#hope you enjoyed this meta

[drrav3nb]

The Nature of Do-young and Dong-soo's Relationship

To start, I want to bring up how Do-young himself categorises their relationship, comparing it to Moon Sang-guk and Kim Jae-yeol.

This in itself is interesting because it shows just how aware and conscious he is of how closely they mirror their enemies. But what's even more interesting is the framing of this moment and this scene in general. Do-young and Dong-soo are sitting down, side by side, equal in height and distance. But does this mean that their relationship is now balanced? No and this is enforced by Do-young's answer to Dong-soo's question.

"They're like us. An attorney and a client."

By bringing up their roles in their relationship, Do-young emphasises the power dynamic in their partnership. Dong-soo is his attorney, hired by him to serve the his [the client's] needs. The same way that it may seem like Moon Sang-guk and Kim Jae-yeol have equal levels of power, it's clear who wields the sword and who buckles beneath it's weight.

This is made even more clear throughout the episode as we see Dong-soo coming up with clever plans to further the success of Do-young's business. However, unlike in previous episodes, Dong-soo receives verbal praise and recognition from Do-young, an act that pleases Dong-soo and continues to embolden him throughout the episode, leading him to make more daring moves on behalf of their joint goal.

One of these daring acts is when Dong-soo decides to visit Kim Jae-yeol in hospital in order to increase his distrust in Moon Sang-guk. However, this visit leads to Dong-soo almost losing his own life as he gets attacked by Jae-yeol's bodyguard. But while Dong-soo tries to fight him off, who comes to his rescue, who saves him from near death?

Do-young.

This singular moment bares so much significance in their relationship because this act is not only intimate, it's personal. Not only is this filmed in such a way to reflect this but Dong-soo's expression communicates just how pivotal this was!

In the past, Do-young has sent Oh-jae, his right-hand man, to save Dong-soo from a rival gang's attempts to hurt him. But for the man himself to come down from his throne and personally prevent such an attack speaks volumes. But what's interesting about this scene is their power dynamic remains unchanged. Do-young doesn't even help Dong-soo up, he looks down on him, fixing him into submission by a mere glance, a powerful gaze.

This formidable control that Do-young has over Dong-soo is shown throughout the episode. From Do-young's mere presence being a motivation for Dong-soo to brutally beat up the Family Gang's leader, and his need for Do-young's validation inspiring him to take even more dangerous risks.

But the moment that enforces this the most for me is how Dong-soo reacts when Do-young answers his phone call. Now after learning that Kim Jae-yeol's arrest was suspended, Do-young ignores Dong-soo's call earlier in the episode, punishing him for failing to achieve their plans. But later on, when Dong-soo calls him again, Do-young picks up and this is how Dong-soo reacts.

Not only was Dong-soo holding his breath as the phone was ringing, but when he hears that he's been connected, Dong-soo inhales deeply, almost out of relief, as if this mere action was a gift from God, a sign that he was back in his good graces.

This hold that Do-young has on him is even further enforced when Beom-jae warns him that the gangster is using him for his own goals, to which Dong-soo replies:

"So what? To catch Moon Sang-guk, I need Seo Do-young too."

Dong-soo acknowledges that he's being used and accepts it, the same way that he accepts Do-young's gifts, which he was given even more of in this episode! And it's this power dynamic based on validation and submission that is at the core of their relationship.

Dong-soo allows himself to be moulded into whatever Do-young desires/needs and in return Do-young gives Dong-soo special treatment, allowing him to make decisions on behalf his business and share his power. And it's these components of their partnership that keep them balanced and their relationship intact. Both of them know their roles and the mutual benefits they receive from their alliance. It's this awareness that will keep them together and help them to become stronger than their enemies. (at least I hope🥺️😭)

[what-is-love-babey-dont-hurt-me]

Sir Meteor has crashed onto Popstar for a special event!

>> He is joining the @kirbyoctournament ! >> If you want his ref click here !

Meteor is answering asks! Start here to see his adventures :D

“The planet I’m from has many different names from Terra to Shiver Star—but long before it had a name, I appeared in a flash of light. Or so my mother said…”

✨Sir Meteor would love to interact with other participants!

✨He thinks himself as a dinosaur, and disagreeing with him will get him to dislike you. Kids are often ESTATIC to meet a genuine celestial being dinosaur!!!

✨Sir Meteor is ancient, and his cheek markings indicate he belongs to a era long gone. From giving humans the first fire to inventing --—spear hunting——+<3 he has been around!

✨Hey if Meteor is ancient does that mean that he has seen a lot of people d-

“Look at that! The next fact is here early!”

✨Good luck getting him to answer something directly! His open demeanor isn’t necessarily a lie, however he has learned to talk less and smile more.

✨Sir Meteor seems a bit lonely when he isn’t distracting everyone with a smile and a show of flame. He is open to romance with adults a couple million years old, but he greatly craves a good friendship over anything.

[madocactus]

It's 2003, and Allan Bravecog has a brilliant idea. He just needs to make it real.

It's Family Business!

A story about the Senior VP and his journey to fatherhood.

10k+ words from @madocactus

Illustrations by @cluniies

Custom HTML + CSS formatting

Sellbot HQ shenanigans

Read now on AO3

[bowtiepastabitch]

Historical Analysis: class and injustice in 'The Ressurrectionists' minisode

Alternate title: why we're tempted to be upset with Aziraphale and why that's only halfway fair

Okay so first off huge thanks to @makewayforbigcrossducks for asking the question (and follow-up questions lol) that brought me to put these thoughts all together into a little history nerd ramble. That question being, Why is Aziraphale so clueless? Obviously, from a plot perspective, we know we need to learn some lessons about human moral dilemmas and injustices. But from a character perspective? A lot of this minisode is about Aziraphale being forced to confront the flaws of heavenly logic. This whole idea that "poverty is ineffable" basically boils down to 'yeah some people are poor, but their souls can be saved just as if not more easily that way, so it's not our problem and they probably deserve it anyway for not working hard enough,' a perspective that persists in many modern religious circles. Aziraphale isn't looking at the human factor here, he's pretty much purely concerned about the dichotomy of good and wicked human behavior and the spiritual consequences thereof, because that's what he's been told to believe. His whole goal is to "show her the error of her ways." He believes, quite wholeheartedly, that he's helping her in the long run.

"the lower you start, the more opportunities you have"

So here's what we're asking ourselves: Why did it take him so bloody long to realize how stupid that is? Sure, he's willing to excuse all kinds of things in the name of ineffability, but if someone in the year of our lord 2023 told me he was just now realizing that homelessness was bad after experiencing the past two centuries, I'd be resisting the urge to get violent even if he WAS played by Michael Sheen.

Historical context: a new type of poverty

Prior to the 19th century (1800s), poverty was a very different animal from what we deal with now. The lowest classes went through a dynamic change leading up to the industrial revolution, with proto-industrialization already moving people into more manufacture-focused tasks and rapid urbanization as a result of increasingly unlivable conditions for rural peasantry. The enclosure of common lands and tennancies by wealthy landowners for the more profitable sheep raising displaced lots of families, and in combination with poor harvests and rising rents, many people were driven to cities to seek out new ways of eeking out a living.

Before this, your ability to eat largely would have depended on the harvest in your local area. This can, for our purposes, be read as: you're really only a miracle away from being able to survive the winter. Juxtapose this, then, with the relatively new conundrum of an unhoused urban poor population. Now if you want to eat, you need money itself, no exceptions, unless you want to steal food. Charity at the time was often just as much harm as good, nearly always tied deeply up in religious attitudes and a stronger desire to proselytize than improve quality of lie. As a young woman, finding work in a city is going to be incredibly difficult, especially if you're not clean and proper enough to present as a housemaid or other service laborer. As such, Elspeth turns to body snatching to try to make a better life for herself and Wee Morag. She's out of options and she knows it.

You know who doesn't know that? Aziraphale.

The rise of capitalism

The biggest piece of the puzzle which Aziraphale is missing here is that he hasn't quite caught onto the concept of capitalism yet. To him, human professions are just silly little tasks, and she should be able to support herself if she just tried. Bookselling, weaving, farming, these are all just things humans do, in his mind. He suggests these things as options because it hasn't occurred to him yet that Elspeth is doing this out of desperation, but he also just doesn't grasp the concept of capital. Crowley does, he thinks it's hilarious, but Aziraphale is just confused as to why these occupations aren't genuine options. Farming in particular, as briefly touched on above, was formerly carried out largely on common land, tennancies, or on family plots, and land-as-capital is an emerging concept in this period of time (previously, landowners acted more like local lords than modern landlords). Aziraphale just isn't picking up on the fact that money itself is the root issue.

Even when he realizes that he fucked up by soup-ifying the corpse, he doesn't offer to give them money but rather to help dig up another body. He still isn't processing the systemic issues at play (poverty) merely what's been immediately presented to him (corpses), and this is, from my perspective, half a result of his tunnel-vision on morality and half of his inability to process this new mode of human suffering.

Half a conclusion and other thoughts

So we bring ourselves back around to the question of Aziraphale's cluelessness. Aziraphale is, as an individual, consistently behind on the times. He likes doing things a certain way and rarely changes his methodology unless someone forces his hand. Even with the best intentions, his ability to help in this minisode is hindered by two points: 1)his continued adherance to heavenly dogma 2)his inability to process the changing nature of human society. His strongest desire at any point is to ensure that good is carried out, an objective good as defined by heavenly values, and while I think it's one of his biggest character hangups, I also can't totally blame him for clinging to the only identity given to him or for worrying about something that is, as an ethereal being, a very real concern. Unfortunately, he also lacks an understanding of the actual human needs that present themselves. Where Elspeth knows that what she needs is money, Aziraphale doesn't seem to process that money is the only solution to the immediate problem. This is in part probably because a century prior the needs of the poor were much simpler, and thus miraculous assistance would never have interfered with 'the virtues of poverty'. (You can make someone's crops grow, and they'll eat well, but giving someone money actually changes their economic status.) Thus, his actions in this episode illustrate the intersection of heavenly guidelines with a weak understanding of modern structures.

