#because the shift happens at the end of s3

[dinitride-art]

hey fisher. thanks for ripping my heart out with that one post

I’m gonna assume this is about the s3 hug gif post. Listen, they didn’t have to make it like that and then hit us with the airport scene. And then s4 is Nancy telling Steve that they aren’t babies anymore and the kids learning about real relationships and feelings. And Lucas and max being like that and planning a date but it feels different from the times before because they’re old enough to start to realize that they mean something to each other.

And then there’s Mike and Will and they’re doing the same thing and realizing what their feelings are and what they mean and struggling. And Mike and Will, for the first time, are distancing themselves from each other emotionally and physically because they’re too old to not know what everything means. And they’re fighting about not keeping contact with each other and they’re trying to be normal and keep a safe distance and be as close as they’re allowed to be and find these new lines that they aren’t allowed to cross. And they can hold a phone at the same time and grab each other when they’re getting shot at but they can’t hold hands just to hold hands like they did when Will was possessed and they can’t be close to each other for longer than they’re allowed to be. But they keep gravitating towards each other and stepping back and forwards and they can’t fully step towards each other because they aren’t allowed to anymore but they can’t pull away because they need each other and they can’t help it. And Will can only reach out to Mike and put his hand on his back to tell him that he’s the heart, to tell him that he needs to save El.

Everything after that scene in season three is different. They’re kids still but they’re too old to not notice what’s allowed and what’s not. They’re starting to realize what real feelings are and what people mean to them. It all changes because Mike and Will can’t not notice their own feelings. They know what they mean now. They know that it’s not allowed. They’re so fucking scared. But they’re also really brave. Will makes Mike a painting, and while it might not go as he originally planned, he still tells Mike what he wanted to say. Even if he says it isn’t from him. And Mike’s questioning his and El’s relationship. He’s been pushing back against making it more serious, saying I love you, and he doesn’t give in when him and El fight about it. He’s trying so hard to be who he is, to be a good person, while protecting himself from what could happen if he was honest with her. They’re both figuring out how much they can have without being in danger. And this was all set up by the end of s3 with that hug. And hoppers letter voiceover. And the Byers moving. And castle byers being destroyed and the rain fight and all of it. Because they’re figuring out who they are now. And that changes everything,

And if they’d just hugged at the airport like normal I wouldn’t have had to write that addition to that post (or… all of this lol)

[divinekangaroo]

rewatching S6 in bits and pieces for current fic and ahhhhhhhhhh but the whole Jack, Diana, Mosley and Lizzie final dinner is so *viscerally* fucking satisfying on every sensory and intellectual and emotional level of consumption.

[dr3amofagame]

to be clear i think that the seasons “discourse” is stupid like call the “seasons” of s1 whatever u want and call s2 whatever you want just don’t force other people to agree with you and DEFINITELY don’t act like the ccs don’t have a right over their own stories and have to rename things according to your preferences

however

yes i do have to say i have a huge soft spot for the previously defined seasons (as according to the finales of november 16th, the disc finale, and the prison break) because it’s specifically structured around c!dream’s story, which is why I feel that referring to arcs in themselves is also incomplete. 

(for future reference, i’ll probably be ripping off a suggestion from twitter and referring to them as seasons 1A, 1B, 1C, and 1D ^_^)

[aq2003]

oh btw i get even more why brennan (like me) clocked sophomore year fabian as fucked up and sad even if some of the other pcs were like "what are you talking about dude" . it's because the basic core theses of fabian and leiland eftbk as characters are actually pretty similar

[oneofthosebells]

The more I sit with S3 of Young Royals, the more I love it. I feel like it gave us the revolution we were promised but it was personal instead of systematic, and that's okay.

Sometimes you can't burn down everything, some systems are too entrenched to change overnight. But even so you can choose to change yourself, and you can change the people around you, and you can learn and listen and grow. You can choose to put yourself first when you're up against an enemy that's too big to fight and the fight is making you lose sight of who you are. You can choose to walk away from the toxic situation. You can choose the friends that help you grow over the friends that hold you back. You can choose yourself and your friends and your family over the person you have romantic feelings for. And those are all revolutions in their own way.

Hillerska closes, ending the cycle of bullying and abuse. But the elite will fight to open it again because of course they will. That's how it works. The rich and powerful will always cling on by their fingernails to keep the status quo that works for them. (As Terry Pratchett put it, they'll "do what the aristocracy have always done, which is trim sails and survive.") But even if it does re-open, that doesn't undo all the good done by closing it, because things will never be exactly the same again. The school inspectorate will be breathing down their necks, they'd probably have to replace all of the board and most of the staff to re-open, and a few parents at least will re-consider sending their own kids there. Remember how Henry said the school was having problems finding students even before all of this happened? The old regime can't hold.

The monarchy wobbles, but will survive - or will it? Like the school, it's run into big problems. The monarch doesn't look like she wants to do this any more. Her consort is, let's be honest, about as much use as a jelly pickaxe. The only heir they have left is a teenage sex offender with an eating disorder and a pill addiction. So maybe it too is on its way out. Or maybe, like the school, they'll fight to save the institution at all costs, and probably they'll succeed; but something fundamental has shifted. A seed has been planted.

I just really like all the loose ends and unanswered questions tbh. I know it didn't work for some people, which is fair enough! But it really worked for me, because it feels realistic. That's life. This is a small snapshot of 9 or 10 months or so in the lives of a bunch of teenagers. Of course they're not going to have all their issues sorted out yet. Some won't have even realised what their issues are yet (cough, August).

But what this ending gives us is some small, personal revolutions in the present and hope for the future. (For the characters we love, anyway. August is a bit screwed. Yay!) And I think that's beautiful.

I don't think S3 was perfect by any means. There's things I could nitpick if I really wanted to (#JusticeForMaddie). But I just don't want to? Because everything we did get I love to bits, and that's more than enough for me.

[illdowhatiwantthanks]

Coming Out

Emily Prentiss x fem!reader Warnings: some explicit language, mention of an unsub hurting Emily 😱, vague insinuations of homophobia, mostly fluff on fluff, feat. loyal himbo Derek Morgan Word Count: 2k

Summary: Emily gets injured on the job, and all she really wants is you, her girlfriend. But she's not out to the rest of the team yet. Can she be vulnerable enough to share that part of herself with the team? Can she be vulnerable enough to let you take care of her? Takes place at the end of S3.E2.

Emily dabbed at her head and winced, checking her watch to see if it had been long enough to take more pain medication. But despite getting clocked with a plank of wood, she was glad to be on the jet, glad to be back with her team because they really were starting to feel like her team. Who was she kidding? She loved her job.

According to the pilot, the team would be landing at Quantico in a little over an hour. Emily grabbed her phone, discreetly shoving it into her pocket, before heading to the back of the plane. She needed to call you, but the rest of the team didn't know about you yet. Hell, the rest of the team didn't even know she was gay. It felt too personal, and she'd been hurt by people's reactions–people she loved and trusted deeply–too many times. She played her relationships and her sexuality close to the vest.

Reid tapped Emily's arm as she passed by.

"Oh! Are you going all the way to the back?"

Emily tensed. "Yep."

"Could you bring me a Sprite?"

She felt her shoulders relax, and she patted Reid on the arm. "Sure."

After knocking on the bathroom door to make sure that truly no one was around, she called you, her voice hushed as she rifled through tiny airplane soda cans, looking for Reid's Sprite.

"Hey, Em," you said, your voice bright.

"Hey," she said, a goofy smile spreading across her face. "What are you up to?"

"Nothing much. Saw a street rat earlier. I named him Guillermo. I think he's on the prowl for a girlfriend."

Emily laughed, covering her mouth.

"How was Milwaukee?" you asked.

"Good. Really good. We got the guy. We're on the plane now."

She could nearly hear how smug you were through the phone.

"You're glad you went back," you snickered, relishing in being right. She'd sworn that it wasn't a big deal, that it'd be easy to get another good job, but you knew her heart was with the BAU.

Emily sighed. "I am. You were right."

"You're gonna stay?"

"Looks that way."

"I knew it!" you crowed. "I'm glad. You're too good at your job to quit it."

"Thanks, love. Listen, Y/N, can I ask you a favor?"

"Of course! Anything."

Emily winced, touching the swollen bump on her head. "We land in about an hour. Can you pick me up and stay at my place tonight?"

"Wow." You drew out the vowel, milking the fact that Emily needed you for once. "You missed me that much, huh?"

"Well, yes, of course, but... I, uh... I kind of have a concussion?"

Your tone shifted immediately from smug to concerned. "What?! Why?! What happened!?"

"Unsub hit me with a plank of wood," she admitted reluctantly.

"Jesus Christ, Em! Are you okay!?"

"I'm fine, baby, I promise," she reassured you. "I just got a little banged up, that's all. But I'll need you to wake me up every few hours and make sure I'm cognizant."

"I think I have some soup in the freezer," you observed, your voice far away. You'd put her on speakerphone to rifle through the cabinets. "And I have a thermometer. I don't know, do concussions cause fevers? I've never had one."

Emily shook her head, smiling. She loved that your first response, always, was to take care of her. Emily was not used to being taken care of, and she didn't let many people do it. She certainly wouldn't let many people see it either. But she let you.

"No thermometers needed. Just you and your car and more you when we get home."

"You got it. When did you say you land?"

"In about an hour."

"Okay. I'll leave in a few."

"Oh," Emily added quickly. "And you're cleared to drive into Quantico. They know the car you drive and they've got your ID on file. Just show it to them at the gate."

You paused. "Well, that's a little Big Brother of them."

"I gave it to them a few months ago. Just in case you ever needed to come by. Sorry, I should've told you."

"It's okay," you decided, pulling on a jacket and a beanie. "It feels kind of badass to be on Quantico's list."

Emily laughed, almost excited to have a concussion because it meant you'd be snuggled right up to next to her for however long it took to get better. 48 hours at least.

"Alright, baby," she finished, Reid's Sprite in hand. "I'll see you in a bit."

"Bye, love."

Emily wiped the grin off her face before returning to the cabin with Reid's Sprite–it'd look suspicious if she was too happy coming back.

An hour later, the team was going their separate ways in the parking lot, waving goodbyes and slamming car doors under the buzzing lights.

Emily leaned on the wall outside the building entrance, relishing the crisp night air.

"You need a ride, Prentiss?" Morgan asked as he walked out, used go-bag slung over his shoulder. "You shouldn't be driving" He pointed to her head.

"No, that's okay," Emily waved him off. "I've got– uh... someone's... picking me up."

Fuck, she thought. The concussion was not helping her ability to lie well.

Morgan stared at her suspiciously.

"What?" Emily laughed, trying to act normal.

"Why are you acting shifty?"

"I'm not!" she protested.

Morgan smirked and waggled his eyebrows. "Do you have a secret boyfriend?"

"What?" Emily said, laughing a little too forcefully. "No!"

He crossed his arms and waited. "You're seriously not gonna tell me?"

Emily leaned against the brick wall, rubbing her forehead. On the one hand, she was tired of keeping you–and herself–a secret. And if anyone was going to be supportive of someone on the team getting laid, it would be Morgan. But on the other, did she really know that much about him? She didn't know his religious background. Sure, he'd defend a gay victim, but that was his job. This was personal.

