#friends... i'm devastated... i just got the new editor

[aemondtargaryens]

THE LAST KINGDOM 4.06

[spirit-meets-the-b0ne]

In the middle of my HotD rewatch

The gyroscope of interpretation on this show has been at the forefront of my rewatch along with now having read some of the script and read/watched cast interviews.

This one inference made by Olivia Cooke (via Sarah Hess) has plagued me for the first few episodes.

Now, now I know these waters are really muddy what with a few obvious conceptual things: "isn't this queer baiting" "if it wasn't it wouldn't be good sapphic representation anyway" "this is an actors interpretation" blah blah blah. I'm not arguing any of that.

Just that Olivia's head canon held against this scene hits SO MUCH HARDER

Because I gotta say MY GOD imagine how that strikes Alicent if at some point her mother caught them together. Before they even really knew what they were doing (objectively to the tune of they were 13/14 not fully clear on platonic/romantic love) her mother impressed upon them it was wrong. When they denied and in some way or another Alicent/Rhaenyra saying "she never touched me." Only for Alicent to hear it echoed back to her years later like this... Knowing that even in her naïveté she would recognize the truth. That Alicent’s mother, naturally, kept this contained. Which honestly plays more to truly making Alicent more complex by the way she saw what “scandal” her mother covered up for her only for her to act out some perversion of this with Aegon when she’s a mother. A learned behavior twisted in the worst way, because that's what she knew.

Listen I fully understand that this show is NOT taking this angle even though there seems to be a huge division between what some writers and actors are playing to and the editors at HBO imaginably being like "what's all this gay shit?" BUT

I think it's part of what this show missed about TRAGEDY and I mean come on you want drama???? These girlies were ready to hand it to you on a silver plater! In this context I needed:

Rhaenyra being devastated by the news that Alicent was going to be marrying her father. The sheer heartbreak of “this can’t be happening” and knowing she would have lost Alicent to a husband but not THIS. Show her with Syrax, confiding in her dragon because now she has no other friend to talk to - I’m just saying if they were going with the context of “Fire & Blood itself is an unreliable narrator and only shows certain people’s views” - then a scene like this disrupts nothing. Tell me how when they prayed together and Alicent told her to "kneel with me" that part of Rhaenyra prayed for that world where they flew off on dragon back and ate cake.

Alicent being devastated - having her heart torn in two, crying behind every closed door knowing she was going to break the heart of her best friend. The deleted scene does give a peak of that being the case - but again it could/should have been included. Show me Alicent begging Rhaenyra to forgive her and desperately saying she loves her. I think one of the things that Team Green argues the most could have been explored by this avenue, Alicent is a victim of her marriage - it would be inherently more compelling if in the process she is also losing the closest thing to a "first love" she had. Show me Alicent at her desk writing letters to Rhae once a week and then ceremoniously burning them in the braziers. Alicent leaning more into religion as a means of getting out from under her repressed desires and past actions.

Show me both women struggling in their adulthood to even remember why they held "such childhood affections" for each other. Knock the fucking wind out of me with a line like, "the worst part of it all was that they only ever wanted to love each other."

To me one of the worst parts of this production (of which there's a few) has got to be this was the apex of completely missed opportunities to explore. In the premise of "going by unreliable sources" their queerness would be suppressed information. I even think it plays into the dynamic between Rhae-Alicent-Criston in a kind of "Jennifer's Body" way where Rhae was really only interested in him as the object of Alicent's desires which I believe is made a little clearer in the books. A kind of "see this could have been us if you didn't marry my bag-of-bones father" for Rhaenyra who clearly had no aversion to consorts.

I'm sorry to go on this rant, and yes I KNOW - the counter arguments for many of these points. I would even argue some of them further such as the sapphic representation not being invalidated simply because both women do end up with men in the source material. If this was the case then why was "Portrait of a Lady on Fire" received so well? This at the very least to say if they made Alicent and Rhaenyra explicitly queer it would still be less controversial than what the queer men on that show got … Still its not even to say "it's a better way" to explore more of Rhaenyra and Alicent's characters but its at least A WAY to do it. More than we got. Surely both sides could agree on that.

Sorry, now I'm just being pedantic. As a queer woman naturally I have a bias but I still think this was objectively a missed opportunity to explore. Both girl's back stories could have been enriched and tbh a lot of HOTD fans I know also had the same complaint that the time skip came in too early. I think it also makes things less likely to be so divisive between TG and TB when you look at the central pillars of this conflict. You can truly grieve for Alicent and Rhaenyra and what they lost already while on the verge of losing it all. Anyway, I gotta go cry about my divorced lesbian war wives.

[cleoselene]

All The Concerts!

my mom wrote down every concert she's ever been to and it's a LOT, like in the triple digits

and it got me thinking if I could name every concert I've ever been to? I am fearful I might forget some tho my MS memory sucks but here goes:

New Kids on the Block

Boyz II Men/MC Hammer

Tori Amos (x7)

Switchblade Symphony

KMFDM with Nivek Ogre

VNV Nation (x2)

Air Supply (x2)

Terri Clark (lol I hated country when my family dragged me to this one, I was in my peak Snob Goth era)

Garth Brooks (happened much later when I had learned to embrace country)

Peter Cetera

Sarah McLachlan

The Editors

Radiohead (i hated this hahah, it was so fucking boring like their music. My friend bought the tickets and I had hoped seeing them live would make it click. It did not. I was bored and cold because it was raining in Seattle)

Coldplay (was so much better than Radiohead, seethe snobby indie rock fans)

Regina Spektor

The Decemberists (literally the worst concert I've ever seen. Again I did not buy the tickets but my friend who liked going to indie rock shows always bought two tickets in hopes of getting a date and I was her backup if she didn't. To be clear even though this and Radiohead sucked, I did have a great time with my friend both times)

Cake

George Clinton & Parliament Funkadelic

Puscifer

Barry Manilow

ummm now I'm drawing a blank but I KNOW I've been to more shows and the stupid brain damage is making me forget. I've always been to see a fuck ton of tribute bands at this supper club, and tbh they were almost all really good. The Pink Floyd one especially. Also lol in middle school once this club I was in had a band come perform and they were like... a hair metal Christian band that took mainstream rock songs like "Living on a Prayer" by Bon Jovi and changed the lyrics to like... "LIVING 'CAUSE I PRAAYYYY" and it was fucking hilarious. It's driving me crazy tho because I know there are more actual real concerts I am forgetting -_-

so i guess if you count all the artists I saw multiple times, it comes to... *maths* 28 concerts? Which tbh does not feel like nearly enough.

on the bucket list:

Vienna Teng

Brandi Carlile

Portishead (lol this will never happen but a girl can dream)

Beyoncé

Taylor Swift

TOOL

A Perfect Circle

The Amazing Devil (which is somehow even less likely than Portishead)

SO I'LL MAKE THIS A MEME. Tell me which concerts you've been to, and tell me which concerts you feel like you MUST see before you die. @deathinthesun @an-ivy-covered-summer @swiftzeldas @sylvieons and whoever else wants to do it~

I did get Taylor tickets last year HOWEVER they were... beyond atrocious, the seats. Like, upper upper deck, BEHIND the stage with like no visibility, not even of the screens, because again: BEHIND. I had like three people trying to get tickets that day and 2/3 of us failed but my friend succeeded and she was like "do you want me to buy these? they're upper deck" and I was like yeah yeah that's okay! We can look at the screens! And then I saw the "OBSTRUCTED VISIBILITY" thing and looked at the layout and I was like...kind of devastated, honestly? It's really hard for me to do an outing like that physically, it was outdoors in April (which translates to HOT in Florida) and I just didn't see myself able to endure 5 or 6 hours at minimum in the heat without like, passing out and dying. Not to mention I'm still really scared of being in a large space with that many people because my disease-modifying drug destroys most of my immune system. I ended up selling them, and... buying my vinyl collection lol. Taylor got a lot of that money again because I bought a lot of her records. I'm kind of bummed that maybe I missed my chance forever, but again, I don't think I could have physically swung it. Plus, of the three nights she did Tampa, the show I was supposed to go to had meh surprise songs while the other 2 nights had AMAZING ones, so I know I would have been salty about that too. ONE DAY THO.

