#but also because in a post s2 world it feels so final

[hellotailor]

Apologies if you've already done a post on this and I've just missed it, but can I ask for your take on the pyjamas worn by the cast of interview with vampire? I mean technically they're not a 100% necessary item, but just from a quick look there seems to be a lot of variety and they do change over the series

ok, i’m delighted by the specificity of this question, and it turns out that i have a VERY extensive answer.

there’s a lot of sleepwear in IWTV due to the volume of bedroom/coffin scenes, and like any other outfit, these costumes are shaped by characterization and historical period. for instance claudia initially wears a long, modest, frilly nightgown - an old-fashioned style that plays into her girlish doll wardrobe purchased by louis and lestat. however her sleepwear matures over the years, including a trendy lace nightdress with bloomers in the 1920s (note the rectangular silhouette), and a pink padded jacket/pastel robe outfit in 1940s paris. she's following contemporary trends while charting a visible trajectory from child to adult.

when i wrote about the Théâtre des Vampires coven costumes, i noted that while their wardrobes share certain themes (ie. monochrome patterns and stripes), they each have specific personal tastes. that holds true for sleepwear. in the S2 finale we see the coven going to bed in their coffins, with Eglee in a gorgeous (maybe 1940s?) robe, Celeste in a striped pajama suit reflecting her 1920s-30s cabaret style, and Armand in a plain grey set of prison jammies because he's Suffering.

of course, the star pajama outfits all belong to Louis and Lestat, playing into their wealthy domestic aesthetic in S1. they receive multiple bedroom/coffin scenes, and Lestat's gold Leyendecker robe is obviously iconic.

touching on the historical side of things for a moment, pajamas (as in a matching buttondown top and loose pants) were popularized in the western world in the 19th century, as a repurposed south asian import - kind of like how banyans became trendy among the upper classes in 18th century england. this was when loungewear started to catch on as a concept, both in terms of dressing gowns and smoking jackets (which you could wear while socializing at home) and actual pajamas, which became unisex in the 1920s.

back in his human life in the 18th century, Lestat probably slept naked or wore a shapeless white nightgown (and possibly a nightcap, the sexiest of garments). but in New Orleans he adopts Louis' lifestyle, which involves a luxurious wardrobe of fashionable menswear. they're both into shopping and looking good, and i think they enjoy the ritual of getting dressed together each night.

(i also have a personal theory that Lestat may prefer to sleep fully clothed because his formative traumatic memory involves waking up naked in the dark. after all, he doesn't need pajamas to stay warm, and he doesn't have a recent habit of wearing them in his human life like Louis does. then again, maybe he just enjoys having a new outfit for every occasion!)

in Dubai, we only get one scene (iirc) with Louis and Armand in their pajamas, lying in bed wearing outfits that tie into the striped prison bar imagery of their bedroom. Armand is in warmer brown tones (like his Paris wardrobe) while Louis is in black and grey, like the rest of his Dubai outfits. i'd also note that this is the one place where they're genuine in private, meaning that they aren't putting on a show for Daniel. so this is potentially Armand's most relaxed costume in the present day.

the fact that they're wearing this kind of old-school sleepwear feels very appropriate for their whole deal, imo. in the 21st century, a lot of people just sleep in boxers and t-shirts or whatever. there's a slightly 20th century vibe to wearing a full set of buttondown pajamas, and Armand's outfit reads as more stylish (and possibly more wealthy) than your average millennial guy. which makes sense! they're old men.

i think we can assume that every single thing in their Dubai home is ferociously expensive, even when it doesn't need to be. considering the way Louis gives himself a modern makeover in the finale, i do wonder if he'll switch over to sleeping in t-shirts etc next season, or if he'll stick with variations of the same sleepwear he wore during his mortal life.

p.s. all of my iwtv design posts are available on this tag!

[in-my-loki-feels]

I'm so glad Loki finally won something in this awards season but I'm especially glad Tom got to accept it. Everyone on that show deserves recognition of their hard work, Tom even more so than others. Waking up and reading his acceptance speech got me all emotional because I'm once again reminded how much time and love he's put into Loki as a character. I can't accept that this is the last we'll see of Loki but I also can't imagine anything topping this exact moment in time for the character, having come so far over so many years.

And the shout outs! Sophia Di Martino, Gugu Mbatha-Raw, Wunmi Mosaku, Ke Huy Quan Owen Wilson and a final shout out for Zawe! I only wish she'd been in the audience. They're such a stunning couple and his love for her is so clear it's unreal.

[myfairstarlight]

I need to ramble about the wedding breakfast dance.

That is Colin and Penelope's "Stare into my eyes. (s1) / Just keep looking at me, no one else matters. (s2) / Keep your eyes on me. There is no one here but us (QC)" iconic couple dance scene except no word is exchanged the whole time.

Instead, we get a visual representation of that feeling as the room empties, and only them remain. Albeit the editing did not let us savour that long enough, where's the full footage in HD Netflix???

And I think it's a core aspect of a friends to lovers story and Polin's that is so under-appreciated, this silent understanding between the characters. They've known each other for years, they've always been comfortable when together, so in that moment, no word of reassurance is needed because they already know! They have always been each other's safe space, even before friendship turned into romantic love. After all, they just need one look and a nod, just like at their wedding, to be secure in the other's love. No one else matters indeed.

Furthermore, unlike the other couples who were scrutinised by the Ton at some point or another because of their match, with the unfortunate pressure that comes with it, Penelope and Colin were always more of the outcasts, gossiping on the side of balls and no one truly paid them any attention until very recently as they both forced themselves to take part in society (Penelope to seek a husband, Colin to be taken seriously). Their season is the first time the Queen (or Lady Danbury) does not meddle with the main couple! (I would add Violet to the list who was more withdrawn than in previous seasons and mostly focused on Francesca this season, but she did nudge Colin a little.)

As soon as they get together, they stopped caring about others' judgement, because why should they? The Ton did not care before, after all. Colin and Penelope dancing in broad daylight at their wedding breakfast was breaking some unspoken society rule, but even before that, dancing at the church (also in broad daylight), at the Mondrich ball as they break the dance routine to add a twirl. They simply do not care. In fact, they never truly respected propriety rules, have they? Calling each other by their given names (even a nickname on Colin's part), the letters, the many unchaperoned encounters (one of which they got caught by Portia and Jack and yet nothing happened), Colin refusing a dance with Cressida to dance with Penelope instead... it just never brought a scandal because, well, the Ton constantly overlooked them, so now Penelope and Colin return the favour by overlooking the Ton.

And it is so significant that despite the Whistledown issue still hanging over their head, it does not change the fact they have chosen each other, that they will keep being their most authentic selves with each other and act like the whole world around them does not exist because they have each other, and as long as they do, everything will be alright.

After all, it is Colin loving and supporting Penelope that will give her the courage to step into the light and face the Queen as Whistledown, and it is Penelope loving and supporting Colin that will inspire him to write and publish, and make him feel like he finally belongs.

Oh also shout out to Albion Finch, best brother-in-law, always delighted to see Penelope thriving <3

And credit to this post I saw on twitter that prompted me to write this.

[burnttongueontea]

So, what is the deal with the world’s most conspicuously uneaten Eccles cakes? (A meta)

Well, I wouldn’t say it’s bad writing, not even the on-purpose-as-a-secret-message kind. I agree there is a visual ‘loose thread’ here that the creators wanted us to notice, but I don’t think the meaning has anything to do with Metatron or the eventual plan for S3. I think the eccles cakes are all about what’s going on in this episode with Crowley and Aziraphale, and they’re unsettling in exactly the way they’re meant to be, even if we might not register the full implications consciously on first watch.

On the most straightforward level, this shot is the punchline to a joke set up by Aziraphale and Nina in the coffee shop. Crowley orders six shots of espresso, bound to get him all worked up and stressy. Aziraphale, who desperately wants Crowley to be thinking clearly when he learns about the Gabriel situation, says to Nina: ‘What do you sell that calms people down?’ And she replies: ‘Eccles cakes.’ From this moment on the cakes are a visual symbol of what Aziraphale needs from Crowley right now.

That’s why they get so much screentime as we cross the road and go into the shop. Aziraphale won't leave those eccles cakes behind because he’s still hoping that Crowley will respond to the request they represent: Please stay calm, please be patient and listen to me with empathy.

But Crowley never does respond, and as he storms out we get that close-focus shot of the abandoned plate to make sure the subtext hits home. The cakes are framed sitting in front of the horse statue, brilliantly dressed up in Crowley's sunglasses, to remind us that they were brought there for him and he's dismissing them. (Crowley is the frantic horse who can't be managed!)

There’s another level to it, though, which doesn’t fully become clear until episode 6. The episode 1 meeting in Nina’s café is the first time that Aziraphale and Crowley share a scene in the present-day in S2, which means that the last time we saw them together was when they were dining at the Ritz. As viewers, we quickly recognise the visual language of their partnership: a table for two, a drink, a dessert. It feels familiar. But the food gets delivered and then nobody eats it. On that level, it is a set-up without a pay-off and it really niggles as you watch. S1 closed out their relationship with a happy toast after a resplendent dinner; S2 opens it with a snack that gets ignored. The dynamics of who offers food to whom are also off, atypical. It’s a sign of how things are going to go later on, hinting at the fact their dynamic is dysfunctional right now, even though it might seem OK on the surface.

Which brings me, finally, on to the other thing I’ve wanted to point out…

The punchline is that Crowley doesn’t eat the eccles cakes, but the really subconsciously disconcerting thing is that Aziraphale doesn’t. That he seemingly never planned to, and never orders anything for himself. In fact, we don’t see Aziraphale eat anything substantial in any of the present-day scenes in S2. The only things he consumes onscreen are sherry, tea, and a travel sweet. (Oh, and Manipulation Coffee, which is definitely a callback to Crowley’s disastrous sextuple-espresso.) We see him with food, yes, but primarily he wants to give it to other people.

For me this little detail of S2 – not something you even fully notice until you think about it – is a very telling understated cue in terms of Aziraphale’s post-Heaven state of mind. It's about what amuseoffyre puts so well in another meta: 'the whole series looks like he’s having so much fun doing silly human things, but there’s this brittleness to it.' At first glance, we see Aziraphale interacting with food and assume he is now living the happy Earthly life we wanted for him, but on closer inspection he's not engaging much in the pleasure of eating for his own sake. He gets a quick sweet pick-me-up on his way somewhere else in the Bentley - all alone - and that's it. He's too anxious, too busy, he doesn't have time. Crowley doesn't have time to invite him for lunch.

I find it fascinating that Gabriel gets a squillion cups of cocoa in this season, waxing all lyrical about them, and Aziraphale gets none. Aziraphale's mug becomes Jim's mug, even. And he mostly makes the tea to show Muriel how to blend in. In short, S2 Aziraphale is terribly preoccupied with looking after/managing others, and not taking the time to look after himself. Like the Maggie and Nina match-making, all that kindly treat-offering is displacement, displacement, displacement.

No wonder it all goes wrong.

[starbylers]

After spending some time listening and re-listening and thinking a lot, I think I finally have my head wrapped around all these songs. This post is an exploration of what they could tell us about Mike’s story, and also a sort of theory I noticed once I saw the full picture. This playlist is—in my opinion—the story we’ve been theorising for the past two years reflected in 12 songs. That might sound hyperbolic but it’s simply what I heard and interpreted, and wanted to share because I enjoyed writing it. I hope this is an interesting read!

If you didn’t see my last post about why I do believe this is Finn’s Mike/ST playlist despite the somewhat ambiguous title you can read that here. It’s totally okay if you disagree but I’m not interested in debating it, and this analysis is coming from a perspective of assuming we've guessed correctly that the playlist relates to ST (obviously we can't 1000% verify that, but for the purposes of this post that’s my stance).

I’m going to focus on themes and overall meanings in the songs because in my opinion that’s where any connections are going to lie, rather than specific lines holding anything important (aside from a few which I’ll highlight) because I feel like that’s closest to how Finn would’ve thought while making it. Basically a macro level representation of Mike and what he goes through next season, something that would help a person get into the headspace of a character. Oh and my larger point is about the playlist as a whole, which will come together at the end :)

➠ Track 1 | Ballad of the Texas King

The first song is an anomaly in that I think it’s meant to set the tone more than anything else. These explain better than I could hope to:

"Itʼs a murder ballad, and as is common in murder ballads, deals with promise and innocence being snuffed out.” [link]

"Clarke sings of a chance encounter with an ominous figure that feels akin to selling your soul at the crossroads" [link]

Hey kid come along, something is wrong, I believe you now / All this to say only one way that this can go / Come with us for a ride / Don’t it feel like hell? Boy let me tell you, that’s where you are

• • •

A nice little coincidence, Finn himself is quoted as saying season 5 is a “crossroads”. I can see this song being an allusion to inevitable big choices with life-altering consequences next season, and also more mature themes being tackled within Mike’s story. I mean he’s stepping back into his role as leader, and now they’re older that will come with a lot more weight and responsibility in situations where the fate of the world is likely hanging in the balance. Not to mention how his personal struggles will be tied up in that, it’s probable that a slightly darker, more self-reflective—and transformative—tone is waiting for us in regards to season 5 Mike.

