#good grief is it long

[brother-emperors]

Hey Cardinal, you ve talked a little bit about Crassus tending to open his house to all levels of society and his treatment of his domestic staff and slaves, and I would love to hear more of your thoughts about it?

OH BOY. Okay. So I had to think about this one for two months, because the first attempt to answer this resulted in about ten pages of writing and that’s. arguably too much. I’ve attempted to condense my thoughts down here as much as possible, but. we’ll see how it goes! somehow this is still over a thousand words!

Gonna start this off by tacking this at the top of it.

The Cambridge World History of Slavery, Volume 1: The Ancient Mediterranean World, ed. Keith Bradley and Paul Cartledge

To follow that up though, there was no cohesive slave identity shared across the broad scope of people who were slaves in ancient rome, because the lived experiences of each group (agricultural, domestic, freedmen/women, gladiatorial, etc) were so different (for example, freedmen could go on to own slaves themselves, slaves in the mines and working in rural agricultural conditions were the least likely to have a shot at gaining freedom because that would be a loss of income for the roman that owned them, etc) that to associate it all as a uniform identity-experience is also Not Good.

(ibid)

ANYWAY. So my focus on Crassus here has three sides to it.

for the sake of simplicity, we will be using The Cambridge World History of Slavery, Volume 1: The Ancient Mediterranean World, ed. Keith Bradley and Paul Cartledge (unless otherwise cited), at the end, I'll tack on some other reading outside of the body of text that I've written.

The most immediate side is that I’m interested in the lives of slaves in the Late Republic, but in a broader scope than the handful of individuals who have historical prominence, you know? Slaves and freedmen occupied a unique social space in the Late Republic, and had a political-social prominence, and I’m curious about which politicians recognized them as a block worth paying attention to. I want to see what they have to say in the absence of a voice.

you can see that the potential social flexibility of the slave was a problem for the Augustan Age/Early Empire by laws that were passed to curtail this, which in turns says something about their role in Late Republic life and society.

So, slaves are an extension of the house they belong to, which is a deeply simplified understanding of all of this so bear with me a little! There’s a social contract, so to speak, that when granted freedom, the (now) freedman has a patron-client relationship with his former owner, who has an obligation to maintain this dynamic.

Freed Slaves and Roman Imperial Culture, Rose MacLean

ALRIGHT. We’re getting to the point where this involves Crassus, hang on.

So Crassus in Plutarch’s bio sounds off that he’s got a lot of slaves, and a lot of mines, but the ones of most value are his slaves in Rome specifically, because they were trained (some personally, by Crassus himself) and skilled in high demand areas, and were sought after. Aside from the obvious, the part that strikes me as interesting is that this is not. an insignificant number. Plutarch says five hundred. That’s a recognizable amount of people in Rome who have a certain amount of social flexibility (the slaves of upper class or political heavy weights had less in common with the urban poor, and frequently interact with other houses of political influence) and all of those people are attached to Crassus.

This would extend even further to any of them who gained their freedom, because that would continue over into a patron-client relationship, and those five hundred slaves mentioned by Plutarch are all in a group that are the most likely to have a chance at buying their freedom. Whether or not this was the case is a huge Who Knows! because Plutarch skips over huge chunks of Crassus' life to get to the political machinations of conspiracy.

Less abstractly and more straightforwardly: Crassus and Clodius were well aware of the political-violence potential of slaves

Roman Freedmen in the Late Republic, Susan Treggiari

This contrasts heavily against, say, Pompey, who has several named slaves/freedmen in his biography that indicate levels of a personal relationship or friendship (we cannot use the mentions of individuals in Pompey's biography to assume that he was inclined to giving his own slaves freedom), and Caesar himself seems to have been even more insular than Pompey in this.

Roman Freedmen in the Late Republic, Susan Treggiari

There’s an underlying thing happening, though, later in Pompey’s life: Pompey (and Caesar) later rival Crassus in terms of wealth, but the difference has to do with location, land distribution, and slaves. Crassus seems to have most of his wealth concentrated in or near Rome (slaves, architecture, renting properties, the fire brigade, etc) with less of a focus on agriculture-mines for an income and more on. this. I'm still going through a couple of books for more on this vague train of thought, but its. something to think about.