Emily sighed before replying. "I have... I have a secret girlfriend."

The silence felt like it lasted hours, stretching between them until Emily was sure the chasm would never close again, and that with just a few words, just by being herself, she'd ruined any chance of a friendship with Derek Morgan. It wouldn't be the first time. It probably wouldn't be the last.

Morgan seemed to think deeply before leaning against the wall next to Emily, turning to look her in the eye.

"Prentiss, why didn't you tell us you were gay?"

Emily was afraid to look at him, but when she did, her heart soared. He looked at her with nothing but love and respect and appreciation, no hint of hatred or disgust. If anything, he looked sad that she'd waited so long to tell him.

"I don't know," she shrugged. "I don't always get a good reaction."

"Well, you know nobody on this team would have a problem with that, right? Hell, Garcia'd probably hang pride flags everywhere."

"I know," Emily nodded. "I just... I don't think I'm ready yet. For everyone to know. Soon, though."

Morgan nodded, then thought for a few minutes before asking, "Is it serious?"

Emily chuckled. "Being gay? Yeah, I'd say so."

Morgan shoved her shoulder gently, mindful of the day's injuries. "No! The girl! How long have you been seeing her?"

"A little over six months."

"So, it's serious."

Emily grinned. She was glad to have someone to talk to about this. She'd held it so close for so long. She wasn't used to having anyone to tell about you. Maybe Morgan could be that person.

"Promise not to tell the others?"

Morgan put his hand over his heart. "Promise."

"I'd marry her tomorrow if she'd let me."

"Wow." Morgan raised his eyebrows, smiling lightly. "Prentiss is in love," he said, teasing her.

Emily fought a wide smile, but lost in the end. "Oh, shut up. And don't tell anyone. Especially her."

"Your secret's safe with me," Morgan reassured her. And she could tell he meant it. Emily trusted him, she realized. She trusted him to be a good friend, to keep her secrets. She trusted him not to out her to the rest of the team. He'd let her go at her own pace when it came to telling the others.

"She better be amazing," Morgan added. "I don't know how anyone could be good enough for you."

Just at that moment, a pair of headlights crept slowly into the parking lot, hesitant and unsure. It had to be you. Emily stepped forward and waved a bit, then turned to Morgan.

"Well, I'll see you tomorrow?" she said.

"Not with that head, you won't," Morgan observed.

You put the car in park next to the curb and leapt out of the driver's seat, hurrying over to Emily.

"Oh my god!" you exclaimed, anger and concern washing over you. "I thought you you said you were fine!"

You gingerly touched Emily's face and pulled her head down to examine the butterfly bandage above her eyebrow.

"Look at this," you grumbled, more to yourself than anyone else. "It's already bruising." You glared at the butterfly bandage. "Did a doctor do this or you? If it was you, I think we should clean it with rubbing alcohol at home."

Morgan looked absolutely delighted, both because you seemed like a delightful person and because Emily was beet red at being observed with you.

"Y/N, I'm fine," Emily said firmly, grasping your fingers in hers and removing them from her face. "This is my colleague Derek Morgan. Morgan, my girlfriend, Y/N."

You looked Morgan over and immediately decided you liked him. Mostly because you could tell that he really cared about Emily. But also because he looked mischievous, like he'd tease her. And if there was anything you loved, it was teasing Emily. You shook his hand enthusiastically. "It's really nice to meet you," you said. And you meant it.

But you didn't have time to chat with Morgan tonight. You were too worried about Emily.

"You don't look fine," you argued, looking to Morgan for backup. "Does she look fine to you?"

Morgan grinned at Emily, raising his eyebrows. "She definitely looks like she could use some TLC."

"Oh, and she'll get it alright," you assured him, opening the passenger door for Emily. "Shall we?"

Emily bent gingerly to get into the car, and you were careful to guard her head from the ceiling.

"Derek, it was really nice to meet you," you said, shaking his hand one more time for good measure as Emily rolled down the window, staring bullets at Morgan.

"You too, Y/N," he said, looking over your shoulder at Emily. "I hope you all have a very marry evening."

Emily pointed at him aggressively behind your back, mouthing, "SHUT. UP."

"See you, Prentiss," he called as you pulled away. He laughed and called out, "I hope it's a real honeymoon from work!"

Emily's hand shot out the window, flipping him off.

Later that night, your alarm buzzed and you blinked awake. You forgot for a moment that you were at Emily's, but her strong arms wrapped protectively around your waist were enough to remind you where you were.

You turned slowly to face a sleeping Emily, brushing her hair out of her face.

"Em. Hey. You gotta wake up, honey."

She groaned, placing a hand on her head.

"Sorry," you grimaced. "Gotta make sure your brain's alright."

"My brain is fine," she growled.

"Oh, yeah?" you joked, checking the time before shaking a few pills into your hand from the pill bottle on the nightstand. "Who am I, then?"

"The love of my life, Whitney Houston."

You laughed, which made Emily laugh, too. But she quickly doubled over in pain, groaning.

"Here, take these," you said gently, handing her the pills and a glass of water. "It'll help."

She took the pills obediently and lay back down.

"You know," you said, pulling up the blankets to make sure they covered Emily's shoulders. "I may not be Whitney Houston..." You wrapped your arms around her and drew her to you, and she burrowed her head into the space between your neck and your collarbone.

"But I think I'm a close second," you finished, running your fingers rhythmically through Emily's hair.

She sighed contentedly, pressing into you, then moving one of your arms to wrap it more tightly around her.

"Why are you so good to me?" she asked, quiet. You couldn't quite tell if it was a joke or serious, but you'd reply the same either way.

"Because I love you, you nerd."

She leaned up, planting a kiss underneath your chin. "I love you, too."

Within minutes she was conked out again, and you were setting another alarm, ready to do it all over again in a few hours.

[strangertheories]

I've been seeing people saying that platonic Stobin is only benefitting Steve or that Robin only exists to redeem Steve from past homophobia and I'd like to politely disagree. I don't think enough people realise just how crucial their friendship was to Robin's character development outside of Steve, so I'll just spell it out here in this long post for the four year anniversary of Robin coming out to Steve.

At the start of S3, Robin is deeply sarcastic and jokingly rude, but this is not entirely what she is actually like deep down and the true Robin doesn't emerge until her and Steve are talking to each other in the bunker. She says that she acts like she doesn't care and that she floats above it all (in reference to popularity) but deep down, she just wants to feel normal and accepted.

But Robin knows she could never be accepted fully because of her attraction to women. If she acts like she doesn't care and holds Steve at an arm's length, it keeps her safe. Robin can't be rejected if she doesn't let him in. She doesn't believe anyone could ever be friends with her if they knew her secrets, so constructs this personality around herself, however deep down she is just insecure and struggling with internalised homophobia.

A lot of people talk about Robin's coming out scene, rightfully so, but I think we need to talk more about what happened before. When Steve tells Robin he's attracted to her, she looks devastated. With her guard let down after a near death experience and drugs, she was finally able to bond with someone who she now has to reject.

At first, she tries to talk Steve out of liking her. She tells him that he doesn't know the real her and that if he did, not only would be not want to date her, but he wouldn't even want to be her friend. This is where it all becomes clear that Robin's sarcasm and refusal to let her guard down is not linked to her sexuality but rather because of it.

This is why Steve accepting her is so crucial for her character from then onwards. For the first time in her life, Robin let someone see her true self, knowing that she would be rejected and lose her only friend. And yet she wasn't. Robin let Steve in and his acceptance finally enabled her to realise that just because she is gay it doesn't mean that she's abnormal or could never be happy. Obviously, there are safety concerns that prevent her from running through the streets of Hawkins with a pride flag, but I believe this acceptance is crucial to the version of Robin we see in S4.

After S4, there were a lot of complaints that the Robin we saw in that season wasn't like S3 enough and felt like a completely different character. Firstly, Robin was shown to speed talk, be unhelpful and miss social ques when nervous in the final episode of season 3, so I disagree with that criticism. But most importantly, the reason that S4 Robin is different to the one in S3 is because S3 Robin was never real. It was a character she built in order to avoid dealing with the pain of rejection or accepting that she cares about what other people think of her. But due to Steve, Robin is able to realise that she doesn't have to be someone else, hence her personality shift.

That's also kind of why I dislike the idea that her relationships with Nancy and Vickie are better than her one with Steve because she wouldn't have had those relationships if it wasn't for him. Steve enabled her to open up and let down her cool and sarcastic persona. Robin is anxious and awkward with Nancy and Vickie from the get go unlike with Steve, which ends up enabling her to ultimately make more real bonds with them much quicker. She would not have been able to do that if it wasn't for the value his acceptance brought into her life.

I'm going to get a bit mushy and personal here, so feel free to skip to the end, but platonic Stobin isn't just meaningful to the fictional character of Robin. I'm an autistic lesbian and I have had a lot of struggles with making and maintaining friendships. For a while, I didn't have any friends at all and I was very depressed. But now my mental health is so much better because I was able to find a friend who fully accepted me, who I didn't have to mask around, who I easily came out to. Becoming friends with her has enabled me to become way more comfortable with unmasking my autism outside of that one relationship because being more vulnerable is what enabled that friendship to be so much better in the long term.

Robin is a character I relate to a lot, and I've written a lot of posts on autistic Robin in the past. I think seeing friendships portrayed on screen where a girl is able to let down her mask, learn to become herself and become much less distant to the point that she explicitly feels comfortable telling someone she has issues with social ques is great for all kids. So many people, especially autistic people, struggle with being themselves and with finding friends. Maybe Robin did just exist to redeem Steve or whatever, but I know seeing that friendship on screen meant a lot to me. It's so difficult to find someone who accepts you and to open up to someone, but I think that platonic Stobin shows that it can be worth it.

Sorry for the mushy side tangent at the end, but I hope this post explains the importance of Steve's acceptance to Robin's character development. Acting like she only exists for Steve is dismissive of the impact that friendship had on the development Robin has and will have, especially if you view Rebel Robin as being somewhat canon. Not to mention, clarifying a loveable character is no longer homophobic feels like a pretty good thing.

[genericpuff]

The Extended Mishandling of LO's S3 Midseason Finale Premiere

Alright, so I had mentioned leading up to the release of the newest LO episode that my feelings regarding LO returning were pretty "meh". Not hyped, but not completely back of mind either. Just sort of a weird calm before the storm type feeling that could go either way.

I'm glad I got to have that moment of calmness because good god, this episode was an absolute shitshow. And honestly, I'm not surprised, for several reasons:

Rachel has never been good at maintaining a buffer, even back at the start of the series she only ever had 2-3 episodes ready ahead of her schedule which is NOT an ideal buffer for an originals series.

Rachel has never been good at writing, she's very "draw first write later" and has stated as such in interviews that when she gets 'stuck' on what she's writing, she'll just start drawing and fit the pieces in later.

Four months is NOT enough time to both rest, attend massive conventions, and work on improving a project while also getting buffer episodes ready.

Because of the FP episodes remaining locked over the hiatus, technically Rachel only needed to have ONE episode ready upon return for the newest FP release, not multiple like she'd usually need like in the past during the S2 midseason hiatus or the season finale episodes which would unlock those FP releases like normal - so for all we know, she could have drawn this episode literally last week, especially when the promo material was so last minute. Frankly I think it was REALLY stupid for whoever it was who decided to keep these FP episodes locked (whether it was her or WT, it was more likely WT) but you can read all I have to say about that in my review of the midseason finale episodes.