➠ Track 2 | What You're Doing

A simple song about a turbulent relationship where one person is unhappy because their partner is messing them around, and they're pleading with them to stop.

Look what you’re doing, I'm feeling blue and lonely / You got me running and there's no fun in it / Please stop your lying, you've got me crying, girl

The partner is the one holding control in the situation, while they feel at the mercy of their partner’s careless choices. The mood here is one of helplessness and desperation while still remaining open-hearted, hoping they’ll change.

I've been waiting here for you wondering what you're gonna do / If you should need a love that's true it’s me / Why should it be so much to ask of you what you're doing to me?

• • •

This is heavily M!Ieven coded. What do we know about their dynamic? Mike is always the one chasing El (trying to “win her back” in s3, terrified of her not needing him in s4, stressing about her being in danger all the time). El is consistently seeking autonomy (choosing to learn about her identity over pursuing romance with him in s2, choosing to break up with him in s3, choosing to leave him behind in s4, and I’m willing to bet she’s the one who removes herself from his storyline in s5). We know their separation will happen early season, and naturally things between them must be unstable leading up to this. El being the one to pull away while Mike stresses over it checks out considering these past patterns, and also the end of s4 with her already closing herself off while Mike appears at a loss.

➠ Track 3 | After The Earthquake

A song reminiscing on a relationship and the failure and death of it, with a sense of lingering nostalgia and unwillingness to let it go. It’s set to the backdrop of a metaphorical car crash.

It wasn't built to last / If you wake up you’ll remember the awful things I said / Looking back to the vibrant days / Those days I'd never let you fall apart but things fade / Why would I ever fall in love again when every detail’s over the guard rail? / Velvet curtains drawn, flowers at your feet / Say you’ll climb your way out of your wake now / Are you awake now?

• • •

In simpler terms…this is a break up song. The longing tone makes sense to me for M!Ieven because I’ve long suspected the initial split between them is not going to be super clean cut (this should make more sense later). Mike and El were together for a long time for their age, and have a lot of intense shared memories. El was also his first and only experience of relationships; it’s going to be difficult to detach. It being the right decision to end something doesn’t mean it’s easy or simple. Even if Mike is gay and didn’t truly like her romantically, he still loved her and in my opinion that distinction isn’t something he’s going to have figured out and made peace with the second it ends.

➠ Track 4 | Promises I've Made

Very straightforward and repetitive, and follows on seamlessly from the last song: this is about having trouble moving on from someone who’s left your life.

Ever since you have gone the days don't seem so bright and I wish I could forget you but I can’t / I have promised myself I wouldn't dream of you but I find that awful hard sometimes to do

• • •

Based on what I’ve seen people might fight me on this, but to me it’s M!Ieven coded mainly because of its positioning in the playlist (directly after a struggling relationship song + break up song) but also because it is technically about an ex love. Could we say it doesn’t need to be interpreted that specifically? Yes. I suppose it could be Byler coded too but personally...the way I would interpret it is as Mike moping over whatever happened with El. There’s not any intense emotional pining going on; if you listen it has a very laid back, chill sort of mood and is honestly very upbeat. There’s no deep heartbreak. It’s just about missing someone. Plus it sort of perfectly closes out the process we see over the last two songs of being unhappy with someone, to breaking up and grieving, to the typical post-break up struggle of navigating this hole in your life and naturally missing what once filled it. This is a whole sub-arc for Mike.

➠ Track 5 | Angst In My Pants

We’ve reached the gay section! This song is about trying to fit yourself into an acceptable—aspirational, even—life but never feeling content, and continuously trying to squash this troubling Feeling, the titular phrase: angst in (your) pants. Some people think it’s a reference to literal physical arousal but others including me think that in context it’s intended more as a metaphor for sexual frustration/dissatisfaction.

I hope it doesn't show, it'll go away / It's just a passing phase / When you’re all alone, you and your head / When you think you’ve made it disappear it comes again, hello, I’m here and I’ve got angst in my pants

The queer subtext here is very clear, I don’t think I even have to explain (check out the cover art too lol). The song closes with a realisation/acceptance that no, this “phase” won't ever go away i.e. it’s just who you are.

Give it a hundred years, it won't go away

I also thought one of the opening verse lines was an interesting segue from the last few songs:

But when you’re all alone and nothing bites you’d wish you stayed at home with someone nice

• • •

Angst In My Pants may aswell be titled Forced Conformity the thematic parallels to ST are that blatant. Another point for team Mike Wheeler actually is connected to the main themes of the show like all his other friends, and no it’s not because he’s somehow oppressed for being a nerd. Also rather than being about feelings for another person the song is about personal struggle with sexuality which excites me to think about in relation to Mike because we’ve been saying he needs to explore his own identity outside of being a love interest.

➠ Track 6 | The Better Side

A very sweet, slow, slightly melancholy song. I’ll be honest I cannot decipher more than 2/3 of the lyrics but here are the most meaningful ones of those I could:

I know you cry and I’m trying to keep you by my warmth

You’re never gonna see my eyes, you’re coloring all the skies you want to / I tried staying alive, keep my head on the better side when you’re far away

You’re on the better side you’re always the better one for me

You’re all that I need, I’m not gonna miss you anymore

My understanding is it’s about pining over someone who is a “better” choice, whatever that means in this context. Deciding you want someone, someone who you don’t currently have, someone who is maybe distracted, distant or physically absent? But vowing to change that because you recognise that you need them.

• • •

This directly follows the Gay Thoughts song, and precedes the Gay Thoughts song 2.0 so I feel safe interpreting it as Byler coded and about how it’s Mike’s turn to pine. (Also because “better” implies that there’s a “worse” i.e. this is a situation where you’re differentiating between two things i.e. in Mike’s case, Will vs El). I can envision Mike and Will getting moments together away from whatever chaos is surely going on, having the space to connect more where Mike starts becoming conscious of his feelings, realising slowly that Will is the “better” one for him. And as the song also suggests, perhaps Will has pulled away from him in the beginning. I think this is possible because the torment Will's likely going to endure from Vecna could understandably cause him to push Mike away, fearing his safety or him finding out how Will feels, and also I just don’t think he’ll be able to stand the pain of being M!Ieven’s couple’s counsellor for much longer without cracking. But I think Mike “it’ll be easier if we’re a team” Wheeler would make it his mission to fix any rift between them, the final line literally being I’m not gonna miss you anymore.

➠ Track 7 | Don't Ask Me To Explain

As far as I can tell, this song is about being afraid to face queer feelings for another person who is also hiding this about themselves, and being conflicted about whether to confess because you're not sure how they feel.

How will I ever know you enough to love you if you're hiding who you are? / How am I supposed to let it show when I don't even know? / Don’t move on without me, who will be watching my body when I sleep? / I don't want to be the one who's coming out first, I'd really like to but I'm just too shy

The end is an admission of…something. I’m not sure whether to interpret it as wishful thinking over this queer relationship you believe you can’t have, or as an offhand comment about forcing yourself to love someone you can’t because of your sexuality. Interesting either way:

It’s so easy to lie to myself and pretend that I could love you but I can't

I did do some research and the alleged true explanation of this song is it’s from one queer friend to another (man to woman, I assume both closeted, maybe a failed romance?) but I could only find one uncited source for that and everywhere else seems to agree with my interpretation so it seems when listening to the song that’s the story people hear. (Plus either way the song is about being queer. Undeniably so).

• • •

It’s not Byler coded we’re way past that, it literally just…is them. It does seem to suggest a level of internal conflict in Mike regarding coming out that I can’t say I expected (yes I have no doubts about canon Byler but I’m also a pessimist by nature—that should tell you how obvious their endgame is though lmao—so I assumed the Duffers would go wrong somewhere). I always thought he would be almost consciously clueless about himself until he finds out Will loves him, and the focus be more on him liking Will back rather than him liking boys (and obviously wasn’t a fan of that), but the prospect of Mike actually being aware and grappling with his sexuality is what we’ve been praying for and builds on the more low-level thrum of sexual confusion in Angst In My Pants. Oh and the song also could suggest Mike suspecting that Will likes him/is queer too before anyone confesses.

➠ Track 8 | What Do You Want Me To Do?

Another straightforward one. It’s quite angsty, a big contrast to the more sad feelings about a relationship from the earlier songs. This is about someone who left you for someone else/someone who walked out on you, who decides they want you back.

You walked out took your chance, turned your back on our romance / You said the change would do you good / But then the bubble burst your dream, turned into a nightmare scream / You came crawling to me your knees, and you were asking me to love you please

The main message of the repetitive chorus is basically: you want me to need you, but that’s not real love. You’re just using me to feel better about yourself.

What do you want me to do? Say that I need you more? Is that what real lovers do? Or only what you use me for?

• • •

I mean isn’t that last part how we’ve always described M!Ieven’s dynamic—all about aligning with the other’s needs whether for safety, validation or feeling ‘normal’, rather than genuine romance? I don’t think there’s any chance at all of El leaving Mike for someone else lol, as I said I don’t think we need to interpret these songs super specifically. But it does make me wonder: could we possibly see a moment of regression for El at some point in the season, after they separate? The focus here in my opinion is frustration at someone trying to re-enter your life when you know they don’t truly love you. Reflecting on their dynamic I talked about with earlier songs and their history in the show (El walking away, Mike scared to lose her), is it possible the break up could leave Mike struggling initially then he progressively understands why it was the right choice (especially after spending time with Will), meanwhile for El it’s the opposite—she’s more sure about breaking up but something happens later on that shakes her belief in herself. Her having one last hurdle to overcome in her dependency on Mike to finally break that pattern of hindering her growth by retreating to him could make sense. And based on this song…Mike would not be receptive to being El’s safety net. Growth for both of them.

➠ Track 9 | Substitute

Again, very angsty compared to earlier. It’s about a relationship characterised by false perceptions (focused on class), and those being what is holding it together. One partner is pretending to be something they’re not, cosplaying as someone else, and the other is also being dishonest/fake.

You think we look really good together / My fine looking suit is really made out of sack / The simple things you see are all complicated / Substitute your lies for fact / I see right through your plastic mac

The relationship breaks down because of this and their partner doesn’t truly want to fix things, and ultimately trades up.

Those crocodile tears are what you cry / It’s a genuine problem, you won’t try to work it out at all, you just pass it by / Substitute me for him / Substitute my coke for gin

Essentially: your partner not knowing the real you because you’re putting on a facade—the facade being the version of you they really like, the thing that was making you compatible—leads the relationship to fail. The literal title suggests neither of them as they are are what the other truly wants or needs.

• • •

Obviously this does not directly parallel M!leven in terms of the topic of the lying but in terms of the themes and core relationship issues…yeah. To me this could be about point Mike has reached after gradually coming to realisations about the nature of their relationship after it’s over, like I mentioned before. I can envision a mid-late season confrontation (or something less aggressive sounding lol) between them, pairing perfectly with the topic of the previous song. El scared trying to fall back on Mike and he’s like…no, we don’t work, I can’t be that for you anymore and this is why: betraying who he is (nerd) to impress her, trying so hard to play the “boyfriend” role (yet they never successfully emotionally connect), if he’s gay then there’s also the facade of straightness, etc. I think it would show a lot of emotional maturity from him honestly, and I really need him to have a strong grasp on what went wrong with El for them to have a shot at forming a healthy friendship, and also to psychologically process all that stuff before getting involved with Will.

➠ Track 10 | The Rebel Kind

A short song about life being tough when you don’t have much (this one is class-focused too), but still craving the freedom that comes from not following societal rules and pressures for how to do life “right”, and instead living on your own terms. Basically the struggle is worth not having to conform. The first verse sums it up pretty well:

They call us the rebel kind but they don’t understand the things a man must do to prove that he’s a man / It’s not easy but I don’t mind, I just wanna run with the rebel kind

• • •

Again, obviously the specific topic is not relevant to ST but the thematic parallels blew my mind, I mean the entire show is about people being outcasts and learning to find strength in that, and the final season is going to majorly drive that point. We know this from the fact that Will “being different” Byers is the one who’s arc is said to tie up the whole show. Now in regards to Mike…if this doesn’t scream forced conformity and deciding to reject it for your own happiness I don’t know what does. It perfectly captures the thematic end point of his arc next season (and not just his but probably the entire party’s in one way or another). Also the toxic masculinity reference in that one line applies heavily to Mike with his history of trying so hard to do what he thinks he supposed to do in going from boy to man i.e. We’re not kids anymore. Did you think we were never gonna get girlfriends?