Roman Freedmen in the Late Republic, Susan Treggiari

Pompey and Caesar seemed to follow the trend the rest of their military-senatorial contemopraries were following, which. would have inadvertently led to a worsening economic disparity in Rome (the urban poor + displaced farmers being driven off their land and forced to go to Rome for work because the influx of slaves from military conquests was a source of income that slave owners would have hated to give up)

there’s. some kind of additional thought in here about the crucifixion of the six thousand as a display of power and a threat to anyone else who was thinking of revolting against rome. Crassus seemed to have forgone the idea of taking anyone after the battle as a slave and opted for total annihilation, which falls in line with how he could be a ruthless motherfucker when it came to establishing order and did not apparently view this as an economic opportunity.

which moves on to my second thing about Crassus, I think that part of why he had his house open to people across different social classes and wasn’t prone to lavish displays of whatever had to do with how he grew up. I also think that it ties back to Crassus honing in on groups of people and realizing that they had political importance in some way. Plutarch’s bio makes note that he spent time advocating on behalf of anyone who needed it, even on cases that Caesar wouldn’t touch. That is an absolutely KILLER way to build up your reputation in a way where you would not necessarily need to traditionally align yourself with either of the two major political parties, and would lend you a lot of good will with groups of people who are not given voices in historical accounts. An absence of voice does not mean an absence of body!

Which ties into the third thing, Crassus occupies a third space in politics. Crassus specifically appears to drift around without much harm done to his reputation where it counts (Cicero gives him shit for it, but he still managed to get out of several sticky situations mostly unscathed) (Crassus’ appearances in other biographies indicate someone who is not firmly aligned one way or another politically as well, which is fascinating for other reasons).

I think generally, Crassus had his finger to the pulse of the many beating hearts of Rome's groups and understood on some level, the potential power of each one.

Those are my thoughts! also I’m going back in time to the Augustan Age and putting thumbtacks into all of Octavian’s shoes!

ADDITIONAL READING

Freed Slaves and Roman Imperial Culture, Rose MacLean

Roman Freedmen in the Late Republic, Susan Treggiari

The Cambridge World History of Slavery, Volume 1: The Ancient Mediterranean World, ed. Keith Bradley and Paul Cartledge

my point of contention with the last one is that Crassus didn't go on enough military campaigns to rival the other men in this group for it to be an even comparison, especially since he had an opportunity with the Spartacus Revolt and executed six thousand people instead.

[petricorah]

scenes i loved from Real Enough to Get Me Through by @marriedzukka <333 [ids in alt]

[ruporas]

feast (ID in alt)

[obsob]

beloved!!!

[unwri-ten]

They do killing and purging and lots of sin and steal candy from babies and small businesses (not talking about walmart)

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[hamletthedane]

Hamlet’s Age

Not to bring up an age-old debate that doesn’t even matter, but I have been thinking recently how interesting Hamlet’s age is both in-text and as meta-text.

To summarize a whole lot of discussion, we basically only have the following clues as to Hamlet’s age:

Hamlet and Horatio are both college students at Wittenberg. In Early Modern/Late Renaissance Europe, noble boys typically began their university education at 14 and usually completed at their Bachelor’s degree by 18 or 19. However, they may have been studying for their Master’s degrees, which was typically awarded by age 25 at the latest. For reference, contemporary Kit Marlowe was a pretty late bloomer who received a bachelor’s degree at 20 and a master’s degree at 23.

Hamlet is AGGRESSIVELY described as a “youth” by many different characters - I believe more than any other male shakespeare character (other than 16yo Romeo). While usage could vary, Shakespeare tended to use “youth” to mean a man in his late teens/very early 20s (actually, he mostly uses it to describe beardless ‘men’ who are actually crossdressing women - likely literally played by young men in their late teens)

King Hamlet is old enough to be grey-haired, but Queen Gertrude is young enough to have additional children (or so Hamlet strongly implies)

Hamlet talks about plucking out the hairs of his beard, so he is old enough to at least theoretically have a beard

In the folio version, the gravedigger says he became a gravedigger the day of Hamlet’s birth, and that he’s be “sixteene here, man and boy, thirty years.” However, it’s unclear if “sixteene” means “sixteen” or “sexton” (ie has he worked here for 16 years but is 30 years old, or has he been sexton there for thirty years?)

