#i don't even know if this is proper analysis

[khruschevshoe]

"You too, huh?": An Unhinged Ten/Jack/Martha Meta

Alright, so, Ten/Martha/Jack's dynamic has been rotating rent free in my brain all week. You have two people- Jack and Martha- who both admit to fancying a man who could never love them back, a man who is so embroiled in grief over a woman that Jack clearly once loved as much as he loved the Doctor, a man who showed them the stars and showed them the horrors of the universe. A man who directly leads to them both becoming greater and worse than they ever were before, a man who took their lives and twisted himself inside of every strand of them forever, a man who offered them a hand and kissed them and became the best and the worst thing to ever happen to them.

And it's not just the Year That Never Was- it's more than that. It's Jack dying for the Doctor and then being cursed with eternity and yet despite a century of being tortured by Torchwood/waiting for the Doctor, he never lost hope in the Doctor being able to fix him. It's Martha going through some of the worst shit any companion has had to in a single season (the racism/hopelessness she had to face in Human Nature/Family of Blood, being stuck in the 1960s for months and having to get a job with no guarantee that she'd ever make it out, having to walk the dystopian earth for a year with the weight of the literal world on her shoulders, nearly burning to death due to a living sun, taking on the psychological weight of keeping the Doctor steady- hell, the Doctor's purposeful ignorance of her feelings isn't even at the top of the list and yet it still did damage) and yet managing to find the strength to respect herself and leave.

It's the way that both of them have their images of the Doctor irreversibly cracked at the end of the Year That Never Was. They still believe in the Doctor, would still go to the ends of the earth for the planet, as we see in Journey's End, but they don't quite fancy him anymore. They can't. Jack was tortured and killed over and over again by the Master for a year straight and Martha was forced to walk the burning earth for a year straight while her family was tortured and yet at the end of it all, the Doctor didn't comfort them. He cradled the Master in his arms and begged him to regenerate and sobbed when he didn't.

It's the way that Martha and Jack are the ones to make the initial threats to Davros in Journey's End. (Yes, Sarah Jane helped with the warp star, and made threats of her own, but Martha and Jack opened up the comms. They looked the creator of the Daleks in the eyes and said do you hear me?) Martha and Jack walk off at the end of Journey's End holding hands, because they're so similar, at the end of the day, because they understand each other, because "you too, huh?"

But it's also the Doctor looking at them both and seeing Jack and seeing something wrong with the man he once loved (don't tell me that Nine didn't reciprocate his feelings, I've got a whole post on the Rose/Jack/Nine dynamic) that he can't ignore, because he's the last one of his species and he's the only one left to pay attention to the laws of time. It's the Doctor needing a doctor of his own, someone with a better grasp on themselves than he does, and completely ignoring the damage that it does to her to keep him steady.

It's the Doctor being unable to love Jack while Jack over and over again coming to his call. It's the Doctor coming the second that Martha calls him in the Sontaran Stratagem and maybe, just maybe, realizing that he got something wrong. It's about Martha being a doctor being a soldier and the Doctor being a soldier who never wanted to be a soldier but won't admit that he's a soldier and Jack being a con-man who was fixed and broken by a doctor and so became a soldier to find his Doctor.

(It's about the fact that after Journey's End happened and the Doctor lost Donna and Rose, he really should have realized what he could have had waiting for him. Maybe gone back and groveled and maybe gotten slapped and then gotten hugged. Or kissed. Or they slept together, if that's your jam.)

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)

[svtskneecaps]

thank you for bearing with my purgatory posting and i'm also glad to see i'm not the only one who still has this fungus eating away at my brain matter. seeing other purgatory posting in the tag makes me feel better lmfao.

i'm not done btw, posting will (probably) continue as i revisit vods. wanted to extend a thanks in the interim, since i know how contentious the event was in the moment. i kinda thought the general consensus was most people hated thinking about it, but there's been a weird amount of engagement and yknow other people talking. makes me happy to know i'm not alone here!

[kuiinncedes]

i complaining :c

[a-very-tired-jew]

The forensic analysis for the Bibas children has been completed and according to news outlets Yarden himself wants people to know how they died.