➠ Track 11 | Block Rockin’ Beats

Another one I think is mainly to set a tone; no real lyrics just beats. In my opinion it comes after The Rebel Kind for a reason. Somehow it just makes sense, it’s got this really loud, frenzied, unrestrained energy to it.

➠ Track 12 | Just What I Needed

We end off with a love (or desire?) song. It’s interesting because it’s quite aggressive sonically but at the same time it talks about being with someone in a simple uncomplicated way:

I don’t mind you coming here and wasting all my time / I don’t mind you hanging out and talking in your sleep

…but it’s also very intense how you feel with them.

Cause when you’re standing oh so near I kinda lose my mind

There’s a repeated line that stuck in my head. It’s obviously written about a female subject, but there is such a rejection of the feminine going on:

It’s not the perfume that you wear, it’s not the ribbons in your hair

It’s saying those feminine attributes are not why this person is attractive—and yeah logically that means the subject must have those things, but as I’ve said I don’t think these songs need to be interpreted on such a specific level. The point being made is about a deeper connection. The line is just intriguing to me from the perspective of Mike being into boys, I mean he could’ve picked literally any other romance song.

I needed someone to feed / I needed someone to bleed / I guess you’re just what I needed

The message here is basically: I was craving the rawest form of connection/intimacy with another human being (that doesn’t have to necessarily mean sexual it’s just those visceral words feed, bleed in comparison to perfume and ribbons which sound very fluffy lol)…and now I’ve found you and it’s exactly what I was looking for.

• • •

With all the themes through the songs of rejecting fake relationships and conformity, and accepting and exploring queerness…Will Byers is obviously going to be the thing Mike needed. I’ve been saying (and so have many) but Byler isn’t happening till the end. Also the playlist finishing with this song is telling in my opinion. Aside from the Castle Byers Classics link, the title itself implies searching for something which is now found, a journey being over. I say this for the purposes of pushing my agenda about this playlist painting a narrative. Hear me out:

Personally……that’s not accidental. It just isn’t. Even if my more specific interpretations aren’t correct, I just cannot believe that this wasn’t curated to draw a particular picture. I believe in coincidences and if the playlist had been titled as it was with a bunch of random unconnected irrelevant songs I’d be the first person to file it under that. But the title and the inclusion of a song from Will’s official playlist and these specific songs in this specific order? Yeah it’s about s5 Mike and I cannot wait to see him! If you made it this far thanks for reading <3

[markantonys]

i'll be interested to see if this holds true for WOT s3 since the s1 finale had so many extenuating circumstances and can't really be included in the comparison, but based off of the s2 finale, i believe that season finales tend to bear the brunt of "It's Different From The Books!" ire because they are the culmination of all the smaller changes made throughout the season.

this turned into a bigger analysis post than i expected lmao par for the course with my blog! read on for exploration of how the 2x08 conclusion of each season-long arc is the the most emotionally satisfying conclusion and/or the most thematically appropriate conclusion possible based on the show's particular version of the story, plus a bonus tangent on the nature of adaptation.

for a finale episode, the writers' prime concern 100% has to be "wrapping up all the season's arcs in a way that feels satisfying with everything that's happened in the first 7 episodes, using the book version of the finale event as the framework" rather than "recreating the book version of the finale event exactly as it is with all the same scenes and themes". the nature of storytelling inherently means that every single person who tells the same story will focus on different themes (just think of how many versions of the hades & persephone story there are), and a good adaptation knows that being internally consistent with its own Emphasized Themes is more important than copying-and-pasting scenes from the source material without making any changes to account for the specific way this adaptation is telling the story.

(but a lot of people can't even get past this first point because they don't understand that this is how adaptations - how storytelling in general - work. like, person B literally cannot tell the exact same story that person A told without putting their own spin on it. it's not possible! unless they're simply reading out the exact words that person A wrote, which can't be done when putting 14 massive books into maximum 64 hours of tv. so many readers like to meet this point with "but why does the books' version of the story need to be changed at all?" which is just a non-starter because a) medium differences require a ton of changes, and b) even if no changes were *required*, they would happen anyway because that is human nature when it comes to storytelling. when it comes to story-listening too! ask a hundred different book fans what WOT is about and you'll get a hundred different answers. rafe & co can't possibly make an adaptation that captures every single reader's idea of What WOT Is About, and nobody in the world could ever re-tell the story of WOT in the exact same way that RJ told it, not even the most die-hard book fan; all rafe & co can do is focus on making sure the show honors the core of the books' story while also telling a good story in its own right, independent of the source material.)

i was a classics major, okay? it gets to me! anyway, corralling myself back on topic.

for 2x08, it's very telling just how far Minority Reader Opinion deviates from the general audience opinion. general audiences fucking LOVED this episode (it's the highest-rated on imdb out of the entire show, currently at a 9.0; most episodes are in the 7-8 range), but a bunch of readers call it disappointing and one of the worst episodes of the show. if it was actually a poor quality episode of television, the general audience ratings would reflect that too (as they do for 1x08, currently at a 6.4 (i personally think 1x08 gets way more hate than is deserved and i thoroughly enjoy that episode, but i accept that's just me)), but they don't.

so what does that mean? to me, it means that 2x08 is objectively a very good episode of television which general audiences found satisfying, but which some readers disliked because it prioritized the emotional & thematic needs of its own version of the story over the exact nature of the falme events in the source material. which is exactly what a good adaptation should do! if you forget the books and just look at the show (which the vast majority of viewers are doing), then every resolution that happens in 2x08 is the most satisfying resolution possible and/or the only resolution that was thematically permitted for that particular season storyline.

egwene: her season arc was about learning to stand on her own two feet and not cling onto her mentor figures or compare herself unfavorably to others. thus, her freeing herself from the a'dam is the most satisfying possible conclusion to her season arc. nynaeve and elayne freeing her in the books is nice, but in the show version, thematically, it would've undercut egwene's Overcoming Impostor Syndrome arc to go "yeah actually it's true that she's not good enough on her own and when it comes down to it she does always need nynaeve to help her out". that version worked in TGH where she didn't have an Overcming Impostor Syndrome arc, but it wouldn't have worked in the show where she did. (but, yes, egwene learning in 2x08 that she doesn't have to rely on others is a double-edged sword, which nicely sets up her later-series struggles with trying to shoulder too much herself and not letting even her friends or partner help her.)

rand: his season arc was about learning to lean on others and not isolate himself or try to protect his friends by withholding his burdens from them. thus, him failing to defeat ishamael until all his friends come to lend aid in various ways is the most satisfying possible conclusion to his season arc. rand defeating ishy singlehandedly in the books is nice, but in the show version, thematically, it would've undercut his Learning That Strength Is In Numbers arc to go "yeah actually it's true that rand is capable of winning his biggest battles all by himself and thus it's no problem for him to push his friends away". given the themes that s2 emphasized for rand, the only appropriate finale outcomes were either success with his friends' help or total failure on his own, and they chose the former. (that being said, rand pushing his friends away is a continuous issue for him throughout the series, so i doubt he's perfectly learned his lesson after 2x08; we shall see!)

interesting to note that rand and egwene have inverse arcs in a way (foils!) and that some elements of their book falme climaxes were swapped, and that the way the show has done it subverts the expected gender roles. typically, men are expected to be Lone Wolves and women to be Team Players, and the WOT books absolutely play into these stereotypes throughout the series (sometimes intentionally as social commentary, sometimes unconsciously as an accepted truth of the world), but 2x08 and s2 more broadly did the opposite with our yin-and-yang co-protagonists. it's egwene who has the arc about learning to be a Lone Wolf and rand who has the arc about learning to be a Team Player. and imo these subconscious gender role expectations are a part of why some readers (esp reddit) got SO heated about "how come egwene can succeed by herself but rand can't", because it feels Wrong to them and Not How Things Are Supposed To Work (they've never questioned why rand can succeed by himself but egwene needs her friends' help in TGH, or all the other times in the books when men succeed by themselves and women succeed by relying on each other). but it's a totally apples-to-oranges comparison because egwene and rand had totally different season arcs and focal themes (but many paralleling & foiling moments within that), and so they each get a conclusion tailor-made to their individual stories.

mat: his season arc was about realizing he's a good, worthy person, finding the inner strength to overcome his worst impulses and temptations, and coming through for his friends after leaving them at the waygate. thus, him getting his Big Damn Hero moment with the horn of valere, getting validation that he is literally a hero, and overall spending the episode doing all he can to support his friends is the most satisfying possible conclusion to his season arc. (but stabbing his bff just as he was flying on a confidence high and trying to save the day was a downer note to end on, so we've complicated his relationship with heroism and set up some more internal issues for him to wrestle with next season.)

perrin: his season arc was about learning to acknowledge his inner wolf but also coming to regard it with fear and to believe that wolf & human sides can't coexist and he must Choose One (.......suddenly being struck by the bisexuality metaphor of it all. nice!) thus, him giving into violence to murder a human to avenge a wolf is.....well, it's pretty upsetting for him and serves to reinforce his growing belief that his two sides can't coexist, but thematically, it's fascinating and sets him up for some really great internal (and external) conflicts in s3. he's just gotten what he thinks is pretty strong evidence to corroborate ishy's claim that embracing his wolf side means embracing the shadow, so he's set up for a season 3 of deep-diving into his relationship with violence and his inner wolf. it's also a neat parallel with 1x08: there perrin's avoidance of violence allowed fain to escape, whereas here his embracing of violence has traumatized him (again), so our poor guy is really feeling conflicted in the pacificism-or-violence question because both sides seem wrong to him right now. huh, i guess perrin's full-series arc is about finding a middle ground rather than one extreme (pacifism/tuatha'an/human) or the other (violence/aiel/wolf). i feel like i've just had an epiphany lmao this is why i love the show! it tells the same story as the books, but tells it in a different way that makes me think about it differently and gain new insights!

nynaeve: her season arc was about learning that she, on her own, as she is today, is not enough to protect her loved ones. this is a tough pill for both her and the audience to swallow! but it's needed for her character, and we see it in the books too. nynaeve has an incredible amount of power, but she's terrified of having that much power and wants to pretend it doesn't exist. she's resistant to change, she's used to being in charge, and she's very "my way or the highway". these are all things she needs to grow out of (or moderate, at least) in order to be able to step up and do her part for tarmon gai'don. she has to learn how to embrace her power instead of being afraid of it or being too stubborn to let other people guide her and teach her, so s2 shows her what happens if she doesn't, first hypothetically in the accepted test (everyone she loves dies because she's blocked and refused channeling training) and then for real in falme (she couldn't help elayne fully or rand at all because of her block). so her 2x08 conclusion being Total Failure is not emotionally satisfying, no, but it's thematically exactly what she needed and will goad her into facing her block head-on next season. thematically, like rand, nynaeve only had 2 options for falme: break her block and succeed, or retain her block and fail, and it was too soon for the former (we gotta let her cook a while longer, plus the story will become too easy if nynaeve, or rand, reaches supernova capability too soon), so it had to be the latter. if the show had gone with a third option of her succeeding without breaking her block, then that would've taught her and the audience that it's fine to leave the block in place and she doesn't need to challenge herself to grow as a person, because when it TRULY matters she can always get around the block.

other characters get appropriate resolutions too! moiraine and lan get to work together to succeed after being at odds and failing on their own all season (rand foils!). elayne gets validation that she is an essential and trusted part of the friend group after feeling like somewhat of an outsider earlier in the season. ishamael getting vanquished and lanfear betraying him only to be betrayed by him in turn is exactly where their mutual mistrust was leading them (and it shows us why it's so important that Team Light be able to work as a team rather than as self-interested individual operators; the contrast between ishy & lanfear looking at the seals together while plotting to betray each other vs. rand standing on the tower with all his friends behind him makes me cry your honor. imagine hating that ishy's defeat was a team effort, could not be me!)