[chaoticrebels]

//So I replied via Beta editor, so let me know if it helped the not being able to trim problem or made it worse.

❝Well yes but no, you see one has to know how to use it and it came be tricky. And more than one but I don't know how many for sure, I only know two people who processes them. Which they're not gonna be thrilled when they find out what I did but oh well, it happened and there's no going back. I mean there is time travel but they advice against it...❞ The young rebel voiced out with a nonchalant shrug. He knew how dangerous it could be if that ring got in the wrong hands, he knew because his chaotic ass just proved it.

The last thing either of them needed was for their realms bleed into each other, they were chaotic enough but for them to come together then that would have devastating effects. Neither of them would be prepared for, and he was almost certain it would land him on the villain side to many people. Even if Storm was neither hero or villain, he was a chaotic neutral. Honestly he wasn't about to get into the nonsense he had to deal with when people discovered who he was related to, but he could say that he was so tired of being judge for his parents. So the male definitely couldn't let the ring fall into the wrong hands or he'll never hear the end of it.

Although with darkness falling, it made it even harder to get this done fast. Which meant he had to hope that no one found it before him, hope that no one knew how to use it and can actually use it properly. ❝Hm, well with the four us looking for it then I'm sure that we'll find it in no time. Hopefully but thank you, I could've handled it myself but it'll definitely go by faster. I should mention it looks like brass knuckles but not quite brass knuckles, it's weird.❞ He mused with a hint of a smile.

But even if the Asgardian appreciate the help, he almost felt bad. She shouldn't have to help clean up his mess, a mess that should have never happened in the first place but it did and now he was here in Wonderland. On his way to the castle, which if he was being honest then he'd have to say that it was kinda weird being back here. It still felt like a dream he was vividly having, although if it was then he didn't want to wake up because it meant spending time with Shay. It meant getting to know her better and then what? He'd leave again once he received the ring? Oh that thought sucked, though he could always stay and --- hmm. That was a silly thought because he knew he needed to return the ring to either Strange or Wong before they come looking for him, which he didn't want that. So he couldn't stay but he wish he could, although that had him biting down on his bottom lip.

And then came the reply to his teasing which cause him to raise his eyebrows, then came a soft hearted chuckle as he shook his head once more. ❝You know I would make some quirky remark but I'll spare you for now. I'm more than aware it's two different things, I was just teasing. But for what it's worth Shay, I appreciate you making sure nothing happens to me while I am here.❞ Was sure his mother and uncle would too. But given he wasn't powerless, just hasn't even tried to see if his powers worked in Wonderland.

Teal hues roaming over the castle, memorizing every inch of it as the male followed the female. There was a slight frown tugging at his lips, only for a moment because being within castle walls again made him miss home. Made him miss the old days when everything was a bit more simple, when he still had his father, his grandmother and even his grandfather. They were all gone now, all he had left was his mother and his uncle, and his new adoptive cousin. Well he had a few friends as well but still, he'd trade it all for his father. Maybe.

It wasn't until they reached the banquet hall that Storm snapped out of his thoughts, facial features becoming neutral as he sat down across from Shay. Eyes flickering towards her as he listened to her question, lips pressing together in thought for a moment before they curved upwards. ❝My mother is doing alright, busy dealing with her own thing. My uncle has had some rough patches, kinda worried about him but he's okay at the moment. He has an adoptive daughter now, so now I have a cousin. There was a bit of trouble but it's all good now, though the incident made Val and Sif start training the kids how to fight. Which I may help them, may not. Haven't really decided. Though I think I should help my uncle more, single parent and all. But right now, clearly making chaotic choices but it lead me here so guess not so bad. And it has been awhile, I'm sorry about that. But yes, we should totally catch up. So how's your family and everything?❞

❝I did.❞ The male voiced with a soft chuckle, was it really that surprising that he was back? Did the female really think she’d never see him again? Cause kinda sounded like it. But he suppose he couldn’t blame her, after all it’s been some time since they last saw each other. ❝Kinda was messing around with a sling ring, which is a mystical object which enables the wearer to open an inter-dimensional portal to another location. Wanted to see if I could make one to wonderland and obviously I did it but may have dropped the device and now I have to retrieve it before it falls in the wrong hands and I get trouble so here I am. And uh huh, I needed to go home.❞

Which wasn’t a lie, Storm had to go home because he just couldn’t disappear on his uncle or his mother, again. He may be old enough to be on his own but still, after everything it was out of love that he checked in. Plus Storm was technically all the Thor had left of Loki so he just couldn’t just disappear on him, even if he now had Love. Teal hues flickering in the direction she was nudging her head then up towards the sky, a sigh escaped his lips before his eyes flickered back towards Shay. Well wasn’t that just lovely, what unlucky time did he manage to have. Cause even if he wasn’t a native of this realm, he knew enough to know how to survive or he hope he did. And besides even if he didn’t know, her reaction towards it spoke loud enough. Even her words did, which caused him to smile and nod.   ❝See I knew you were lonely. couldn’t wait to ask me to dinner.❞ He teased before shaking his head. ❝No but in all seriousness, lead the way.❞

ofwondersandhares

“A sling ring?”  He had explained it before she had to ask  what it was. Quietly, she had nodded, though her face had suddenly  changed to an expression of concern. “If you can get here using one of those, then anybody can get here or leave here. Was there more than one created or just the one you had in your possession? This is not good, for either of us.”

Shay knew she didn’t have to explain why. He had told her about the world he had come from, about the powers and abilities the gods and these avengers  he talked about had. She had known that had multi-verse had existed and  Wonderland itself was surely part of it. Her own brother was a realm  traveler and nothing good could come from the chaos that would surely  happen if the realms started to bleed together.

It would be hard  for them to find it now that the sun was setting, as it was their  surrondings were getting darker and harder to see the closer they got  toward the clearing that lead out of the forest and toward the Castle.  All they could do was hope that nobody would find it, and if somebody  did - that they wouldn’t know how to use it or even what it was. “We  will look for it together at day break, I can have Layla and Alexander  join us - they are both excellent trackers. Alexander can get a better  view from above in the trees, and Layla can get a better view from below  in the grass in her Dormouse form. We will find your ring, and get you  back home before it falls into dangerous hands.”

It was  strange to Shay as she walked with Storm, the young god from another  realm and another place known as Asgard. He was a powerful boy, no doubt  about that, a little moody and rash at times but he had a good heart  that held good intentions. She had wondered, briefly, if he was happy.  If perhaps he had someone else to get back to besides his uncle and his mother. She didn’t dare ask, it wasn’t any of her business anyway.

Shay had rolled her eyes when he called her out for being lonely, glancing at him. “Loneliness  and wanting to make sure somebody you consider a friend is fed are two  different things, Storm. I don’t want anything to happen to you while  you are here - and that includes you having an empty stomach.”

He  had been playing around with her, a soft sigh leaving her lips as they  finally arrived at the castle, greeted by the guards and the other  caretakers in the Castle Heart. Shay had led Storm into the banquet hall  where a full feast had been waiting, she had gestured to an empty seat  across from her as she dismissed the wait staff with a curt nod. “How is your family, Storm? How are things currently in Asgard? You have been gone for awhile, we should catch up.”

@chaoticrebels​

[casmybelovedass]

The Destiel Folder: Season 7

[Season 4; Season 5; Season 6]

This season is mostly Dean being a depressed bi who can't cope with his crush's death.

This is, in my opinion, the season where Dean actually starts realizing he might for real think of Cas as something more.

Episode 1:

Cas is basically gone, both Bobby and Sam (almost) are ready to compel to whatever he says, but Dean still tries to get him to come back. "You can turn this around. Please!" (3:13) Denial

Dean has no idea how to deal with God!Castiel, but desperate to find him, and getting emotional "I don't even know what book to hit for this." "Then figure it out!" (5:47) Anger

As we have said many times already, angels don't have a sex, Castiel is not a man, and as he states, he is "utterly indifferent to sexual orientation" (8:03), and so is Chuck, God himself, who has admitted having had both girlfriends and boyfriends.