All that's to say, no, there was never any guarantee Rachel was going to somehow "turn around" the ride we're currently on. I know that many of the critics were hoping for that to happen, but with the circumstances of the hiatus mixed with Rachel's bad habits of putting her best efforts into the procrastination projects that aren't her actual comic (ex. the few original pieces and LO sketches she put out during the hiatus) it just wasn't in the cards. This is where the comic is at and this is where it will remain until it's over.

I want to also point something out about this episode that was... really glaring to me.

As with all of these hiatus returns, LO got priority advertising in the first two banner slots and push notifications AND a popup ad within the app. This is unsurprising, Webtoons is still trying to milk this thing for what it's worth.

I know a lot of people are gonna focus on the art, or the fact that WT is continuing to shill LO, but I wanna point out the part that WT implemented specifically - "NEW SEASON".

This is literally just false. At best I'd like to think some intern just messed up and thought this was a new season, but it's literally not, the episode designation still says "S3". Note that the creators only design the banner art, the actual labels on top are put there by Webtoons.

But at worst, this feels like blatant lying to continue to hide the fact that LO is ending. Mind you, Rachel and Webtoons have still not put out official posts stating that this is the final arc. There is NOTHING from either of them to communicate to the audience that the comic is ending next year. It feels like they're trying to avoid the topic altogether out of fear of losing the fanbase they still have, rather than hyping up the comic's end for those who have stuck around to see how it all wraps up. And honestly, I wouldn't be surprised if this was the case, considering they're now trying to funnel the fanbase into Penguin/Inklore with new marketing deals and the whole Rachel Smythe Presents thing. They're trying to make this seem like the beginning of something "new" when it's really just a quiet shifting of management (Penguin House).

But all that aside, let's actually get into the episode. It's one episode after 4 months, which is not standard for LO's hiatuses, typically FP episodes release on schedule (meaning free readers start hiatuses 3 weeks after FP readers do), the only time this has been an exception has been with the 2 week breaks because the whole point of those was to build a buffer (which you can't do if you're going ahead and releasing the FP episodes anyways). For extended hiatuses like these, usually free readers still get their FP episodes, but that wasn't the case here. That means Rachel technically only needed one episode ready for the comic's return, and it shows. It really fucking shows.

FROM HERE ON OUT THERE WILL BE FASTPASS SPOILERS REGARDING EPISODE 254. DO NOT CONTINUE IF YOU DO NOT WANT TO BE SPOILED !!!

As per tradition, we get a title that means nothing at all. It just says what we already know.

Our collective husband Zeus is dying, no thanks to the poison cupcake fed to him by Apollo. For those who don't remember, Apollo had tricked Zeus into eating the cupcake by making him believe it was from Hebe. We are fully aware that it was Apollo who poisoned him. Remember that for later in this review.

Right off the bat we're off to a hilarious start, both with a cryptid appearance from Apollo in the background (lmao) who is, for some reason, ALREADY returning to the scene of the crime he just committed because... who knows at this point. Apollo and Psyche know it was Apollo at this point, I might add, but I have no clue why Apollo is actually returning to the scene of the crime when he has no idea Eros and Psyche know.

Moving on from that, can we talk about this hilarious dialogue?

"We have to call a doctor! Let's call Asclepius!"

"No, we can't trust him! Gosh darn it, why are we only bothering to think of ONE doctor in this universe where we've seen more than one doctor?? Guess Zeus is just gonna die! What a horribly contrived situation this is!"

And that's literally how I can best describe most of this episode. Contrived. There is a LOT of manufactured drama in this that makes ZERO sense even on a surface level.

And what do you mean exactly, Eros? "What a terrible system!" Is this supposed to be a joke? Lampshading? We've seen Persephone go to the gynecologist. There are non-god doctors who tend to gods all the time here.

Eros just doesn't seem to be that pressed over this, he sounds like Ned Flanders and that's NOT a good way to open up a scene like this... let alone an episode people have been waiting four months for.

Anyways, after a few pointless reaction panels (again remember I have to cut a lot of what I show here for Tumblr image limitations but I promise you, I'm keeping as much important stuff as I can in this, there's just THAT MUCH filler at this point), Eros and Psyche confront Apollo and he is... good god.

There is... so much to unpack here.

First of all, remember those theories about how Rachel was clearly trying to write Apollo as this "secret twist villain" the whole time but it doesn't work because Apollo is simultaneously written as both a 'conniving villain' and a massive dumbass at the same time?

Well, I finally have a more appropriate term for him. He's your average red pill redditor - someone who thinks he's smarter than everyone else when really all he does is sit on reddit all day using big words incorrectly in arguments he gets himself into with a bunch of equally-air-headed dumbasses.

"You can't possibly understand the nuances of the Olympian political system," Apollo said proudly, a man who had, ironically and obliviously, run for president in a monarchy. The union of kettle and pot is eternal.

He's the Slappable Jerk but instead of it being a painfully hilarious impression, it's just painful and hilarious for all the wrong reasons.

this is so stupid because it's 1.) Eros pointing out how obvious Apollo's plan was, despite Apollo acting smart two seconds ago with a goddess who, mind you, has been a goddess for ten years, and 2.) patricide isn't even intrinsically linked to politics, there's nothing 'political' about a guy trying to kill his dad except in, idk, a monarchy, which again, Apollo has spent ten years trying to rise to power in as a president which is a completely different form of government.

If I wanted to be really granular with this, I'd like to think Apollo is making some kind of point about the critics who call out LO's whack as fuck political system (especially in the trial arc) - as if he's saying "well you're just a stupid reader and this is fantasy where you don't understand exactly what political system we're using, so shut the fuck up you stupid twig" - but I don't think it's meant to be that deep. I think it's just Rachel trying to write a smart character and then failing at it because she, herself, is not a smart writer. And I'm really inclined to believe that more than the theory about this being some kind of meta-narrative about the critics because this entire plotline is contrived and stupid down to its core.

I did not cut anything out here, that's the pacing. Leto literally just appears out of nowhere and uh oh spaghettio's, she has Kassandra! Remember Leto? The character we were led to believe was truly "pulling the strings" until she disappeared from the story completely after she realized that Apollo and Persephone weren't a thing, even going so far as to call out her own son for being a fucking dumbass? Well, she's back and once again she's being involved as some kind of "double agent" in this whole thing, even though we literally haven't seen her since halfway through S2.

"Mm yes, you're so stupid, falling into my trap! Even though you had no reason to remember Kassandra anyways because she's literally a mortal woman you just met and you yourself have committed acts of violence against mortals without a shred of care! I'm so smart! My plan is all coming together!"

We've never seen Apollo do anything except cry and poop his pants, the closest he got to being "powerful" was his attempts to murder Daphne (who he seems to have forgotten about in this "master plan" of his) but ultimately he's literally just a piss ant baby and there's no reason to believe that he could somehow outmatch the God of Love who can literally manipulate people's emotions and states of mind with his arrows. But yeah sure go off, you're so powerful and smart.

The worst part is, I can't even buy this as the narrative trying to be like "see how manipulative and conniving he is?" because it's just silly. We've SEEN this man cry with his victim complex, we've seen him say and do the DUMBEST things that don't lend to any amount of "intelligence" he may have, it comes across less as him being "smart the whole time" and more as him trying to sound smart but ultimately sounding incredibly stupid. And I can't even immerse myself into it and buy that maybe that's the point, because it doesn't feel like the point, it just feels like inconsistent writing, he doesn't feel like a 'threat', he's just monologuing.

Bad art and Apollo literally just repeating what Leto already implied so this is a waste of the audience's time.

This is the funniest panel in the whole episode because I can't tell if Apollo is supposed to be in the background (for some reason, despite him literally being in front of Eros and Psyche two seconds ago) or if he's in the foreground and just REALLY small for some reason. This is so off-putting. And of course, it's just Apollo explaining what we're ALREADY SEEING ONSCREEN.

You see, in addition to this episode being contrived, it also talks down to its audience a LOT by explaining exactly what we're seeing onscreen. It's like Rachel saw the criticisms about her not including enough to depict what's actually going on in her head and so she thought the solution was to spoon feed information over pictures that are already doing the job of explaining what's going on. Rachel really doesn't know how to write and even when she tries to implement changes that reflect criticisms that have been made of her writing, she somehow makes things worse because she completely misses the point of what those criticisms are trying to get across.

Anyways, without even trying to resist (for some reason) Eros and Psyche get sentenced to horny jail.

They're now trapped in a basement that Leto somehow has in her home. How do we know that?

HAHAHA FUNNY LAMPSHADING SO FUNNNYYYYYYY

Leto claims that they shouldn't try to escape because the dungeon is "enchanted", but she doesn't even bother to explain what that means. So they literally don't bother trying. They don't try to call her bluff, they don't try to teleport out of there, they literally just go "well shoot", shrug their shoulders, and accept their fate. Just like with the whole "we can't trust the only doctor we bothered to think of" situation, Eros and Psyche are turning out to be some of the stupidest, lowest-effort characters in this comic who literally can't be bothered to try because that would require too much brain power.

Notice how much time we've spent on this and we haven't gotten back to where the cliffhanger of the last episode left off? Well buckle up because there's still more to cover.

So it turns out Hebe was still inside with her dad, in FULL VIEW of what was going on through glass which is somehow COMPLETELY soundproof, and when Apollo steps inside, she just has no idea what happened. She never bothered to even look outside to see what was going on with Eros and Psyche, she's just been sitting on the floor staring at Zeus' dead face for what was likely several minutes, unless Rachel is seriously trying to convince us that conversation and hostage negotiation from earlier only took 2 seconds. The timeline is such a mess at this point that characters basically freeze in place as soon as they're not the focus of the scene.

Apollo rushes inside, acting shocked over the situation, and when Hebe asks where Eros and Psyche are (again, she could have just looked out the window at any time), he's just like "dur idk they just left lol" which Hebe just... buys, I guess.

That's just Persephone but yellow. She's even missing her beauty mark.

See how Apollo put his hand on Zeus' chest/shoulder by the way?

Apparently, despite Mr. Smarter Than Everyone Else trying to pretend it wasn't him, he's able to discern that Zeus is dying from a toxic and rare poison just from touching him. He doesn't even really seem to use his powers, he just touches him and goes "welp he's dead i guess lol don't bother asking me how I know that".

But oh nooo remember that note from before? Well gasp Apollo's gonna use it to frame Hebe! In front of no one else at all!

Hebe of course says she didn't write it, but Apollo continues to try and frame her anyways, even though, again, there's no one else present here, and so it effectively just becomes the most absurd form of gaslighting I've ever seen.

Again, THERE IS NO ONE ELSE HERE IN THE SCENE. He's just trying to claim she did it to absolutely no one at all, in the hopes of... what exactly? That she'll just take the fall for something she knows she didn't do? That she'll somehow be convinced? It's not like Hebe has the same thing going on as Persephone where she has a 'wrathful dark side' he could pin it on, this is just a criminal who just robbed a building pointing at the first person they see and yelling "YOU DID IT!"