(it's also worth noting that the characters who had the least individual success/victory in 2x08 (nynaeve, rand, perrin) are the ones who will have the biggest individual storylines in s3 (tanchico & moggy, waste arc, two rivers arc), whereas the characters who had the most individual success/victory (egwene, mat, moiraine, lan) are the ones who will be taking a bit more of a backseat (of course they all have their own stuff to do, but none of them is *the* lead character of their TSR/s3 traveling group). this is intentional!)

so there you have it. 2x08 is adored by the general audience, and it's because of this: it gives us some damn satisfying conclusions to all the season arcs (and some exciting and visually stunning battle sequences to boot), and all the viewers who AREN'T beleaguered by "But The Books!", which is most of them, recognize that for the good storytelling it is. i for one will always care far more about the show telling a good story within itself than the show being identical to the books, and rafe & co will too, as they should.

the only downside to the episode is that, yes, it is quite cramped for time because there are a lot of arcs to wrap up. this should be less of an issue in future seasons when the season finale isn't "every single major storyline converges in the same place at once". for example, judging by the "goldeneyes" episode title it seems s3 might split it up so that perrin's conclusion in the two rivers is in 3x07 while other conclusions in other locations are in 3x08, giving each more breathing room. whereas 2x08 had no choice but to stuff everything in that episode into that specific episode because it's not like perrin could just do his falme stuff an episode early and take a nap while everyone else was doing THEIR falme stuff in the next episode, nor could the full falme sequence have been split into 2 episodes since that would have disrupted the flow of the story. the only solution would be for 2x08 to be extra long, which is nice to imagine, but we all know that streaming shows almost never deviate from their set episode lengths and so there isn't much point sighing about "this episode should have been 90 minutes long!" because that just is not on the table, never has been, and never will be. the first step to being able to jive with an adaptation is making peace with the limits of its particular medium!

plus, the only things i might deem "missing" from 2x08 are non-essential (ingtar darkfriend reveal - that is NOT important fight me, it's only important in the books as our first example of a morally-gray shadow-aligned person but the show has already been doing that in spades) or will likely be included in 3x01 (the gang spending some time together to breathe and process and catch up). at the end of the day, the show is always going to need to be paced very very tightly with not as much breathing room as those of us accustomed to entire books dedicated to reacting to the previous book might expect. and 2x08 did manage to pack in a LOT of character work amidst all the action and did a good mix of resolving s2 arcs while leaving some unresolved to carry into s3 and introducing some new arcs/issues/conflicts, all within 70 minutes, which i find pretty impressive. in conclusion, 2x08 my fucking beloved <3

[tangledbea]

Let's compare the S3 opening to the finale closing, shall we?

They're nearly identical with a few very notable differences:

The journal is closed. Her tale is told, this story is done. (It also closes while we watch, driving the point home.)

Her crown is now missing from the pillow*. This is to show how she's now comfortable wearing it all the time, indicating that she's stepped fully into her ruling role in society.

There is more paint spilled on the outside of the tankard that holds her brushes. This is, of course, because she's told a lot more story by the end of the season than the beginning. There's significantly less paint on it in the S1 opening. (And I'm positive the tankard is from the Snuggly Duckling.)

The view is finally pulled back and lit well enough to see what the thing on the far left is: an open birdcage. Rapunzel is finally truly free in the realest sense. She's chosen the life she leads now. None of this is being forced on her before she's ready for it. Interestingly, the birdcage is there in the S1 opening, too, but not only is the shot tighter so most of it is cut off, it's also draped in shadow, making it very unclear what the object is.

But there are some very notable differences between the S1 and S3 opening shots, as well:

The candles in the S1 opening are lit and much higher than the ones in the S3 opening. These are intended to be the same candles, but burned down by S3. This also shows that she's doing her journal entries at the close of the day. But the lighting in the S3 opening implies either dawn or sunset (likely the latter). It's warmer and brighter, more full of possibility and feels less like she's hiding it from the world.

Her paint palette is on the desk instead of her adventure bag which is full of more paint brushes and also coins. She did all of her painting at home, and didn't really have anywhere else to go during S1. She was still doing things the way she'd always been used to doing them.

The wall behind the desk is mostly unpainted in S1 and completely painted in S3. By the end of the series, she'd once again made a home for herself, surrounded by her own art and the stories she had to tell. Similarly, the desk is far less marked up by art supplies in S1 than it is in S3 (just like the brush-holding tankard).

The books are leaning differently, because she took them with her during S2. You can see them in the S2 opening shot on her bed in the caravan.

The little pot in the upper right of the desk has clean, unused paint brushes in it. But in S3, it's full of flowers, instead, because those brushes are all now in use, and stashed in her adventure bag.

There are multiple writing quills on the desk in S1 and none in S3. I feel like this is significant of her always being out and about now. Also, she feel less like she has to "put things in ink," and can instead do her free-flowing lifestyle the way she sees fit.

*Yes, I know that in a previous post I said it was the pillow the wedding rings were carried on, but both of these things can be true at the same time.

[psychedelic-ink]

𝑻𝑯𝑬 𝑨𝑼𝑹𝑶𝑹𝑨 𝑩𝑶𝑹𝑬𝑨𝑳𝑰𝑺

pairing: din djarin x fem!reader

genre: hurt/comfort, romance, smut, forced proximity

word count: 2.8k

summary: A friend, lover, then stranger. The last thing you expected was to be snowed in along with the bounty hunter. Tension rises as the past circles you both, trapped in the Razor Crest with no where to run or hide.

warnings: established past relationship, piv, touch starved din, creampie, also this takes place after S2 but the Razor Crest is still here because I love it so much and miss it

a/n: As some people might remember, I had a winter WIP list called 'Psychedelic Winter,' and this was one of the fics that I said I would write. And I thought, 'Hey, what better moment to post this than the day Mando S3 drops?' Enjoy everyone, happy mando day!

When you were thrown onto an icy planet by your so-called colleagues, you didn’t really have a plan for survival. It was your fault really, you were too trusting, too eager to help and be useful. It was a stupid habit that you had since very little, forced to feed yourself in this lonely lonely world. 

However, it wasn’t always like that. 

With a shudder, you hug yourself, your boot-clad feet buried in the snow. The flakes feel like glass shattering across your skin, painful and cold. Even your lungs tremble from it. As you walk forward, your mind brutally reminds you of him. A man that became a friend, a confidant which had quickly turned into something more. Heat pools between your legs at the mere thought of it, the feeling of emptiness and cold prominent. 

The Mandalorian. Mando. Din Djarin. Din. 

You miss him still. You can’t really help it. You loved traveling with him, and after such a long time, you truly felt like you belonged. He became family. He became your everything. Soon after your little family grew, Grogu joining the fray. It felt like a dream, you were finally living out what you’d been searching for. 

But that all changed when Grogu had to return to his own kind. The Jedi. Din grew distant, he pulled away, not responding to you or your touches. You just felt grief emanating from him, something that you couldn’t fix. He didn’t ask you to leave, you just left. Once again alone, once again without a home. 

In your desperate attempt to replace it, you went with anyone who would tolerate your presence. You’ve met some good people, but you’ve met some assholes too—obviously. 

Your lashes turn into cold crystals, stinging every time you blink. In the distance you see a hint of yellow light that bleeds into red, you can feel the warmth of it despite being far away. Like a moth to a flame, you walk towards it, your steps fighting against the cold wind and the snow. You can’t feel your fingertips anymore, or your legs, or your face for that matter. You’re flirting with death. 

You notice that the ship most likely crashed. You press your freezing palms into the metal, still hot, a soft heat spreading throughout your hand and blossoming across your arms. You let out a sigh. It feels familiar like you’ve been here almost. Teeth clattering, you reach the door and give it a loud knock, your fists hurt when you do it, but you manage to muster your last bits of strength. 

The door opens with a muffled hiss and you find yourself immediately staring into a blaster. 

A very familiar blaster. 

You quickly realize why this ship felt familiar, it was the goddamn Razor Crest. Your home—once upon a time. 

The blaster falters, and you stare into the familiar dark visor, he tilts his head. You like to imagine that he’s happy to see you despite the shock. With a crooked smile, you mimic his movement, cocking your head to the side. 

“Hey, Din.” 

Everything is the same. Everything is different. It’s weird to be back within the Razor Crest’s metal walls. The ship creaks with the wind, metal groaning as Din sits across from you, his legs spread and elbows leaning over his knees. You chew the inside of your cheek. Having such intimate memories with someone is an odd thing, your body still remembers what it felt like to be filled so thoroughly by him, to have his large hands squeezing and kneading your ass as you dripped and begged for more. 

Heat settles right below your spine. You wonder if it’s the same for him too. Had he thought of you after you left? Had he rutted into the pillows imagining that it was you instead? 

Probably not. 

“The engines are messed up from the cold but as soon as the storm lets up a bit we should be good to go,” he says, refocusing your focus back on him. “We’re going to be stuck here for a while.” 

You nod, not really knowing what else to say. To be honest, you’re slightly embarrassed that he’s seeing you like this. 

“How did you end up here?” he asks. 

The question surprises you because you hadn’t expected him to make conversation. You can’t tell if he’s angry or not from the modulated voice. He sounds like he always does. You look up to him, wishing you could see his face. 

“Grouped up with the wrong people. You?” 

“After a bounty.” 

“Ah, the same old.” 

“Pretty much.” 

The following silence is uncomfortable, it makes you feel unwelcomed and slightly gross. You don’t know what to say. What can you say to the man you basically abandoned? That was never your intention, but it was what he wanted. He didn’t need you around, reminding him of something important that he’d lost. 

Your mouth acts unfiltered, the horror sinking in as soon as you ask. 

“Have you heard from Grogu?” 

He stiffens quite visibly. His shoulders raise, his visor looks down. You curse your tongue from moving on its own. Din’s anger is physically felt by you, it chokes out the air from your lungs, forces the soles of your shoes to be glued to the floor. Your eyes go wide and you swallow. Your lips are sealed shut when he stands, his figure suddenly larger and taller than what you’ve been used to from your memories. 

“You don’t need to ask about him,” he answers curtly. “We don’t need to talk at all.” 

Din storms towards the back of the ship, his long strides reverberating through the metal walls. His sudden outburst leaves you stunned, your thoughts scrambled like the tangled wires of a circuit board. The sound of sparks and him tinkering with something echoes within the confinements. You’re stunned. Confused. You hesitate for a moment, unsure of what to do, before the ship groans and shudders again. A loud groan vibrating from your feet to your chest. 

Your feet move of their own accord, propelled by a mix of curiosity and concern. As you approach, the cacophony of tinkering grows louder, the metallic clinks and whirs blending into a symphony of sound. At first glance it looks like he’s doing nothing, crouched over, just occupying his hands. You reach out to touch his shoulder, a hesitant gesture. To your surprise, he leans in instinctively, his body responding to your touch like a magnet to metal.

But then jerks away, as if he’s been burned. 

“What did you mean by that?” you ask, pulling away.

He huffs, his hands falling. “I just said we don’t have to talk.” 

“What if I want to talk? I missed you, Din.” 

It’s an unexpected, sudden confession but you decide to go with it. It isn’t a lie. You did miss him. 

“Miss me?” he hisses out, his head falling back, he stares at the ceiling. “You left.” 

“What? Are…are you blaming me for what happened?” 

“No,” he stands up, his masked face an inch away from yours. You fight the urge to take a step back. He wouldn’t hurt you. He slowly tilts his head as if he’s amused by whatever expression you’re pulling. “I’m stating a fact. Didn’t you go?” 

Your eyes fall to his chest, “I did but—” 

“Then I find you on the brink of death, shivering, helpless,” he lets out a deep breath, chest heaving. “Was it worth it?” 

“I left because you didn’t want me around.” 

Your gaze snaps back up. He doesn’t move, the visor staring back at you feels colder compared to the storm raging outside. The build-up of tears is sudden, overwhelming. Your face controls with anger, your brows pinched and your lips curling down. The rage twists in your gut, you’ve been suffering, doing jobs left and right to feed yourself. And he has the audacity to tell you that it’s your fault? That he never wanted you to leave? 

Bullshit. 

Without thinking you push him away, your hands finding the cold plates that decorate his chest. He doesn’t move. An indestructible wall. Shaking your head, you push at him again, and again, and again. When nothing works, you hammer down with fists. Your heart beats loudly and painfully in your chest. You can’t breathe. You can’t speak. It’s suffocating and cold. So fucking cold. 

Your fists stop mid-air when he holds them, gloved fingers wrapped tightly around your wrists. 

“I never asked you to leave.” 

“You didn’t have to,” your eyes fall, shame heating your cheeks. “You barely spoke to me. Touched me. It felt like I was reminding you of a tainted memory. Something you could never have again.” 

“That’s not…dank farrik—” 

He pulls you in, arms coiling around you with the intent to never let go. The beskar is uncomfortable but comforting. Your hands shake as you return in like, wrapping your arms around him weakly. His hand cradles the back of your head, the other one sliding down to rest against the small of your back. He doesn’t say a word but you know this is his own peculiar way of apologizing. Even if he’s not sure what he’s apologizing for. Neither of you are. Luckily, you have a very functional mouth. 

“I thought you wanted me gone after…I didn’t know. I should’ve realized you were hurting. I was so afraid of what you might say that I acted before you actually said it.” 

“I was never planning on saying it,” he answers. “I missed you too, mesh’la.” 

His scent; metal, musk, and something sweet fills your lungs. You take deep inhales of him, grounding yourself back to reality. The hard surface of his helmet presses into the top of your head. The ache between your legs is uncomfortable, you want to touch him, feel his bare skin against yours. 

“Do you trust me?” he asks. 

You answer. “With my life.” 