Dean turns off the news the moment he hears a woman describe Cas as "young and sexy", while doing that jaw clentch thing of his (10:14) ... huh... [and this doesn't really matter, but after this we immediately see Dean in a purple flannel. PURPLE! Go Bi!Dean]

"He's not a guy, he's a God [...] Cas is never coming back. He's lied to us, he's used us, he's cracked your gourd like it was nothing. No more talk. We've spent enough on him." (11:09) Dean trying to jump to the 5th stage of grief. Yeah, no baby that's not how it works

Dean tries so hard to convince himself that Cas's gone so he can kill him, but can't really. "Just kill him now!" and struggles hard to hold Castiel's glare. And as soon as Death offers a second option to killing him, Dean takes it. Bargening

"Dean, look, I know you think Cas is gone." "That's because he is." (31:22) Again with trying to jump to acceptance. Not doing great, Dean. In fact, "Yeah, you know how I'm gonna deal? I'm gonna stuff my pie hole, I'm gonna drink, and I'm gonna watch some asian cartoon porn. And act like the world's about to explode, because it is." (32:17) There it is. Depression.

[Remember this: Dean has no shame in watching porn in front of his brother. Wait a few seasons and see]

Just moments earlier, Dean was all "That's not Cas, Cas is dead" and shit, and now he goes "What? You need something else?" worried-husband-mode the moment Cas asks for help (34:50). Also#MARRIED (35:16)

Bobby: "Where's Sam? It's go time." Dean: *looks back at Cas worried* (37:12)

MUST HELP HUSBAND (38:06) look at Dean's eyes!!! They're like 'It's okay, it's okay. You've got this.' "I'm sorry, Dean." Cas chose these words to be his last, thinking he was going to die. LOOK AT DEAN (38:21) ICWAW this would MEAN SOMETHING ELSE

"CAS! [...] Is he breathing? ... Maybe angels don't need to breathe." says the one who was going around saying Cas was gone for good. "He's gone, Dean." "... damn it... *tears up* Cas, you child... Why didn't you listen to me." #MARRIED (39:15) Then he goes "CAS?!" as soon as he starts breathing again. ICWAW, we would SCREAM "LOVE" in this scene

"Imma find some way to redeem myself to you *looks at Dean straight in the eyes*" "*looks at Cas up and down*... Alright, well, one thing at the time, come on. Let's get you out of here." "I mean it, Dean." *eye love-making* "... Okay." (40:30) ICWAW, oooohhh, the meanings this scene would have...

Dean's face when the Leviathans tell him Cas is dead. Again. (41:18)

Episode 2:

Dean looking at the Leviathans occupying Cas' body. The HATE (1:44)

"... okay... so he's gone. *shakes while tearing up* [...] Dumb son of a bitch..." (5:14) Here we go again... I'm fine, shut up

Dean picks up, washes, folds and keeps Cas' coat (5:23) SWEET

"You just lost one of the best friends you've ever had." this hurts me. "... I'm fine, really." (12:11)

"You asked me how I was doing? Well, not good." (38:54)

Episode 5:

Dean progressively drinks more as his nightmares get worse and he misses Cas more and more. 3 times we see him drink, only in the first 12 minutes.

Sam can tell Dean feels like shit, and bet one of those reasons is Cas "Like it or not, the stuff you don't talk about, it doesn't just go away. It builds up." (39:33) Yeah, and not only problems or grief... even love

Episode 7:

Not a destiel moment, but Dean totally got hit on by the waiter. LOL (7:30)

And again. What is it with men in this town and Dean. "We're looking for a necklace." "Romantic. *looks at Dean*" (12:17). Is it an energy reading thing or something? Can they feel the bi energy?

"The Campbell brothers. [...] They weren't actually brothers. That was a cover for their, uhm... alternative life style." (22:40) Huh... I guess calling your lover "brother" runs in the family

"Ever since Cas... I'm having a hard time trusting anybody." (40:44) ouch

Episode 9:

Dean is drunk/high on Leviathan juice, and the first thing he thinks and blabbers about, is Cas (19:48) "I don't even care anymore." Oooohh ICWAW... the possibilities for this scene

Episode 12:

Dean totally checked out that man in uniform. FIGHT ME (16:27)

Episode 13:

"You're head's not in it, man. When Cas died, you were wobbly, but now-" "Now what!!" (39:35) as soon as Sam mentions Cas' death, Dean gets snappy

Episode 17:

Dean keeps getting snappy whenever Sam mentions Cas

"OH my God the love of my life is alive!" (13:02-13:06)

Dean's face when Daphne touches Cas (13:25), and when he calls her his wife (13:41)

AND HIS FUCKING FACE TRYING NOT TO TEAR UP BECAUSE CAS DOESN'T REMEMBER ANYTHING ABOUT HIM (14:16)

You mean to tell me that ICWAW this wouldn't be seen as a mini desperation moment from a man seeing his lover in this situation? Yeah, I don't think so

"What if you were some sort of... I don't know, bad guy." "I... I don't feel like a bad person." Dean's face is like "Damn right you aren't" (16:50)

"He betrayed you, this dude. He was your friend?" Dean looking at him... can't even answer the question (19:59)

Dean says Cas' betrayal is something he cant get over like everything else. And that he doesn't know why. "It doesn't matter why." "Of course it matters!" (20:25)

Dean gets visibly uneasy about Meg being so close to Cas (25:34) jealous boyfriend is jealous

Dean doesn't want Cas to remember, afraid he'll leave again (32:18)

"I've known you for years!" (32:34) poor baby. Also "You're an angel." "Uhm, I'm sorry? Is that a flirtation?" DEAN'S FACE (32:42)

Dean doesn't want Cas to be hurt by his own memories and past actions (33:00)

"You used to fight together. Bestest friends, actually." Yeah, look at that reaction. Let's see how he reacts to being called his boyfriend later on (33:09)

#MARRIED!!! I'll just leave this. No comment (33:41)

As Cas regains his memories, only 2 of the ones we see are not of Dean. And the only one we hear is the "I'm sorry, Dean." . That is what matters to Cas (and this looks like a slash video. Kudos to the editors) "I remember you... I remember everything." Yeah, no-homo save (34:35)

Not even an hour earlier, Dean was ranting about Cas betraying him, how he couldn't forget and forgive him, and now he is saying Cas did "the best you could at the time", but Cas actually feels guilt and doesn't want Dean to defend him, but Dean does anyway (36:53)

"We didn't part as friends, Dean." "*looks at Cas up and down*... So what?" "I deserved to die." the look on Dean's face (37:18)

Dean gives Cas his trench coat back. The trench coat he kept, folded and all the the truck, for weeks. And that's not even Baby. So he moved the coat, to always have it with him (37:26). I'm not crying, shut up

Also, here, have a deleted scene that breaks my heart

AAAAAAAAAAAAAAAAAAAAAAAAAAAAA

Episode 20:

Let us all appreciate that one time Dean helped a lesbian flirt with a dude (24:27-25:03)

Episode 21:

Dean is devastated about Cas' mental state, that he did that to himself to save Sam. Look at his eyes in this scene (16:08). Also, Dean still resents Cas for the whole 'New God' crap, but it feels like the real reason is the fact that he left (19:18)

"Cas! Don't make me pull this car over!" "Are you angry? Why are you angry? *puppy eyes*" "... No I-I'm..." #MARRIED (27:28)

Cas says he won't fight anymore, but as soon as Dean's in trouble, he FLIPS

"The angels... they don't care... I think maybe they don't have the equipment to care." (31:49) Touchy much, Dean?, are you trying to convince yourself about that? It feels like he's making excuses to not let himself feel anything for Cas. "It seems like when they try, it just... breaks them apart." ... OK, fuck everything, ICWAW this would totally be seen as romantic angsty reference to Cas

Cas is so lost in his guilt for what he has caused. He looks like a baby, and it gets worse when it comes to Dean