This especially makes sense with his response to being told to give her money. Our angel is many things, but I would never peg him as having any attachment to his money. He's not hesitant because he doesn't want to part with it, he's hesitant because he's still scared it's the wrong thing to do in this scenario. He really is trying to be good and helpful. So yes, we're justifiably pretty miffed to see him so blatantly unaware and damaging. He definitely holds a lot of responsibility for the genuine tragedy of this minisode, and I think Crowley pointing out that it's 'different when you knew them' is an extremely important moment for Aziraphale's relationship with humanity. Up until now, he's done a pretty good job insulating himself from the capacity of humans for nastiness, his seeming naivity at the Bastille being case in point.

In the end, I think Aziraphale's role in this minisode is incredibly complex, especially within its historical context. He's obstinate and clueless but also deeply concerned with spiritual wellbeing (which is, to Aziraphale, simply wellbeing) and doing the right thing to be helpful. While it's easy to allow tiny Crowley (my beloved) to eclipse the tragic nature and moral complexity of this minisode, I think in the end it's just as important to long-term character development as 'A Companion to Owls'. We saw him make the right choice with Job's children, and now we see him make the wrong choice. And that's a thing people do sometimes, a thing humans do.

~~~

also tagging @ineffabildaddy, @kimberellaroo, and @raining-stars-somewhere-else whose comments on the original post were invaluable in helping me organize my thoughts and feelings about this topic. They also provided great insight that, in my opinion, is worth going and reading for yourself, even if it didn't factor into my final analysis/judgement.

If I missed anything or you have additional thoughts, please please share!!! <3

[haveihitanerve]

Bruce makes it in time to get to Jason. But… is it enough to save him?

“Master Bruce-“ “I’m almost there Alfred.” Bruce bites back, almost breaking his wrist by how hard he twists the motorcycle accelerator. And he is. He can see the warehouse. Bruce lands, not even bothering to slow, leaping off the bike as it crashes into the trees and he sprints for the doors, terrified he’ll make it too late, that he won’t be fast enough for his son. The door slams open, Bruce not even bothering to check if it’s locked or not, just plowing it down, and hurries inside, spotting his son within a moment. Jason opens his eyes in surprise, mouth curving to form a perfect O. “Br- Batman.” He whispers, voice hoarse with disbelief. Bruce rushes to his side, cupping his cheek, cradling the boy- his boy, to his chest. “Jay. Jay bird. Jaylad. Hey firecracker. Hey bud.” Jason’s eyes fill with tears and Bruce does his best to wipe them away, to press a kiss to his son's forehead. “You came.” Jason whispers, tears clogging his throat. “Of course baby.” Bruce murmurs, rocking back and forth. “Of course I came, baby. I will always come for you. Always.” He presses another kiss to Jason’s head. “I love you son. I love you, I love you, I love you.” “I love you too-“ Jason rasps, but his eyes catch something on the wall behind him. “Dad, wait- the bomb-“ the explosion shakes the very earth, and Gotham seems to curl in on herself, screaming with a pain and rage that is unimaginable. In a basement cave in the middle of Gotham, a butler's hands go cold. A man, wearing a blue mask a city over, suddenly feels a chill sweep over him, and something inside him, probably his heart, feels like it’s been torn in two.

Their bodies are found, or at least what’s left of them, two days later, the larger man wrapped almost completely around the smaller, cradling his boy to his chest. Nightwing almost beats Joker to death and is only stopped by three others, all of which seem just as inclined to kill him, but resist. Gotham mourns, earthquakes shaking the ground, warehouses crumbling to dust, and Joker is found drowned in the harbor, the fishes whisper of a presence so old and strong even the biggest fish feared her, and Aquaman shudders. Gothamites mourn their fallen Prince and his adopted son, but Gotham mourns her prodigal sons, her children, her oldest and youngest, and cradles the last survivor to her chest, cloaking him in shadows and gifting him all the things she did not give the others, the things she thought they wouldn’t need so long as they had each other, the things she had not yet granted them ready for. She drapes them over the young, jaded hero, gifting him sight and smell and sound, allowing him to control her shadows and her streets and most of all… gifting him flight, the way his namesake first claimed, the way her firstborn child and her youngest were never able to. The Vulture takes to the Gotham skyline like a moth to open flames, perhaps a little less withdrawn with his punches, perhaps a little more protective of young boys, but belonging to Gotham all the same. The Joker stole something from her, and she will never allow it to happen again. The Vulture gains followers, friends, the Starling, the Goldfinch, the Owl, the Crow, the Cardinal, and Robin, all under Gothams protection, and she has him watch, from his watery prison, as they protect her, defend their city from the ilk like him, not giving in to their rage and revenge, but helping, rebuilding Gotham in his image. Their image. The man who saw hope, and his son. Batman and Robin.

(In case it was unclear, the three people pulling dick away from Joker are Babs, Kate and Luke, and then the Vulture is dick, and his friends, in order as listed, are Stephanie, Duke, Babs, Cass, Tim, and Damian. Also Gotham does kill Joker because she knows dick cannot but she also keeps him half alive, suspended in time, destined to drown for all eternity and watch as the bats succeed in honor of Batman the man he fought against.)

[iwritenarrativesandstuff]

On Kurapika's Self-Imposed Isolation

While I recognize that probably everything I'm about to say is going to be super obvious, I just wanted to briefly touch on Kurapika's self-isolation, and the reason behind his not picking up his phone or exchanging anything more than clipped words and business after Yorknew.

I think the obvious answer is that Kurapika doesn't want his friends in harms way, or to be used as a bargaining tool against him. This is an understandable and probably accurate conclusion. After all, Gon and Killua did get taken hostage, and Kurapika was forced to negotiate an exchange. Chrollo picked up on Kurapika's "weakness" right away - that he values his friends' safety before his revenge. Fortunately for Kurapika in this situation, Pakunoda was a whole lot more similar to him than he would've cared to admit, as she placed a value on Chrollo's life even though everyone in the Spider was intended to be replaceable. So, now that he's been through Gon and Killua having potentially gotten killed or seriously hurt, and Chrollo knows that he has a soft spot for them, it does make sense that he would try to push them away for their safety and for the sake of not having an exploitable "weakness" in future. He may also not want to burden them more when they have their own lives to live - he does slip off without telling Gon and Killua for the sake of not distracting them from Nen training, after all.

Except that he already tried all this earlier in Yorknew arc. He tried to tell them they shouldn't get involved, and they all agreed that the risks were massive - but his friends agreed to undergo the risks anyways to help him. Kurapika was even grateful for it - "I have been blessed with good friends."

So, for him to push them away solely for this reason after the fact, knowing that this was very much a likely situation to happen, is a little odd to me. Kurapika knows full well that Leorio would be frustrated, Killua would be offended and Gon would worry. So, I think there's a little more to it than that, and I actually would venture to say that "keeping his friends out of danger" is more a secondary reason for his actions - one that would come across as more of a reasonable excuse to others.

The primary reason is likely a lot more selfish than that. Kurapika has to ensure his mission comes first. And unfortunately, he is fully aware that his path and choice in abilities is deeply self-destructive.

Kurapika needs to make sure that he doesn't have exploitable weaknesses, sure, but he also just as much needs to purposefully worsen his headspace - and he can't do that with those three around.

Think back, what are the happiest moments we see from Kurapika in the series? The one that comes to mind first, and the one I'm sure most of us will think of immediately, is this:

[ID: A screenshot from the 2011 anime adaptation. Kurapika smiles - he looks at ease. End ID.]

It's one of the sweetest scenes of the series imo, right before the whole group is reunited for the first time since the Zoldyck Family arc, and it's even more notable because it comes immediately on the tail end of this...

[ID: Three panels from HxH Chapter 101. Kurapika removes his contacts over the sink. His expression is distant. End ID.]

...and this...

[ID: A panel from HxH Chapter 101. A close up of Kurapika's vacant and furious expression, his eyes wide and dangerous as he says "It might as well be you." Though the art is in black and white, it's apparent his eyes have gone scarlet. End ID.]

...and this.

[ID: A panel from HxH Chapter 101. A distant Kurapika speaks on the phone on a rooftop at night, the cityscape of Yorknew around him dark, but speckled with lights and stars. He says "The Spiders are dead." His face is not visible to the reader. End ID.]

This is, up to this point in the series, Kurapika at his lowest. In contrast to Gon, who is happy to hear that the Spiders are dead already because now Kurapika can focus solely on finding his peoples' eyes, Kurapika... is clearly not happy - and that's because killing the Spiders himself isn't just revenge. It's penance. It's survivor's guilt. Kurapika's powers, which Izunavi even comments sound much like he is chaining himself in the process of chaining his enemies, are oh-so-beautifully prophecied to destroy him - and Kurapika was aware of this from the moment he set off down this path of revenge.

(As a side note, this is why I'm really hoping we see Gon and Kurapika interact again after the Chimera Ant arc - while Gon has always been pretty attentive to Kurapika's emotional state, in Yorknew, he lacks a true understanding of why Kurapika would go so far... but as of now, he understands rage fueled by guilt and grief all too well. I know we're all rooting for Leorio to reach Kurapika, but barring that, I really think Gon could get through to him - after all, they are similar in several ways, and I find it fairly apparent that Gon reminds Kurapika of Pairo.)

But back to the main point here - I do suspect Kurapika expects (if not wants) his revenge mission to destroy him. I think a lot of times, we forget just how young Kurapika is, and how much his character is dictated by honour, and the abandonment of it.

Certainly, he can and will go against his principles for the sake of his mission... yet, almost paradoxically, he's bound to his promise to his fallen clan; a promise to avenge them made in anger.

But Kurapika... doesn't come across as a naturally angry person to me at all.

He seems like the stoic, vengeful type on his initial introduction... and then we get his panic at Gon's recklessness

[ID: A panel from HxH Chapter 2. Kurapika and Leorio wear matching expressions of panic in front of Gon, calling him out for his recklessness. End ID.]

...and his near-immediate forgiveness of Leorio after getting the first inkling of his character - of someone who cares just as fiercely as he does.