“Then close your eyes for me. Let me guide you.” 

You do as you’re told. A dance that you’ve grown accustomed to once upon a time. The hiss of a helmet, the touch of his lips, the feeling of his hands cupping your bottom. He slips his tongue into your mouth, tasting you, reminding himself of what you felt like all those times ago. He tastes the memories he hasn’t been a part of, he gets used to the differences. 

When he parts, it’s hard to keep your eyelids from fluttering. You don’t open them, but the tease of the what if always remains. What would happen if you gave into temptation? Would he know you’ve seen him? Would he be angry? Would he never see you again? Would it be worth the risk? 

No, you think, It wouldn’t. 

“Touch me, riduur, I need you to touch me,” the last plea is spoken brokenly. “please.” 

Your hands roam his armor, blindly helping him out of it, touching every exposed skin and muscle. He’s trembling under your touch. You feel the thrust of his hips into yours, still clothed, desperate. Your skin prickles when you feel the hardness, heat pooling between your legs, and tingling. You’re just as desperate as he is. 

He takes your hand and leads you to the bunk. You feel him everywhere. His lips are on your breasts, kissing a trail down and circling the pebbled nipple with the tip of his tongue. He opens his mouth wide, fitting as much as he can as he sucks and bites. You arch into him, your hands still touching—tracing his back, cupping his ass, pulling him closer, asking him to thrust against you in the same desperate manner he had not moments ago. 

“Why did you leave?” he asks between wet, needy kisses. “Why did you go?” 

“I don’t know,” you say over and over. “I was scared, I’m sorry, I love you.” 

It was like a song that was whispered for their ears only. It’s a symphony of reminding themselves what they’d lost, and what they’d gained. 

Feeling him inside is a beautiful thing. Din is not a small man, not in the slightest, and he has to cover your eyes just in case when he fills you. It’s a smooth entry, your wetness enough to pull him deep inside. Your walls flutter, the blissful pain of the stretch makes you moan his name. The first thrust is like fireworks in your mind, bursting with pleasure. The second one you feel like ice, melting into the motion of his hips and the warmth of his cock. 

“Harder,” you breathe out. “Harder, fuck me, Din.” 

His teeth sink into your neck, his pacing fast, hard. The sound of skin against skin is loud enough to drown the sound of the snowstorm outside. You push against each thrust, albeit your movements not really doing much, uncoordinated and unpracticed. Din pins your hips down, his fingers like iron branding your skin. He hammers into you, the dark curls stimulating your clit forcing out a gasp from you. 

“Look at me.” 

“What?” 

“Look at me. Open your eyes.” 

His hips slow down into a tortuous grind. Your bottom lip trembles at the thought. You’re scared to open your eyes, and frankly, you’re not sure if you heard him right. His thumb smooths over your closed lid, gently pulling them down.

“Don’t be afraid,” he whispers. “I want to see you. I want to see the look in your eyes when you come for me. I want you to see mine.” 

“Are…are you sure?” 

Your heart feels like a ticking time bomb, your chest ready to explode, the ticking in your ears too loud. 

“I’m sure.” 

Your eyes open incredibly slow, fearful. Din’s face clears up and you see him smiling down at you, his hair mussed, sticking to his forehead due to sweat. Hesitantly, you place a hand on his cheek, feeling the trimmed down hairs with the pad of your thumb. He leans into your touch. 

“Now, that wasn’t so scary was it?” he asks, you smile and shake your head. 

“No, it wasn’t.”

He kisses you. It’s different this time, softer, slower. He resumes his thrusts, hips snapping into you with the intent of release. His one hand slides between your bodies, thick fingers finding your clit and starting to draw quick, tight circles around the sensitive nub. The skin above your stomach grows tight, your thighs shaking against the broadness of his hips. You can’t get enough of him. Kissing him and at the same time trying to look at him. You engrave his face into memory. 

Din breaks the kiss with a rush, his one hand cradles your cheek, tilting your head up to him. He holds your gaze, his lips parted. You feel your cunt fluttering around him, his cock heavy and throbbing deep inside you. Din spills into you with a groan, his hips stuttering forward. You follow right after, the sight of him too much. Your teeth sink into your bottom lip and his eyes roll back, you gush around him, your body convulsing as a silent promise never to let him go. 

When both of you come down from your highs, he kisses you. Again and again. A man starved. A man desperate. Only one plea falling from his lips. 

“Touch me.” 

You wake up with his touch on your shoulder. When you open your eyes memories come flooding back, you and Din, again you had found your home. You wince as you slowly get up, the ache between your legs uncomfortable but missed. You notice that Din is in full armor, waiting for you outside of the cot. 

“Come with me,” he says, voice hoarse. “I want to show you something.” 

He helps you into your clothes and his hand never leaves your waist as the two of you make your way up to the cockpit. The storm had subsided, only snow falling scarcely from the heavens above. He points you to look up, and you do. 

Your breath catches in your throat. The sky is alight with an otherworldly dance of colors - the aurora borealis.

The lights shift and shimmer, painting the sky with vibrant hues of green, blue, and purple. It's as if the entire galaxy has come to life, it’s beautiful. 

Din's arms wrap around you from behind, and you melt into his embrace. The warmth of his body against yours, the strength of his grip, and the steady rhythm of his breathing all serve to ground you in the moment. You feel safe, and you feel loved.

The aurora continues to dance above you, you lean your head back against Din's chest. It's like nothing else matters in the world except for this moment - just the two of you, surrounded by the beauty of the cosmos.

And as you look up at the lights, you know that you are home.

[verimuru]

Red on Maroon A 16-page IWTV (2022) fancomic about the vampire Armand and journalist Daniel Molloy visiting the Mark Rothko retrospective in 2024 Paris. Content mentions & warnings: The comic depicts Daniel’s internalized ableism. Rothko’s suicide is acknowledged but not discussed in detail. There’s angst, talk about kink and lots of fluff. Louis is mentioned as well as Daniel’s daughters. Marius is not named but is hinted at. The comic is set up in post-Dubai-interview time and based on my knowledge about s1 of AMC’s IWTV with sprinkles of book canon. Some notes about the comic below:

As with my last comic, I am not a native English speaker, so I hope you keep that in mind when reading <3 trying my best here meow meow

The Rothko retrospective can be visited until 2nd of April of 2024 in Louis Vuitton Foundation. I visited the place in January, so the comic’s surroundings are a mix of memories and some image searches, but in no way fully accurate. Since visiting Paris next week is probably not an option for most people, the foundation has a very cool free app, where you can listen to an audio guide about Rothko and paintings in the exhibition. I mostly used their app as a source for this comic, so in case you want to learn more, go here: https://www.fondationlouisvuitton.fr/en/events/mark-rothko

 I listened to a lot of Morton Feldman’s Rothko Chapel -album while making this. So put it in playing in the background if you’re into that sort of thing. Link to the playlist on youtube

Since I am Finnish and I found out that one of LVF’s first exhibition had some Finnish painter’s work, ofc I had to include them… Page 14 has Schjerfbeck’s “Dancing Shoes”  and Gallen-Kallela’s “Kullervo Cursing”.

Ok finally some headcanon stuff: in my head, while writing this comic, I imagined Daniel having accepted the dark gift from Armand, but both of them wanting him to live as a human as long as possible to enjoy the benefits of a… mortal body. :’D Since, you know, vampirism is forever anyway, so why not enjoy the variety of bodily fluids, body heat, aches and weirdness of aging? While having a chronic illness is shitty, his life is not, and while his disability marginalizes him, there’s a perspective there, a person living and enjoying things, allowed to take space and feel his thoughts develop from these changes (that also affect over 6 million people around the world with Parkinson’s).

After finishing the comic I am not so sure if Daniel is going to be turned into a vampire after all. So your guesses are as good as mine, would love to hear your suggestions, hehe!

I wish we knew more about Daniel’s daughters! I just came up with something here because I wanted to draw them and wanted to see their dynamics as a family.

I have now read the Devil’s Minion part from Queen of the Damned as a separate short story and appreciate the TV show’s changes to Daniel even more. I can’t wait for S2…..

My sincerest thanks to @anaid-queen for being a test audience, my informant and such a cheerleader the past week <3<3<3

Hope you enjoy xoxo

SORRY I POSTED THE WRONG IMAGE FILES FIRST WAHHH I had to repost ;_;

[audiblehush]

Okay, so post-P1 trailer, the thing I’m MOST excited about for is Colin and Penelope’s ACTUAL friendship!

Because while Colin has always viewed Penelope as a genuine a friend, she has always had the added lense of “I��m in love with you,” and that changed the way she interacted with him.

But now, to Penelope, Colin has essentially closed the door on him ever seeing her in a romantic light, both with his end of S2 words AND their “friends” handshake in S3. “Okay,” she probably thinks, “that dream is dead but friends. I can do friends.”

But what this opportunity does is this give us Penelope functioning in this friendship as an ACTUAL friend, and not just “yes sure friends but I can’t get the heart out of eyes enough for it to be truly genuine because I’m wearing a mask so you like me” - That didn’t make her a bad person; it made her a girl with a strong crush worried about his view of her; it’s normal! But it also obviously led to her putting on airs around him, while also having him on a pedestal and not seeing him as a fully realized person.

But these “lessons” allow for them to be around one another without expectation. That scene of them giggling in the ballroom like dorks, as if no one else was around them??

ABSOLUTE PERFECTION!!!!

Colin will begin to see Penelope as a true friend because she’ll LET him; she’ll drop her guard enough to be real instead of trying to impress him all the time. THAT is (hopefully) when Colin starts to realize his feelings: because Penelope will finally be her authentic self… while feeling more confident because of her new wardrobe. He’ll be attracted to her new confidence, and her ACTUAL personality she’s letting him finally see, not just her physical glow-up (the candle symbolism!!!!).

COLIN will now have heart eyes for her, and maybe the one to have her on a slight pedestal… only for the LW reveal to happen and shake his world… letting us see his hurt, his anger, his worry…

Once they work through all that is when these two see each other for who the other REALLY is, flaws and all, fighting to grow individually, as a friendship, as a COUPLE… and choose each other every time.

THAT. IS. MY. JAM.

I still have my concerns about the season. I do NOT want Colin only realizing his feelings once some other guy pays her mind. I NEED him to already be struggling with and analyzing his feelings before Debling get involved. If I had to guess, it will be more than Colin is like “okay, I’m pretty sure I have feelings for Penelope, but how do i know for SURE when I’ve thought that before?” (thanks S1…) … but then Debling comes along looking for a wife, and Colin is suddenly between rock and a hard place because now he has a sort time limit to sort through really complicated feelings.

Violet says “ what more could SHE want?” mostly likely about Penelope and Debling, because Debling is wealthy, titled, and has strong interests and beliefs he is committed to (based on his promo info, anyway). This has already been an insecurity of Colin’s since S1. He’s a third son (with wealth, yes), but he has been searching for “his purpose” for ages now; it’s all over S2 how lost he is and how that frustrates him. His family tends to tolerate him at best and kind of ridicule him at worst, and so he flits by being easy-going and “charming” when he just wants to know who is and be accepted for it. So Violet says all this and Colin says “but you said friendship is the best foundation” and she tells him to follow his heart.

But that’s the problem: Colin struggles to KNOW HIS OWN HEART, and not just romantically! So I just want to know how much of his feelings for Pen has he grappled with at that point? How much exploration outside of his Pen stuff has he done regarding his own person? Because he IS a person outside his relationships, but HE doesn’t feel that way.

EDIT: Also, ALSO Yes, Colin is hyping pen up, but I want her to hype HIM up once she sees that he’s not as confident as he acts. She’s seen glimpses of that in S2, but S3 can let her be like “actually, you are AMAZING…” and without romantic intentions, just her telling her friends he has so much to offer the world.

I’m also scared Penelope will make some awful choices (Nicola hinted at this in interviews) and like, i get it we need conflict, but my poor heart can only take so much…

At the end of the day, it’s all speculation. It’s so hard to say with how trailers are cut, and I know they can’t include it all, and most people are here for the romance so that is what they would lean into… so I’m really trying to avoid doom-theorizing, or even getting attached to things I WANT to happen. We won’t know until it’s out, so I’m just trying to contain both feelings of nervousness AND excitement.

I JUST LOVE THEM SO MUCH, YOUR HONOR!!!!

[birdsandbeetlesandmoths]

WELL HELL THEY’RE GAYYY

In context, for real, seriously, Kallus being Fulcrum was like a “oh cool, as I knew” cause meeting that Lasat was the turning point for his life.

Zero Hour absolutely 10000/10. What the hell kinda finale did I just watched. It doesn’t dwarf S2 in my book, but it’s so damn good.

But I genuinely don’t know what it was, in the last half of the third season with like, Through Imperial Eyes, I don’t know, he just catches my eyes more?