"Why should we give you anything? After everything you have taken from us? The very touch of you curropts. When Castiel first laid a hand on you in Hell, he was lost!" (36:50) okay damn, ICWAW all of this would seem as if they were talking about a love relationship between the two and you can't tell me otherwise

'HURT HUSBAND-MUST PROTECT MODE' (37:17)

"The bone of a righteous mortal and the blood of a fallen angel" ... shut up, I'm dying over these clues (39:11)

"What are you gonna do, Cas?" Dean's eyes are begging him to stay. ICWAW, we would point that out without a shadow of a doubt (39:40)

Episode 23:

"Dude... on my car. He showed up naked... covered in bees!" ... come on, ICWAW this would be a HUGE deal (5:10)

"Go ask him. He was your boyfriend first." (8:51) LISTEN HERE. I study psychology, and one of the first things they teach you is that jokes are based on the truth. HOW MANY OF THESE JOKES WERE MADE?! HUH??!! (plus all the "Dick" jokes Sam made) Also Dean's reaction with the jaw clentch... just saying

Cas keeps stating he doesn't want to fight, but again, Dean's in trouble? FIGHT MODE

"*soft shoulder touch, puppy eyes, serves Dean a sandwich*" ... SOFT #MARRIED COUPLE (18:27)

"You got anything to say on the topic of dicks?" you'd like that, wouldn't you, Dean? (26:42)

Cas is afraid he will do something to cause Dean more trouble. Let's remember he chose what he believed were his last words to be "I'm sorry, Dean.", but as we know, Dean deals with feelings by showing anger... Cas gets upset and copes by playing twister... pathetic. "I can't help. [...] I destroyed everything and I will destroy everything again!" for a moment, Cas is lucid, and expresses his fear, but as soon as Dean gets angry with him, Cas gows back to hide in his world of crazy (26:47)

"I'm not good luck, Dean." "... You know what? [...] I'd rather have you. Cursed or not." Look at Cas' soft little smile as it grows. ICWAW, this would be read as another confession (32:38)

"I'll go with you." SOFT

SEE??! The MOMENT Dick threatens Dean, Cas goes full Angel of the Lord on his ass. MUST PROTECT HUSBAND (36:52) and the utter shock on Dean's face is priceless

And here comes PurGAYtory

[Season 8>>]

[bananaofswifts]

By : Callie Ahlgrim and Courteney Larocca

Taylor Swift released her eighth studio album, "Folklore," on Friday.

Swift surprised fans by announcing its release just one day in advance — and less than one year after the release of her acclaimed seventh album "Lover."

"Most of the things I had planned this summer didn't end up happening, but there is something I had planned that DID happen," she wrote on social media. "And that thing is my 8th studio album, folklore. Surprise!"

She described "Folklore," stylized in all lowercase, as "an entire brand new album of songs I've poured all of my whims, dreams, fears, and musings into."

Much of the 16-song tracklist — 17 on the deluxe edition — was cowritten and produced by The National's Aaron Dessner. Smaller pieces were cowritten by Bon Iver, Jack Antonoff, and someone named William Bowery. Antonoff also produced five songs.

Insider's music team (reporter Callie Ahlgrim and celebrity and music editor Courteney Larocca) listened to the new album on our own, jotting down our initial thoughts track by track.

Almost immediately, we were forced to reckon with the fact that "Folklore" might be Swift's best album yet — potentially even better than "Red," which previously seemed like it couldn't be topped. We were stunned with the mature, poetic, stunningly understated collection of new songs.

Here is what we thought of each song on "Folklore" upon first listen. (Skip to the end to see the only songs worth listening to and the album's final score.)

"The 1" is the best album opener Swift has had in years.

Ahlgrim: "I'm doing good, I'm on some new s---" is a wild way to begin a new Taylor Swift album. This is going to be different.

This is easily the best intro song she's released in years. "The 1" far surpasses "I Forgot That You Existed" on "Lover," "...Ready for It?" on "Reputation," and "Welcome to New York" on "1989" in terms of sheer quality.

It's also an engaging scene-setter; I find myself gently rocking back and forth, eyes closed, smiling without realizing. It's only the first song and so far, I am totally grasping the woodsy aesthetic of this album. I'm already ready for more.

Larocca: I would argue that there hasn't been a strong album opener on one of Swift's albums since "State of Grace" on "Red" in 2012. "The 1" breaks that curse.

I was vibing from that very first piano note, but when Swift comes in and warmly delivers the first line of the album — "I'm doing good, I'm on some new s---" — it became evident this project wouldn't be anything like the rest of her discography.

As far as "The 1" goes as a standalone song, it's incredibly solid. Swift has a breezy attention to rhythm as she paints a tale of a the-one-who-got-away romance. I truly, truly love it. This might end up being an all-time favorite track.

"Cardigan" is beautifully influenced by Lana Del Rey.

Ahlgrim: I heard "Cardigan" first because I watched the music video before I listened to the album.

Right off the bat, I was struck by the Lana Del Rey melody in the chorus; I jotted down "folksy 'Blue Jeans.'"

Swift has actually cited Del Rey as an inspiration in the past, so this makes sense — and that particular shade of nostalgic, haunting glamour really works for Swift's voice, so I'm overall very impressed with this direction. I am more than amenable to a "Red" meets "Norman F---ing Rockwell!" album experience. On my second time around listening, sans music video, "Cardigan" already feels richer coming after "The 1."

This time, I'm struck by small lyrical details like "Sequined smile, black lipstick," a clear callback to her past eras, and "Tried to change the ending / Peter losing Wendy," an effective way to evoke young love and innocence lost.

I also think the song's central refrain, "When you are young they assume you know nothing," is clean and sharp and — especially given Swift's public struggles with sexism and years-old contracts — extremely poignant.

Larocca: I had the thought that Swift listens to Lana Del Rey after hearing "Miss Americana and the Heartbreak Prince" on last year's "Lover," but now I know for sure that Del Rey is an influence on Swift.

While "Cardigan" isn't what I thought this album would be like sonically, I'm overjoyed at how clearly singer-songwriter this album already is. I've been waiting years for Swift to make a lyrical marvel set to acoustic, warm, folksy instrumentals and it's here.

(And while I expected something different sonically, I am not mad at all by the backing instrumental choices here.)

"The Last Great American Dynasty" proves Swift is a natural storyteller.

Ahlgrim: Personally, I love Storyteller Taylor, so this is quite literally music to my ears.

There are so many delicious details here to unpack. The first verse, with its subtle sexist whisperings about Rebekah Harkness ("How did a middle-class divorcée do it?" and "It must have been her fault his heart gave out"), is a truly savvy way to set up for the song's eventual reveal.

Rebekah spent her time partying with friends, funding the ballet, playing card games with Salvador Dalí, somehow "ruining everything" — and her Holiday House was "free of women with madness" until Swift herself moved in.

That twist in the bridge is poetic genius. When the final chorus adjusts to the present day, underscoring the parallels between Rebekah and Swift, I'm forcefully reminded of an iconic bridge when Romeo finally proposed and changed everything — but Swift has evolved past daydreams of pure white dresses and fathers giving permission.

Larocca: I'm immediately taken back to 2012's "Starlight" when "The Last Great American Dynasty" starts. Thankfully, this song ends up being a lot better than "Starlight," which always felt more like a filler track on "Red" to me.

I love a lot here: the casual use of "b----," the acute attention to detail ("She stole his dog and dyed it key lime green"), and every version of this line: "There goes the maddest woman this town has ever seen."

I had a marvelous time listening to this song.

"Exile," featuring Bon Iver, is one of Swift's most successful duets to date.

Ahlgrim: Swift and Bon Iver, aka Justin Vernon, are two of the best songwriters alive today, so this song was destined to be breathtaking.

Swift has historically had difficulty allowing her voice and vision to coexist with a featured artist; her collaborations often leave me feeling like she should've just delivered the whole song herself.

But Swift and Vernon were able to weave their lyrics together so gracefully, I was left feeling grateful for his presence. His rich, rustic tone and those iconic hummed harmonies lends the regretful song an added coat of sincerity.

The production here is generally fine, but the layered instrumentals in the ending really bring the song together. I love a dramatic exit.