And after that point? Almost all through the Hunter Exam? Kurapika smiles so readily at them. He's sharp and funny. He mediates at times, but is stubbornly prideful in others. He's very amused by his friends' antics, and it really does seem like he starts to enjoy himself, with them. And, more than that, he counters Leorio's initial impression of him as an independent loner - on several occasions. He decides to follow Gon because Gon intrigues him. Asides from Gon, it is Kurapika who is the most unwilling to fight each other at the bottom of Trick Tower. Kurapika who makes the first move to team up with Leorio, even though that arrangement benefits Leorio much more than it does him. Kurapika who refuses to abandon Leorio to his fate in the cave, and who checks on Gon after noticing his bad mood. Who was furious enough watching him get beat down by Hanzo that his eyes went scarlet for the first and only instance outside of Spider mentions and Emperor Time. Who quite readily detoured to help rescue Killua.

[ID: Three screenshots from the 2011 adaptation Hunter Exam arc. In the first, Kurapika smiles at a sleeping Leorio. In the second, Kurapika stifles laughter as he pretends he's asleep. In the third, Kurapika has an open-mouthed smile as he acquires the airship tickets for them, Leorio and Gon standing behind him. End ID.]

Look at him! He's so bright! So happy!

...too happy. Too happy to do what he promised himself he would do. And that's his biggest fear, isn't it. Without his rage... what is he left with?

[ID: A panel from HxH chapter 2. A close up of Kurapika's eye as he says "I do not fear death. What I fear is that my rage will one day fade away." End ID.]

Kurapika is far, far less mired in anger when he's with his friends. I actually dare to say that at certain points, he was able to go for lengths of time without thinking much about it - alternating between almost forgetting in one instance and being hit like a sledgehammer on exposure to a reminder in the next. This violent swing is... actually the beginnings of the natural process of healing from loss and trauma. But to Kurapika, who's made a promise to his people's memories, this is not a relief. This is betrayal.

I think that actually scares him, that he can almost picture it. A life beyond his guilt. That he, too, could learn to be happy, even after unimaginable loss.

And so, as Kurapika continues his mission offscreen, finding more and more gruesome reminders of the cruelty inflicted on his people and losing more and more pieces of himself in the process (in his own words, no less), he prioritizes his responsibility to them, and pushes away his distractions. He cannot be a soul at peace until his work is done; he must be in turmoil. He pushes people away who he cares for, and binds himself, and keeps his people's eyes on him, quite literally, because respite, for him, is unacceptable. Perhaps that guilty part of him even hopes, by the end of this, that his soul will be so unrecognizable as to be fundamentally unsalvageable. But the truth of the matter is, or at least what comes across to me, is that Kurapika cares much more fiercely than he hates. He knows what matters most. And for as long as he does, he still hasn't truly lost himself.

[ID: A panel from HxH chapter 350. Kurapika looks down at baby Woble with a gentle, yet complicated expression. The inking is somewhat softer. End ID.]

Kurapika's soul is kind, really. And it wants to heal - but for the sake of his mission, he needs it damaged and bleeding. And so, he forces himself to exist in that pain. All alone.

[ID: A panel from HxH Chapter 344. Kurapika, dressed in a black suit, sits with his back to the reader, looking down at a photo in his hand. He is slumped a little before the church vigil he has prepared, all his clan's eyes lined up in their jars and honoured with flowers and candles. He thinks to himself "There is no home for me to return to... and nobody to welcome me back. I have nothing left." End ID.]

[shinidamachu]

the importance of "I'll protect you with my life"

For @inukag-week's sacrifice prompt, I thought I'd expand on a topic I have only mentioned before: the "I'll protect you with my life" line and why it matters even more than we give it credit for.

The thing about Inuyasha's character is that he was build — both physically and psychologically — to survive.

Physically, the fact that his own blood can be weaponized into a powerful attack backs up that assumption.

And so does the fact that one of his defining traits is having a defense mechanism that kicks in whenever he's on the verge of certain death with the sole purpose of keeping him alive.

Psychologically, his tough childhood shaped his survival instincts into a reliable and sharpened sense. And this next part is more of a conjecture than anything else, but I believe Izayoi's death plays a huge role here.

It can be assumed that she gave up a lot in order to live her love story and her life choices ultimately resulted in an early death. Inuyasha, being the child born from that love, has no better way of honoring her memory than living. First, for her. Then, to spite those who were against his very existence.

And this — conscious or not — need to live, is deeply intertwined with his desire to belong. Fitting in is the safest way to survive and, at first, he tried to achieve that by becoming a powerful demon.

Then, he went the opposite direction and agreed to turn into human, which only cements that his true wish wasn't to simply become one or the other at all, but to be accepted, so he could live.

That's why he doesn't take threats to his life laying down, especially when unearned. It may not look like, given his reckless way of dealing with things, but in a crooked way, Inuyasha actually values his life.

So much, in fact, that putting other people's lives above his own was a foreign concept that he struggled with at the beginning and had to learn in order to wield Tessaiga.

When Kagome tells Inuyasha she will help him with the sword under the condition he promises to protect her, she obviously never meant that said protection should cost of his life.

She wouldn't dream of it because she knows she's not entitled to it. He doesn't owe her anything. Although, one could make a point that he kind of does.

Kagome is literally the reason he is alive. Through their journey, is a recurring theme that her voice would bring him back from death's grasp every time. She's constantly saving his life. In more ways than one.

And despite Inuyasha's immediate reaction to her request being to mock her and making it clear that he never said he would protect her forever, he was the one to willingly and unpromtly add the "with my life" bit.

Even though protecting Kagome with his life was precisely what he had been doing the entire time — in spite of spending a good chunk of the series thinking his life wasn't his to give away —, to say it out loud makes for an amazing paralel and it shows how much they've grown, both as characters and as a couple.

But more than that: it shows a whole new level of devotion. For the first time ever, Inuyasha is chosing to promise his life to someone for no other reason than the fact that he loves her.

And despite talking about a lifelong commitment, I can't remember a single stance of the story where Inuyasha had acted more free.

No wonder the scene can be interpreted as a proposal.

[cassandracain52]

A canon compliant guide of Bruce Wayne’s officially adopted children

I noticed there has been some confusion about who all in the BatFam is actually legally adopted by Bruce Wayne so I thought I’d try and help clear some things up.

(Full disclosure you can of course headcanon whatever you like, I made this is strictly to help newer fans know what is actually canon💕)

Dick Grayson: Adopted

(Batman: Gotham Knights #17 and Batman #600)

Many fans argue over whether or not Dick is officially adopted, many saying it was never official and he is still just his ward.

Though he does admittedly usually spend the majority of his actual childhood as a ward, Bruce ends up officially adopting Dick as his son(as I have explained before here)in multiple timelines

Barbara Gordon: Not Adopted

(Batgirl and the Birds Of Prey Rebirth)

There was never a need for Barbara to be adopted because she still has a Dad. She is however still very much in the BatFamily and has trained under and with Bruce

Jason Todd: Adopted

(The New Titans (1988) #55 and Batman: A Lonely Place of Dying)

Now I couldn’t track down a comic where we actually get to see Bruce adopt Jason, but there are plenty of instances in which his adoption is referenced -including but not limited to these two- throughout several timelines and reboots

Cassandra Cain: Adopted

(Batgirl 2008 #6)

Now this one is a bit more debatable as aside from this one instance, Cass’ adoption is never really mentioned again even after the timeline gets rebooted. Still the general consensus is that Cassandra’s adoption is considered canon.

Tim Drake: Adopted

(Batman #654 and Red Robin #4)

Though Tim declines Bruce’s offer of being adopted at first, we get to see Bruce adopt Tim as his son about a year or so later. His adoption is also referenced across multiple reboots

Stephanie Brown: Not Adopted

(Batgirls #13, Robin (1993) #174, and Robin (1993) #126)

Now the main reason Stephanie is not and probably will not be adopted is because both her parents are alive. While her Dad is a villain and out of the picture, her mother is a nurse and fully capable of taking care of her.

Bruce does however train her during her brief stint as Robin and much like Barbara she is no less apart of the BatFamily, she’s just not in the Wayne Family

Duke Thomas: Not Adopted (technically)

(All Star Batman #1 and Batman & the Signal #3)

Now Duke is never officially adopted because technically his parents are alive just insane due to Joker’s toxin of which there is no cure. However Bruce does take him in and let him stay at the manor and it is heavily implied he becomes Duke’s foster parent so do with that what you will

Damian Wayne: Not Adopted/Biological child

(Batman and Robin (2011) #0)

Damian is Bruce’s one and only biological child -of the main canon- and therefore does not need to be adopted because you don’t need to adopt your own child

And that’s all of Bruce’s official and unofficial children in the main canon!💕🖤

[wakkass]

Katara's Lightning: waterbending technique

Part 2

By a happy coincidence, one firebender who just knows how to redirect lightning joined the Gaang. You have no idea how excited I was when I realized the potential for Zuko and Katara's interaction in this concept.

Two benders of opposing elements turn to each other's elements to master one phenomenon: lightning. She's a waterbender who creates this lightning, and he's a firebender who repels it. One draws these skills from the other's martial art: lightning redirection is based on the concept of waterbending, while lightning is a firebending technique.

This is not just a combination of elements, it's their unification into something whole. Mix water and fire! It would seem impossible, but Katara and Zuko are people who have always gone beyond human capabilities to achieve their goals. If they can't do it, no one can.

Thus, by blurring the boundaries between fire and water, they destroy the illusion of difference between peoples (if you remember, this topic was raised by Guru Pathik in book 2). People of water and fire can work together, help and even complement each other.

After all, in fact, each of them makes up for the lack of the other. Katara can't control the lightning, and Zuko can't create it to further deflect it. They need each other for the balance of power. Like Yin and Yang, like day and night, like the sun and moon. How beautiful it is, I can’t.

I think the whole idea of Katara personifying anger would have continued with Zuko joining the team. When he appeared, she found nothing better than to center her rage on him. He betrayed her, this is justified anger. He's the prince of the nation that started the war, he is responsible for these horrors. He's the son of the one who ordered her mother killed.