Hamlet knew Yorick as a young child, and the gravedigger says Yorick was buried 23 years ago. However, the first quarto version version of Hamlet says “dozen years” instead of “three and twenty.” This suggests the line changed over time. (Or that the bad quarto sucks - I really need to make that post about it, huh…)

Yorick is a skull, and according to the gravedigger’s expertise, he has thus been dead for at least 7-8 years - implying Hamlet is at least ~15yo if he remembers Yorick from his childhood

One important thing sometimes overlooked - Claudius takes the throne at King Hamlet’s death, not Prince Hamlet. That is mostly a commentary on English and French monarchist politics at the time, but it is strange within the internal text. A thirty year old Hamlet presumably would have become the new monarch, not the married-in uncle (unless Gertrude is the vehicle through which the crown passes a la Mary I/Phillip II - certainly food for thought)

Honestly, Hamlet is SO aggressively described as being very young that I’m fairly confident the in-text intention is to have him be around 18-23yo. Placing his age at 30yo simply does not make much sense in the context of his descriptors, his narrative role, and his status as a university student.

However, it doesn’t really matter what the “right” answer is, because the confusion itself is what makes the gravedigger scene so interesting and metatextual. We can basically assume one of the following, given the folio text:

Hamlet really is meant to be 30yo, and that was supposed to surprise or imply something to the contemporary audience that is now lost to us

Older actors were playing Hamlet by the time the folio was written down, and the gravedigger’s description was an in-text justification of the seeming disconnect between age of actor and description of “youth”

Older actors were playing Hamlet by the time the folio was set down, and the gravedigger’s description was an in-text JOKE making fun of the fact that a 30-something year old is playing a high-school aged boy. This makes sense, as the gravedigger is a clown and Hamlet is a play that constantly pokes fun at its own tropes and breaks the fourth wall for its audience

The gravedigger cannot count or remember how old he is, and that’s the joke (this is the most common modern interpretation whenever the line isn’t otherwise played straight). If the clown was, for example, particularly old, those lines would be very funny

Any way you look at it, I believe something is echoing there. It seems like this is one of the many moments in Hamlet where you catch a glimpse of some contemporary in-joke about theater and theater culture* that we can only try to parse out from limited context 430 years later. And honestly, that’s so interesting and cool.

*(My other favorite example of this is when Hamlet asks Polonius about what it was like to play Julius Caesar in an exchange that pokes fun of Polonius’ actor a little. This is clearly an inside-joke directed at Globe regulars - the actor who played Polonius must have also played Julius Caesar in Shakespeare’s play, and been very well reviewed. Hamlet’s joke about Brutus also implies the actor who played Brutus is one of the main cast in Hamlet - possibly even the prince himself, depending on how the line is read).

[azuneekun]

Hello azu, I have a question about the cover of your fancomic "Godfather"!

I like your comic, but I don't understand the symbolism of the mourning frame next to Shane, could you explain it to me?

I just think that the grief of losing his loved ones killed him too, if that makes sense.

Godfather comic

[glassiskies]

Okay i dont know if anyone else has pointed this out but throughout the vast majority of the ball (and honestly throughout many scenes in episode 5 as well but they don't seem as significant), Aziraphale and Crowley are on opposite sides of the screen they would normally be on. Particularly when Crowley is trying to tell Aziraphale about the demons outside the bookshop and he doesn't listen.

It's so interesting because this scene, in my opinion, is the crux of Aziraphale's denial and refusal to see what is actually going on and the danger of it (affectionate). The entire season we've witnessed Aziraphale downplay the real danger of hiding Gabriel in his bookshop. This is partly on Crowley, who knows more of the extent of the danger they're in and does not tell Aziraphale. BUT, we can't deny that Aziraphale is also ignoring the severity of the situation. I mean, he literally says that Crowley is overestimating the trouble they are in:

I just think it's INTERESTINGGGG. After the ball their positions return to normal and don't switch again until Episode 6 Crowley puts his sunglasses on and crosses to leave the bookshop.