Larocca: When I see a "featuring Bon Iver" on a track, I instantly assume Vernon is going to come in with his high falsetto. So it was almost jarring that the song starts with Vernon sounding like a lumberjack dad who hasn't left the woods in a decade.

That didn't end up being a detriment, though. Swift sounds delicate on her verse, and their vocals contrast nicely later on the track.

This one also brings to mind her collab "The Last Time" with Snow Patrol's Gary Lightbody. The line "I think I've seen this film before and I didn't like the ending" is also reminiscent of "If This Was a Movie."

I'm obsessed with the clear influences Swift's previous discography had on these tracks, which have also so far felt completely unique to her catalog.

"My Tears Ricochet" is an extraordinary display of Swift's songwriting powers.

Ahlgrim: First of all, "My Tears Ricochet" is an incredible song title. Let's take a moment to appreciate that.

In fact, pretty much every line of this song is arresting.

Much of it feels both familiar and rare, like you know exactly what Swift is singing about, but hadn't thought to put it in those words before — which is, in my opinion, the mark of any good piece of writing but especially a breakup song. You can relate to the emotion, if not the particular details. You can hear the pain. It almost plays like a funeral march.

What a gift it is, what an exhilarating experience, to feel like you're listening to a poem being recited in real-time.

Larocca: Any true Swiftie knows that track five is reserved for the most vulnerable moment on the record, so I went into "My Tears Ricochet" ready to be sad.

I am endlessly impressed with how Swift managed to bake the word "ricochet" into this song so effectively. She also ditched her traditional song structure for this one, and instead built the track from peak to peak, utilizing clever lyrics along the way to tell an epic, devastating story, almost obviously calling back to the most beloved track five of "All Too Well."

I'm calling it now — this one is going to age like a fine wine. As all of Swift's best breakup ballads do.

"Mirrorball" is several strokes of genius.

Ahlgrim: This song gives me intense Clairo vibes, and I mean that as a very high compliment.

It's so fun and refreshing to hear Swift slip into different musical styles, and this shimmery take on alternative-bedroom-pop highlights her soft vocals and nuanced songwriting supremely well.

Also, my Leo sensibilities are fully under attack by this bridge: "I've never been a natural, all I do is try, try, try / I'm still on that trapeze / I'm still trying everything to keep you looking at me." Oof! Just tag me next time.

Larocca: This one is so pretty! Swift's vocals sound better than ever as she spins on her highest heels across a glittery daydream.

"I'm a mirrorball / I'll show you every version of yourself tonight" might be the thesis statement of this entire album. So far, "Folklore" feels both diaristic and vague; detailed and completely anonymous.

Fans will be debating for years whether this album is about Swift's own life, or if it's simply really great storytelling pulled directly from her own mind. In the end, it doesn't really matter.

Because as all of Swift's best songs do, these songs will attach themselves to listeners in completely new ways, showing them elements and stories from their own lives.

"Seven" is pure whimsical magic.

Ahlgrim: This is playing make-believe in the garden when you're too young to feel self-conscious; it's poetic and nostalgic and full of awe in such an unpretentious way.

I wouldn't change one thing about this song. Swift's whispery high register sounds divine, and at this point in the tracklist, her rhythmic delivery in the chorus hits like a shot of espresso.

Right now, I'm wondering if it's possible for Swift to maintain this intrigue and momentum for another nine songs. There hasn't been a misstep to speak of, and I remain wholly beguiled. Can it last?

Larocca: The beginning of "Seven" sounds like Swift listened to Marina's "Orange Trees" on repeat before showing up to her songwriting session. Fortunately, "Orange Trees" is the only song I like on Marina's "Love + Fear" so I will gladly accept this inspiration.

Swift continues to impress with both her vocals and her sense of rhythm on "Seven." I also personally love space imagery so the line "Love you to the moon and to Saturn" is a standout line.

"August" will go down as one of the best songs in Swift's extensive repertoire.

Ahlgrim: I'm immediately catching hints of Phoebe Bridgers and girl in red in Swift's delivery. And I simply adore the idea that Swift has spent the last few months sitting at home, daydreaming about summertime humidity and listening to music by queer indie-pop girls. 

In an album full of songwriting expertise, this song has some of Swift's best lines yet: "August sipped away like a bottle of wine / 'Cause you were never mine" actually hurts me.

In my notes, there simply sits this valuable insight (yes, in all-caps): "WANTING WAS ENOUGH. FOR ME IT WAS ENOUGH TO LIVE FOR THE HOPE OF IT ALL." This song has my favorite bridge on the album so far.

In terms of production, "August" is exquisite. It's lush and layered without feeling overwhelming at any point. It builds to the perfect level then recedes, like a wave. 

Also worth mentioning: It can now be considered a historical fact that any time Swift mentions a car or driving in one of her songs, it's a perfect song.

Larocca: While listening to "August," I texted Callie and said, "I can't wait to finish the album so I can relisten to 'August.'" It's an instant favorite. 

This is also the first track on the album that seems directly inspired by our current state. Not because she's expressing fear or singing about being bored at home, but because she so easily slips into a reflection of a relationship that ended years ago with a newfound wave of wistful nostalgia. 

When quarantine started, it seemed like a million lifestyle articles came out explaining why everyone suddenly felt compelled to text their exes and why we're so invested in looking back instead of forward right now. 

"August" validates those feelings with zero judgment, letting its listener know that yes, it's totally normal for you to be overanalyzing that quasi-relationship you were in back in college that never made it past graduation. Am I projecting? Maybe, but that's debatably what Swift's music is best utilized for.

I'm also going to be thinking about this song's bridge and outro for the rest of my life.

The National's influence can be felt on the stunning "This Is Me Trying."

Ahlgrim: "This Is Me Trying" quickly strikes a more sinister tone than its predecessors — still nostalgic and wistful, but carrying an edge, like a threatening secret.

Ironically, this one was co-written and co-produced by Jack Antonoff, not Aaron Dessner, though I can really hear The National's influence here. I'm getting strong wafts of songs like "Pink Rabbits" and "Dark Side of the Gym."

Based on Swift's own words, we can speculate that "This Is Me Trying" is a fictional tale, built around the image of "a 17-year-old standing on a porch, learning to apologize." And, as previously stated, I'm a big fan of Storyteller Taylor, so I'm into it.

The song's darker tone mingles really well with Swift's imagery; when you're a teenager, and you make a mistake, it can feel like the end of the world.

Larocca: "This Is Me Trying" is precisely what I imagined this album sounding like when I found out Swift collaborated with the National's Aaron Dessner and Bon Iver.

But I'm glad she was strategic about her use of echo and also finally paid attention to the tracklisting from a sonic standpoint. This haunting soundscape is reminiscent of 2014's "This Love" and comes in right when you need it after the yearning daydream of "August."  

I'd also like it to be on the record that the line "I got wasted like all my potential" ruined me and this song is a win for that lyric alone.

"Illicit Affairs" is a glowing example of what sets Swift apart from her peers as a songwriter.

Ahlgrim: The expert songwriting on "Illicit Affairs" reminds me of the as-yet unseated queen in Swift's discography: "All Too Well."

Swift is a master of wielding specific details like weapons: "What started in beautiful rooms / Ends with meetings in parking lots," she sings. "Leave the perfume on the shelf / That you picked out just for him." These are the sorts of images that set Swift apart, and they're especially strong when she punctuates their delivery with a little growl in her voice.

This song has real power. I have chills.

That power is magnified in the third verse, similar to how "All Too Well" builds to a crescendo: "Don't call me 'kid,' don't call me 'baby' / Look at this godforsaken mess that you made me."

Certainly, "Illicit Affairs" is more restrained than Swift's iconic arena rock ballad, but goddamn that last verse hits hard.

Larocca: The way that she says "him" in the second verse shook me out of my skin in the very best way. And "Don't call me 'kid,' don't call me 'baby' / Look at this idiotic fool that you made me" will go down as one of her best breakup lines of all time.  

It's been a minute since Swift delivered a painstakingly beautiful breakup ballad, and the fact that this album is littered with them is, simply, a gift.  

