weird genetic shit, unless the AS somehow bypassed the patch or some shit idk

Also her death makes much more sense, in a previous post I analyzed the flashback scene in EP3 and came to the conclusion Yeva died first, then her husband. Knowing that she was willing to put herself in danger for Nori moments before the core collapse.

LIKE I DONT HAVE A VIDEO BUT IF YOU LOOK CLOSELY AT THE EPISODE YEVA IMMEDIATELY PUSHES NORI BEHIND HER AND PUTS HERSELF IN THE FRONT TO PROTECT HER AS SOON AS THE CORE IS MOMENTS FROM COLLAPSING

She is definitely seems protective of the people she cares, and she is willing to endanger herself for them. Which may explain why she died so easily to V.

Perhaps she thought that by sacrificing herself her husband and kid had a higher chance at survival.

AND IT WORKED, sure, her husband died right after her leaving her kid with no guardian and Doll did die in the long run but in that moment Doll DID survive.

Which actually, if she indeed sacrificed herself for her family makes it…so much sadder, like it worked….but not quite….and failed in the end, her sacrifice was worthless in the long run. :(

GODDDD I LOVE HER CHARACTER SO MUCH :(

SHE GENUINELY SEEMED SO NICE AND CARING AND PROTECTIVE OF THOSE SHE CARED ABOUT AND IS CLEARLY WILLING TO ENDANGER HERSELF AND SACRIFICE HERSELF FOR THOSE SHE HOLDS DEAR I CANT-

IT MAKES HER DEATH SO MUCH MORE SADDER TO ME GOD-

LIKE I LOVE CHARACTER WHO ARE COLD AND STAND-OFFISH BUT DO A 180° WITH THEIR LOVED ONES AND ARE ACTUALLY VERY SWEET AND KIND AHHHHHHHHHHH

Ok enough of me going bonkers over dead mom who haunts narrative, my other explanation as to why she died to V so easily, contrasting her absolute girlboss of an introduction in EP7

First of all, V is a disassembly drone, a new unknown mysterious species to Yeva. And DD’s have the AS and Yeva may have tried to use her AS against V which didn’t work wich may have caught her off guard. There can also be the factors she might have been not in the right mental and emotional headspace, we don’t know how much time happened between the core collapse and her last moments, a lot of shit could have happened that may have taken a toll on her, affecting her combat abilities.

Also am pretty sure your brain will go bonkers when a literal angel of death tries to kill you, your husband and your child.

Also let’s not forget that she MAYBE thought that she did deserved to give up her life for Doll not only to give a better chance of survival but because like Nori, she blames herself for making Doll start living a horryfing situation. It was HER genetics who passed down the AS to her OWN CHILD, she may have not known better but I cannot imagine the amount of guilt that must have caused her. She KNOWS what the AS is capable of and she just accidentally passed it down to someone young and innocent who is also her own kid.

LIKE HOW AM I STILL SEEING MORE LAYERS OF YEVA JUST BEING ABSOLUTELY TRAGIC

God she deserves so much better. :(

Well tbh a lot of these things am mentioning is me trying to figure out how the hell Yeva saved Nori from the solver while serving cunt only to wind up dying to V with a simple bullet to the head. Am I on copium?

Tbh I understand more on why Doll was so hellbent on revenge, I too would kill to avenge Yeva (YEVA MY GOD I LOVE HER SO MUCH MY BABYGIRL YOU DESERVED SO MUCH BETTER-)

Also yeah I could make a whole essay on Doll’s death, I fully expected her death but I feel the way they executed it didn’t do her justice at all.

Even if I find her super frustrating I like to think she is in robo-heaven with Yeva now, hopefully with her dad too.

Anyways I have more to say but I think I’ll leave it for other posts

#murder drones #murder drones yeva #yeva murder drones #md yeva #yeva md #murder drones ep7 #murder drones episode 7 #murder drones ep 7 #murder drones ep 7 spoilers #murder drones spoilers

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somerandomdudelmao · 2 years

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Okay. This is it. Theory time.

I'm going to write an essay on "how I love elaborate lore in Mystic Hands by @characcoon " It may or may not be a complete circus, but at least you'll have fun watching me getting it wrong eh?

Okay, first of all, let me put on my clown suit for this performance. Because, I'll be honest, I can only understand 70% of a complex text if I don't use a translator. And the translator also tends to change the meaning of the text.

I'm also writing this essay through a translator and just hoping for the best, so...ahahaha...yeah.

Chapters nine and ten of Mystic Hands gave me something to think about. Mostly because, all of a sudden, Bishop and his lab-military squad turned out to be more than background characters. And let me tell you, I grew up on the 2003 series. I may not remember all the nuances of the plot there very well, but I remember the asshole named Bishop perfectly~ But I'm not sure how similar 2003 Bishop and MH Bishop are, so I'm just...anxious in advance and start looking for things that would ring a bell.

From what I learned in chapters 9 and 10:

Bishop is an asshole.

He has his precious organization.

He also has access to empyrium and a recipe for crafting an incredibly toxic herbicide.

He also has a mustache. ( funny how this part puzzles me the most)

Michelangelo talks about him as a cruel and despicable scumbag who should have been rolled in asphalt at the first opportunity. He also calls Bishop a liar, so I guess in the future Bishop and the turtles have a... "adventure" haha... And of course we all know how fun stories with a cruel scientist and mutants can be. Yep.

This is where I start trying to put the puzzle together.