It's also an interesting moment to choose switching their places on the screen because it's the moment Aziraphale's fantasy of being in Heaven with Crowley is crushed as well. You can tell that through Crowley's confession, Aziraphale isn't listening to a word he's saying, much like during the ball. BUT the dynamic doesn't switch until Crowley has totally rejected Aziraphale's offer.

Would love to hear anyone else's opinions on this, I could be overthinking it (I am the person who spent multiple days analyzing the lengths of Crowley's sideburns in each promo photo only to discover it was just a continuity error when the actual show came out LMAO.)

[soft-lee]

First thing he said to me when he got home from work was "On the bed, arms up. I'm not asking. Don't make me say it again." 🫠

[jamiesfootball]

Season two of the Ted Lasso rewatch and I am having some string feelings. Some strong feelers. Some shrimp about Ted and Jamie and how Ted really, really struggles between being Coach Shaped and being Dad Shaped when it comes to Jamie, and how Jamie is horrible at discerning either.

(Buckle up this is gonna be a long one)

Because what we start off with in season one is very much a man who is used to being Coach Shaped. He wants the boys to be inspired and to learn about life and to become the best versions of themselves that they can be. All of which could be very Dad Shaped, but in execution they’re not.

He steps back to let people grow, and sometimes that involves letting bullies be bullies so that the true leaders of the group can step up. Sometimes it’s letting Nate roast the other players- quite cuttingly at that - to get the team motivated. He’s directing the orchestra sure, but he’s not in the pit telling people how better to get along. He’s warm and welcoming, and he tries to foster good rapport and encourage people to talk to him and open up. He, dare I say it, actually has boundaries with people. He asked Rebecca in the first episode how she was holding up with the divorce, and when she seemed upset he noted it, offered a little commiseration, and moved right along without making a fuss.

And then he calls Jamie Tartt into his office to give him a compliment sandwich (“you’re a great athlete now pass the fucking ball and then you’ll be a super great athlete okay thanks”) and I think that’s where Ted’s boundary with Jamie first starts to erode. Because Jamie unintentionally ruins his whole fucking script. Jamie’s disaffected act crumbles at the first compliment. He’s sincerely taken aback by Ted’s praise, a little nervous and a little pleading. He breaks the rules of compliment sandwiching by demurring “well I work really hard”, which forces Ted to agree which is in a way TWO compliments, and when Ted tries to push through with his critique, Jamie ends up critiquing himself first about something completely different (“my left cross”), and then Ted has to wrestle them back to the actual critique, and the whole thing is just. Definitely not the ordeal Ted thought it would be.

So from early on we have these two working at cross purposes - because Ted thinks he’s being Coach Shaped, but the Shape he is doesn’t fit any Coach Jamie has ever had.

“what’s he like?”

“Great”

“…….”

“Well great at football”

“Yeah, I’ve know guys like that.”

And in return, Ted has known ‘guys like that’, competent athletes who are a necessary part of the game, but have such egos (“I’m not sure you realize how mentally healthy that is”) that Ted thinks he has to go to his players girlfriend for insight on how to motivate Jamie in the way that Ted needs for team cohesion.

So this is Ted trying to be Coach Shaped and give this kid a wake up call and this kid is so receptive that Ted barely had to lift a finger. But it doesn’t stick.

Ok. So next he attempts to give Jamie a book that he thinks will wake him up to the reality he’s living. He gave them to everyone. He’s still being Coach Shaped. He makes Roy and Jamie sit at the same table and tries to orchestrate a truce. He kinda gets there, but the next episode they’re still at each other’s throats. Jamie listened to Ted about the one in a million / one in eleven thing, but then Jamie ignored it. So he benched him. He’s Coach Shaped; it wasn’t personal.

Except Ted is not has not been anything Coach Shaped that Jamie could recognize, and football really is his life too. So it was very fucking personal. And here’s the first wrinkle in the narrative both of them have been telling themselves, because what does Jamie do? He fakes an injury and benches himself.