Now, if you're not someone who can handle this type of stuff I strongly suggest you do not read further. Edit: The Bibas family has asked that the details of Shiri and the boys' deaths not be discussed. They want the world to know they have been murdered, but not in extreme detail. While Hagari has stated that Yarden told him to tell the world, it is likely that Yarden and the rest of the family did not understand what that entailed. I've run into this problem when having to do press releases myself where we go into what we believe is a proper amount of detail regarding a victim(s)'s murder, what was done, and what the public should know. This is not always in line with the family's intent and that can change after the information is already out there.

For their sake I am reducing the amount of detail in this post and removing the article. However, the information is already out there and if you so desire you can find articles about it on many news sites.

They were killed and then mutilated post mortem in an attempt to cover up what had been done. The mutilation was done to simulate a building collapse to try and falsify that they'd be killed in an airstrike.

This is what forensic science does. It can determine peri and post mortem injuries and provide us a timeline of what likely occurred due to the evidence, rather than listening to the terrorists who have lied repeatedly.

Post mortem mutilation typically falls into three general categories; One is done to obfuscate forensics and hide what was done to the victim(s). Another is done in crime of passion scenarios where the perpetrator is not completely unaware of what they are doing and simply go above and beyond the act of killing. And the third is done to cause psychological distress to the victim(s), victim families, and community.

Regardless, it is one of the few things that will get you the death penalty here in the USA and I have been part of a number of cases where the accused will vehemently deny the mutilation and openly confess to the killing because it is such a heinous thing to do. Forensic pathology can determine what wounds were caused peri and post mortem, and determine how much time likely passed in the interim.

This means that even if the crime itself was one of passion there can be a cool down period before post mortem mutilation occurs. Meaning that regardless of emotional highs during the initial crime, the secondary act was done with one of the other two intentions. For all we know it could likely be that it was done to obfuscate and cause psychological distress.

Consider that Hamas has previously stated that the Bibas children were killed in Israeli airstrikes, I don't think either intention is out of the picture. Furthermore, there are a number of "anti-Zionist" accounts on here that range from neo-Bundists, to tankies, to Jew fakers who repeated the Hamas lie that Israel killed the children during an airstrike. They are going to goalpost, and actually are right now as I am typing this, that Israel is now lying about the forensic science.

Repeatedly these accounts and persons have had to goalpost and mental gymnastic their positions in order to maintain that Israel and (((Zionists))) are the worst thing ever and Hamas and its affiliates are just innocent freedom fighters.

This is conspiracy thinking. We saw this with Sandy Hook Truthers and, I guess, you can label these accounts/persons as Bibas Family Truthers. Another person on jumblr said we were going to see this behavior and it hasn't even been 24 hours before the usual suspects started.

And I give credit where credit is due to Israel because they knew this type of conspiracy thinking would come out about their forensics, so they've shared their results and evidence with international labs. While it may be some time before it gets further verified, we will likely see these same accounts move the goalpost again to try and blame Israel for the death of the Bibas children, take the onus of responsibility off of Hamas and affiliates, and accuse Zionists of being Nazis once again. And remember, if you're doing any one of these things (or a combination of them) then you're not a good person.

You're an antisemitic bigot (even if you're one of us, and especially if you're pretending to be).

[thatdeadaquarius]

About your language brainrot. I see your "Reader's writing can't match tyvat's long and flowery writing" and bring you "Tyvat isn't used to books over 50 pages long so a short story to the Reader is a whole dictionary to tyvat readers".

Seriously, have you seen how thin the books are? They don't wrote novels, they write short chapters formatted in the way really old stories are. As in, summarizing all the events down into one smooth story then adding a few quotes. Fanfiction writers are insane. They will willingly sit down and write hundreds of words at a time. To them, a proper modern day story of maybe, oh 10k words or so, would probably be like the Oddessy itself.

If we were to combine the two headcanons. It would end up as many historians being intimidated by this insanely long written scripture in the language of the forgotten.

I'm going to take this a step further and say that if the creator asked some people to proofread their things, it would establish a hiarchy of who is able to actually finish the book the creator read and who isn't.

NOW THIS, THIS IS MY FUCKING JAMMMM

I'm so sorry this is so old!! u probably all know this by this point that I've really slowed down as the year has gone on, but I graduated university and then got my first job so its been pretty crazy!

Sun: Reader (you/they/them)

Orbit: Headcanons-ish

Stars: dash of all the book/nerds of Genshin, heavy on Sumeru?

Comets & Meteors: Content Warnings: Cussing, 16+ Mature Audiences, Spoliers for Sumeru Archon Quests/Scaramouche, & Trigger Warnings: mention of shipping/characters shipping themselves with you.