However, Zuko did something that no one expected, especially Katara: he allowed her to let go of the anger of her life. He achieved this by redirecting the power of her rage to the real culprit of all Katara's worries - the murderer of her mother. And the reprisal against him gave her inner peace and a solution to a problem that seemed unsolvable.

Her anger was just like lightning, which was eager to strike at least someone, just to throw out the accumulated energy. Righteous, but throwing itself at everyone. Zuko didn't hide it, didn't calm it down, but redirected it to where it was needed, finding the necessary target.

This is another metaphorical aspect of their joint technique. He learned to channel her lightning not just through training, but through interaction and strengthening their personal connection. And the result was that understanding at a glance, which formed the basis of their fighting style. I don't know about you, but I thought this summed up their relationship perfectly.

Thus, from now on, she can rely on Zuko and trust him not only with the emotional burden, but also with their lives in the midst of a storm, both metaphorical and literal. After all, she knows that he will always deflect lightning from innocent...

Remember this moment? Zuko and Katara fight back to back, showing their shared trust in each other and cooperation as warriors. But imagine if, on top of everything else, they trained a joint technique for generating lightning and then directing it. It looks so cool in my head, it’s a pity I’m not an animator and/or storyboard artist, I don’t know how to stage scenes (((

And then, when lightning seemingly brought Zuko and Katara together, it ended up nearly tearing them apart, taking his life.

Because Zuko will always deflect lightning from Katara…

< Part 1

[stagefoureddiediaz]

Costume Meta 7x01

Aaaaaaannnnd we're back!!

OMG I cannot tell you how good it feels to be back writing costume meta - I have missed it so very much and this first episode has given me lots and lots to talk about so lets crack on with it shall we!

Where to start?! Firstly - Its amazing to have Alayna Bell-Price back in the driving seat and she is a genius because she knows the characters better than anyone and I have to say from my perspective there is a pretty clear difference between this episodes costumes and the ones from season 6 - not that s6's costumes were bad, just that you could see the shift of having a designer who didn't know the characters to the same level. I’m going to go in order of character appearance in a non uniform capacity for this one I think so we’re going to jump around from character to character a bit. There is no Maddie or Hen this week, as we don't see them out of uniform, but every one else is accounted for and I've included Norman and Lola as they've got a multi episode arc and their costumes are interesting and playing into a colour theme!

putting it below the cut as its a long post and I on't want to overtake everyones dashes! Enjoy!

We start off with Athena in this pale pink high neck ribbed sweater with large bell sleeves. I've spoken a fair amount about pale pink over the last couple of seasons of costume metas and how, in clothes its representative of childish and immature behaviours or thoughts. That holds true here - the pale pink is playing into Athena's childhood - when she developed her fear of cruise ships - its creating a connection between her childhood experiences and the woman sitting in Franks office.

We get a flashback that shows her in yellow and orange - the yellow for communication and the orange for transformation. A literal moment where we see Athena transform from the innocence of youth to her developing anxiety and fear around cruise ships. Its really clever visual storytelling connecting adult with child and shows us her fear is genuine and founded in something that she may not have been able to articualte fully as a child, but she can as an adult, even if she doesn't actually articulate it to Bobby.

Our next non uniform costume is Chimney. The lighting is really low in this scene, so it's kind of hard to be 100% sure of the colouring, but he seems to be wearing either a dark navy or black button up shirt under a dark green and black bomber jacket. The use of really dark green in combination with black, Back is a colour that can be about hiding ones vulnerabilities - concealment and masking, but it is also a colour associated with magic (generally dark magic) as well as pessimism. The green is growth and renewal, and the hope for a better future. to use them in combination i this way is playing on Chimneys insecurites and fears, his desire to keep the 'magic' alive in his relationship with Maddie, but it also speaks to his growth, that he goes home and talks to her about it (even if he does come up with an insane plan to 'date forever').

Eddie in the locker room - aside from being shirtless for much of it and pulling some epically good faces - was a super interesting costume choice. Especially the use of his watch! first though - Denim shirt time! We don't actually see Eddie in a denim shirt all that often and we've seen him in the super washed out one far more than dark denim shirts. I've been laughing a little bit at a few people (on twitter mostly) claiming its the same shirt he was wearing at the hospital during and after Bucks coma and it being a play on bringing Buck back to life. While I like the theory, its actually a very different shirt - the one in the hospital was black with a grey wash out and was made of velveteen - so different colour and fabric.

This shirt, is however one we have actually seen Eddie wear before and its far more telling than if it were the hospital shirt. You need to bear in mind that this scene is about Buck and Eddies respective girlfriends (or lack there of) and the fact that Christopher has a girlfriend now as well. This shirt is the same shirt Edie was wearing when he (re)introduced Ana to Chris in 4x08 (breaking point my beloved! the gift that keeps on giving!) and this puts a conversation about Marisol and things going well with her into the same category as Ana - suggesting she is ultimately destined for the same fate as Ana. the other thing that plays into this narrative is the use of the watch.

Eddie does not put the Christopher watch on until after he has found out that Buck has broken up with Natalia - so during the entire conversation about their respective girlfriends, he is only holding the Christopher watch, rather than wearing it.

In the picture below from 4x08 you can see that Eddie is wearing his black 'work' watch rather than the brown strapped 'Christopher' watch. Remember that the first time we see the Christopher watch is when he goes for his first date with Ana in Jinx, so he already has this watch and in theory should be wearing it in this scene. The fact he isn't is pretty telling and I'll go into that a bit more later when we get to Chris's (and Eddies) date scene.

Then we have Buck in his outfit of many colours! The white trainers, continue to play into my theory of Buck wearing them when he is in key points on his journey to discover his self - her it is about showing his growth - that he ended the relationship with Natalia - this is a massive thing when we saw how long it took for him to end things with Taylor - The man who clings is growing and getting out before it drags him down!

The jacket is similar in style to many of the ones we've seen him wearing in season 5 and 6, but this one is much brighter and more colourful. I know I go on about white meaning bad things for Buck, but that isn't relevant here - the white bad things happen to Buck theory is much more about t-shirts, jumpers and shirts rather than jackets - its an under-layer rather than a top layer that = danger. So i'm not thinking of its relevance here for this scene. What I am going to say is that this (according to my spreadsheet!) is the first time we've seen Buck in a white jacket of any description. To me, it's playing into the idea of purity and rebirth which is what white is often associated with. This plays into the comment Eddie makes welcoming Buck back to 'the land of the living' but also implies that Buck is starting a new chapter and making a fresh start - the check patterning suggests it might not all be plain sailing though.

The check pattern is an interesting one, obviously check pattern theory comes into play here, but whether its only in relation to the reveal that he split with Natalia, or if its also foreshadowing Buck getting himself into danger/trouble down the line, remains to be seen.

I'm going to quote myself again because I did predict that this scene may be about his relationship with Natalia when we got the stills dropped - the costume department never let us down!

The only thing I can do is scream into the void about check theory because check does't bode well for people - they always end up in the middle of the drama (see my check theory posts linked on my pinned post for more) and while they come out the other side (99% of the time) Buck in check for that scene in 6x18 pretty much doomed his relationship with Natalia (its specific to her and not C&K's baby as Buck wasn't wearing it when he delivered it!) and as that shirt in the still is very un Buck like, has not only yellow ochre in it, but also its a white base (and we all know buck in white is a bad sign!!) and its check patterned - my theory is that this scene is connected to Natalia in some way - either Buck is not being true to him self in more than one way - that things are going to/have come to a head for their relationship (my kingdom for a reverse of Buck to Eddie about Ana in 5x03!!!) and lead to a pretty big change in some way (fingers crossed for Buck to end it and then finally break down and deal with his trauma!!!) Some other things about that shirt - the colour combination - the green blue and yellow ochre are giving me call backs to coma Buck (another reason I think it might be connected to Bucks unresolved trauma around his death and Eddies absense in his dream)

In the quote above, I was also referring to the blue and white check pattern shirt he was wearing when he and Natalia got together, but there was also the fact that in the balcony scene at the end of 6x18, we also saw her in one of Bucks white shirts. I wrote in my 6x18 meta about how those two things combined didn't bode well for that relationship going forward, and thats what leaves me unsure about the check pattern on this white jacket being purely about something that has already happened. If I put my Buddie goggles on, I would perhaps suggest that the troubled times ahead may be more connected to Buck and Eddies relationship, and this would fit in with a couple of the things Oliver and Ryan have said. The thing with check theory though, is that generally speaking if it's on one of the mains, they come out the other side of the dram/trauma stronger than before. So if it is connected to Buck and Eddies relationship, then we can expect it to be in an even stronger position on the other side of whatever goes down (and at this point you can't strengthen their relationship any further and keep them as just friends imo!)

Chimneys forever dating proposal to Maddie, connects with his outfit when he's talking to Hen - it's the same jeans and black shirt, so the meanings of black, can be continued on into this scene - the idea of magic and hiding his vulnerabilities. The addition of the jacket with this brickwork pattern in its weave is a fun choice, it's playing into the idea of building something, but also plays into the idea that Chimney has his walls up - again fitting in with the black meaning of hiding his vulnerabilities - because instead of expressing his fears to Maddie ad then them talking it thorough, he comes up with his insane forever dating concept. the fact that much of this scene is a contrasting parallel with the scene from season 1 when he is pretending to be someone else entirely for Tatiana all ties in perfectly with this costume. The fact that he reverts to wearing blue (ran out of picture spaces so I couldn't include one) later on - when he's realised his plan isn't realistic, talks to Maddie and they end up back on the same page is really good to see - the blue being a signature Chimney colour and is indicative of him being true to himself.