If Ted doesn’t think he should play, or doesn’t think that the way he’s playing is correct, then fine- he’ll make them both miserable. He just won’t fucking play. It’s kid logic at its finest. It’s cutting your nose to spite your face. ‘Well you said I wasn’t doing it right, so I won’t do it at all.’

It’s the same shit Jamie pulls on his dad when he leaves Man City to go be a reality tv star.

And it’s the first crack in the veneer between them, because the way Ted loses his shit at Jamie for it is not very Coach Shaped, but it is very very Dad Shaped. And unfortunately it was the sort of Dad Shaped that Jamie did recognize.

It’s the first loss of control Ted has in general, and it’s circling this player that Ted can’t seem to get a grip on.

And then there’s Jamie going to Keeley, and he’s got Manchester on his mind. It’s the first time we’ve heard him talk about the council estate he grew up in, and Keeley is telling him to stop battling people who want to help him. So he goes to the bonfire. And he talks about the fucking footprint his dad left in his wake. And he talks wistfully about his mom being proud. And this isn’t just about opening up to the team, it’s also about Jamie Tartt not battling Ted. Taking a risk that even if Ted isn’t very Coach Shaped, even if he appears closer to Dad Shaped than Jamie would like, whatever Ted is - Jamie is probably safe to be a little honest.

It’s not very Star Athlete With An Ego of him; but it’s very very Son Shaped.

“I was just starting to get through to him.”

Ted’s anger with Rebecca could be Coach Shaped. It could be. But it sure hurt him enough that it’s the first time he’s actually angry with Rebecca. Meanwhile Jamie was so hurt he had to tell everyone who would listen about it. Had to iterate that it was good riddance on being rid of Ted Lasso, because at least Pep was a proper Coach Shaped Coach. Someone who’d drill Jamie on the technicals. Someone who probably never once cared enough to pull him aside and tell him if he did a good job. Someone who probably assumed that’s what Jamie’s dad was for, showing up after matches.

“Good luck out there, Jamie!”

“Fucking mind games.”

Whatever Jamie already thought of Ted as a coach must’ve been rolling in the pit Jamie tried to bury it in, because Coach Shaped men don’t cheer you on when you’re playing for the other team. Pep wouldn’t do it if he still played for Richmond.

And maybe Coach Lasso does it for everyone he coaches. Probably. But it’s a very Dad Shaped thing. And fuck, Jamie’s actual fucking dad doesn’t cheer for him at all when Jamie isn’t playing for Manchester, so how’s Jamie supposed to know what it means?

Then there’s Ted, who just can’t help himself. Who can’t help but see potential in Jamie. And when he sees Jamie after the match, it’s a quick war on whether he should speak to him because in that instance Coach mode and Dad mode are in alignment.

Except reality hits as hard as a boot against the wall, because Jamie has a dad. And it’s not Ted. It’s not someone who’s come to tell him well done, or that he’s proud of the baby steps Jamie has taken, even though he’s been left to walk them alone. It is the opposite of what a father should be, but it’s taken up the mantle. Father Shaped. A thing of fury. A role fulfilled, not looking for new applicants.

Coach wins in that moment. Ted turns and walks away, and Jamie can finally see now in Ted Lasso the Coach Shape he’s familiar with.

Except even that can’t stick around and be familiar can it? Because while no one was looking, the Dad Shape in Ted scribbled him a little message. Left a note in his absence to let him know he was proud. Sent Beard with an army man, someone to lookout for Jamie and keep him safe. I’d say at this point a Ted Lasso couldn’t’ve drawn a line between Coach Shaped and Dad Shaped - this was a matter of pure human empathy, and decency, and an apology in its own way. I’m sorry for the roles we’ve been given. I’m sorry, but please know I care.

He walked away from Jamie and his dad. He didn’t have any obligation to Jamie. There was no more match to be won. Any involvement of Jamie Tartt in Ted’s life coulda woulda should’ve ended there.

“There’s something out there worse than being sad, and that’s being sad and alone. And ain’t nobody in this room alone.”

The look on Jamie’s face in that scene says it all. Because he is alone, but Ted clearly (desperately) doesn’t want him to be.