"Illicit Affairs" has growing power and will likely become one of those tracks that fans form a strong emotional attachment to over time.

"Invisible String" is Taylor Swift at her most Taylor Swift.

Ahlgrim: "Invisible String" is a feast of Easter eggs and callbacks.

"Teal was the color of your shirt" reminds me of the line about Joe Alwyn's blue eyes on "Delicate," and her reference to a dive bar is similarly familiar. "Gave me no compasses, gave me no signs" recalls the push-and-pull on "Exile."

"Bad was the blood of the song in the cab" is undoubtedly a reference to Swift's 2015 single "Bad Blood," while "One single thread of gold / Tied me to you" feels like a nod to Swift's description of love's "golden" hue on the "Lover" album closer "Daylight."

This song is sprightly and sparkly and certainly nice to listen to, but its real strength lies in these details.

Swift is weaving many different stories on this album, many connected by a sort of "Invisible String," tying different pieces of her life and your life and other lives together. It ends up feeling like a growing plant with far-reaching roots, or a sentient treasure map.

Larocca: I'd be lying if I said there weren't multiple points throughout this album where I worried that Swift and her boyfriend Joe Alwyn had broken up. 

Thankfully, "Invisible String" is a rosy, wide-eyed ode to love. The plucky guitar paired with Swift's soft vocals is a sound I want to live in, which is fitting since this track feels like coming home. 

Every small detail, from the nod to Alwyn's time spent working at a frozen yogurt shop in his youth, to the color imagery that paints every inflection of Swift's adoration (especially the single thread of gold) come together to lay the holy ground Swift's relationship walks on. 

Also, the image of Swift mailing Joe Jonas and Sophie Turner gifts for their expectant first child brings about an unbridled sense of joy.

"Mad Woman" is yet another highlight.

Ahlgrim: Every time I think I've heard the peak of this album's songwriting potential, Swift manages to surprise me. 

Case in point: "Do you see my face in the neighbor's lawn? / Does she smile? / Or does she mouth, 'F--- you forever?'" Whoa.

And another, for good measure: "It's obvious that wanting me dead / Has really brought you two together." I texted Courteney, "Did she really just say that??"

This song is sublime on its own, but the way it ties back into the perception of female freedom and "madness" on "The Last Great American Dynasty" makes it even better. "Mad Woman" is definitely a personal favorite so far on this album, if not in Swift's entire catalog.

Larocca: "Mad Woman" will forever hold the honor of being the first song in which Swift says "f---" and for that, we should all be thankful. 

I was also so wrapped up in the storytelling of this album, that it took a minute for this to even register that this is likely about the Scooter Braun and Scott Borchetta / Kanye West and Kim Kardashian West ordeals of Swift's past. These callouts used to be so obvious, that I greatly appreciate the subtlety and restraint here. 

It almost feels like these feuds were a lifetime ago, but this track does an excellent job at showcasing how anger and pain can leave an indelible mark on you. Swift went mad years ago, and that's just an accepted part of her narrative now. 

But for the first time, her rage sounds like freedom.

"Epiphany" doesn't stand out.

Ahlgrim: There are some really interesting vocal moments on "Epiphany," but so far, this is the only song I haven't felt captivated by. It's a bit snoozy, and a bit too long.

This song clearly references war, the loss of a loved one, and the coronavirus pandemic, which makes it lyrically intriguing at best — but distressing at worst. I don't mind letting the overall effect waft over me, but this won't be a song I revisit outside the context of the album.

Larocca: "Epiphany" is the only track on "Folklore" that didn't immediately grab me. It's essentially a war drama in song format, so some people might like it, but I truly couldn't care less about war movies or war songs! So it's not my favorite, but it makes for pretty background music. 

"Epiphany" does have another benefit though: Now, whenever some random dude erroneously claims Swift "only writes songs about her exes," fans have a clear song in her discography that they can point to and be like, "That's not true. This one's about war." 

That's not to say Swift needed that — anyone who has been paying attention understands she's quite possibly the best songwriter of her generation.  

This just happens to be further proof of that fact.

"Betty" is a charming callback to Swift's country roots.

Ahlgrim: "Betty" is like the best, sauciest song from Swift's 2006 debut country album that no one got to hear. It has sonic and lyrical similarities to hits like "Our Song" and "Tim McGraw," plus some name-dropping stuff like 2008's "Hey Stephen," plus a little harmonica thrown in for good measure! I love that for us.

"Betty" also appears to complete a three-song story, recalling details from "Cardigan" and "August" to close the loop on Betty and James, a couple in high school with some infidelity issues.

Looking back, it feels like "Cardigan" was told from Betty's perspective, while "August" was told from the perspective of a sort of "other woman" character. Now, we get James' side of the story. This is high art, folks! This is peak Storytelling Taylor!

"Betty" is also, like, very gay? I know it's easy to assume that James is a male character, but Swift herself was named after James Taylor, so she could be referring to herself. The song also references someone named Inez; James and Inez are the names of Ryan Reynolds and Blake Lively's daughters.

Plus, in retrospect, the idea of whispering "Are you sure? Never have I ever before" during a summer fling seems pretty gay to me.

I'm not saying the story of Betty and James would be better if it was written about sapphic lovers, but I'm not not saying that.

Larocca: This one is gay, and if you try to tell me otherwise, I will simply ignore you. 

But Courteney, it's from the perspective of a guy named James. James and the other character, Inez, share the same names as Reynolds and Lively's kids (will leave it up to you to decide if that means their third daughter's name is Betty). James is their daughter. Get out of here with your antiquated ideas about which names connotate which genders. 

To me, the James named in this song is a woman and a lesbian and this song is for the gays. I will not be saying anything else or accepting any feedback on this opinion, thank you.

"Peace" is honest and raw.

Ahlgrim: This song's intro sounds like LCD Soundsystem had a baby with "The Archer." The gentle guitar riff is also lovely.

With Dessner's echoey production, Swift's voice sounds like a warm little fire in a cave — fitting, since she sings in the chorus, "I'm a fire and I'll keep your brittle heart warm."

OK damn, I'm getting really emotional. This songwriting is beautiful and haunting. "Peace" perfectly captures the ambient dread of feeling your partner slip away, of wondering whether love can be enough. 

Larocca: If you're a "Call It What You Want" stan, you're going to love its mature older sister "Peace." 

I will hereby forever be thinking about the parallels between "But I'm a fire and I'll keep your brittle heart warm" with "He built a fire just to keep me warm" and between "Family that I chose, now that I see your brother as my brother" with "Trust him like a brother."

Also, "Would it be enough if I could never give you peace?" has the same emotional impact as when Swift changes the lyric in "The Archer" to "I see right through me" and that's meant as the highest form of compliment. 

Swift's vocals are so crisp, that guitar riff is so stunning, and these lyrics are so gut-wrenchingly vulnerable. A perfect song, through and through.

"Hoax" is unlike any other album closer in Swift's catalog.

Ahlgrim: I don't know if Swift is going through a traumatic breakup, but if she isn't, the woman is one convincing creative writer.

The National makes some of my favorite music to cry to, so when I heard Aaron Dessner had co-written and produced much of this album, I knew I was in for some glossy cheeks. Until now, I think I've felt too captivated by Swift's artistry to really let myself get there.

But finally, "Hoax" is making me cry.

This is heart-wrenching stuff for anyone, but for a fan and student of Swift's work, this is like reading a friend's diary entry.

"Don't want no other shade of blue, but you" must be a reference to "Delicate," in which Swift sings: "Dark jeans and your Nikes, look at you / Oh damn, never seen that color blue." Later, she croons, "You know I left a part of me back in New York," perhaps regretting the move to London that she detailed throughout "Lover." 

"You knew it still hurts underneath my scars / From when they pulled me apart," recalling the public shaming she endured and demons she exorcised on "Reputation." "But what you did was just as dark." Like I said before: Whoa.

Personally, I love having a good cry set to moody music, so I appreciate Swift's soul-bearing. "Hoax" is one gut-punch of an album closer.