All I'm saying is that Apollo would be really bad at Among Us. He'd be the type of player to kill someone, hit the report button, then claim yellow did it which, even if he DID convince the rest of the team, would still get kicked anyways as soon as yellow was proven through the eject to not be the imp and everyone would go "okay cool so yellow wasn't the imp, that means obviously it's purple self-reporting." It's a trick that doesn't even work anymore because of how old it is. Hebe isn't a child here, she's an 18 year old woman who should be fully capable of raising an eyebrow and wondering why Apollo is this quick to accuse her - almost like he's trying to hide the fact that he did it.

But Hebe can't catch onto this, just like Eros and Psyche, she has to act stupid for the sake of the plot.

At first I thought maybe Rachel was trying to do some "whodunit" scenario, but that doesn't work here because we already know who did it. And while there are stories that exist like that that pull it off (ex. Knives Out) the problem with trying to do this the way Rachel did is that the person being framed has to have this thing called motive. The reason why Knives Out and Glass Onion work so well is because the person who was murdered (or conspired against) is someone who is being targeted by multiple people who could all be the murderer. It's quite literally called out in Glass Onion as a form of smart lampshading. "It's like putting a loaded gun on the table, and turning off the lights."

But it doesn't work here because Hebe does not have motive. If you're going to attempt to frame a murder on someone, it has to be someone who would have reasonable motive to commit that murder, even if they didn't actually commit it.

And who among Zeus' children has motive?

What about the war-mongering bloodthirsty god of war who has been regularly sentenced to time in the Mortal Realm to fight in wars in which he's been regularly injured?

What about the chaos-seeking wrathful goddess who would do it to get revenge on the parental figure who cast her aside, or even just for the fun of saying she did it?

Why try and pin it on Hebe, the doting daughter of Zeus who's only had a collective of maybe 20 panels in the entire comic?

But then I realized... it's not Knives Out, it's the fucking Lion King.

Which is just as contrived - if not more - than the assumption this was gonna be some attempt to frame Hebe. It's not. He's literally just trying to keep her from assuming it was him. He could have just as easily played dumb without calling attention to the note but he intentionally went out of his way to try and be Scar from The Lion King , while completely missing the point of why that scene worked in the original movie.

Scar wasn't trying to 'frame' Simba for Mufasa's murder. He was trying to hide the murder, while also attempting to get the only heir to the throne out of the picture, so he passed the guilt of the death onto Simba - a child who, unlike Hebe, wouldn't have the ability to rationalize or realize his uncle his a scumbag - who then ran away from home because he was too terrified to face his family for what happened, assuming that it was all his fault when it wasn't.

That's not how this is panning out here. Hebe is the now 18 year old daughter of Zeus, and not one of his only children. She doesn't even fit into the whole "sons overthrowing their fathers" prophecy like Aries would. Apollo is literally just being a big idiot here by saying "well I'm gonna give you a headstart to run away, because if you stay, I might hurt you" (which btw, should be MORE of a smoking gun that Apollo did it??)

And again, it's all so contrived so that the plot can move forward. "Well I'm going to frame you for this murder, but y'know, you should just leave, I'm not gonna try and press it further lmao"

Again, Apollo is a fucking idiot here, because he just attempted to frame someone who has NO MOTIVE to harm Zeus, to absolutely NO ONE at all who would side with him, only to let her go which would leave her to question why Apollo would try to accuse and harm her in the first place before considering other options. And through ALL this he claims he's the smart one, which I can't even be bothered to "love to hate" because it's written so poorly.

And really it all comes down to how everyone else behaves in relation to Apollo that makes it so stupid and unbelievable. Apollo, you're not smart just because all the characters around you are intentionally being written to be as stupid and non-confrontation as possible. If you can only write a smart villain by making everyone else stupid, you haven't written a smart villain, you've written a dumbass whose victory only happens due to contrived plot convenience. It's not even done well like in Glass Onion, it's just bad writing, full stop.

And who does he call to report this emergency? The satyr police? His son the doctor?

No.

The media. Literally just "hello, the media?? I need your best journalist here stat!"

I need you to understand, even if he were calling a tabloid magazine like The Weekly Nark, you don't just... call a journalist to report a murder. These are not the actions of someone who's trying to absolve himself of guilt, these are the actions of a complete dumbass trying to get news coverage of his trophy kill who would be better off just playing dumb instead of trying to play smart. Even Walter White wasn't this fucking stupid despite all the times he fell on his own sword, Apollo is literally just instigating suspicion towards himself for no reason at all. He's self-reporting so hard and worst of all, you can't even take any of this seriously because of how corny it is. There's no dramatic tension, no stakes, it's just a bunch of characters performing in a really bad stage play and reducing every conflict to "well I guess Zeus is just dead now because no one's bothering to make an effort to stop Apollo or ask questions lmao"

It's truly the epitome of "this plot wouldn't exist if characters would just talk to each other."

But finally, FINALLY we mention the thing this episode is named after, the transition point to Persephone.

Just like with the midseason finale episode, there's a lot to cover here, so I'm gonna get more into it in a part two post.

That said, you can see already this is the messiest, most contrived bullshit to ever wind up in LO. It's trying so hard to be smart and it just comes across as a bunch of toddlers in the world's worst stage play rendition of Clue. None of what was done here was in any way dramatic or tense, it's just a bunch of characters infodumping shit we already know, trying to set up new plot threads that don't make any sense, and allowing one another to get away with what they're doing because they don't bother to even try.

It's completely manufactured, contrived nonsense. It's not "smart", it's not "so dumb it's brilliant", it's just dumb.

[tbyfandoms]

I’ve Got You | JJ Maybank x Reader

Pairing: jj maybank x f!reader

Word Count: 3.1k

Summary: struggling with financial burdens, y/n starts to crumble under the pressure. jj notices the girl he loves is hard on her luck, so he does everything he can to help fix it (requested)

Warnings: descriptions of financial struggles and depression, mild swearing

Masterlist/Request Form | Ask/Tell/Request

A/N: hello everybody! it feels great to finally get out my first fic of the new year! things have been kinda crazy irl so I haven't had a ton of time to write, but I just wanna say I appreciate all of your support and patience. when I got this request it really hit home, so I hope the user who requested this enjoys! in other words, I can't wait for s3 of obx to drop this month, I've missed my blondie <3

It was all beginning to be too much. You aren’t quite sure how much more of this you could handle.

Flopping onto your bed, you try your best to not fall asleep right then and there. You’ve just gotten home from a long shift at work, and to say you're drained would be an understatement.

You're not really sure where it all started. At one point you were fine, dealing with finances and typical life whatsits, when suddenly it all came crashing down.

Bills and necessities started pilling up and for some reason everything seemed to be getting more and more expensive. You were doing everything you could; taking on another job, spending less, even selling things you no longer needed. None of it seemed to help, though. You feel like you're being buried under all the pressure, and it doesn't help that it's starting to take a toll on your mental health.

Days and days went by where you would do nothing but go from one job to the next, come home and do what you needed, and then fall asleep. It was all starting to blur, you can't even remember what life was like before this all began. It makes you feel so sad and stressed, but you're not quite sure what else to do.

You're supposed to be hanging out with the Pogues tonight, and you'd promised you'd go since you've missed the last three hangouts to either work or catch up on sleep, but you're struggling to even keep your eyes open right now. Honestly with everything going on lately, you haven’t been one to want to socialize anyways. You can feel yourself pulling away from your friends more and more, but you feel as if you can’t do anything to stop it.

Turning over on your side, you grab your phone and check what time it is. It's early-ish. You could totally rest your eyes for a bit before you get up. Today was just so exhausting, it felt like you pulled a double because one of your co-workers called off and you had to do all their work as well as your own. The whole thing was a total nightmare.

It wouldn't hurt to drift off for a while. If you're a little late to the hangout later it won't be the end of the world. Everyone would probably just brush it off. So far no one's caught on to what's happening in your life and somehow that soothes you. You'd hate to worry any of them, they each have their own problems to deal with and you're not gonna add to the list.

Everything would be fine eventually. Although, from what you can see, it all seems far from fine.

*****

There's a rapid and consistent buzzing coming from your left side, and the feeling has you bolting out of bed.

It takes you a second to regain your balance and whereabouts, but as soon as you do you find yourself filled with panic. It’s darker out now, much darker than it was earlier.

When your eyes adjust to the brightness of your phone you see notifications on top of notifications of missed calls and texts. They’re all from the Pogues wondering where in the hell you are. You were supposed to meet with them hours ago. Shit.

Quickly, you open the groupchat you have with everyone and send a simple but honest text.

Had work today and passed out as soon as I got home. Didn’t realize how late it was. Promise I’ll be at the next hang, sorry!

Hopefully it’s enough to ease their minds. It’s not like you lied either, you really did have work and passed out. Just because you didn’t wanna go in the first place doesn’t mean it’s any less valid.

The thought sort of jars you. You can’t ever think of a time where you didn’t want to spend every moment with your friends, whether it be to surf, party, or just sit with each other. You frown at how much things have changed. You miss-what feels like-the old days, you miss the old you.

Your phone lights up with countless more messages from the Pogues as they take in your response. It's all a bit overwhelming. So, too tired to care you silence your phone and toss it aside. Just like everything else that isn't work, sleep, or bills; you could deal with it later.

Stomach growling, you decide you should get up and try to find something to eat. Making your way to the kitchen you think over everything you have to choose from, which isn't much.

Opening the fridge, your thoughts are further confirmed. It's practically a ghost town in this thing. You haven't had a chance to stop at the grocery store lately so there's not a whole lot to make. It's not like you have the money to go anyways.

Sighing, you close the fridge door and try to be creative with your limited options. Before you can even start to brainstorm though, there's several knocks at the front door.

Your eyebrows knit in confusion as you wonder who in the world it could be. You're definitely not expecting anyone, especially this late at night.

Slowly creeping to the front door, you nearly jump as more incessant knocking rings out through the house. Looking through the peephole your nerves both settle and start up again at the sight.

It's JJ. You know exactly why he's here before you even open the door, and that thought alone makes you nervous. You really don't feel like explaining yourself any further than what you sent in the groupchat, but it looks like that's finally starting to be unavoidable.

"JJ,' you say as you open the door, feigning as much joy as possible to try and throw him off. "What are you doing here?"

"What am I doing here? Y/N, what are you doing here? You were supposed to meet us hours ago and you never showed up."

The blonde lets himself in as he brushes past you. Blinking several times at the sudden intrusion, you close the door and begin to repeat yet again why you weren't there. "I told you-"

"No, don't. I don't want to her that bullshit excuse you sent in the groupchat because that's exactly what it is; bullshit."

Irritation flutters through your body as you take in JJ's words. "It's not bullshit, JJ! I did work today and just like I told you I passed out afterwards because of how exhausted I was! I can show you my damn timecard if you don't believe me."

Rolling your eyes you start to open the front door again, thinking it's high time JJ left. He's definitely overstayed his welcome if this is how he's gonna act.

"You know what? I think I would like to see your timecard. How about you show me all your timecards from the past week, month even!? Because it seems like all you do now is work."

The boy's words stop you in your tracks, hand on the doorknob. "I-I do not work all the time." You wince at your lack of confidence. You don't dare to turn towards JJ, knowing he'll instantly be able to tell you're lying.