But being alone is better than being stuck in a room with James Tartt Sr.

Jamie doesn’t go to Ted first after Lust Conquers All. Why would he (think he had the right to)?

The first thing Jamie does do (after Keeley tells him it’s ok to go to Ted) when he meets Ted again is show him the Ted (Danson) Soldier. Ted may have made the gesture, and Jamie may have understood the meaning of it, but he does Not understand Ted. Not this Coach-but-Not-a-Coach. Still Jamie thinks he has the distinction down - what soft underbelly he thinks he needs to bare for this type of Coach to believe him when asks for a chance to come home.

“You were getting good minutes up at City.”

Ted redirects Jamie here in a very Coach Shaped way. He guides Jamie into admitting the real reason why he quit. He hears Jamie out, makes observations about how Jamie coming back would work from a team perspective, and makes only occasional eye contact. This is Ted clinging to a role that he’s used to, the one that comforts him in its ability to help other people.

(If there is something Dad Shaped in that scene, it’s an awful, haunting one. Not the one that Jamie grew up with, but the one that Ted grew up with. The one who took his son to play darts every Sunday for six years, who probably sat next to him and drank beer the way Ted does)

But Ted never set out to be anyone’s dad. He’s their Coach, and he has a responsibility to everyone on his team. It’s nothing personal; he’s just being a Coach.

They clink glasses. Cheers, and best of luck to your future endeavors.

There is something very tired about the way Jamie puts down his beer without taking a sip. He looks lost. He does not look surprised. (How could you have expectations for something you’ve never known? And how come that doesn’t make him feel any better about it?)

We don’t see Jamie after that.

We see Ted at training, worrying about Dr Sharon watching the team he’s made. He worries that she’s getting closer (metaphor). When Sam storms off the field, Ted is startled but relieved to follow. He doesn’t want self examination. He wants to be Coach. He wants to embrace the parts of coaching he’s always loved- helping other people improve and be better.

Sam tells him that he doesn’t want Jamie back on the team, and there’s a split second of relief from Ted because he made the right call.

Then Sam talks about his father, and how his father is grateful for Ted because with Ted around, he knows his son is safe. Because this has nothing to do with being Coach Shaped. Coach Shaped he may be in Sam’s life, but here’s Sam, who is very Son Shaped himself, and his father agreeing that Coach Lasso serves a greater purpose in Sam’s life than just being a supportive motivator. In their mind, in the absence of a father, Ted Lasso will do just fine. He will keep Sam safer than any little green army man.

That’s the final inexorable blurring of the lines for Ted, where the coach finally drops the ball to pay attention to the scraped knees that have been left behind.

Ted calls the Diamond Dogs meeting. Coach Beard and Coach Nate are very Coach Shaped indeed. What about the teamwork, Ted? “He’s the poop in the punch bowl.” Leslie is for bringing him back, but it’s for football reasons. It makes managerial sense.

But none of it means anything to Ted because at that moment he can not find it in himself to be Coach Shaped.

“I thought it was settled, but Sam went and unsettled it.”

“He reminded me that not everyone is lucky enough to have a good dad.”

“In sports aren’t we always on about second chances? Shouldn’t that apply to people too?”

This is not Coach Shaped. In some ways it’s not even Dad Shaped. But it is caring, and empathy, and wanting an excuse, any excuse, to try again. It is Love Shaped.

Ted Lasso is a coach to his team and a dad to a great little boy down in Kansas, and for Jamie Tartt he can try to fit on a third extra thing. Whatever that thing is called. Neither of them know what that thing is called. They’re too familiar with Coaches and too unfamiliar with Dads to know the difference.

[fairmerthefarmer]

Marzipan <3

I was immediately drawn to Marz I’m my first exocolonist playthrough mostly cause of her being the biggest kid and I loved that she was still considered pretty. Her whole thing with her augment kind of explaining some of why how she was how she was is so interesting to me.

(she also was kind of the worst as a child but what I adore about her is how much she can grow, also she actually likes it when you aren’t a yes man.)