It’s not like how I felt when I saw Zeb, considering I knew his character from when I watched S1-scattered S2 as a kid, and already had him tagged as a favorite simply because of how expressive he was (and ears/the cat base for his species)

But Kallus, it was weird. Like, I genuinely hated his hair with a passion throughout the early seasons, and being an Imp, it was kinda like, oh I dislike him, he’s just gonna be another one of those weekly villains to them. Which he was for a bit!!

I’d never seen The Honorable Ones before, but it changed my freaking life when I did. The mercy that Zeb grants (with the condition of wanting a fair fight, which sure, his morals aren’t quite in it for killing an unarmed, injured, kinda hot, man), the trust, if grudgingly, that slowly builds between them due to their circumstances, and bleeds out of their circumstances to each other. Trusting each other, enough for them to trust sleeping around each other. Enough for Zeb to offer him a place with the Rebellion.

And the cracks in Kallus’ beliefs grow further, and he turns from the Empire almost immediately after Bahryn.

I’d like to think that Kallus never truly enjoyed any of the work he did for the Empire. He’s described as being surprisingly compassionate for an Imperial. That’s evident in his actions that differ from his fellow officers. While he is ruthless in pursuit, he isn’t amoral or heartless.

I also think it begins as a truth, I’m sensing some childhood trauma here too, but a truth that he thinks he needs to be this cruel and merciless to survive in the world. But that gradually gets worn down by his moral compass and his values changing. I think they were already deteriorated but Bahryn was the tipping point for him. And he’s risking everything he’s worked for, for the Rebellion (just the Lasat, but we don’t need to know that. .)

I feel like he harbors a ton of guilt for his actions, especially after he’s joined the Rebellion and is surrounded by people he tried to kill not long ago. Do I want that to be explored in S4? Yes. Will it? Probably not. But fanfiction has my back.

I don’t remember what the original point of this post was anymore other than a “here are my feelings and thoughts because nobody asked”

I see the Hot Kallus thing now tho. Looked pretty cool beat up and bloody. The stray hair works wonders :^

Anyways, was the teeniest bit disappointed that Kallus and Zeb didn’t talk directly in the finale, but it’s given me ideas for little fill in fics that have most definitely been done before but I’ll still write probably.

[verosikastrikerstellaexcuser]

Stella, her existence for the sole purpose of birthing an heir, and Octavia:

I could see Stella absolutely wanting nothing to do with a kid she was only tjere to produce, and feeling absolutely horrified at having to lay an egg that she (probably, based off how dismissive in s2(but was that rewriting to make her seem more bitchy?)) disconnects emotionally from Octavia for several years and made it harder for them to connect, especially in the beginning.

The creeping guilt of "i wanted nothing to do with this,b ut she's my daughter, so i have to care" and struggling to find the line between "i have been mentally scarred but i shouldn't take it out on A Literal Child" and either then turning the anger inward (why do i hate something that came from me) or outward (this is also partially Stolas's fault because he played a part) and struggling to hide it from Octavia as she grew up.

The balance of hating the pathway to how Octavia was born vs trying to remember thag the child herself is innocent.

She finally finds a balance between the two, just for Stolas to upend their life for someone he brought into their bed. They could have, if either of them really tried, discussed it ages ago and set up a 'we are married for x reason, but here is y, z, a options for pur sexuality clashes and how we want to portray our life to others' but you get flat, 1 dimensional characters who only exist to prop up male characters.

Maybe in the beginning, Stella would have been open to a discussion about Stolas being gay and figuring out how to work with it. But it's all just a game to stolas ("i thought love would be fun" is the line i think of when it comes to Stolas & Stella's marriage. Unsure if it's from when he's singing in his library in the beginning of s2 or from jlmw music video) and Stella is no longer playing the game.

She's bitter, she's never had fun, she was there for one reason & one reason alone.

And it's such wasted potential to talk about how people who have kids suffer post partum and absolutely have a hard time connecting w kids they want, let alone kids that are the product of abusive & r*pe.

Is Stella a bad mother? We don't know because we aren't shown. Is there potential for her to suffer from the marriage and it affect her relationship with Via and make it 1000 times harder to connect, vs Stolas, who didn't have to carry(???) an egg (it's so confusing on the dynamics of egg birthing in this show. Don't just drop a single "glad the egg fell out" like. Give us details, world building, background, please) and thus can connect with a child easier?

And they were maximum 18 when Via was born, which makes all of it so much harder to process & deal with when you become a parent so young.

YES YES YES YES YES OH MY GOD YES YOU GET IT YOU UNDERSTAND.

SERIOUSLY... seriously seriously Stella is such a wasted opportunity to explore what happens when you force someone who doesn't want to bear a child to bear a child. They could have explored amazing stuff like not making her the best mother at first that only bonds with her daughter later due to postnatal disorder, and showing her feelings changing overtime as she comes to terms with losing her autonomy in place of gaining a daughter who didn't ask for any of this either and that shes going to make the most of. Just as 1 example. So much could have been explored...

and I'll just say it. Representation is important. But honestly. This show could have benefited more from more and better focus on other stuff like addiction and not just so much shipping/relationship stuff (tbf I'm talking about the het ones too but I feel like I have to preface in case anyone thinks this is me being annoyed at the existence of any ships/any gay ships at all, its not. Its just a wish some other stuff could get more of a focus because often the content sitting right there for it would have been better).

[exaflux]

How good is BTAA Scarecrow at therapy really? (An analysis) (Part 1)

So I naively thought that this'd be a laugh. Take the unethical psychiatrist, analyse his techniques, highlight what he's doing in real world contexts and give him a rating. After hours of working on this though I unintentionally managed to construct a theory on how BTAA Jon might approach therapy. Oop.

This part contains- a breakdown of some psychological approaches in therapy settings, character analysis/theory of Jon (in the conclusion), Jon being awful

Disclaimer- I am not a trained psychologist or therapist or anything of the like. I did study the topic under a teacher who was a trained psychologist though, and I still very much like psychology, so that basically makes me an expert in this field. This is a joke. Do not take my word as gospel. This post was written for fun and will probably have a mistake somewhere.

Harvey and Two-face will be referred to seperately in this analysis, but if referring to both Harvey will be used as default. Jonathan is Jonathan.

A-Level psychology don't fail me now 🙏

Session one/"two"-

The following all takes place in S2, Episode 5

The first section of our analysis takes place on March 4th and the time is 2:02pm, surprising no one as Two-Face is present. Jonathan begins the session by setting up a recording and going through standard legal procedure, following the “Code of Medical Ethics” (0:15) of Gotham. He also makes note that the first tape was destroyed, again probably for legal reasons. Good start.

Being that it was Harvey that destroyed the last tape machine due to a mishap of it not being the first session and Harvey refusing to perceive the number one, Jon asks him to elaborate- “tell me more about that” (0:56). Asking for more info on something a client has said often shows interest, which helps with relationship building, and on the mental health professional’s end would help build an understanding of the client. It has been established at this point that the session is for “introductory psychoanalytic examinations” (0:24), so that latter point is especially important. Killing two birds with one stone, very efficient. Whether Jon actually shows interest towards Harvey’s fascination for the number two though is a completely different matter. 

In addition, throughout all this Jon also gives terse responses, “I see.” (00:49) (1:11), to Harvey’s statements to indicate he’s listening and doesn’t try to weigh in. One-sided conversation such as these allow the client to speak as much as they need to, the sessions are for them after all.  

So overall, Jonathan is being very professional so far. 

At 1:21 of the episode is when Jon finally decides to give his thoughts (after Harvey has finished talking) stating that "The best way for [him] to help [Harvey] is to establish a bond of trust between [them]” (1:26), something that Harvey agrees to. Truthfully, another thing that is important between client and mental health professional, so his approach isn’t wrong.

Upon Harvey agreeing to this, Jon promptly demands that he be given the coin, something Harvey doesn't want to do. At being told that he isn’t comfortable with that, Jon points out that "it's not up to [Harvey]" (1:46) and takes the coin anyway through it's infallible decision-making prowess and the full knowledge that Harvey relies on the coin for all his decision making. He successfully gets the coin, Harvey is unhappy, and trust is established. But not really because Jonathan didn’t respect Harvey’s personal feelings nor wishes. Which is a breach of ethics. Horrible decision really. Jon places the coin on the table, presumably in a place where both he and Harvey can see it, and he declares aloud that it's on the table. In any other context this might have actually been a good way to maintain trust while seperating an item of emotional importance from a client, but such actions should only be taken with the consent of said client. 🚨 JONATHAN IS BEING UNETHICAL HERE. 🚨

Afterwards Jonathan reopens the session, “We meet again for the very first time” (2:06) as though everything said and done previously never happened. He goes on to ask the pair to reintroduce themselves. He notably sounds more casual here and upon hearing that Two-Face is older asks “Harvey was here first, wasn’t he?” (2:21) in a tone that doesn’t sound genuinely surprised. The question was most likely asked as a method to fish for confirmation or another elaboration.  

He then moves on after Two-Face is done speaking, very obviously not caring about the reasoning given for Two-Face's origins, to say that he heard “a horror story” (2:58) referring to the courtroom incident. Despite Two-Face's response being a positive one, claiming “That day set me free, like it was in the beginning” (3:11), Jon instead believes that the incident “found [Two-Face] in [his] hiding place” (3:17) and that he was hiding because he was, and still is, “afraid of what [he] would do without Harvey” (3:27). Jon weighing in should have ideally been avoided here. Therapy is normally approached with a mentality akin to teaching a man to fish, where the point is to teach a client how to identify and analyse their own feelings.

Instead of stating why a client thinks/feels as they do, a mental health professional will tactically ask questions in an effort to get a client to reflect. Jon asks some of these questions- “Do you ever wonder what if that acid had taken more than half of your face that terrible day? [...] What if when the acid had done its business, there wasn’t enough of Harvey left to do the serious work?” (3:30) which, in a way, counts. There is still criticism to be had here though as wording can passively influence how a client thinks. Describing the day that Harvey went through his incident as being “terrible”? Probably made Harvey view a day considers favourably as something more negative. Likewise, stating that Harvey could have somehow been lost that day from the acid in all certainty no doubt might have instilled some sense of unease in Two-Face. You should avoid making clients uncomfortable. Bad therapy moment.❌And then Jon follows these questions to Harvey up with another explanation, "You won't let it [cross your mind] because it frightens you [...] the thought of being alone." (3:50).❌❌

“Let’s try something. Bear with me” (3:58) Jon says next, reaching for the acid he inexplicably keeps in his draw. Upon being asked what he’s going to be doing with it by one (two?) Two-Face, Jon retorts with his own question, “What are you afraid I’m going to do with it, hmm?” (4:18) before pissing around with the acid and wanting Harvey to “Tell [him] about the fear” (4:29). This is an example of Jonathan being unethical again. Remember gaining the consent of clients of a therapeutic activity you want to do together is of utmost importance. Likewise, then Jon clarifies that he thinks that Harvey is scared of the “other” (5:05) attribute he acquired that day that wasn’t just the acid damage. Believing that tapping into this fear would cause emotional distress, he proceeds to dunk Harvey’s coin into the acid, destroying it. 🚨JONATHAN IS BEING UNETHICAL AGAIN, DO NOT DELIBERATELY CAUSE MENTAL DISTRESS TO CLIENTS OR DESTROY THEIR PROPERTY. 🚨 According to Jonathan himself he considers his actions “aggressive intervention” (5:30), but Jonathan’s judgement for considering this necessary can be called into question. 

Finally, after everything is said and done and Harvey has in fact been reduced to “a puddle of quivering terror” (5:10) like Jon predicted, Jon is again back to asking Harvey questions about his feelings and acting like a good mental health professional. He even reassures Harvey that he understands! Creating an environment of understanding and lack of judgement is important in any therapy setting. And, further playing his role as a psychiatrist, Jonathan in all his understanding of Harvey’s inability to make decisions anymore prescribes him with meds of his own creation. He explains what the medication does positively, in fluffy terms rather than anything technical, and gets Harvey to take it. While Jonathan is allowed to prescribe medication like this being a psychiatrist rather than just a psychologist, the fact that he starts tooting his own horn about how good the meds are, neglecting to talk about the potential side effects, and then makes Harvey take them anyway is, again, unethical. Informed consent should always be taken from clients before prescribing and a therapy session is an inappropriate setting to advertise your products.

In conclusion:

Jonathan takes more Ls in this session of therapy than he has moments doing his job in the proper way, and his approaches to psychological methods indicate that he takes those Ls not from any amount of ignorance on his part but from a blatant disregard for the well-being of his clients. He plays nice and uses correct therapy techniques consistently only up until he establishes a "bond of trust" by removing Harvey's coin, despite Harvey's feelings. After, Jon can be observed descending more and more into ignoring basic therapy practices; providing his own viewpoints on events, outright stating why Harvey feels as he does, refusing to explain what he's planning to do, eventually getting to the point where he's talking more than the clients during the session. All this happens until Jon permanently rids Harvey of the coin for good, leading to an emotional breakdown in the clients and a subsequent administration of drugs.