Bobbys blue suit and blue check patterned shirt. The brightness of the blue is a really important choice - it's the only time we see him this brightly coloured on the cruise until he ends up in the bright red at the end. This is important because this is the moment when he's still all excited and hopeful for his honeymoon cruise - everything is good in Bobby's world at this moment in time - the check pattern is telling us that it's not going to stay that way for long. From her on out we see the colours of Bobby's costumes slowly beginning to dull and take on a washed out tone, but here in this moment all is good.

Athena's bright yellow dress is all about making her stand out - communicating with the audience, she is the brightest person in the room (in more ways than one!!). The thing with yellow, apart from the communication aspect, is that it can also be a symbol of anxiety and fear, so this dress plays rather nicely into the theme of Athenas fear of being on that ship.

The colour does have other good traits too - its fresh and bright and is a colour of happiness in its more jewel like tones and I think we can see all of these meanings in these scenes - Athena might be anxious about being on the ship, but she is also happy and enjoying herself with Bobby in that moment.

Lola and Norman. Lola is the one we need to focus on in her very bright very check patterned Victoria Beckham dress. Obviously the check pattern plays into check pattern theory, but the red also acts like a neon sign to the audience - highlighting that Lola is in danger - the ga won't pick up on check theory, although they might connect the dots about the fact this check patterning looks very like a cage - foreshadowing her being held captive later on, but also as a nod to the fact she was incarcerated previously.

The red is also a nod towards romance and love - playing into the rekindling of their relationship and romance in the aftermath of the freeway 'see me Norman' incident.

Ok so Christophers date night and by extension Eddies date night! This is where this meta is goingto get a bit messy and I'm goingto jump around a bit becasue I need to talk about the way colour theory is at play in all the scenes in Christophers bedroom, so we're going to talk about Christophers bedroom as one big thing rather than the two separate scenes that it actually is. They are extensions of one another and build on so much of the groundwork we've already seen in previous seasons.

Chris in plaid check yellow and red check plays perfectly into check pattern theory - it’s a signifier that something is about to go down with him - namely that the fact he’s dating multiple girls at the same time. 

He’s also wearing a white shirt which is not a colour we see on him all that often - in fact, the only times we’ve seen him in a completely white shirt is with his suit in 5x01 when suit shopping and again in 6x08 for his school dance. He did wear a white vest when dressed as wolverine for halloween  So as you can see its not a common colour for him, but the times have seen him wear it as a solid colour have been connected to school/girls and dating (i’m including the suit shopping in this because Ana was there and it was kind of a Eddie and Ana date of sorts - in that it was suppose to be for this Christening - meet the family - date type thing).

The most interesting thing is the plaid hooded shirt though. It was such an interesting choice to go with for a couple of reasons. the colour way is especially loud - we tend to see Chris wearing greens and blues and greys, with the odd other colour thrown in occasionally. So red and yellow are not common colours for him to be wearing.

On the red front we see him in it a couple of times - the adapted skateboarding scene and the scene in 4x10 when he joins Eddie and Ana on the sofa - getting in the way of their date night. We do also see him wear red in Christmas related episodes (so I don’t tend to count them in the same way as the Christmas colour theming will nearly always override any other colour theming intention - the use of stripes or check or other patterning is more important in those episodes!). 

On the yellow front things are even more clear cut - the Tsunami arc, the aftermath of him falling off the skateboard, Mays graduation party and 5x03’s Eddie Ana break up! These (apart from the tsunami shirt) were all bright almost neon yellow.

This new plaid shirt is more into the yellow ochre part of the yellow spectrum, therefore tying much more to the tsunami arc, which is actually really fitting if you think about it in a little more detail - its a connection, not only to Buck, but also to loss and grief. Eddie might have been using his secret weapon (Chris) to get Buck out of his moping (read mourning) over not being able to go back to work, but Christopher is also still grieving the loss of his mother at that point as well, so its not just about cheering Buck up, its also about giving Chris a chance to do something fun and distract him from his own grief. That is why the use of yellow then ties in so nicely with its use on Chris now.

The other thing that really grabbed my attention about this shirt though is the fact that the two times we’ve seen Buck have a conversation with Chris in his bedroom, he has sat in the same spot and has been wearing one of those two colours - post shooting in maroon and this episode in the yellow ochre - if you watch those two scenes side by side, you see that they’ve used almost identical camera angles as well to film Buck.

I've spoken a lot about the use of maroon as a colour connected to parenthood - especially fatherhood , which is how its intended to be read on Buck - connecting to Eddie and his being shot, pushing Buck into a parental role in Eddies absence.

That alone is a pretty loud reference to Christophers connection and relationship to Buck, but then we have the yellow ochre of it all.

I feel a little bit insane about how close my prediction was on what the Buck Christopher scene was going to be about - this is from the meta I wrote when t he stills dropped;

Whatever this scene transpires being about, based on what we've seen with Buck wearing yellow ochre, we can assume its going to continue to play into this idea of Buck not being fully truthful with people and fitting into the role he thinks people want him to pay rather than being true to himself. I do want to add to this theory by looking at Christophers shirt as well. The grey/ yellow combination is a bit reminiscent of Breaking point (the episode that really is the gift that keeps on giving) because we get Chris in grey and Eddie in tan - that is yellowish toned whilst not actually being yellow There isn't a good screenshot of them together, but the placing of Chris and Buck in the new one has echoes of Eddie and Chris in that scene (one that is interestingly enough playing into the idea of changing family dynamics, but also the moment before and the one that happens afterwards at Bucks loft, directly placing Buck into a parental role (as an aside the idea of Buck being a miracle worker plays into the theme of Eddie looking for magic, just saying!))

Indirectly this scene was about Buck not being true to himself with people and fitting into whatever role he thinks people want him to fit into, only this wasn't an active situation - this was a scene where Buck could draw on his experience of having done that in the past to help Christopher - the line from Eddie 'you didn't end up being like you' is such a call to this and actually shows how valuable Bucks own experiences and learnings are in helping Chris (we've all been joking about Eddie choosing Buck to help him with this Chris's issue, but in actual fact he was the perfect person for the job - not just because of his being a 'reformed player', but also because of his relationship with death and the death of a loved one where you are reliant on others for their memories of a person rather than having your own)

The thing with the Yellow ochre (this meta here that i've already quoted from above is the place to go if you'd like more detail on its use on Buck more widely) isn't just its about it's connection to Buck, his place in Christopher's life and more loosely to the will of it all, (the fact that Buck and Eddie are both wearing the same colour ways as in the hospital bed will reveal scene and are both on the same sides of the screen in both scenes is a stroke of genius and is meant to connect these two scenes together) its also its connection to Shannon.

The first time we meet Shannon, she sits on Christophers bed in more or less the same position as we see Buck and Eddie sit, and looks at where Christopher has been positioned in all these conversations, and she is wearing a burnt orange top thats pretty close to the dark yellow ochre we see Buck wearing. Shannon wears a lot of yellow - as in it there are only a couple of times we don't see her wearing something yellow or with yellow in it and those are key scenes (which I will talk about later on).

Shannons appearance in Christophers room to read the letter she wrote him had her in this black top with a floral patterning on it. She was also wearing green trousers (which can be seen in the still below but aren't actually seen during the scene.

I actually really loved the green trousers and black top as a choice because the top is very Shannon - it sits perfectly with the floral patterns we saw her wearing when she was still alive. The green trousers are a bit of a departure for her, but I think its very intentional for two reasons .

The first is that they are very much in the Eddie trousers wheelhouse, especially in combination with black - he wears green khaki trousers a lot. The inference being that the black and green combination is an echo of Eddie.

The second ties to Christopher. Green is also a colour we've seen on Christopher a lot, it's probably the colour we see him in most. It's being used as a reflection of the fact he is growing and transitioning from child to teenager. But having it here in this scene - on Shannon connects a Christopher growing up without his mom.

Both of these combined really connect into Shannon in this scene, tying the three of them together and on Eddies efforts to keep her alive for Christopher - the underlying implication that his growth into who he is so far is as much to do with Shannon as it is to do with Eddie.

Her necklaces were not identical to the ones we saw her in in season 2, but that's most likely because they don't have them any longer, so they've replicated them as best as they can. The other little nod that I enjoyed is the brown bracelets on her right wrist - the same place Eddie wears his brown strapped Christopher watch!

But the top they have her in plays into a couple of other things - the prominent yellow flowers make an obvious connection to Buck from the previous scene, but they also tie into the 'I want a divorce' scene from 2x17 where she is wearing a dark blue dress with bright yellow ochre flowers all over it. the dress is not especially close to the top in the wider sense - blue dress with white squares v black top with florals in a variety of colours, but the yellow flowers are the prominent aspect of both items of clothing and play into the yellow theme connected to Shannon and then to Buck.

This is espeically relevant when you remember that Eddie is in a black suit in that scene and he's wearing black when he gives the letter to Christopher.