"Yes you do, either that or you're lying to us, to me, about where you are every time we try to hang out or when I'm just checking in with you. There's clearly something going on." JJ's tone goes soft, concern seeping through his words as he continues. "Please look at me, Y/N."

Slowly, you turn towards him. You're trying your best to fight back tears, every instance of JJ or the others texting you flooding your mind. Every time you told them you had work when they tried to plan something or when you would cancel on them at the last minute when an extra shift opened up.

You thought you were doing good with hiding your problems and your excessive work and sleep schedule, but clearly you were wrong.

"There's nothing going on, J. I just get a lot of shifts at work, it's no big deal." Your voice gives at the end and you clear your throat to try and cover it up, but from the look on JJ's face, he's not believing any of it.

"C'mon, don't you think I know when there's something wrong with my girl?" The endearment has your eyes shooting to his, another sudden rush of emotion clogging your system. It's all too much to hold in, and you can feel the dam about to burst.

JJ apparently notices this too, because not a second later he's rushing forwards, his arms wrapping around you instantly. His warmth and familiar scent circling you.

The tears fall freely down your cheeks, soaking into JJ's soft, cotton shirt. Weeks worth of pent up emotion ravages your body, leaving you shaking and drained.

JJ leads you to the couch, sitting you both down but not letting go of you for even a moment. "Tell me what's wrong. I can't stand to see you like this."

Looking up at JJ, you try to regain your composure as he wipes away the tears on your cheeks. The subtle brush of his thumbs across your skin has you feeling warm and safe.

It's evident by the look on his face that the blonde isn't going to let this go. He'll sit here all night with you if he has to, that's how much he cares and how much he's worried about you.

There's a part of you, albeit small, that knows you should've confided in your friends about everything going on, should've confided in JJ at the very least. After everything you've been through together it should've been a given that you couldn't keep something from him for long.

Shaking your head, you try to think of where the hell to start. How do you just come out and tell someone you care so deeply for that you're struggling financially? Mentally? And that you have been for months?

Considering you don't even know where everything began, you just try you best to recount when it all started weighing heavily on you. You tell JJ about all the bills, about taking on a second job just to barely make ends meet. You tell him how depressed you've felt, how closed off, how tired.

It makes your heart hurt how JJ's eyes gloss over, how he shakes his head and scoffs in disbelief over everything. You know you're struggling badly right now, but to see how it effects someone when you finally say it all out loud makes it seem so much more real.

"I can't believe you've had to deal with all that, that you're still dealing with it." The blonde takes off the red hat he's wearing and runs his fingers through the waves that have been hidden there. "Why-Why didn't you tell me?"

Shrugging your shoulders, you bite your bottom lip to try and hold back the tears threatening to spill again. "I guess I just thought it wasn't worth it. I know you guys have things of your own to deal with, especially you, and I didn't want to add on any more burdens."

"Hey, no, none of that." JJ shakes his head and reaches out to hold your face within his hands. "Don't ever think that you can't come to me with something like this. Sure I've got a dead beat dad to deal with, but that's nothing I can't handle. I wouldn't let anything come between me being there for you. You're not a burden, not even a little bit. Especially not when you're dealing with something like this."

Overcome with emotions, all you can manage is a nod along with a smile, your heart feeing so full and so unlike what's it felt like for ages. Although everything is far from being solved, it's nice to know you have people to lean on, that there's someone who would do anything for you when it feels like you've been alone for so long.

Removing his hands from your face and wrapping them around you once more, JJ hums into the side of your head and you can't help but to let out a long sigh, trying to let go for just a moment and be here. It feels good to be wrapped in the Pogue's arms. To be honest, you could stay like this forever.

Before long, your mind is back to worrying about everything going on, about your difficult situation and how there seems to be no end in sight. "What am I gonna do, JJ?" You whisper while holding the boy a little closer, needing to feel grounded somehow.

Devastated by the broken sound of your voice and heartbreaking situation, JJ does his best to rack his mind of what he could do to help you. He'd offer you all the money he's got, but he knows you'd never accept it, not even as a gift. You're too proud and selfless to ever take money from anyone, especially not your best friends.

The boy grows restless, frustration and sorrow coursing through his body as your story replays in his mind. He can't wrap his head around how this has happened to you. Sure, it's not uncommon for those who live in Outer Banks, but the fact it's you rips him to shreds.

JJ thinks back on what he did when he was strapped for cash. Back to when he had to pick up the slack every time his old man went on a weeklong binge and didn't go to work for weeks on end. Suddenly, an idea comes to mind and the blonde rushes to offer it to you.

"What if-what if I talked to my boss to see if we can get you a serving gig or something where I work?"

You look up at JJ with skeptical eyes, not sure if what he's saying could really happen. "I don't know, J. I mean, are you sure? I tried to get in there when I was looking for a better job, but they weren't hiring."

"Yeah! I know I'm shit for a busboy but my word is good, and with your references you'd definitely get in! One of our servers just quit to go back to the mainland because she couldn't handle island life anymore, so it's perfect!"

You can't help the giggle that slips past your lips. This one sure has a way with words.

"C'mon, Y/N, it would be great for you. The pay is way better than the jobs you have now and the servers even get tips. You wouldn't have to have two jobs anymore and could worry a little less about bringing in money. The worst thing you'd have to deal with is the Kooks, but you know how to handle them better than anyone." A coy smile plays at the edge of JJ's pink lips. "Plus, you'd be able to see me a lot more too."

"Okay, I'd love that, thank you" you reply shyly. Looking away from JJ for a minute, you can't help the doubt creeping in all over again. "What if it doesn't work out, though? What if your boss already found someone. I can't be without a job, JJ. I need to make sure-"

JJ grabs your face, holding it in his hands just like he did earlier. The warmth instantly filling in the cold spots the fear began to create. "They didn't and you won't be. No matter what happens you still have the two jobs you've got now, but hell I'd quit and let you have my job if it means you can stop struggling with those. I mean it when I say, I've got you."

The boy flashes you a smile before leaning forward and placing a soft kiss on your forehead, doing anything to try and get you to feel better. Luckily, it works. You smile back and lean into one of his hands as heat rushes to your face.

"You really know how to make a girl feel better don't you, Maybank?" There's a hint of teasing in your tone, but you truly mean it as well. People may say JJ is a lot of things, but they can never say he's not a good friend.

"Anything for you, baby," he winks. Rolling your eyes, you push away from the blonde before he can get too cocky over the way he makes you feel. There's a smirk on your lips as you walk back towards the kitchen, stomach fluttering for more reasons than just being hungry.

Opening the fridge, you try to scrounge up an idea for what you can offer JJ. "You want anything to eat or drink? There's not much but I'm sure we can think of something."

"Yeah, starved! Forget cooking, though, you don't need to do all that. Let's go to The Wreck, you know I would die for one of Mr. C's burgers."

Laughing, you nod your head as you close the fridge and make your way to the front door. "That actually sounds amazing, let's go."

"Hey," JJ says, stopping you as you put your shoes on. "And don't worry, it's on me."

Tilting your head to the side, you look quizzically at the boy in front of you. "Kie's parents don't even charge us when we eat there?"

"Okay, yeah, but it's the thought that counts, right?"

"You're such an idiot," you laugh. JJ smiles at the sound and at the sight of your eyes gaining back a little bit of that sparkle he hasn't seen in a long time.

"But you still love me, though," he replies, not even needing to ask if that's true as he opens the door for you.

"I sure do."

As you make yourself comfortable behind JJ on his motorbike, you do your best to try and get your mind off everything. It's been hard to feel any sort of ease for as long as you've been dealing with this stuff, but with JJ it feels like for once you can just settle.

You have no idea if JJ's serving idea is gonna work out or what's gonna happen tomorrow. But you know at the end of the day you'll still have him, still have your friends, to help you figure it all out.

It's hard to open up about it all, but there's a part of you that knows it was the right thing to do with JJ. He's the greatest person you've ever met, and you wouldn't trade him for the world. And just like he said earlier, he's got you, and that's all that really matters.

[arthurtaylorlester]

malevolent season 4 was... something, that's for sure

i want to preface this by saying i LOVE malevolent as a show and this is no means an attack on the creator or anything like that, i don't think i'll ever stop listening halfway, no matter how i feel about it. i'm not saying season 4 is all bad either.

it is a deviation for malevolent, though i found it VERY well written up until part 31 (and part 31 is my favourite malevolent episode ever)

s4 started off really strong for me, part 29 set the tone really well, much lighter after s3's emotional lows. the butcher was an interesting enough new villain to put yarson aside for now. part 30 had some charming moments, but the real star of the early season was part 31, a truly incredibly written and directed look into arthur's psychology. it truly gave us everything, from lore to highly comedic moments (to me)(no because why was arthur dreaming of waking up next to a shirtless man who tried to kill him)

parts 32 through 34 i'm not sure about, but i can write them off as awkward mid season points. part 34 was an interesting shift in perspective, but here is where my doubt's about the season's villains started rising

but the oscar & scratch arcs.... guys i'm gonna be honest, i might be oscar's #1 hater

scratch and oscar in this season were functionally useless filler. it's not unusual for arthur and john get sidetracked during their missions, but it usually ends up leading them right where they need to be by the season finale. this felt like a parenthesis that killed any tension created by the butcher.

this season had, quite unnecessarily, 3 antagonists. now this wouldn't be a terrible idea, had they been established before. but no. for some reason it was chosen to leave the only villain we could genuinely be afraid of alone, in favour of introducing not one but two antagonists yet to be established. neither because of this have the adequate fear factor (the butcher is better about this) and both get the most abysmal ends i could've imagines. what do you mean scratch is just gone like that after causing some emotional conflict with his deal. what do you mean the butcher was KOed by the fucking priest with a bedpan? what? that's it? you expect me to be scared or even care about the butcher now?

speaking of the priest. i want to like oscar i really do but. he's a terribly written character. we get to know him while arthur is teaching john intimidation tactics so out of gate our initial impression of him is as someone meek. and then in part 36 after "sorting out" the butcher, oscar just dumps out his trauma point blank to someone he's spoken to a handful of times in the past 3? 4? days.

malevolent in general has a bit of an exposition problem, but it usually works out if it's john expositing because. that's literally all he can do. but when a character with more agency do it, it makes them flat. oscar didn't have to tell us all that, he didn't have a reason. arthur confessing to 7 murders isn't a prompt to make himself vulnerable like that. i did not start caring for him, just because he had a tragic backstory. that's... not how you get someone to care about a character. oscar could be defined as a static character, and while it's not too unusual for a static character to be the focal point of an arc, i don't think it works the way most authors think it does.

also the worms in the farm only happened because of him messing with the stove so like. that's not helping his case.

the completely unnecessary farm arc concluded, we return oscar to the hospital, with arthur caving very quickly to john's demands if he truly cared about oscar so much. and so, a single episode before the finale, we get properly acquainted our main ally for the showdown. a choice definitely, but i feel like this one worked out pretty well considering noel had time to simmer before we got know of his past + he had interesting conflict with john and arthur.

and then there's the big one, the thing that appalls me entirely. leaving larson and yellow, the main villains of the finale COMPLETELY alone until the very end. why? why would you choose to not use them earlier? we spent so much time away from larson, so we weren't really as scared of him as we were at the end of part 28 (i literally was listening to the last 15 minutes of this ep on my toes because i thought he might do something) and we had had no CHANCE to even fear yellow, since we knew nothing of his power?