If I didn't know any better I'd say that during these events, Jonathan goes from setting up the session like any mental health professional would to gradually steering the session into the direction he wants it to go. Even moreso if one regards how he brings up the court room incident of his own volition completely unprompted (2:50) which then leads that into bringing up the topic of fears. Which eventually leads to dropping the coin into acid... Now this idea is insidious enough as it is, right? I'm sure this Dr Jonathan Crane is a well meaning psychiatrist, I mean he's following Gotham's Code of Medical Ethics! So here's also a slightly different perspective to all this:

Jon is speedrunning therapy.

I mean think about it- not even two minutes into the session and Jon basically forces Harvey into "trusting" him. This is only the second time that they've had a session together mind and trust is a thing that often takes months or even years to form between a mental health professional and a client. The chosen method of building trust was to remove a valued item from Harvey and one that he relies on, again something that takes multiple sessions to build up to and- as had been stated- is a valid trust building technique. After taking the coin Jon still leaves it in a place where Harvey knows where it is, just like you'd expect in a therapy setting. Jon even asks the pair to introduce themselves before deliberately steering things into talking about the court room incident which is the nexus point for why Harvey relies on the coin as far as he's concerned. Even him outright telling Two-Face what his fears are could be interpreted as him not wanting to spend months doing the standard therapy approaches that aren't even a guarantee for any progress.

In fact, Jon doesn't even attempt to destroy the coin either until the following happens in order: he tells Two-Face he thinks the court room incident found him and he was hiding out of fear of what he'd do without Harvey, he then asks Two-Face if he's ever thought about what he'd do if Harvey was unable to do much of anything anymore, then outright tells Two-Face he's afraid of being alone before then saying "Let's try something" (3:54) as though he's about to demonstrate his point, forcing Two-Face to acknowledge it.

"I think we had a breakthrough" (5:36) indeed. Breakthroughs are when a client successfully identifies something about themselves, like where a thought or feeling or bad habit stems from. A client having a breakthrough is the point where therapy can progress. And, hey, Harvey probably did make a breakthrough from losing his coin, though it was forced. This breakthrough led to being given a special drug. Which is something to be explored in a later part.

Of course though none of this really matters. Therapy is about treating a person as a person and "teaching a man to fish". Apparently Jonathan doesn't care about fishing.

FINAL SCORE FOR THE SESSION:

🎊 3/10 🎊

Jon is definitely not lacking in skills when it comes to psychology or therapy techniques, in fact he seemed decent enough for the first chunk before the session metaphorically drove off a cliff through his driving- intentionally no less. He simply lacks regard for the feelings of his clients and is a walking ethics breach. Likewise he took deliberate control of the session, and whether the end result was intentional or not this is definitely not something to do in a therapy setting. His approach to "therapy" may lead to breakthroughs, making his clients recognise the things he identifies, but it's not in the true spirit of therapy. It's doubtful that a client under him would ever learn the techniques they need to overcome whatever things they might struggle with.

...And this isn't even getting into how much enjoyment he seems to get from making his clients uncomfortable.

[angelflms]

Okay, so I have been thinking so much about this (I have been talking aloud to myself for like ten minutes bc I've invested myself wayyy too deep into this), but I think I know why Miguel bothers me so much despite being my favorite character.

The writers suck.

Now, I know I don't have screenwriting credibility and I'm merely just a girl and I know that perhaps they can't cram all of this shit into the show and make room for literally everyone else, BUT I think the reason why so many people don't like Miguel as a character is because he doesn't have much of a character to work with. So whenever he does something that shows character (the Mexico storyline, the Stanford storyline), no one feels bad for him. I think that maybe if he had definitive arcs for each season, while weaving it better into Robby's arcs (since they're foils and tethered to each other), he would actually be likeable. So I wanted to show you what I feel like I would do to write Miguel's post school fight arc. Feel free to tell me your opinions. (buckle up, this is a long one)

S3a

similar to what we see

but we actually get to be more into Miguel's mental response to the aftermath

I dont' think they went enough into his feelings with everything and that everything went a bit too fast (for Miguel) during the season.

perhaps they could've gone deeper into his PTSD, similar to what they did with Sam.

but instead it preventing him from going to school, it prevented him from doing karate all together.

it was clear early on that karate and Johnny slowly became all that Miguel cared about.

Johnny was sending mixed signals and Kresse's entry into CK was conflicting as their ideals were different.

Johnny made it clear that CK's mottos are a way of life, so Miguel was moving the exact way one would in karate irl.

Karate was his life. And it nearly ended it as well.

I don't believe Miguel would immediately still want to be so gung-ho about joining karate again after nearly dying from it.

Johnny would lose Miguel's trust and would fight for it back. He already lost Robby. He can't lose Miggy too.

Miguel doesn't want to be around him for now, despite feeling bad for pushing him away

S3b

When finding out he was paralyzed, it hurt to find out, but at the same time, with his conflicited feelings about karate, he would feel a bit relieved.

I like to think that when the surgery worked, everyone was happy but Miguel because now people are going to expect him to want to go back to doing karate.

Eventually he and Johnny have a heart to heart and make up, though he's still a little bit hesitant on trusting him

he does reluctantly join Eagle Fang and he tries to make an effort to train again and get past his fear

Though things still feel like what it was like at CK, which isn't something Miguel is enjoying

Plus him being the only shot they have for the All Valley is putting presure on him, mainly due to Johnny

The scene where he tries to kick but fails happens

He falls and flashbacks of the school fight happen

He gives up and says he isn't doing karate anymore

That is until the finale fight when CK comes in and fights the EF/MD kids and Kyler beats him up

he remembers why he started karate in the first place and starts fighting again

He chooses to do karate again

S4

Again similar to what we see (Johnny and Carmen, the intro to Kenny, etc)

I think he still feels weird about being back in the world of karate and latches onto Daniel more as a sensei now with the conjoint dojos situation (he's a lot softer on him knowing his situation)

Which pisses Johnny off and makes him jealous (he just misses his kid ya know?)

He tries to make an effort with Miguel but he grows more distant after hearing Daniel's side of the events during TKK

This season could heavily parallel s2 with Kiaz as they're on the opposite sides of the coin now with Robby being with CK and Miguel learning more Miyagi-Do techniques

This could also bring more tension with Lawrusso because of how they're both treating and training him and how Johnny thinks Daniel is taking Miguel away from him

(maybe a fight scene about this idk)

Perhaps Miguel starts feeling bad about pushing Johnny away as he very much still cares about him and sees him trying

Daniel does talk to Miguel about how Johnny does care about him and how he's beaten up about everything and how he wishes he could change everything

This will make the whole "I love you" "I love you, too Robby" scene a lot worse

Miguel feels lost again

The sprain he gets during the All Valley was the final straw for him as he has a panic attack and in a heap of emotions, he leaves for Mexico, not just to find his dad, but to genuinely run away from everything

Also throughout this season, I really wanted to see more of Robby being guilty for what he did during the fight but pushing it away until he sees what Kenny does to Anthony and realizing that history is already about to repeat itself

Also also we do see Miguel talk about collage but brings up that he wants to become a PT (did I take this from someone who reblogged my other rant, yes) and probably want to go Boston University (they have a PT degree program)

S5

Same as we see for the most part

I was hoping Miguel would bring up the whole "I love you" situation but he never did and I wonder why

I wish we saw bits of the car ride home from Mexico and the awkwardness between the boys (there's a good ao3 fic that does this pretty decently)

Perhaps Robby can tell that something is off with Miguel though and tries to spark conversation but the latter refuses to talk to the former because of the school fight

I think the break up should still happen

Both because with everything going on with him, the breakup would just be another stab in the chest, but also because that fucking scene was so good!! Like idk if Mary and Xolo get their flowers for that scene but I'ma need them to get their flowers for that scene

Now he's just this ball of emotions

Johnny still wants to push for the boys to be close since he's caring for both of them now (and ofc the baby) so like in the actual s5, he still tries to get them to talk

Now I would've preferred a heart to heart reconciliation (similar to samtory s6) but since the dudebros would think that's too soft and this is a fighting show, the balcony scene would be fine

Though I do think in a later scene, Kiaz should have a more emotional talk with each other

Miguel just talks about how hard it has been since the school fight and how everything keeps on changing and everything gets a lot for him

Robby tells him that he gets it and confesses how guilty he feels for being the one to put him in the hospital

And then I feel like the rest of s5 can go the way it did

i don't know. maybe this is too convoluted but I do think that the lack of characterization and constant mischaracterization of miguel diaz is due how poorly the writers went about him post s3a imo. i think they could've done something great with him in a way people felt for robby you know? they always randomly bring things up as a way to say "hey he has trauma too" but it's always at the most inopportune times and it always comes off half-assed instead. i love miguel so much because of his happy-go-lucky energy but he has so much wasted potential which is wild to say when he's the main character.

[goginaporter]

lyrical analysis of love you forever

or, breaking down ricky's love (confession) for gina

we're a little under three months out from the series finale of high school musical: the musical: the series. I've spent those months freaking out over rina and appreciating the beautiful arc they got in s4 that closed out their story over the course of the series. there are a million special moments that rina has in s4 (I mean, a rain kiss? can I have this dance? a duet together about their commitment to each other despite uncertainty? we really got it all) but one definitely stands out among the rest. love you forever is ricky's declaration of love for gina that he sings to her at her press conference for her new movie that, as far as he knows, is about to send her across the world. this post is gonna be a line by line analysis of the lyrics, as well as talking about everything that brought them to that moment and that made it special. enjoy <33

I've been wishing on a falling star for too long

this line opens the song and is such a beautiful callback to when there was me and you, the song ricky all but serenades gina with in 1.06 (the lines it references: I thought you were my fairy tale / A dream when I'm not sleeping / A wish upon a star / That's coming true). wtwmay is a song that gabriella sings after troy's betrayal in hsm and when ricky sings this line, to me, it represents a callback to his past relationship with nini. he was holding on to nini and that relationship too tight, wishing on a falling star. as gabriella says, wishes on stars just "don't come true" and for ricky, this relationship ultimately ended in failure. however, as much as this line signifies the crash and burn nature of that relationship, it's also a reference to the start of his relationship with gina in that bunker room as he strummed on a guitar, in a similar fashion to love you forever, to these lyrics.

I've been running, I don't know what from

this line references the conversation that ricky had with ej in 4.05 when ej forces ricky to reckon with the fact that he runs away from those he loves when faced with hard realities and that this tendency hurts both those around him, but also hurts him. it's incredibly full circle when you pair this with the fact that ricky is singing the song on the guitar ej gave him after they sang speak out, where ej tells him that "you'll probably get more use outta this than me" (4.05). i think it's really cool that this line also references gina's similar character flaw of running when things get hard, which she also sings about in second chance (Maybe I'm safer when I'm on the run / No time to open up my heart / Maybe I'll hide behind my walls again / Instead of tearing them apart) (also important to note that second chance is non-digetic and ricky has never heard gina sing these lyrics). so fascinating that ricky and gina have the same habit of running, with ricky running back to things that are familiar and gina pushing forward to leave things in the past before they can hurt her.

But you and I've become a sacred kinda home

this is one of my favorite lines of the song, especially because this theme of finding a home is such a critical cornerstone for both ricky and gina's arcs throughout the show. ricky's home life in s1 turns on its head when he discovers that his parents are separating. pairing this with his breakup with nini nearly sends him into a spiral, but he finds a new home of sorts in the theater program, telling gina "it's just nice to have somewhere to go after school every day, y'know" (1.05), which she herself resonates with, affirming his feelings.

of course, at the beginning of s2, we find out that ricky and his dad are moving to an apartment after his mom moves out. this drastic shift, the loss of his childhood home, is again disorienting, and again paired with changes with nini, what with her moving to denver. in 2.02, he tells nini that she is his home, which is really interesting, placing that kind of pressure on her. but what's even more interesting is that he knows he's moving, knows from the beginning of 2.01, and yet nini does not find out about his new home until 2.03 on valentine's day, months later. this is juxtaposed to gina showing up to his apartment that same episode. it's especially special that ricky is placed in the same situation that gina typically faces, the unpacking and getting accustomed to a new space. it is those undertones that serve as the undercurrent for their conversation. the apartment is in disarray when gina arrives, and remains that way for much of the season. gina, however, is endeared by the messy environment of the apartment and jokes along with ricky to put him at ease. by the time we return to it in s4, it's (naturally) much more lived in, with clothes strewn about, pictures of gina, and aptly placed posters lining the wall of ricky's room.

as I mentioned earlier, ricky calls nini his home in s2. this line says that he and gina together have become a home of sorts for each other. singing this to gina is important for ricky, but it also speaks to the unpredictable nature of gina's childhood, where she moved from city to city, never staying in one place for more than a few months, which she tells ricky in 1.05. by the end of s1, we think that she has to move again, something that's harder for her now that she's made connections with the wildcats, namely with ricky. as we see in the flashback scene in 2.06, she tells ricky that she wouldn't quit on them if not for her move, that they would essentially remain close if she weren't leaving salt lake. of course, she doesn't leave and instead moves in with ashlyn. it's her first taste of stability that she can really remember, but as she tells carlos in 2.04, she feels out of place living in a house she doesn't own and with a family that isn't hers. these feelings culminate in gina wanting to leave, a subplot we see primarily in 2.05 and 2.06. after revealing to ashlyn what she said to ricky opening night of hsm, ashlyn sings home from beauty and the beast to gina, telling her that she has a home with ashlyn, not just physically, but within their friendship. there is so much symbolism in that one scene that we don't have time to get into but this moment definitely shifts gina's perception of what a home can look like. in s3, we learn that her mom is moving back to salt lake city where she'll be staying long-term to allow gina to complete her time at east high. in fact, it's in this very house that we get our first scene of rina in s4, with ricky sneaking into her window. one's room is a reflection of oneself, and ricky and gina are all over each other's rooms, both literally and figuratively, throughout the season. combining this with the connection between the two that only strengthens over the course of the season, it comes as no surprise that ricky sees his and gina's relationship as a sacred home.