The black for this sequence of scenes is such a poignant choice - its Eddie mourning all over again, not for his loss, but for Christophers loss. I did find it telling that again in this scene, we have the absence of the Christopher watch. Eddie has very rarely not been wearing a watch in his scenes, so the times when we don't see him wearing one are very telling.

For me, in this sequence of scenes, it's about the fact that they are not about Eddies relationship with Christopher, but about Shannons relationship with Christopher. The watch is much more about Eddie and Christopher, so to have it absent from this story arc makes total sense and is symbolic of Eddie being a good father

Then we have Christophers grey shirt - I said when we first got the stills from that scene, how it was likely to be connected to complex family relationships - a la when we’ve seen Buck wearing his grey shirt. And what do you know - the scene was about complex family dynamics/ relationships.

It wasn’t perhaps in the manner I was expecting, but that series of scenes played with the full scope of Chris’s complex family relationships - from the relationship he has with Buck -not only as Christophers friend, but also as more or less Eddies co-parent (the way Eddie asked for Bucks help screamed co-parent rather than friend imo - that whole burnt out car scene was two co-parents discussing their child!) to the relationship he has with his dad - which is a pretty great relationship, but it is a complex one.

The relationship he has with his mom - or the fact he feels he doesn’t have a relationship with her despite Eddies best efforts, because as he grows up she feels further and further away. 

Eddies 'date' night with Marisol. Again I ran out of pictures (30 is not enough!) so you're going to have to use your imagination or go back and rewatch the scene for yourselves, but trust me when I say that Eddie is wearing the same shirt he was wearing for this date night as he was in 4x10 - when Christopher interrupts because he can't sleep!

It's also a similar tee to the one Eddie wears when he has his breakdown and trashes his room (that one was more green when this one is much browner). Its slouchy and has cut and stretched raw edges at the sleeves and on the pocket - in the same way his breakdown shirt did. there is an element of being in familiar surroundings and being comfortable at home, but stretched out raw edges and Eddie generally tend to mean not so great things.

Of course there is the element of his parenting skills being tested by Christophers having more than one girlfriend, but if that where the only reason, then it would've made more sense to have him in that shirt when he's listening in to Chris talking to Buck, rather than when he's on a date with a new girlfriend.

This is especially true as the screen time for that tee has more connection with Marisol than it does with Chris. Combined with the fact that once again, like in the locker room scene, he is not wearing his Christopher watch in this scene and that speaks volumes.

If we are to read the scene as being about Christopher soley, he should be wearing his watch because that watch is a physical embodiment of the importance of Christopher in Eddies life - that he puts Christopher first in all things.

Got to say I was a bit shocked to see Marisol in his bright magenta silk spaghetti strap top when you consider the costumes we saw her in last season - mostly dressed down, t-shirts, jumpers and dungarees so this is a complete 180 for her character.

There are a few interesting things connected to her outfit, firstly it low key ties into Natalia - we saw Natalia in a red version of this top for her first proper onscreen date with Buck (when they go to the badge and ladder joint) so there is an interesting low key parallel to draw there. There is also the fact that her bracelet is a chain one - much like we've seen on all of Buck and Eddies previous girlfriends - although those have been necklaces, so I'm undecided if this chain bracelet is paying into the same trope as those.

Then there is the pink of it all.

You see Eddie and Pink on his girlfriends doesn't bode well for Marisol.

Both Shannon and Ana wore pink. Ana wore it a lot - there are two examples below, but generally speaking its her most commonly worn colour - including on her first date with Eddie in Jinx.

The first example below is from the first time we see her in the Diaz house. the shades are different, but the fact that the first time we see both characters in the Diaz house they're both wearing pink, speaks volumes.

The other key use of Pink is when Shannon is at the beach with Eddie and Christopher and she tells Eddie she's pregnant - Eddie takes it as the sign he has been looking for - the chance to effectively start over with their marriage, but this is the beginning of the end for their relationship, even if she hadn't died a short while later. She is wearing pale pink in that scene and it's the only time we see her wear the colour in the show.

The fact we can also contrast the use of pink with when Buck wears it is telling in its own right - we see the relationship between Buck and Eddie strengthening when Buck wears pink - May's graduation party, the tsunami, the Hildy coffee machine - all moments (big and small) that show the development of various aspects of their relationship and its ability to endure.

Essentially all this use of pink on the women he has had previous relationships with, doesn't bode well for Marisol and the longevity of her relationship with Eddie. How quickly it will end I can't say, just that it will end.

I spoke earlier in this post about colour theming for the episode and this is where I talk about it!

Pink - and in particular the very bright pinks we saw scattered across the episode. Marisol above wearing it, isn't just about connecting her to Ana in costume terms (especially as at this point that costume is a departure of her costumes from s6) it also connects her to the other characters we see wearing bright pink in this episode - Lola and Norman.

At this point in time I'm not sure if we're going to see it play out as a theme across the season, but its use in this episode was very loud on characters that are going to be around for more than 1 episode. It suggests that there is some underlying theme that connects them (by this I don't mean that they're gonna meet and hang out I mean that personality traits are going to be similar)

Magenta and bright pink in colour theory means a few different things, and like with all colours, has positive and negative traits. Generally speaking its a loud and brash colour thats designed to stand out and draw attention to it's wearer.

Things that are considered positive traits for this shade of pink are; intensity, acceptance, kindness and it's supportive and uplifting nature. It's connected to naive love (as in lust rather than the passionate and enduring love of red) can also be considered a nurturing colour.

Negative traits are; intensity, volatility, arrogant and impatient, irritability and irritating and frustration. it is also said to be a stress inducing colour and is said to be overly emotional.

Theres a clear and fairly loud connection between Lola and Norman getting into danger - Lola is in magenta trousers when she is kidnaped. Norman also has bright magenta flowers on his shirt at this point as well. My guess at this point is that we're supposed to lean into the stress inducing element, and also the irritating nature of the colour (On Athenas part at the very least!) and we'll see if those are the themes that play out for Marisol as well down the line.

Norman is in bright pink when he's lying and claiming she's unwell from being outside or too long. We also see that he is wearing pink in the ditsy print shirt later on (again I ran out of picture spaces!)

Athena's black top in this scene is much like the use of Chimney in black in his scenes. It's all about power and authority but it's also about her hiding her vulnerabilities. The other thing it does is creates a huge contrast with Bobby and all of the other passengers - she is the only one in black in the scene and it contrasts her with the underlying white of Bobbys shirt - juxtaposing them and visually putting them at odd with one another.

Like I said above about him becoming increasingly pale - here we see Bobby in a sea-foam green shirt - its the palest and washed out colour we've seen him in on this cruise (grey pyjama shirt not being included as its blink and you miss it and a pyjama tee!!!). Sea-foam green doesn't really play into the traditional meanings of green - there is still the element of renewal about it (the sea washes the sand etc)but its mostly a self-conscious and uncertain colour - both things that perfectly sum up how Bobby is feeling in this moment.

The other fun thing about this outfit is the palm tree shorts the patterns Bobby has worn in relation to this cruise, up to this point (and that includes the shirts from season 6) have all been tropical themed but on his shirts, the fact that they've now slipped down onto his shorts is a visual representation of him becoming increasingly dissatisfied with the way his honeymoon is going - that the tropical vacation vibes are slipping away.

Athenas red and white shirt, in my opinion is showing her cross purposes - its the duality of investigating and being on a cruise in a shirt. The bright red ties into the red and blue first responder colour way the show uses (for obvious reasons) while the white and the palm fronds, the lei flowers and the watery theming of the pattern fit into the troipical cruise they're on.

Bobbys red shirt contrasts with the lavender that we see on Athena - its not a colour we see on Bobby all that often and that makes its use all the more important. Especially considering the entire cruise thus far we've seen him in blues and greens - especially pale closer to pastel tones.

This red is bright snd bold and unlike his usual choices. Red is a colour of cross meaning - there is obviously the connection with love and the heart, which is absolutely at play her - his love for Athena is spurring him on and is part of what is pushing him in to investigator Bobby mode - and its representation of love is what is going to be the key player in the up coming episodes on the ship - when he is looking for Athena during the evacuation etc. But the other meaning of red is war, courage and anger and that is very much present here in this episode, and will (i'm assuming) be later on in 7x02 and 3.

The other thing I think its worth pointing out at this point (which is pure conjecture on my part at this moment in time but that I think will become relevant in the next two episodes rather than this one) is the foreshadowed parallel with Buck in season 5 when he broke down Eddies door. The bright red we saw him wearing then was an uncommon colour for him, in the same way it is for Bobby here. It's paralleling the way Buck was prepared to go into battle for Eddie, with the way Bobby is prepared to do so for Athena - going to war for your closest person, your loved one and doing what you need to do to save them.

Putting Athena in lavender the moment she gets to go into cop mode was a choice that had me giggling! Lavender is a colour of relaxation and order so for her to start wearing it the moment she gets to start being a cop again - speaks volumes for her state of being - it shows that her fear of being on the cruise ship and of being alone with bobby, has been overridden by her need to do her job and start investigating things. Its the perfect colour for this moment and for the impeding trouble brewing on the ship - Athena will bring order to things as order has been restored to her inner world.

Hopefully you've enjoyed this little canter through the costumes of 7x01 we're back in business and I can't wait to read your comments in the tags and comments 🥰

Tagging for those who've asked to be tagged - drop me a comment on this post if you'd like to be added to the list for the next meta 😎