I have an urge to do fun typography with exocolonist illustrations but my Adobe fonts weren’t loading on procreate and it’d probably be better just to use illustrator instead but I just kinda fave up for now.

[tenisperfection]

Eddie’s been thinking about that conversation with Shannon for years now, the one where she turned down his offer to be together again. He never got a chance to say his piece, he never got a chance to tell her everything he’s been feeling about her leaving and coming back until she left permanently, with no way back. He’s been holding on to that anger for years too, and if Shannon’s ghost gives him a second chance to do that like how Shannon’s letter gave Christopher some closure, it’ll be a chance for Eddie to finally move forward. He’s never going to stop loving or missing or mourning Shannon, but maybe now he can see past that grief into those parts of himself he’s been repressing.

[kindaorangey]

once again screaming crying throwing up about the fact that infinity train was prematurely cancelled despite being contracted for 5 seasons.

[obsob]

lady amber my beloved

[haunted-xander]

Ryne and Gaia are like. Such good parallels and foils to each other it makes me just a little insane.

Like Ryne is sweet and caring and she always wants to help others and make them feel better even to the detriment of herself because she has seen and known suffering and doesn't want others to have to live like that too. If she can make someones life better, even if just a little bit, then she will. But she also puts everyone elses well-being and feelings so far above her own that she often ends up trying to help in a way that doesn't actually solve anything because it still ends up with someone hurt (such as trying to properly fuse with Minfilia knowing it might end up with herself disappearing). She's not a doormat, but she does have some people-pleasing tendencies.

Gaia, however, is the exact opposite. She's prickly and sarcastic and thinks of herself and her needs first and foremost, everyone else is secondary. It's not that she's cold or uncaring, she doesn't ignore people's problems, she just doesn't see them as her business most of the time (A product of being raised in Eulemore most likely). She doesn't consider the long-term outcome of what she does or says, she lives solely in the present and the future is a problem for when it happens.

These opposite traits also play into each other. Ryne inspires Gaia to care more about others and Gaia inspires Ryne to prioritize herself more. Gaia makes Ryne live more on the moment without thinking solely of what the future will bring, and Ryne makes Gaia think more on what her life will be going forward and to actually consider what she does and says and how that affects things. They feed into each others good traits (Ryne's caring nature and Gaia's sense of self) while also helping them deal with the bad traits (Ryne's people-pleasing and Gaia's aloofness).

Their pasts are good paralells too. Ryne was isolated and lonely until Thancred took her away but even then, he was distant and emotionally neglectful, so she ended up lonely in an entirely different way. Gaia had a family and caretakers that she wasn't particularly close to, but after the 'Fairy' started talking to her they got even further away until she couldn't even remember them, and the 'Fairy' was the closest thing she had to a friend even though it was what isolated her to begin with. Ryne had constant companionship but no support, and Gaia had 'support' but no companionship.

Even just. Regarding the whole identities thing they are just. Perfect. Ryne has lived with Minfilia's shadow on her shoulder her entire life and never got to learn who she actually is. She thought that she had to become Minfilia for her life to be worth anything, that it's the only way her existance is justified. The person closest to both her and Minfilia(Thancred) indicated(in her mind at least) that he wanted Minfilia to be here in Ryne's stead(which wasn't really the case but she didn't know that). The only way to get her out of that shadow was to remove her from the identity of Minfilia, hence why her new name is so important(as well as the hair and eyes being her natural colors instead of Minfilia's all too recognizable ones).

But Gaia didn't even know about Mitron or Loghrif until Eden. She had the 'Fairy', but to her it was just some voice in her head which was nice enough to her. To her, Loghrif is just some lady Mitron loved, she has no real connection to her. She has a connection to Mitron, both as the 'Fairy' and as remnant feelings from Loghrif, but none to Loghrif herself(aside from the obvious reincarnation stuff). Gaia has always been her name. It may have been Loghrif's originally, but she is so far removed from that identity that even for all of Mitron's effort to 'return' her to Loghrif, it'd never work. Loghrif is Gaia, but Gaia is not Loghrif. Simple as that.

Eden's story works so well because Ryne and Gaia are opposites in that specific way that compliments each other, rather than pits them against each other.