and what, the butcher is on our side now because noel granted his release? just like that? i know he's a contract killer but arthur insulted him to his face, he can believe they understand each other but did he feel no anger?

the finale did well, considering the context it was given to work with, though i did not understand the point of the memory thing... that didn't go anywhere? because not arthur nor noel actually lost anything. we don't know what the box was for, we only know some guy wrote "the birth of my son" on slip of paper and put it in. arthur assumed it was a memory, when it just as well could've been a literal offering, arthur assumed it would involve losing said memory, and they assumed it was related. initially i thought it would only go through if the ritual took place, which, it didn't. but reading back here is no further clarification on it. hold your angst horses, blindfaith enjoyers

i feel like john physically manifesting, if now an established power of his, was very cheap. unless it was a one-off, or some sort of power up, it just literally took away the main premise of the show. an all-powerful god rendered powerless by being stuck in some guy's mind and being forced to confront the troubles of someone infinitesimal to him. if you let him astral project and save people, then what's the point?

but i do actually think it was a one-off, so we'll see how it goes

simply put, john saving arthur when he jumped in s3 had more impact than this because he did it with a single, human, hand. no magic.

it was pleasant to have kayne and his expected chaos back, jarring as always. john's deal was exactly what we all thought it was going to be, maybe more about himself than arthur, but i don't think anyone can fault him for that.

one things though, and this questions may just be me not remembering, is arthur supposed to know that yellow is a separate entity from john when they realise larson has him in his head? because i remember arthur just assuming that 'yellow' just had all of his memories returned in part 23, and therefore not knowing that he's a separate guy from john.

just in general, i feel like s4 had a LOT of good ideas that weren't given enough room to breathe and therefore weren't written very well that really weighed down my enjoyment of the season. that's not to say there weren't things i liked. the emotional moments hit just as hard, like reconciling with daniel, the comedy was on point (genuinely this season was so funny) and even the most out of pocket thing arthur has ever said, calling john a child, no matter how much discourse it caused, was actually sort of in character for him? i mean arthur is an asshole so like i get why his immediate reaction to his severely emotionally unintelligent friend being possessive is babying him. they're awful people. they deserve each other. it made somewhat sense in retrospect.

all this to say, while i didn't hate s4, i think it had a lot of writing issues, especially when comparing it to the other 3, and it could've been done WAYY better but hey we all have our moments.

i await anxiously intermezzo's public release and the rest of season 5 👀

[chirpsythismorning]

Fun fact: the shot of Mike stepping off the cliff in s1 was likely a visual parallel to Sarah jumping off the stairs in this shot from Labyrinth (1986).

For those that haven't read this theory, please do because I didn’t make these observations myself and the original post goes a lot deeper into the details from Labyrinth, which in some ways align a little too conveniently with the narrative we’re seeing unravel on the show with Mike over the seasons.

For some basic context, in s4, we even get a reference to M.C. Escher’s Relativity hanging on the wall in Mike’s room, which is also on the wall of Sarah’s bedroom, along with that work being what inspired the scene in Labyrinth. 

This next part has actually been talked about before quite a bit in the fandom, even outside of tumblr, so it’s not exactly some breakthrough as a concept on its own.

Every season, in the first scene (re)introducing the main characters, Mike is running late in some capacity. In 1x01 it’s around 3 minutes, in 2x01 it’s around 6 minutes, in 3x01 it’s around 8 minutes, and in 4x01 it’s around 13 minutes. 

So technically not the literal season opener, as that’s usually reserved to a flashback at some different location, but obviously still within those first 15 minutes, following directly after the opener…

And since we already have an idea of what the opening of s5 is going to be, what do we think the scene directly after it is going to be? You know, in the scene that Mike has been consistently running late in, for four seasons now?

Speaking of 15 minutes, I think that if they were to keep this trend going for the final season (the full circle-ness of it all is honestly too epic to pass up), it’s likely that this final time it will happen around the 15 minute mark of 5x01, as that would make the build up for it each season pretty consistent.

And not only that, but it would also literally be a callback to what Karen says to Mike that first time he’s late in s1: 

And here’s my other favorite line from one of these scenes, in the context of this theory, because it literally acknowledges this concept directly and with this air of foreshadowing I cannot stress enough:

Interestingly, another detail that ties all these ‘Mike being late’ scenes together, is stairs.

In s1 he’s running up the stairs to convince his mom to let them keep playing.

In s2 he’s rushing down the stairs trying to avoid Nancy’s wrath.

In s3 he’s awkwardly bumping into strangers going down the escalator in Starcourt Mall.

And in s4 he’s hurrying down the stairs on his way to school.

The whole point of Labyrinth is that it’s an allegory for growing up, with Sarah going from dressing up as a princess to reenact one of her favorite fairytales after being chastised by her step-mom for not going on more dates like girls her age, to Sarah rejecting her childhood and it leading to an unfortunate series of events, forcing her to face reality and take responsibility of her own life.

Does this sound like anyone we know?

Mike, who starts the show in s1 playing DND animatedly with his friends before being interrupted by his mom to end the campaign despite protests, to his mom in s2 punishing his bad behavior by having him get rid of some of his favorite toys, to him in s3 insisting that they’re 'not kids anymore' and that it was inevitable for them to stop playing games and grow up and get girlfriends, to him now in s4 reverting back to this earlier version of himself, sporting the Hellfire shirt proudly, to then reverting back to pretending when showing up at the airport with Argyle calling his outfit a shitty knock off (aka calling Mike a shitty knock-off), and without the story ever acknowledging why those shifts happened in the first place, and with one season left?

Hint? Forced conformity. That’s what’s killing the kids. That’s the real monster.

They literally told us already that out of all the monster we've seen in the show, this is what is worse than all of that. Meaning that what is about to go down, most likely topping everything we've seen up to this point, is likely going to involve forced conformity.

I also think it’s interesting that the scene in Labyrinth happened during the climax of the film, because arguably if you were to watch Stranger Things in its entirety, from s1-5, the beginning of s5 is going to feel very much like the climax to the overall story. 

Things are going to be happening fast. The stakes are insane because they need to top everything that they’ve done up to this point. Something’s gotta give. And Mike is just not looking safe out here guys.

I could go on and on about all the hints that Mike is danger, but I’ll just share my favorites. 

How am I gonna survive a whole week without you guys? Mike says, at the tail end of his opening scene in s4, and with s5 set to start at the end of said week.

Mike sitting in front of an antique funeral home fan in the s4 promotional pictures of the party in the Creel attic.

Nancy saying she saw Mike die in the vision Vecna showed her, with the early stages of said vision coming true as season 4 nears its end.

Mike getting hit in the head with an arrow front and center by Suzie’s brother, in a sequence that was loaded with foreshadowing for the end of s4 (and beginning of s5?).

Watch out dominos. Your dominos are gonna fall. Argyle says, with Mike equally in the frame behind him.

Without heart, we’d all fall apart. Will says, after telling Mike he’s the heart.

A Karen lookalike standing in front of the missing person's board at the end of s4.

Mike’s very first line in the show (also the literal first line in the show) being A shadow grows on the wall behind you, swallowing you into the darkness. It is almost here…

So maybe, theoretically speaking, what we could get by that 15 minute mark going into s5, is Mike running late one last time, and it potentially being a callback to that cliff scene ie. Labyrinth.

Another scene that I think might've been foreshadowing what is currently going down, is Max and Mike both getting knocked out by Billy at the end of s3. Max goes down first and Mike follows right after, though Max is the first to come to and help them both up.

We know Max is unlikely to be separated from the rest of the characters the whole season, that’s just not feasible. She'll at least be on-screen despite maybe not being back with the others right away, even if it’s just a cryptic cliffhanger at the end of 5x01, followed by her returning more consistently on screen after that leading up to her rescue. With the way things ended in s4 though, we need to know where she’s at and get to finding her. Which is why I think at most it will be a 1-2 episode arc.

So maybe, this moment from s3 was a hint about Max and Mike’s impending doom at the hands of Vecna, as a result of not only their emotional states, but also their bonds with El, and them then being isolated for a short time (presumed dead), only to find their way back?

It’s also worth noting Mike was the only person to witness any of Max’s symptoms from the curse prior to her finding out about it, with the camera focusing on him beside her and looking at her worriedly as her nose bled. We don’t know who Vecna’s fourth victim was going to be, because Max threw herself in as bait, but could it have originally been Mike?

I know a lot of people don't like the Mike getting Vecna'd theories or Mike is depressed takes and so if you find yourself in that position, feel free to subtweet away or whatever you need to cope with my nonsense.

I'm not a big Mike is suicidal truther or anything even, nor do I think it makes sense for him to get Vecna'd in the traditional sense like how it happened with the others in s4 because the gates are open. But Vecna still hasn’t carried out his entire plan, a plan that includes Mike dying. And the imagery surrounding it all leading up to this is compelling regardless.

If one shot at the end of s3, with Max sitting in Billy's room while Hopper was in the background saying and yeah sometimes it's painful and sometimes it's sad was enough to hint at her whole depression arc in s4, then Mike being focused on for multiple shots while Hopper was in the background saying But, lately, I guess I've been feeling... distant from you. Like you're pulling away from me or something.-- And I guess, if I'm being really honest, that's what scares me. I don't want things to change, with Mike looking longingly at the Byers house, cutting to Will looking out the car window crying, then cutting back to Mike walking into his mom's arms with a dead stare on his face, has gotta be enough to justify dude going through some shit, which coincidentally matches up with everything talked about here.

Turns out getting to Mike, now that was the key…

Maybe the first episode of s5 is about Mike ending up wherever Max is, somewhere caught in between, and them ‘crawling’ back ie. The Crawl.

Definitely might add some context to that funkopop shot-listing video Ross posted, followed by one other photo a few days later with the caption being that they finished shot-listing for 5x01-5x02. Meaning the initial video posted was likely from 5x01...

[whateverisbeautiful]

♥️ Ranking Richonne

#26: We Should Go To Washington (S5E09)

This moment - Powerful. Pivotal. Romantic. I’ve said before that I believe Rick and Michonne more fully fell in love with each other by the end of season 4. And to me, how they interact with each other throughout season 5 just further confirmed my theory, especially in this stunning episode 'What Happened And What's Going On.' And part of what's going on is Rick and Michonne falling for each other even more as they make a big game-changing decision rooted in the love and trust they've developed. I love that this is where Rick shows he would truly go the distance for Michonne...

(Sidenote: Now this scene ranking might be my most controversially-placed one because I know this is a very beloved classic Richonne scene that would understandably make a lot of ppl's Top 10s and even Top 5s. It’s a super significant moment between Rick and Michonne and I love it, I promise. Richonne's journey is just that abundant with top-10 worthy moments so I had to make some sacrifices on my list because I adore every second of every moment they’re on screen.😅)

So I already just love the way Rick and Michonne are color-coordinated in their brown outfits. So much of season 5 really established how R&M are a pair and each other's match.

And in this ep, Rick touches her, I believe, for the first time since she told him never to touch her again in s3., showing their growth and the strengthening of those magnets.