When Michelangelo sees the glowing blue stuff in the vials he reacts rather emotionally and says it could be a version of a anti-mutagen. He also says that it might help bring Raph back to normal when he asks Donnie to analyze the thing.

Donnie does the analysis.

The so-called "anti-mutagen" turns out to be an herbicide. Yes, very toxic and suspect and containing empyrium, but only herbicide.

In this moment. ONLY at that moment does Michelangelo realize that his information about the substance and its capabilities was wrong. And for SOME reason, it makes him absolutely furious.

And this is where the shit hits the fan.

Everything written above leads me to believe that the Turtles have already dealt with Bishop and his "anti-mutagen" in a bad timeline of the future. Whatever happened, Michelangelo came out of that adventure with the certainty that the blue stuff was a anti-mutagen. Which in itself is not suspicious, because even with his constant sleepovers in Donnie's lab, Michelangelo is still not that advanced a science dude. If he was young enough, Bishop could pour Sprite into a test tube, call it a anti-mutagen, and Michelangelo would buy it.

What a good thing they had Donnie for situations like that, I thought. And then I thought again. A little more anxious.

Did they?

Obviously, if Donnie had participated in the "adventure" with Bishop, he would not have allowed the turtles to call the strange liquid a retromutagen without analyzing it at least ten different ways. Even if Bishop hadn't given him a free sample, Donnie would have found a way to extract as much information as possible. Michelangelo was his lab partner. There was no way he would have missed something that important.

So...I guess at that point in the future, Donny wasn't there. Which leaves me with two possibilities. Either he was dead, or...he was taken out of the game for some reason.

The death option looks pretty straightforward. Donnie wasn't there to take control of the situation, so Bishop could probably afford a lot of free lying.

But I tend to think more about the second option.

Because Michelangelo, after getting into the past, intends to keep Donnie away from Bishop. This cannot be dictated by logic. Donnie, of all turtles, would be best able to consider if Bishop tries to pull something sneaky. Donnie has his technique, his knowledge, and his ability to hack any computer with just a dessert fork and rage. And yet Michelangelo takes Donnie with him into the tunnels. Because I'm sure he's guided not by logic but by fear.

Which leads me to the second option.

Donnie was not there at the time of the "adventure". Maybe physically he was alive, but he wasn't there at that moment of the future. Because Bishop did something to him.

That's why Donnie couldn't discover the lie about the anti-mutagen. And that's why Michelangelo wants to keep his younger version away from Bishop.

Now. This is where my knowledge of the 2003 series comes into the chat. More specifically, about one of my favorite stories from there - season 4 episodes 24 and 25 - "Good Genes."

( These are the episodes in which Donnie mutates, turning into a monster because he was previously stung by one of Bishop's mutants. Donnie's brothers spend a very "fun" amount of time trying to figure out how to cure him, but none of them are smart enough. So they are forced to make a deal with Bishop to reverse Donnie's mutation. Bishop was nice enough to actually do it and at the end of the story Donnie is fine again)

What if. Listen. WHAT IF something like this happened in a bad timeline.

Maybe Donnie was infected by Krang. Maybe he mutated for some other reason. Something happened to him. Something that caused the rest of the turtles to go to Bishop for help, because Donnie was usually the one who solved problems like this and Donnie wasn't there at the time.

This is where I pull out the "squeeze apple juice out of oranges" pokemon, because I'm starting to use information that isn't in the fanfic. We have the art, and the post.

And Donnie is not having a good time there. There's also the idea that the anti-mutagen in Mystic Hands doesn't work as neatly and conveniently as it did in 2003 and 2012. It doesn't turn a hypothetical mutant turtle back into a regular turtle.

The art quite clearly complements this thought.

At first I thought - hey, anti-mutagen works differently. I guess it's because it's supposed to reverse a secondary mutation or Crang infection?

Then I thought again. You know, more thoroughly. Bishop was lying.

There was no anti-mutagen, at least not in the sense that the turtles needed it. They only THOUGHT the thing existed because Bishop convinced them it did.

So. What are the chances that Donnie was infected with something the turtles couldn't handle on their own? So they had to enlist the help of Bishop. But unlike the man in 2003 this Bishop didn't do his part honestly and used some version of the toxic herbicide on Donnie?

What are the chances that at first the herbicide actually worked as a cure for Krang, because in this universe Krangs are apparently very evil vegetables? How long did it take for this substance to start killing Donnie himself? Because there's no way I'm going to believe that this caustic stuff is harmless to living creatures of any kind. Was the herbicide slow enough for the turtles to think the "anti-mutagen" was working and happily celebrate Donnie's healing? Maybe it took hours, maybe days, but my guess is that at some point the herbicide destroyed Donatello, giving enough time before that, however, for Michelangelo to remember that "blue stuff = cure for krangification."

That's why Michelangelo was so furious when he found out the blue stuff wasn't a retromutagen. He realized that Bishop had lied to him by calling this toxic crap a healing possibility. He realized that Donnie, his Donnie from the future, was not healed. He realized that Bishop probably didn't even try to heal him, taking advantage of the incompetence of the turtles.

_________

Either that or Bishop in the future just stole Donnie and experimented on him for fun and science or something. And I just wasted a lot of your and my time for nothing~

Everything I've written here could be complete nonsense haha. And I'm not even sure I used half the terms correctly, because translating things from English into my native language and then translating back is tedious. But I hope that at least this post will be fun to reread when the fanfic plot moves on and mysteries are solved lmao

#rottmnt #rise of the tmnt #riseofthetmnt #mystic hands #idk what Im doing #it’s just some silly thoughts #thanks for coming to my ted talk

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