Larocca: Swift has a habit of ending her albums on an uplifting, hopeful note and I always eat it up. But if "Folklore" hadn't made it clear by now that it should be consumed differently than any of her previous works, "Hoax" brings that message home.  

Instead of reveling in all the ways that love has made her stronger, happier, or more whole, "Hoax" deconstructs everything Swift has learned about love and leaves a bleaker picture about how maybe even the best of relationships hurt. 

But at its most tragic, this love still isn't something Swift will ever let go of: "Don't want no other shade of blue but you / No other sadness in the world would do."  

Finishing a Taylor Swift album has never been so devastating.

Final Grade: 9.7/10

[cometsweepandleonidsfly]

Editor's note: Megan Rapinoe gave her brother, Brian, a birthday shout-out on national TV after winning the 2019 Women's World Cup, the Golden Boot as the tournament's top scorer and the Golden Ball as its top player. Here is the story behind their complicated relationship.

DAYS BEFORE THE first game of the 2019 Women's World Cup, Brian Rapinoe jokingly texted his sister, Megan Rapinoe -- co-captain and star midfielder for the U.S. women's national team: "Megs, breaks my heart that you couldn't fly me out for an all-expenses-paid trip to France." She shot back: "Oh yeah, so sad I couldn't pamper you for a month in France."

An hour before kickoff against Thailand on June 11, the rest of the Rapinoe family found their seats in the Stade Auguste-Delaune in Reims; Brian charged his ankle monitor and rounded up the other guys in the dormitory at San Diego's Male Community Reentry Program, a rehabilitative program that allows an inmate to finish the final 12 months of his sentence taking classes or working jobs outside of prison.

The MCRP common room might not be France, but it's a vast improvement over solitary confinement, where Brian has watched Megan play in the previous two World Cups. He sat on a couch in his red USA jersey, watching on a 60-inch flat-screen, and felt "f---ing great." He had accomplished a major goal for himself: to get out of prison in time to watch his kid sister play in her third World Cup.

Every time the U.S. scored, the room full of men cheered loudly. Nobody there thought the U.S.'s 13 goals against Thailand and exuberant celebrations after each were done in poor taste. "This is what soccer should always be like," one man said.

"It's the World Cup: There's no f---ing holding back," 38-year-old Brian says. "This is every four years."

And his sister didn't hold back. When Megan scored goal No. 9 for the U.S., she sprinted to the sideline, spun around twice and then slid to the ground for a foot-kicking celebration. As the camera zoomed in on her, one of the guys yelled, "Holy s---, it's Brian!"

He has the same face as his sister.

The face, the charisma, the wit, the tendency to burst into song: In so many ways, Brian and Megan are alike. But they are also a study in contrasts: At 15 years old, Brian brought meth to school and has been in and out of incarceration ever since. At 15, Megan played with her first youth U.S. national team and started traveling the world. As a young inmate and gang member, Brian was inked with swastika tattoos -- an allegiance to white supremacy that he now disavows; as a professional soccer player, Megan was the first prominent white athlete to kneel to protest racial inequality.

Despite their different paths, the brother and sister have stayed close through letters, phone calls and texts. "I have so much respect for her. And not just because she's the s--- at soccer. It's her utter conviction in the things that she believes in and the stances she takes against injustices in the world," he says.

"I was her hero, but now -- there's no question -- she is mine."

Megan, right, "worshipped" Brian when they were children. Brian, who is five years older, introduced her to soccer early on.

GROWING UP, MEGAN and her twin sister, Rachael, adored Brian. He was their hero, the charismatic jokester who did Jim Carrey and Steve Urkel impressions and danced ridiculous dances. The girls had three other siblings, but he could make them laugh harder than anyone else could. He taught them how to catch crawfish in the creek, walked them to the patch of field across from the church and taught them soccer until his mother called them in with a two-finger whistle. In the side yard, he set up cones and showed his 4-year-old sisters how to dribble the ball -- with the inside of the foot only, with the outside of the foot only, left and then right. "And it wasn't like he drilled them. He let them do it their own way," says his mother, Denise Rapinoe, her voice cracking. "It was just the cutest thing, and we remember it so clearly."

In elementary school, like her brother, Megan was rough and tumble, and spoke her mind. Her second-grade teacher's aide pulled Denise aside to relay the following scene: Megan came in from the playground, walked into the classroom, stood with her arms on her hips and announced, "Brian Rapinoe is my brother, and I am just like him!"

"I worshipped him," Megan says. "He played left wing, so I played left wing. He wore No. 7; I wore No. 7. He got a bowl cut, so I did too."

So when Brian first started smoking marijuana as a 12-year-old, a 7-year-old Megan was confounded. Why was he doing that? Brian still doesn't know for sure. "Right from the start, I was hooked," he says. "One drug always led to the next." He was also attracted to the "fast life," he says, to getting high, to driving nice cars and to the "hype around this lifestyle." She wanted him to stop, and she was still young enough to think there was something she could do. Three years later, when her parents sat her and Rachael down and told them the police had arrested Brian for bringing meth to school, she cried. He was going to juvenile detention. She did not understand: What had happened to her big brother?

"For many years, Megan and Rachael were pissed as hell," Brian says. "They still loved me, they still let me know they were there for me, but they were like, 'What the f--- are you doing?'"

"My mother is the queen of the family," Brian, left, says of Denise Rapinoe, right. "I just love her so much. I'm such a baby when it comes to her."

BY 18 YEARS OLD, Brian had moved on to harder drugs -- heroin, specifically -- and he became more reckless. He was charged with car theft, evading arrest and a hit-and-run while driving under the influence of drugs -- and now, as an adult, his juvenile detention days were over. He was sent to prison. Within months, he aligned himself with the white prison gang and was inked with Nazi tattoos. A swastika on his palm; lightning bolts on his fingers, sides and calves

These tattoos devastated his family. "The prejudice, the racism -- it was so against the way he'd been raised," Denise says. "He wasn't that kind of kid. He was kind, his nature was so loving."

To Brian, the swastikas weren't about prejudice and racism at that point -- they were about heroin and survival. To support his addiction, he needed to be, in his words, "an active participant in prison culture." The California prison system was segregated. That meant Brian lived strictly among the white population. "You come in as a kid, and there are these older dudes you think you respect, spouting ideas, and you kind of listen," Brian says. "I developed a protect-your-own mentality."

He tried to explain that to his mother. The gang was a family, he said; it was a place to belong. "I told him, 'This is not who we are,'" Denise says. "'This is not who you are.'"

Megan was as heartbroken as her mother. "I thought [the tattoos] were horrible," she says. "I still think they're horrible. I could rationalize them: I understood that when he first got in there, he was searching for identity, trying to survive."

But the big brother she had worshipped? It felt like she had lost him.

As a young player on the U19 U.S. women's national team, Megan wore the No. 7 jersey. It was the number Brian wore when he played soccer.

BRIAN BECAME HEAVILY involved in gang life and racked up charges while doing time: possession of drugs, possession of a deadly weapon, three assaults on other white inmates. He spent eight of his 16 years in prison in solitary confinement for this behavior. By 2007 -- as he was turning 27 years old -- he was transferred to Pelican Bay State Prison in Northern California, the state's only super-max-security prison.

While general population is segregated, solitary confinement is not, and every inmate gets one hour out of his cell to walk the pod. Here, the protect-your-own thinking began to fall away for Brian. "You start relating to people beyond your hood, your area, your color," he says. "It doesn't take long before you start talking with each other, seeing how much you have in common. Back there, it's just you in the cell, and the man next to you is just a man himself."

There's no radio, no television in the individual cells in the hole. Sitting in a cement box, counting the number of holes in the perforated door is "hard; it's definitely hard," he says. "But you find a way to escape. You've got books, you've got writing, some guys draw. And you develop these relations with other people, these connections."

Three times a week, inmates also get three hours outside, albeit in his own cage. "In the yard, you start talking [to other guys] -- sports, music, my sister is always a big ice-breaking conversation. You say [to them], 'When we go back in from yard, you can look at my pictures,' or you say, 'Here's something I wrote.' Maybe you become good friends -- like me and Monster did."