@theladyyavilee @mistmarauder @xxfiction-is-my-realityxx @mandzuking17 @spotsandsocks @loveyou2thecore @wanderingwomanwondering @oneawkwardcookie @leothil @copyninjabuckley @nathleigh @shammers86 @crazyfangirlallert @missmagooglie @inandoutoffocus @katyobsesses @radiation-run @gayandbifiremenofmine @lemotmo @bi-moonlight @satvojihusana @crazyaboutotps @princesschez75 @mongreloer @alliaskisthepossibilityoflove @sherlocking-out-loud

[cassafrasscr]

Even putting aside the Dorym of it all... I kinda feel like part of the reason Orym misses Dorian so much is that Dorian is kinda the next most normal person in the Crownkeepers and Bell’s Hells. Which is honestly a little wild to be saying about a runaway prince in disguise. But like...

The Crownkeepers have/had:

- A himbo dwarf Sorceror who has been singled out by a Lesser Idol in a fursuit.

- A bubbly girly-girl Warlock who is apparently her own patron (and the Spider Queen's here too, I guess)

- A Rabbit-folk Paladin who used to be a bartender in Fantasy Vegas and is now devoted to the goddess of death.

- A kleptomaniac Faun whose adoptive grandmother is an eldritch hag with the power to alter fate. Also, has a pet monkey that shits fire.

- Does Cyrus count? He’s an NPC. In any case, he’s basically the same as Dorian, but More Himbo and less useful, lol.

- A woman so intense she is literally always on fire.

Bell's Hells has/had:

- Fearne (I already explained her)

- A Werewolf who makes toys and hates Santa.

- A walking corpse who is haunted by the spirit of the necromancer who raised her from the dead. Also enjoys puppeting a dead rat.

- A purple-haired Psychic who gets her powers from an imprisoned eldritch moon monster.

- A Barbarian punk who is half Primordial Titan, half Beacon, all attitude. Also, they used to be an Aasimar before his cultist parents meddled with powers beyond mortal understanding.

- A chirpy, sentient Robot who is technically a therapist, but also really bad at it. Recently discovered religion and is real annoying about it.

- An 80 year-old man who is an erstwhile member of the legendary Vox Machina. Also, known liar and coward.

In contrast, you have Dorian (runaway prince) and Orym (just some guy).

I feel like they probably met each other for the first time and were both like, 'THANK THE GODS, SOMEONE WHO ISN'T TOTALLY BONKERS,' and just stuck to each other. Like two acquaintances at a party where they didn't know anyone else. 😂😂😂

[post-it-notes7]

Let the party begin 

[toriyaki]

My Limbus OC, Darwin. A member of the LCCB whose life's dream is to write her own book on all the monsters and beasties she's encountered while on the job.

Unfortunately, due to lack of funding, Darwin's journal entries are done with a Company Issued Ballpoint Pen™ inside a Company Issued Composition Notebook™.

Darwin's abno entries will be tagged "Darwin's Notes" on my blog :3c (Keep in mind, I originally made these notes and guides for my friends who recently got into Limbus. They are by no means a meta guide, and are only based off my own personal experiences with these abnos as well as the tactics I personally found to be effective when dealing with them. Don't cancel me for any mistakes I made pls thanks ;w;)

[iridescentmirrorsgenshin]

The updated Haikaveh essay is up! It is available as a PDF here!

Here are the updated/new things:

updated part of the introduction discussing cyno's story quest ii

updated part of the subsection 'Kaveh as Subversion' with a new picture and paragraph discussing framing

added a new section called 'Cyno’s Story Quest Act II  - Oathkeeper: Alhaitham and Kaveh’s Arc of Reconciliation';

updated the 'motif' subsection, discussing sethos's voice-over about alhaitham and kaveh in their mirror motif, the motif of coffee, and the motif of home

updated the queercoding subsection, discussing sethos's voice-over about alhaitham and kaveh

updated the conclusion with what is established in the new section discussing cyno's story quest ii

I hope you enjoy! <3

[orionsangel86]

Lucienne/Lucien - How the Librarian Became the Chief.

In The Sandman Netflix adaptation Lucienne is a stand out character and second only to Morpheus in importance, screen time, and centrality to the story. Lucienne is Morpheus's loyal Librarian, second in command, ruler of the Dreaming in his absence, and often times a voice of reason and advice for our dutiful King of Dreams. She is so well respected in her position that the other castle residents consider her their boss and would rather go to her for guidance and command than Morpheus himself. She takes care of Dream's ravens and even appears to have the power to create new ravens from newly deceased mortals like she did with Matthew. She is clearly extremely close to Morpheus, and is one of very few people he seems to actually listen to and trust. Lucienne's role in this story can not be underestimated.

So it may come as a surprise to any fans of the show who haven't read the comics to learn that Lucien (as he is called in the comics) is afforded very few of the above traits. In fact Lucien is no where near as close to Morpheus even by the very end of the story, as Lucienne is at the beginning. It is this difference that has fascinated me since I first started diving into the comics after falling in love with the show, and its something I view as extremely important when considering how the story is being adapted into a kinder, more sympathetic universe surrounding our central protagonist.

Lucienne's role is expanded greatly from her comic counterpart, and her relationship with Morpheus is shown to be much deeper. This is evident practically right away at the end of episode one when Lucienne comes to greet Morpheus upon his return to the Dreaming following his escape.

The way she runs over to him as soon as she realises he is back, and lovingly takes his hand and is so pleased to see him is a far cry from the comic where the first thing Lucien does is bow.

So right at the start we see a very different form of relationship here. Where Lucienne is already displaying a level of care and devotion beyond the expectations of a servant, Lucien however, is exactly that.

The servant thing has caused a bit of contention among fandom in the past. I think the confusion could come from whether or not you see Lucien or Lucienne first. Lucien IS a servant of Dream. Lucienne is more like a vice president and royal advisor. Those are two very different things after all and that difference only becomes more obvious the further you go into the story.

Lucienne accompanies Morpheus throughout his return to his crumbling kingdom, helps him as he attempt to repair the damage, follows him to Cain and Abel, and watches over his meeting with the Fates. She is by his side from the moment he returns until the moment he leaves again for the waking world to begin his quest to recover his tools, and she is responsible for Matthew's reincarnation as the new Raven and instructs Matthew to stay with him because of her concern for Morpheus's wellbeing on his quest.

I cannot stress enough how much none of this is in the comics. Lucienne shows a level of care towards Morpheus that just isn't present in Lucien in the comics. After the first meeting with Lucien at the gates of the Dreaming, Lucien doesn't appear again until he is instructed by Morpheus to conduct the census of the Dreaming. He only appears again in the Doll's House very briefly and has no involvement in Morpheus's decisions during that arc, which takes place very rarely in the Dreaming.

That's not to say that Lucien isn't a very trusted servant of Morpheus. He is the closest to Morpheus of all the residents of the Dreaming except only Matthew. But I think a lot of what we see in the show of Morpheus and Lucienne's dynamic is inspired by much later in the comics. I also think that it speaks loudly to the change in Morpheus as a character. Show!Morpheus has people almost right away who care about him and want to help him, whereas comic!Morpheus is extremely isolated. It is clear in the early comic stories that comic!Morpheus keeps himself at arms length from basically everyone. He does not have a bond with Lucien, he did not have Jessamy, and at that early stage, he didn't even have Matthew. All of this of course was primarily to make show!Morpheus a more sympathetic and likeable character - you gotta give your protagonist people who care about them, it helps raise the stakes after all.

Taking Charge - Lucienne is the real boss

One of my favourite parts of the Dolls House episodes in the Netflix show is the conflict between Morpheus and Lucienne due to the other residence and Dreaming servants going to her for advice and instruction first rather than Morpheus. Bearing in mind this only takes place less than a year after Morpheus's return from imprisonment, it speaks volumes as to how Lucienne has taken the role of leader of the Dreaming in her stride.

But it also indicates how Morpheus' change in the show is coming at lightening fast speed compared to the comic. In the comic, Mervyn doesn't make these observations until the Brief Lives arc, and this is indicated at that point to be a very new thing - triggered by several years post fish bowl of having to face his past decisions and mistakes (and a string of scorned ex lovers one after the other ending in a horribly matched rebound relationship with a murderous witch that subsequently rejected him and triggered him literally seeking out destruction). Lucien was only put in charge of the Dreaming when Morpheus left to go on his trip with Delirium. It is during that trip that Morpheus realises how competent Lucien is and capable of running things without problem in his absence.

Mervyn's insights are made clear here:

This is the only time in the comic that anyone dares mention that someone other than Morpheus might be the boss - and it is in no way as directly spelled out as it is in the show. "You're practically running the place" and "you secretly run this place" are quite different statements. The first only makes an observation about Morpheus's current lack of interest (in Brief Lives) in actually running his realm. It implies that Lucien is doing Morpheus' job for him, but does not go as far as to outright call Lucien the boss. Whereas in the show, that's exactly what Mervyn does.

In the comic, Morpheus overhears Mervyn's speech and immediately points out his reasoning for leaving Lucien in charge, for promoting him and giving him more authority.

Because no one ever technically undermines Morpheus in the comic, there is no conflict here. Morpheus trusts Lucien as his loyal servant and gives him the power to rule in his stead (but only when he is absent) and there is no "secretly report to Lucien first" attitude among Matthew and Mervyn. We can perhaps interpret that this might be happening behind the scenes by this point in Brief Lives, or even just before the BL arc when Morpheus was distracted by his rebound murderess, but it is never actually directly stated that this is going on.

The tension between Morpheus and Lucienne in the show is born out of the conflict over Lucienne's position and Morpheus feeling undermined by his subjects, and its storytelling gold. But the only reason such a story works in the show is because Lucienne is so important to Morpheus in the show, because their relationship goes so much deeper than the relationship in the comic. Lucienne is not a servant, she's his god damn vice president and she knows it, and he knows it too. Throughout episodes 7 and 8 specifically he reaches out to her for her opinion and advice on the Vortex situation. He talks things through with her and seeks out her guidance. It is clear that he relies on her and it is only at the end of episode 8 when Lucienne disagrees with his punishment of Gault, that in his anger, he dismisses her.

Lucien/ne the Royal Advisor