Something I appreciate about the Richonne 5B scenes that occur before they arrive at ASZ is that they really did an effective job of confirming the depth of their bond. During this period, we consistently see just how much Rick and Michonne's attraction to each other is more than skin-deep because they've built a genuine love and trust with each other.

They cement their partnership in so many ways during this time of searching for a home, and it's important to see this depicted before they enter ASZ because it lets you know that while there will be situations that could potentially cause a divide between them at Alexandria, it's 5B scenes like this Washington one that tell you Rick and Michonne's bond was too strong, too battle-tested, and too important to them for anything in ASZ to break it.

It’s also very clear throughout this season 5 mid-season premiere how much Michonne’s well-being is on Rick’s radar and really matters to him, and it becomes extra clear in this #26 scene here. 

Michonne is making her case for why this place could maybe still work as a home, only to find that the community clearly was brutally attacked as severed body parts lay scattered around. Michonne is quietly disappointed as she walks and observes, and Rick’s attention immediately shifts to her as he follows behind her. It’s one of the clearest cases of their damn-near literal magnetic connection. 🧲

She doesn’t leave his sight. Even when Glenn says, "it doesn’t matter," Rick stays staring at Michonne. I love that their “you're okay, I'm okay” interconnectedness is so visible. Michonne isn’t okay, and that so clearly doesn’t sit well with Rick, so she’s top of mind for him in this scene.

Glenn starts speaking, and Rick peels himself away from looking at Michonne to hear Glenn share a very bleak perspective on how it wouldn’t matter who killed Dawn. Michonne turns around and pitches that they go to Washington. At the end of this season, a very special scene will have Rick admitting the way Michonne can influence his decisions, and this moment in 5.09 is an example of that. 

Michonne turns to Rick and tells him they're close, and it's 100 miles away - and one thing I love about this point in their relationship is that she and Rick have established enough trust with each other that Michonne can be vulnerable enough to really show some raw emotion here and speak her mind. 

Rick listens as Michonne questions what if there are people there and what if it’s a chance to be safe. “It’s a possibility. It’s a chance” This is the season of Michonne really wanting tf to find a home and I know so much of that would be rooted in the fact that she was one of the few who knows what it’s like to extensively wander out in the woods and go a bit mad. She doesn’t want that for her and her new family.

Michonne gets more emotional but still with such poise as she suggests going to Washington is better than just being out there and just making it since making it looks like all those bodies sprawled on the ground. I love that she’s pouring her heart out to him. And what a great man that Rick is so ready to not take this lightly and to really hear her.

And we get another one of those long lingering looks from Rick as he stares right at her, listening. The arresting effect she always has on him is gold, and I appreciate that he lets her words seep in. Especially when Michonne asks, “Don’t you want one more day with with a chance?” 

Danai again slays the vulnerable delivery of that line and it’s also deep for Michonne to pose this question hoping Rick also wants to live and not just survive. This is important for her to know too because her last man had given up on trying to have one more day with a chance and so it’s great she gets this confirmation that Rick is different and far more aligned with her.

(Also watching s1 back, in the finale, Dr. Jenner asks what they want, and Rick says, “A chance.” which just further indicates how he and Michonne are cut from the same cloth) 

Then I love the romantic way this next part plays out cuz the walkers draw near, Rick says we should go, and Glenn and Michonne think he means we should leave the area. So Michonne turns away thinking her words fell on deaf ears, but then Rick reveals no I heard you and I will go where you lead, when he repeats her words and says, "It’s 100 miles away...We should go to Washington."

Hearing this gets both Glenn and Michonne to stop in their tracks and turn to look at Rick  Cuz this isn’t a choice Rick would make this quickly for just anyone. And Michonne’s look of surprise is so touching. I was just looking at this moment thinking - that’s right girl, he’d do anything for you.😊

I’ve always felt like in this scene Glenn is an adorable third wheel to the Richonne bubble because Rick is completely facing and staring at Michonne solely when he says this. It just makes it clear that he is declaring this because of her. Like of course he wants to secure a home for his whole family, but in this moment what's especially evident is Rick wants to give a home to Michonne.

So Rick makes this big decision for the group fully based on what Michonne thinks is best and once again it really was giving romantic when he looked right at her and said, "We should go to Washington."

And then Michonne's subtle smile...that’s an “I love this man” reaction, y’all. Better yet, she's looking at Rick like...

I appreciate how Rick and Michonne’s love for each other makes them do things differently, because while in the past it was said by Lori that Rick would never just go somewhere on a hunch, here he’s showing that he would go somewhere and bring all of tf with him if Michonne’s instincts say it’s a good move.

I love that here Rick can’t help but be so focused and in tune with her and Michonne can’t help but look at him with so much love. Again she gets confirmation Rick is different from her past and cut from the same cloth as her. The way Rick looks at her and looks away, I really feel like it’s a brief moment of him knowing that he so swiftly agreed to this for and because of her because he loves her. Whipped in the best healthiest way.

It's also great watching scenes like these back and knowing Rick is looking at the woman who he will go onto happily make his wife, and Michonne is looking at the man she will fully embrace as her husband. 🥰

All of Rick and Michonne's s5 scenes suggest that they had fallen for each other and were becoming more and more aware of how special and influential they were in each other's lives. And this moment was a beautiful illustration of what Richonne means to each other and what they’ll do for each other. Scenes like these - weighty, quiet, but full of love, just solidify that this is a beautiful love story for the ages. 😌

[nalyra-dreaming]

That new video, it doesn't seem that Loumand is in the end of their marriage. They seem pretty much in love as we can notice only by looking their body language. Are you sure they're in their break up fase?

We'll see.

But I have always said that the Loumand in Dubai love each other, and I see them in their "second" phase, as said.

Though if I would label that body language as "in love"????

This is from the teaser.

THIS is from the scene yesterday (the gifs seem not to be indexed yet, I couldn't find them, credit to @showmey0urfangs:)

Louis is bitching (go Louis!! *snickers*), and Armand... is focused on Daniel. Do you see that hint of a smile?! (I HAVE said how brilliant Assad is gonna be, haven't I, because... *points*).

In any case, they have been together for a long time, and they play off each other... in this, too.

Because this scene is for Daniel. They're poking at Daniel's memory there. For... reasons.

Look, I know how desperate some are for happy Loumand. And you're definitely invited to enjoy it!

But there's more going on.

And if you label that "in love"... mhhh. :)) We WILL get to see Loumand in love in s2, namely in Paris. This, here, is after decades and in an elaborate play which is coming apart at the fringes. Jacob spilled that Louis chose that relationship "again". And we're deep in the "again", before (whatever shift they will need to do for) s3 happens.

EDIT: also reblogged this just now, re the body language and setting...

[mdhwrites]

Do you think the show rewards Luz’s Selfishness too much?

So I normally frame Luz's decision to self martyr herself and stay in her own world as not wanting to bother with the effort to fix her mistake. Let's shift that a bit so we can talk about why the show couldn't have Luz tell ANYONE this deeply selfish choice. A choice that by all means, Camila seems to think is just a bad choice for Luz and for no one else.

But... Luz chooses that her pain and angst is so bad that she doesn't want to help Amity reunite with her siblings. Or to make sure they can live in a world where they're safe. Gus' dad, Willow's parents, Darius, etc. All of them can rot as far as Luz is concerned. She even explicitly states this in For the Future. "Once Eda and King are safe, I'm going home."

No one else matters. LITERALLY no one else matters to her but the people she has chosen to care about and there aren't many of those. This is framed even worse by the fact that by the end of this episode, Camila will effectively say that Luz has NEVER done anything wrong. That trying to critique her at all, to try and give her life skills and friends with the camp after she put people's lives potentially in danger (snakes and fireworks are not meant for school for a reason), was wrong. That Luz just needs to be 'understood'. Part of understanding Luz, especially in S3, means that unless someone attacks her about it, like the dream sequence, WHICH ISN'T HER OWN MIND BUT A FABRICATION AND LIE, she isn't going to think about others. Just her adopted family and herself. And even then, maybe not even her adopted family since they sure as shit didn't matter in Thanks to Them.

BUT. we are supposed to sympathize with her and believe she did nothing wrong, just like Camila. Do not question her motivations, or her efforts, just believe her words.

This is emblematic of the show as well. The first two episodes talk a big game about fantasy vs reality and like Luz's selfish motivations, warped way of looking at things and her learning to be a human being, not a walking, wanna be protagonist will be interrogated. But... Not really. She repeatedly does things that are mirrored in her favorite series. Her final battle line will be a reference to that series and her delusions with that series. People might get briefly upset about her actions but most of the time she either doesn't have to do anything, like Reaching Out or Adventure in the Elements (where she gets a glyph BEFORE making up the fuck up she did) or show how special she is like in Lost in Language and Covention. I can only really think of like one episode after the first two where Luz fucks up and genuinely has to take the brunt of punishment for it, Winging it Like Witches, and even in that one, she is saved before anything bad happens to her before winning with the same trick that hurt her friends, just... Now it's okay because they're all on the same page about it I guess. Couldn't have had Willow come up with something herself because Luz actually was willing to listen to Willow and not force something onto her. That'd be too much work.

It's part of why the more you interrogate Luz's intentions and motivations, it gets BAD. So much of what she does could be easily grafted onto a kid trying to play hero or not learning anything from past mistakes. Don't ever forget that Teenage Abomination says "Listen to your mentor about their specialty," then The Intruder says "Don't take shortcuts to magic" before then in Adventure in the Elements, Luz takes a shortcut for magic while also not listening to Eda and almost gets people killed for it. GREAT JOB LUZ! Much development, such depth.

And yes, lots of shows will have characters yoyo and the like but these are within HALF A SEASON of each other. It usually takes a little longer for most animated shows to straight up start repeating lessons. Hell, yes, it is theoretically a problem for Amphibia too with stuff like Bessie and the hibernation episode both featuring Anne's impatience but also S1 is genuinely about how Anne is fighting between the lessons she's learning and her growing empathy versus how she used to be with her selfishness and laziness. Also, both episodes might be about her impatience but they genuinely tackle it in different ways, with one being about disregarding the rules because of overconfidence and the other one is out of boredom. For TOH... It's just that Luz wants the magic she thinks she should have, as easily and as fun as she thinks it should be instead of weird and actually taking work, and fucks it up because of that same motivation.

That same motivation that doesn't treat reality like reality. According to the show though, that's just the best way to be. Follow your own version, fuck everything else. That's what Luz gets to do in the end after all and she's the one literally blessed by God to be correct.

So yeah, I think her selfishness might be a touch rewarded.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[vodika-vibes]

May I, please and thank you, ask ruby in autumn at dusk with Tech and Crosshair and a female jedi? (Maybe in the clone wars or an au where Cross came back in Kamino and we are blatanty ignoring end s2-s3)

Beloved

Summary: For all that your former Master used to claim that relationships were hard, you can’t help but think that it’s the easiest thing you’ve ever done in your life.

Pairing: TBB Crosshair x Jedi F!Reader x TBB Tech

Word Count: 976

Prompt: Ruby - Passionate Love

Warnings: Order 66 happens at the very end, but reader survives

Tagging: @trixie2023 @n0vqni @imabeautifulbutterfly

A/N: I need you to understand I could have written 5k words of this. Involving smut and a proper plot. I barely, just barely, managed to keep this under my self imposed word limit. Anyway! I hope you like it!