I'm in love, I'm in love, I'm in love and I know it / No net, no fear, right here in this moment

my twitter account was littered with theories and thoughts and hopes for ricky's love confession to gina, but whether it was public or private, planned or spontaneous, the one thing that I knew I wanted was for ricky to say that he is in love with gina. so on august 9th when ricky got to the chorus of love you forever, tears started pooling in my eyes because the confession, which was already literally perfect, delivered my biggest wish. one of my favorite aspects of the song is how much it reflects their journey because these are all the words that ricky would tell gina in some big speech, evidenced by him practicing all throughout 4.07. but when it comes down to it, after references to moments between them and beautiful metaphors, it builds to him telling gina not only does he love her, but that he's in love with her. there's no doubt in his mind of this fact. the sky is blue, the sun shines, and ricky bowen loves gina porter. so much of ricky's love for nini was tied to fear, especially a fear of change. that his love for gina transcends fear, that he is confident in what he tells her both shows his growth in romantic relationships but also in how much gina has redefined what it means to love someone for him.

I've never been more sure of what I got, yeah / Cause this is so much more than puppy love, so

continuing with the theme of confidence, ricky tells gina that he's never been more sure of what he's got in their relationship. I know I'm bringing rini up a lot but that relationship is a perfect frame of reference for how much ricky has changed when it comes to love. both his singing of I think I kinda you know in 1.01 and his love confession to nini in 1.10, while genuine, are riddled with stuttering and uncertainty ("I think", "I don't know", etc.). when you compare the ricky of 1.01 and the ricky of 4.08 and how he attempts to use song to profess his love, the differences are stark, and that's the point. as he all but said in 3.08, everything he's known about love has been changed by gina and that is reflected in love you forever. I love the puppy love nod and think it's narratively important for so many reasons. for one, it's a reference to their first date, as well as to gina's childhood. in that vein, it seems to mirror what gina tells ricky in 4.02, that mack was a crush of her childhood. calling what they have "more than puppy love" also nods to their growth, not just over the course of the series, but even throughout the season. from dealing with scrutiny in the fallout of the documentary to gina's increasingly busy schedule to their temporary pause to gina nearly moving across the world, they've been faced with many problems, and while they didn't handle all of them perfectly, they handled them together and came out that much stronger.

I'll say it first, no matter what the cost / Here I am full heart, full stop / I love you

in 3.05, ricky talks to jet following the fallout of the real campers of shallow lake drama. he asks jet what he's running from and tells him that sometimes when feelings are hard to articulate, it helps to sing instead. with love you forever, we see ricky taking his own advice. I love that ricky is insistent that he tells gina "I love you" first, both because he wants to rectify mistakes from his last relationship, but also because gina says, in a talking head, that she doesn't want to be the first to say "I love you," (4.06) further cementing the connection that rina has. it also affirms that there is no doubt in either of their minds that they love each other and want to say it to each other. it's also important to note that ricky understands the risk of singing this song at this point in time. for all he knows, gina is about to board a plane that will be taking her to the other side of the world for six months. however, he sings this song, affirms his love for her, no matter the cost, because he just wants her to know. he loves her in salt lake, he loves her in new zealand, and he loves her forever. ricky sings that he is there with a full heart, full stop I love you. in an interview after s3's finale, tim federle, the showrunner, states that while nini will always have a small part of ricky's heart, gina has a way of making hearts race. this line, to me, symbolizes the notion that gina is his heart, that his love for her encompasses it. there's a beautiful analysis of ricky being gina's heart canonically that I think helps tie all of this together, establishing that gina is ricky's heart, just like he is hers.

of course, I would be remiss to not talk about the full stop of it all. as we see in a flashback in 4.06, ricky opens up to gina in their first meeting about how he struggled saying I love you to nini, his ex. after hearing this, gina presents him with a possibility you can tell he's never considered: "maybe you just don't love her, full stop." ricky stutters in response, but doesn't fully negate gina's statement, in fact telling her that he's "kinda" planning on telling nini through song later that night outside her window (ironic that this plan doesn't pan out for him twice in the show, both here and in 2.03). that he brings up this notion of full stop, where there's no room for doubt, in his confession for gina further proves how deep and real and true their love is for each other. super small thing before I move on but I love how "I love you" gets its own special moment of pause in the song to fully communicate the gravity of such a statement.

I never knew that I could feel so sure and so strong /How can three old words feel so brand new?

Again, this idea of being sure comes up again in this second verse/buildup to the chorus. ricky has done the love confession before. he's been in love before. but again, with gina, it's different. it's deeper, more strong, more secure. and so when he says these words, in a situation that mirrors his audition for hsm, of course it feels different. in that auditon, he was singing nini's words back to her. love you forever, in contrast, is all ricky. those three words do feel new because now he's singing them to gina and for gina, where previously he sang them for himself. also a really cool note about the parallels between ricky's audition and love you forever is that tim federle released the initial script for love you forever, and one of the descriptions writes that ricky "launches into the audition of a lifetime." this song, this confession, is the start of his forever with gina. of course these words feel new.

Mm, so rare, so real right here in this moment / And I'm starin' at the only thing I want, so

I tear up hearing ricky say that the love that he has for gina is both rare and real. both ricky and gina, at different points throughout the show, cast doubt on love. ricky says in a talking head in 1.01 that love is dead (fun fact: ricky is wearing the same denim jacket from that talking head during love you forever teehee). gina, in the 4.06 flashback, calls love lame. their faith in love ebbs and flows throughout the show, but once they are together, there's no question. it's why ricky encourages the seblos reconciliation in 4.06 or why gina tells jet to confess his feelings for kourtney in 4.08. if they've found this beautiful love in each other, where they got a second chance on love in every sense of the words, why wouldn't they want that for everyone else, for the people that they love?

the second half of this lyric, of ricky "staring at the only thing he wants," is my absolute favorite line of love you forever. ricky's eyes are naturally drawn to gina in nearly every episode of the show, whether she's looking at him or not, whether they're speaking or not. even before he recognized those feelings in himself, we could see it because she was always the apple of his eye. this rings especially true during love you forever, where ricky does not take his eyes off of gina the entire song, except when miss jenn turns the lights on. gina is the center of his universe and who he has been drawn to since she entered his life. there was a tweet after s4 aired that stated that ricky looks at gina as though he's falling deeper in love with her every time and this line captures that.

I wanna finish what we started in the stairwell where we met

the bridge opens with this line and it's so fitting. to suggest that committing to loving each other forever is finishing what they started when they had that first conversation in the stairwell is so insane and will always make me spiral when I think about it. this line all but confirms that ricky and gina began to fall for each other in that moment. that their conversation in the stairwell is what catalyzed their respective character arcs also all but confirms that they're soulmates, that there was an invisible string that connected them, inexplicably tying their fates together forever.

I wanna live like I have never even heard the word regret

both ricky and gina have instances that they look back on and wish they had done things differently. gina says so explicitly in 2.05 when speaking to kourtney. she alludes to her goodbye to ricky after hsm's opening night, stating that it was something she wishes she could take back. in 3.06, ricky tells jet that he wishes that he didn't let color war gina slip through his fingers, suggesting that he would've done things differently if he were more cognizant of his feelings for her. ricky never wants to feel like that again, that he's missed his chance with gina due to fear. he wholeheartedly embraces his love for her because he knows what it was like to live without it and doesn't want to live in a world where gina isn't his reality.

I wanna scream what's in my heart and I won't ever take it back

ricky and ej's duet in 4.05 is about speaking your truth and speaking even when it's hard. the song even has a line about "screaming out." where in speak out, screaming out solicits no sound, ricky singing this line in love you forever is him being able to vocalize the feelings in his heart. he also commits to never taking these words back. his feelings for gina are eternal and everlasting. this is important for gina to hear because words have always been unreliable to her. people that she cares about, whether her mom or jamie or even e.j., have made verbal commitments to her at one point or another, and each one of them has later reneged on that commitment, whether intentionally or not. ricky can say these words, can say "I love you" to gina, because he's been saying it through his actions the entire show. gina doesn't always trust words, but she trusts actions. ricky has more than proven his love for her, and it's this continued declaration through his works that allows these words to ring true for her.

'Cause I love you feels a lot like high school and forever after that

I made this observation a couple weeks ago but this line is so fascinating. when the season first dropped and I heard the line, I was a tad confused. what does it mean for love to feel like high school? I was listening to the hsm3 soundtrack when it all clicked for me. in high school musical, the final song they sing in hsm3, the last line is "I want the rest of my life to feel just like a / High school musical" with this line, ricky is basically saying that he will love gina for the rest of his life. throwing in a hsm reference is also incredibly fitting given that they've just completed the first night of their run as troyella, further cementing their legacy as the troyella of the show. i love that, even when the bridge is repeated, ricky and gina are the only ones to sing these lines. when the bridge is sung for the third and final time, ricky and gina are now together on stage singing the words "I"m in love, I'm in love, I'm in love" to each other in between the lines of the bridge. the song closes with ricky singing "I love you feels a lot like high school" with gina singing "and forever after that." I love this ending for two reasons: ending the song with rina singing together re-emphasizes that they're in love, and in love together (for the first time), as tim mentions in an interview. I also love it because even as the wildcats join to sing the bridge near the end of the song, ricky and gina are the only people to sing the lines "I'm in love x3" and "I love you feels a lot like high school." even though their friends step in to sing some lines, ultimately, the song is a love song for gina, about gina, and that's why it ends with her. as tim (love how much I'm referencing him) mentioned in an interview, rina is the beating heart of the romance of the show, and their friends coming in to sing along to ricky's love song for gina fully solidifies this.

[auduux]

Hello mcsm community

It's been years since i've played this game and I started crying when I figured out you can't play it anymore then started crying again when someone told me where to get s1 and s2 for free so that has sparked determination in me.

So, I have come to tell you I will finally contribute to this fandom. I am writing a season 3, where Romeo is still an admin. It's an au where Romeo made a deal with Jesse after realizing he might actually not win. The deal was that he would give Xara back her admin abilities and not kill anyone (and/)or destroy people's homes and he would get to keep his abilities. Jesse has the golden gauntlet in case he goes rogue.

There will be two versions, one with male Jesse and one with female Jesse, they have very different personalities. I'm using my own versions that I used. Each chapter will be 15k or 20k words, still haven't decided. I want to make them longer than my usual works.

Fem Jesse went with Petra after the Romeo situation was fixed, enough, and put Radar in charge. Male Jesse stayed in charge. You can probably guess why. (Fem Jesse is with Petra, male Jesse is with Lukas)

It is mostly centered around Xara, Romeo, and Radar but everyone else will have their moments too. It goes more in-depth on the other worlds through the portal network too, and Otto and Emily as well as the old builders world will be there a few times. So will the Sky City people and their new cities. The underground might be in there too.

I saw a post on here about shipping Nell and Xara and honestly became obsessed so...Xara is with Nell. Romeo will be with Radar after getting over Fred because Radar is my favorite and who doesn't want to start dating the emotionally constipated god that almost killed you, your friends, your townspeople, the world, locked a bunch of people under bedrock and started anew, killed their husband out of rage and confusion, locked up their best friend also out of rage and confusion, and hated you for about three months? It's fine tho he made challenges for them. Because he feels bad. And helped rebuild. Because he feels bad.

And there's FUCKING SOREN and his DUMBASS BOOKS as a treat. And Isor.