Where Morpheus in the show seeks out Lucienne's advice and opinion frequently especially during the Doll's House arc, I have to stress that this never happens in the comic. Comic!Morpheus just does not have that kind of relationship with Lucien and does not seek his counsel at all, even though Lucien does try to give it on occassion, usually when Morpheus is about to do something extremely stupid and probably damaging to himself and the Dreaming. To name a couple times:

Season of Mists - before Morpheus returns to Hell:

Brief Lives - before seeking Destruction:

You'll note that in both these times Lucien's words of caution are completely ignored.

You'll also notice that in both times Lucien is taking a path of polite caution. Lucien very rarely speaks his mind to Morpheus, because he knows it won't get him very far to do so. The only time Lucien truly loses his cool and speaks freely is in The Kindly Ones (spoiler alert)

At this point in the comic story Morpheus has basically all but given up and accepted his fate and its fucking depressing AF. Lucien is well within his right to shake the bastard HARD and snap him TF out of it. I STILL think he was too restrained here tbh!

My point here is that Lucienne already speaks her mind quite freely around Morpheus in the show. She expresses her opinions and thoughts and gives him her advice. This is such a well established dynamic by the point of the argument that it is clear that Lucienne is offended by Morpheus's dismissal of her.

Take this exchange from episode 9:

Lucienne: "Rose is weakening the walls between realms" Matthew: "You gonna tell the Boss?" Lucienne: "No." Matthew: "No?" Lucienne: "It's none of my business." Matthew: "Er, since WHEN?" Lucienne: "Since Lord Morpheus reminded me that I'm merely a librarian and should concern myself with my books from now on." Matthew: "He said that?! What's wrong with him!" Lucienne: "Nothing is wrong with him. He's always been this way. He's just been away so long I'd forgotten. He's determined to deal with the vortex and the missing Arcana by himself. Without anyones help. So any news must be reported directly and exclusively to him."

It's worth pointing out here that whilst this is framed as Morpheus being a stubborn idiot, in the comic, he does in fact deal with the vortex and the missing Arcana by himself mostly and is not so much helped but saved at the last moment by Unity Kinkaid who realises what is happening in a dream and goes to save Rose, which also saves Morpheus from Desire's trap.

In the show, Morpheus has people who care enough about him and his realm to want to get involved and help him, not out of a desire to undermine him, but simply because they care about him. That is a drastic change from the comic at this point. Morpheus in the comic is constantly shown to be struggling under the burden of his own responsibilities and this is highlighted by the fact that he doesn't really get any support or assistance, and is far too prideful to ask for it. Lucien gets the promotion and chance to rule in his absence, but it is never framed as a job he shares with Morpheus - at no point does Lucien take the burden of his responsibilities off of him. This is no Samwise Gamgee "I can carry you" moment unfortunately. Lucien does not have the power nor the bond with Morpheus to undertake such a task because Morpheus keeps him at arms length throughout the comics - but Lucienne? Well, time will tell how that may change.

An Apology from the King

In a shock horror twist that comic!Morpheus would sooner die than do himself (ha) the great emo King of the Netflix universe gives Lucienne an apology for his behaviour (sort of).

Episode 9 displays the tension between Morpheus and Lucienne following their "break up" perfectly. Morpheus is clearly in the wrong, and Lucienne is clearly hurt by his dismissal of her support. Yet even after the fight, he still seeks out her advice in determining the cause of the disturbances in the Dreaming. He goes to her first before investigating himself (something that comic!Morpheus wouldn't even consider doing) and is surprisingly capable in swallowing his pride here even though it is clearly a struggle for him.

Later in the episode, once he realises that Lucienne was right about the disturbances, he seeks her out to tell her so, and to confirm that she was right and he was wrong. This is again something that I can't fathom comic!Morpheus doing, even nearer the end of the story I don't believe he does so, certainly not to Lucien. Fiddlers Green drums this point home when he says this:

Fiddlers Green: "... still his time there appears to have changed him as it has changed me." Lucienne: "How so?" Fiddlers Green: "Lucienne, he came to you and told you he was wrong. It was very nearly an apology. The Morpheus I knew was incapable of that."

This further reinforces not just how much Morpheus has changed in a short time, but also how much he respects and cares about Lucienne and their continued relationship.

Platonic Life Partners? Co Ruler and Closest Confident of the Dream King

When I set out to write this meta, it was with the aim to highlight Lucienne's elevated role from her comic counterpart. To try to stress the importance of her character in the show and what this means for the future of the story in the show. By the end of the last episode, Lucienne is practically granted co-ruler status of the Dreaming while Morpheus works on his creations. He asks her if she can "take care of things while he works" which she agrees "with pleasure".

I just... I can NOT stress ENOUGH how much comic!Morpheus needed this person in his life. Even though Lucien looks after the Dreaming whilst Morpheus is away in Season of Mists and Brief Lives, it is always as a last resort with Morpheus continuing to check in on Lucien during Brief Lives as if he expects trouble, and he always seems a bit confused when Lucien tells him all is fine. As if he can't quite understand how the Dreaming could be okay without him there (and I mean, after the trauma of watching your realm which is also technically a part of you crumble to dust I suppose you would be a bit attached to it!).

Comic!Morpheus constantly struggles under the weight of his responsibility. His entire thing is that he is desperate to step away and not be who he is but he simply does not have it in him to do that. He is far too bound by his rules and responsibilities. For Morpheus in the show to be given someone to support him in his rule as King and assist him with the burden of his responsibilities is actually a hugely mindblowing change to the comic, and could honestly have huge repercussions on the story going forward. Not only that, but the Morpheus in the comics is painfully lonely. He desperately needs companionship but he keeps everyone at arms length. He never allows his subjects to get too close to him, even Lucien. Even Matthew isn't afforded the same level of closeness in the comics as he is in the show. In the comics, the ONLY character who Morpheus is close to is Death. Which says a lot by itself. The second character he gets closer to as time goes on is Delirium. Which also says a lot. Think of the characters in terms of their concepts. Morpheus has no close friends in the comics (even his relationship with Hob Gadling in the comic doesn't have half the impact it does in the show) and keeps all those he interacts with at arms length except for Delirium and Death.

But show!Morpheus? He has a Matthew who is already so very devoted to him, a Hob Gadling who waited an extra 33 years on hope alone that he would return to him, and a Lucienne who rules by his side, offers him support, guidance, counsel, companionship and probably a good helping of love. How can this Morpheus possibly carry the same deep loneliness as his comic counterpart? How can this Morpheus be buckling under the weight of his duties when he already has his Samwise Gamgee right there by his side? It poses an interesting question for how the show will handle future story arcs, though it could all prove to simply make for a much more painful story, where we happen to have many more characters to react and show the deeply painful grief that we all feel at his eventual passing - or maybe, just maybe, this is a universe where Hope never died...

[three--rings]

I'm really disturbed by the fact that I'm seeing people post S2ep8 of IWTV still talking about Lestat as an abuser and Louis as a victim, period end of conversation.

Because I feel like we are explicitly told in ep7 and 8 that that is not the case but some people haven't adjusted their thoughts yet.

Now this is a show explicitly about the unreliability of personal accounts and what we see on screen is often proven not to be how things happen. So, obviously things are always up for debate. But.

We are shown the extended scene of what happened before Lestat flew Louis up into the sky to drop him. In S1 we saw that scene from Claudia's perspective, and she just heard crashing and shouting, and then saw Louis thrown through a wall by Lestat before the whole flight thing.

Ep 7 we are shown Lestat's version of events which are Louis physically and verbally attacking him over and over, slamming Lestat into things, while Lestat begs him to stop, warning him that he will fight back and he's afraid of hurting Louis, and Louis merely eggs him on. Then we get Lestat turning the tables and throwing Louis through a wall.

Now, obviously this is Lestat's version and probably a bit biased to be sympathetic to him. But Louis admits Lestat's version of Claudia's turning is the more correct one than his account and he admits to portraying Lestat intentionally as a villain in the interview, so...well I think the show is telling us that our impression from S1 is at least not the whole story.

Ep 8 underlines this with the scene with Louis and Lestat when Louis apologizes for the way he acted to Lestat in the past, saying "I tried to make nights awful with you. I wanted you to suffer."

We also see him throw Armand into the wall in this episode, which I get people feel Armand deserved, but I feel like the conversation around that has been weird as well. Like, people talk about that being a sign that Louis is stronger than Armand, as if physical violence is impossible from someone who is weaker than their victim. But this is also another instance of Louis using physical violence against his partner when (justifiably) angry.

Look, abusive relationships are complicated. Mutually toxic ones even more so. Reactive abuse is a thing, when an initial victim becomes violent or abusive in response to abuse they've received. It's complicated, and I speak from personal experience.

But I very much feel like the show is SCREAMING at the audience that things are not simple and that no one in this scenario is blameless, ESPECIALLY not Louis. He's not blameless in the case of Claudia. He's not blameless in the destruction of his relationship with Lestat. He's not blameless in his relationship with Armand, for all it's built on a lie, because he entered it to fucking make Lestat mad for god's sake and that's a terrible foundation for a relationship.

Raglan James says Louis is the one to really be afraid of. Louis at the end of the season with his "I own the night" speech. Much of the second half of S2 is ABOUT this.

The entire heartbreaking scene with Lestat at the end is Louis owning his part of the responsibility, and that's huge. Lestat accepted his responsibility and apologized on stage in Paris, and now Louis is as well.

So yeah, I think some people need to rethink their attitudes when they call Lestat Louis's abuser and Louis a battered wife. I read that and I go wait, we're not gonna interrogate that at all?

I of course feel at this point I have to put in a bunch of disclaimers about how this is not an anti-Louis post or trying to excuse the violence done by Lestat, blah blah but honestly some people who can only see things in terms of Good and Evil and Guilty and Innocent are never going to appreciate that kind of thing anyway. I just don't know why those people are watching this show, which is entirely about nuance and complicated interpersonal relations that are messy and resist easy analysis, BY DESIGN.