Autumn on Kamino is just like every other season, wet. Although, you think it’s a little more wet than other seasons. Not that you mind, you get to hear the sound of the rain pounding against the window as the sun sets.

“I have to go back to Coruscant,” You announce into the quiet of the room that you share with Crosshair and Tech. Both men, absorbed in their own work, jolt up. Identical eyes snapping to your face.

“What?” Crosshair demands, his brow furrowing.

“Why do you need to return to Coruscant? You are the Jedi General of Clone Force 99. And we are not going to Coruscant.” Tech points out, his brow furrowed as well.

Crosshair, you know, is scowling because he doesn’t like it when you’re away from him. Tech, however, is puzzled because he can’t figure out why you would need to go to Coruscant when your Squad isn’t going to Coruscant.

They really are so cute.

You feel your heart swell with affection. 

You sit up from where you’re lounging in the bed, stretching your arms over your head with a groan, “Well, you’re both aware that I’m a very young Jedi General, right?”

Crosshair’s gaze, which had fallen to your stomach when your tank top rose as you stretched, snaps back to your face, “You were Knighted.”

“I was! At 18, when the war began.” You smile at him knowingly, “And, because of said war, I never finished my education. Which, apparently, is a problem.” Tech releases a choking noise, and you turn your patient smile onto the other man.

“You never finished your education?!”

He would be offended by that, wouldn’t he?

“I finished the important ones. First aid, diplomacy, bladework, investigations. I just never finished my astronav class.” You shrug, “So, I have to go back to Coruscant and sit the exam for that.”

A squeak falls from your lips as Crosshair moves and coils himself around you, “Absolutely not.”

You giggle as his lips find your pulse point, and your giggle morphs into a startled gasp as he bites down and leaves a dark mark blooming on your skin. “That wasn’t me asking, Cross.”

Another squeak falls from your lips as Tech wraps his fingers around one of your ankles, and he presses a lazy, lingering kiss against your calf, “And what are we meant to do while you are gone?” He asks, his lips still pressed against your calf.

“I’m sure they’ll find something for you all to do-” A yelp falls from your lips this time as Crosshair’s lips move to your shoulder, and he bites down, “Are you trying to stake your claim, Cross?” You ask with an amused smile.

“Too many Regs on Coruscant.” He grumbles, “They might try something.”

You roll your eyes, “It’s not like I’m going clubbing, Cross. I’m going to the temple.” You shift and squirm slightly so you’re able to reach up and comb your fingers through his short hair, “Besides, it’s not like I’m pretty enough to snag anyone’s attention-”

Tech, who has shifted so that his lips are hovering just over your lower thigh, releases an explosive sigh and bites a mark into your thigh, “Ridiculous. You are ridiculous.”

“Rude.”

“How do you think you managed to catch us, kitten?” Crosshair points out as he shifts so he’s able to look in your eyes.

“Kinda just assumed that you both shared incredibly poor taste-” You squeak when both Tech and Crosshair bite down at the same time, leaving nearly identical marks on your skin. 

“Try again.” Crosshair growls against your throat.

You pout at him, though even if he could see it, he’d ignore it, “Fine. Because, for some reason, you both love me.”

“Better.” Tech murmurs from somewhere around your thigh, and you shiver at the feel of his warm breath against your sensitive skin.

You swallow hard, and steel your will, “I still have to go to Coruscant.”

There’s silence for a moment, and then Crosshair curses and drops his forehead to your chest, while Tech just releases a sigh and lays his cheek against your thigh.

“I am sorry.” You murmur, “I wouldn’t go if I didn’t have to.”

“When do you have to leave?” Tech asks.

“Day after tomorrow.” You reply, lifting your head to look at him.

“That’s plenty of time, I suppose.” Crosshair murmurs.

“For what?” You ask, dropping your head back to the pillow to stare at him, bewildered.

Crosshair just smirks at you and lazily drags the strap of your tank top down your shoulder, “Take a wild guess, kitten.”

And your face burns with slightly flustered embarrassment, pulling laughter from both men. 

“Do not worry, cyare.” Tech murmurs as his fingers glide up your outer thighs to hook around the waist of your shorts, “We will take good care of you.” He adds as his gaze locks with yours.

And, in spite of your burning face, you smile, “I’m not worried. You always do.”

One week later, four days after you leave Kamino and a day before you land on Coruscant, your boys are ordered to help Jedi Master Depa Billaba and her Battalion with their mission on Kaller.

10 days after you left Kamino, the Batch arrives on Kaller to help Master Billaba.

10 days and 2 hours after you left Kamino, the 501 marches on the Jedi temple, while you’re in the middle of your AstroNav exam.

10 days and 5 hours after you left Kamino, you’ve taken shelter with Senator Riyo Chuchi, and you’re missing an arm and an eye. 

But you’re alive, which is more than can be said for the majority of your brethren.

And all you can do is hope that Crosshair and Tech are okay, and hope that they wouldn’t turn on you if, and when, you see them again.

[theerurishipper]

I know Elation is a fan favorite episode of S5 but looking back at it, how Marinette took advantage of Chat not knowing taht she's Ladybug to get him to stil date and kiss her really spiraled down into gross territory and once again it was ADRIEN who was told to do better and improve by taking accountability while Marinette continued crying and getting cuddled by the narrative.

Chat noir at least deceived with open cards, it's obvious that there is a person underneath his mask (even if Marinette never acts like it) but Ladybug didn't get her kissy kissy meow meow and then proceeded to let Chat shower Marinette Dupain-Cheng in all the affection she craves even though one would think Marinette too has a moral obligation in this partnership to protect Chat from any kind he feelings he has for her civilian side since Ladybug and Marinette are the same person and therefore there is logically a special draw that leaves him vulnerable to be taken advantage of by her (the way it literally happened twice, in Elation AND Glaciator 2, where both times Marinette used her civilian side to basically make Chat do whatever she wants as Ladybug).

A draw that interestingly the show had ADRIEN take full accountability for when he thought that's what happened with Marinette in Elation. That because she was so in love with Adrien Agreste she then also had unexplainable feelings for Chat this whole time that echo said civilian love, which ended up hurting her emotionally bc of their complex nature.

ADRIEN was made to take accountability for doing that, Marinette has been benefiting from the way Chat's love for Ladybug also draws him to Marinette Dupain-Cheng for seasons by now (even Weredad in s3) and it just gets swept under the rug. In fact, shes REWARDED for doing that by Adrien then blaming himself for everything and be her prince charming and do all the work for their relationship.

That is.. genuinely gross.

The way the episode AND Marinette both pretend like Marinette is a poor little civilian bystander in this scenario of Elation and NOT civilian Ladybug is pretty damn gross. Cause Ladybug is by the nature of the situation taking advantage of Chat being oblivious to her secret identitiy, who he didn't wanted to be in a relationship with anyone, since lets not kid ourselves Chat at the end of Determination couldn't have rejected her more directly in the most INDIRECT language even if he tried. I don't know how people look at these episodes and genuinely think Adrien isn't aware that LB is flirting as if he had no braincells.

Mate, he very obviously turned her down in Determination and from then onwards continued to non stop run towards Marinette as civilian bc after Determination Ladybug herself refused to take the "no" which she in Determination itself clearly understood it to be. The drastic shift between Marinette crying at the end of Determination and her being love obsessed in Passion makes sense and it results in the disaster of Elation.

It's just...man, the way Chat in Elation opens up to Marinette about how he thinks people wouldn't like him so much anymore if they knew who was under the mask, which for Marinette sounds like Chat is saying that he views Chat Noir as all the value he has as a person, and her then straight up replying that "she doesn't mind him wearing a mask, it doesn't matter who is underneath" is... gurl, who SAYS that? 😭

And the reason why she got away with it is bc Adrien's actually problem is the complete opposite. That Adrien fears that if people knew that Chat Noir is Adrien Agreste Chat would just.. stop existing to the world and Adrien Agreste™ would overwrite anything Chat ever made for himself.

Tahts why he while unhealthily craving love too reacted WELL to her saying she doesn't mind him wearing a mask and that it doesn't matter to her who's underneath.

But GURL, Marinette! From your perspective he just told you that he thinks the person he is underneath has no value and Chat is all he has to find self-worth in. And you just fucking AGREED with him that the person underneath doesn't matter bc you wanted kiss kiss meow meow and Chat's mask is what you wanted to kiss you?? 😱😭

Why is Marinette always written in the way where one seriously has to question if she even acknowledges BY SEASON 5 that Chat Noir exists as a civilian? Its not like her leadership paints any other picture than her apparently thinking Chat just spawns into existence for akumas and that's it.

Add that on top of her ignoring it when they kiss that Chat horrified rips open his eyes once he realizes taht what he's doing is wrong. Her just closing her eyes again bc apparently she genuinely didn't care for more than kiss kiss meow meow in that moment?

Then him trying to tell her that what they're doing is wrong and her just saying anything she thinks will make him go back to kissing her and whne he still refuses she has a whole mood swing, angrily yelling that she has had it with everyone telling her who she gets to love, saying taht SHE wants to finally decide that while starting to cry and, like, I GET her frustration but what she's doing is so guilt tripping by nature that it blows anything inappropriate out of the water Chat Noir ever did to Ladybug??

The person Marinette is kissing tells her no bc he doesn't feel comfortable about it morally bc of the circumstances and Marinette goes off in his face, saying that SHE decides who she kisses and loves and that she's had it that other people decide that for her, as if Chat has no right to possibly tell her no?? That he's a horrible Jerk for going against her decision to now make out with him and date him and she's OWED taht he does it??

Marinette continues literally bawling her eyes out in front of Chat who's feeling extremely guilty about all this and then Marinette is mere seconds away from accepting getting akumatized with the goal of revealing Chat's secret identitiy so he has no excuse anymore to deny her her kiss. An akumatization that only doesn't happen because Adrien is being forced to disregard his own boundaries he set with her and kiss her despite it making him EXTREMELY uncomfortable and feeling guilty of taking advantage of her. Making HIM start to freak out to out of guilt.

Afterwards Marinette is terrified but not because of her almost having turned into Chat's enemy and put his life, loved ones and Paris at risk bc he told her no, but because of the akumatization in general.

Topping it all of with Marinette saying that THEY really act irrationally because of their love, when, gurl, HE got his shit together minutes ago. YOU refused to let Chat Noir tell you no even just ONE time in any of your dynamics with him.

By that point taht wasn't a WE, that was a YOU. And the person who had to actually take fully accountability for this narrative wise was HIM.

Not to mention that Chat in the akuma battle had to finally find the courage to tell Ladybug no DIRECTLY in her face, and that he doesn't love her anymore the way he once did but only as a friend, and dead ass Marinette leaves in the next episode ruining the Hack-San ending.

Bc she was told no by Chat.

He doesn't love her romantically anymore, just as a friend, which apparently is still a horrible fate for Marinette as she's consistently characterized since s1 to concider being friends an unbearable torture inflicted on her. Something which ADRIEN in Protection then had to take accountability for too??

What is even happening anymore??

This is an interesting take! There are some things I agree with, and some things I disagree with, but it's still nice to hear your thoughts, anon. Thank you for your ask!