Monster, also known as Sanyika Shakur, is a black nationalist and the author of the bestseller, Monster: Autobiography of an LA Gang Member. He and Brian were on the same pod for two years. Using a line and a weight, they'd send each other long letters from cell to cell, fishing for them beneath the doors. Brian shared the song lyrics he wrote; Monster let him read drafts of his articles and essays. For years, Brian had been a serious reader, consuming everything from the classics, to books about social issues. He'd read The New Jim Crow and learned about how police disproportionately search black men and arrest them for nonviolent drug offenses, and how the War on Drugs decimated communities of color.

"He taught me what it means to be racist," Brian says, "and he taught me what it means not to be racist."

By 2010, the now 30-year-old had a new understanding of what the white supremacist insignias represented. He had his face tattoos lasered off. The swastika on his palm became a spider web; the Nazi lightning bolts became skulls. He did not want any racial insignias on his skin. They did not reflect who he was. But he was still using heroin -- and the next year, he was arrested for selling it.

Brian was behind bars once again -- this time at Donovan State Prison in San Diego.

When Megan scored in the 2011 Women's World Cup against Colombia, she seized the moment and sang Bruce Springsteen's "Born in the USA" -- something, people say, Brian would do.

IN JUNE 2011, Brian had something new to talk about during his hour walking the pod: His little sister was playing in her first World Cup -- and he was going to get everybody to watch.

The 15-inch television was at the other end of the hallway, some 50 yards away. He built a tower out of 60 books and tied them together with torn sheets. Sitting on top of it, he could just see the TV through the window in the door. In an early game against Colombia, Megan roped in a goal, then immediately sprinted to the corner flag, grabbed a cameraman's mic and sang Bruce Springsteen's "Born in the USA." The guys got a kick out of this because Brian was the singer on the pod, and this flamboyant corner-flag serenade was so like him.

Days later, ahead of the quarterfinals against Brazil, all 30 cells on top and all 30 cells on bottom were watching, everybody perched at their doors. Megan -- young and audacious with her signature short blonde hair -- subbed in at the end of the game, and in extra time, sure enough -- boom! -- she sent a 50-yard cross-field ball to U.S. forward Abby Wambach, who headed it home to tie the game. "We were going wild," Brian says. "We were yelling and pounding on the doors."

Later that night, on the prison pay phone, Brian talked with his mom. She described the end of the game, how Megan, having just experienced the craziest, most awesome moment of her life, walked to the stands and stood there, searching through the some 20,000 faces for her mom's. Denise put her two index fingers in her mouth and let out her trademark whistle -- the same whistle she had used when they were kids. She had to do it a second and then a third time before Megan could hear her. Megan tapped her ear. "She was letting me know she heard me," Denise told Brian at the time, choking up -- which made Brian choke up a little, too. He could imagine it.

"Not being there -- it hurt," Brian says.

Another four years passed. This time he was in solitary confinement because of his violent record at the Vista Detention Facility, a lower-security prison, in San Diego County -- and Megan was headed to Canada for her second World Cup. The women would end up winning it all, the first time the team had done so since 1999.

"That was the hardest," Brian says. "I was super happy for Megs and super sad for myself. I fricking love my family so much. They were all there. It was like, f---, man, I'm like not really even a part of this. Yeah, I got a lot of support for her in prison, but when the game is over and the ruckus has died down, I'm sitting in my cell. I'm not there to give her a hug, I'm not there to witness it, I'm not there to be a part of it. It's just another thing in their lives that I'm missing out on. What the f--- am I doing with my life?"

Brian was almost 35 years old. He had spent more than half of his adult life incarcerated.

After Megan kneeled during the anthem in 2016, a former prisonmate called Brian to commend her actions. "What your sister is doing -- it means so much," said Sanyika Shakur, a black nationalist. "She is standing up for people who don't have a voice."

ON SEPT. 1, 2016, when San Francisco 49ers quarterback Colin Kaepernick kneeled during the national anthem to protest police brutality and racial profiling, Brian was briefly out of prison -- although he was still using heroin. Three days later, Megan kneeled in support while playing for her club team, the Seattle Reign. Then, while playing for the U.S., she did it again.

Brian saved the newspaper article with the picture of her solemn, angled-down face. He watched the YouTube videos of the coverage. He thought, Hell yeah. He also read the comments: "If she was on my team, I'd knock this idiot out. She should be banned from the national squad for life. Such disrespect." He understood that she would anger people, understood the impending fallout. He knew that enrollment in her summer camps and sales of her clothing brand, Be Your Best You, would go down. He thought, My sister is brave; my sister is bad ass.

Like every time before, Brian's freedom proved to be short-lived. By July 2017, he was back up north in Pelican Bay. Back to the regimented, day-to-day prison routine. Where tomorrow is the same as today. His whole life had been a habitual rut; Megan's anthem protest felt like the opposite of that. Her stance showed him there is a way to put a foot down on something in life, in spite of the fallout that will come.

Not long after, he had a breakthrough. His cellmate was helping him inject heroin into the back of his neck when the needle broke. "I freaked out on him, really lost it," Brian says. "And he said to me, 'Look at how you are acting right now.'" And for whatever reason, those words torpedoed into Brian and transformed into personal questions he asked himself. Your whole happiness and peace of mind is focused on this dirty-ass hypodermic needle: Is this what you want? Do you want this cell and this bulls--- powerful persona to be all you are?

He thought about the seven murders he'd witnessed out on the yard. He thought about his own knife fights -- about everything he'd done and been a part of -- just so he could continue to do heroin. He thought about Megan. Look at all she's done with her life -- look at what you've done with yours.

That's when he finally decided he was ready for change. He enrolled in the new self-improvement and rehabilitation classes the California prison system had begun to offer. Each completed class reduced time from his sentence.

Most importantly, after using and selling drugs for 24 years, Brian quit -- and he's been clean for 18 months.

"If I do drugs," he says, "I will go back to prison. I didn't believe that for a long time. Now, I believe that -- I don't ever want to go back."

Shortly before his first day of school at San Diego Community College, Brian met up with a friend from Pelican Bay, Cesar, who is also taking classes. "From the Bay to the books," Brian says. "I am so stoked to begin."

TODAY IS BRIAN'S first day at San Diego City College. As part of the Male Community Reentry Program, he's taking classes to finish up the final year of his sentence, and he has some butterflies. "It's been a long time since I've gone to school -- even when I was in school, it was juvenile hall -- I've never taken anything except regular math. I've never even taken algebra.

Plus, he says, it's a little unnerving to sit in a classroom with 18-year-olds whose experiences have been drastically different from his own. He's self-conscious about his tattoos -- particularly his neck tattoo, SHASTA, inscribed in large gothic letters, the name of the county in which he grew up. "These tattoos, I freaking hate them," Brian says.

But he also knows those tattoos could matter again in the future. He wants to get involved in the juvenile delinquency program, wants to talk to anybody who might be about to jump off the same ledge he did. "These tattoos, it's gonna get their attention," he says. "It's like, dude, you don't think I know what I'm talking about?

"I want to make a difference," he says. "I want to be like Megan."

He had "a really fricking deep conversation" with her about two months ago. They talked about racial profiling; they talked about police brutality; they talked about what Megan's kneeling meant to both of them. Megan saw that in spite of their very different paths, they'd arrived at similar conclusions.

"My brother is special," Megan says. "He has so much to offer. It would be such a shame if he left this world with nothing but prison sentences behind him. To be able to have him out, and to play for him, and to have him healthy, with this different perspective that he has now: This is like the best thing ever."

While Megan is in France, she and Brian text daily -- with game thoughts, encouragement and shared excitement.

"This is one of the most exciting things I can even remember ... just everything really, you, the school, the program," Brian texts.

She replies: "People always ask me what got me into soccer ... your wild ass of course."

"Luckily I played a cool sport. What if I'd been into arm-wrestling or something."

"Oh lawd, yea you really set me up."

"Get some sleep -- love you."

"Lovee you Bri! Let's f---ing go!"

-- Freelance writer Gwendolyn Oxenham is the author of Under the Lights and in the Dark: Untold Stories of Women's Soccer.