Comment if any missed, please.

☆

FULL STOP.

THE AKADEMIYA, FONTAINE RESEARCH INSTITUTE, HAVE BEEN WAITTTINNGGGG ON YOUR ASS LMAO

You fall from the fucking sky like a 5 star, or pop out of the Irminsul or whatever

and immediately are mobbed by scholars. LMAO jkjk (not really, bc that's what it’d feel like)

can you even imagine the dread older stories(”the classics” to them), that was instilled in the poor students around Teyvat??

id like to think ur works are the most preserved over the thousands of years of Teyvat archeologists excavating them, in comparison to other authors (teyvat just likes you more, suck it William Shakespeare)

also, bc I cant resist language differences/world building I'm sorryyyy 😭 😭

the vocab of Genshin lang vs. ours, has significantly less vocabulary like their actual dictionary is 1/3 the size of ours type of energy

(Omfg all ur fanfics being considered like insanely long realistic romantic classics or tragedies like Jane Austen-level, and only the richest and biggest play companies put on plays about ur stories bc the script goes on for hours)

(ur plays only get put on for rlly big events bc of this, like Lantern Rite or like a Summer/Winter festival/your birthday, which is, yes, an international holiday)

dude the sheer power move of anything you’ve written being essentially “Journey of the West” to them, like Damnnn.

endless like adaptations, plays, Teyvat-short stories condensing it, (THEIR OWN FANFICTION ABOUT UR STORIES)

the power is, in fact, going to your head every time another scholar both deflates at how long ur stuff is, but also lights up bc they get to read it

speaking of scholars… you know who snatched you up first. you know. you don’t even need to read the next line.

Alhaitham.

sneaky bastard he is, absolutely manipulated, mansplained (and manwhored bc he knows he’s handsome, cheeky little shit) his way into getting you to sit down with him and interview you about both translating other classics, your own, giving your own analysis of others works and ur own, and picking ur brain apart of how/why you wrote urs, etc. its fucking endless,

Kaveh had to come rescue you bc u were starving to death after getting stuck with the Haravatat scholar in his office for nearly 7 hours of interrogation discussion about literature

and Alhaitham wasn't even nearly done, he’d informed you as you left that he already had another appointment for later conversation scheduled (how?? you don't even know ur own schedule??? you have a schedule???) and was looking forward to more of your “creative and enlightening input” :)))

(you’re never going to escape him, not even Nahida herself can save you from his stubborn ass)

On another note, Xingqiu is quaking when you agree to autograph his copy of your stories (of which he has all hard covers of the first edition translations)

Zhongli/Rex Lapis is known for having a near-lifelong passion for searching for your works specifically, and learning how to translate them better into Teyvatian vernacular

like the same way he can absolutely speak on Rex Lapis facts/rocks/adepti info, is the same confidence he speaks about knowing ur work lol

(yes he did also ask for several autographs and another sit-down talk about the works, tho a lot more sneaky then Alhaitham bc he just casually gets u guys into it during dinner)

Barbatos/Venti has written some of the most famous songs based on your stuff, he has his favorites too,

but he always claims the best songs are any that have been written in the story, like either when a character sings something, or there are like quotes from songs ur fanfics are based on lol

(he also demanded to hear what they actually sound like from you, yes, you have to sing them for him lol)

Venti also can surprisingly drunkenly ramble the entirety of at least one of ur stories, like, word for word lmao

(Diluc gave in and did give him a drink on the house for that one, just once, Venti doesn’t remember it lol)

(I forgot to mention, u guys still speak the same language, just like, different versions of it)

ur works being one of the few things all the Archons can freely talk about with each other, like it’s neutral ground bc they’re all fangirling about it lmao

Furina and Neuvillette have had like,, fierce debates over the decades about character dynamics and the general drama of ur stories, they’ve gotten into it enough they’ve stopped talking to each other for a couple days a few times lol

Albedo, Sucrose, Kokomi, Yae Miko, Ei, Raiden, have read every single work they’re gotten their hands on in Teyvat (it took them like a literal year or longer)

Albedo drew you fanart for every single story, bc he’s hyperfixated on everything related to you ngl,

Kokomi had commissioned smaller pocket versions of ur works (which later got popular thanks to Yae Miko) both the OG and the Teyvat shortened versions

THE HARBINGERS ARE THE MOST DOWN BAD LMAO

Childe has literally tried to recreate battle scenes from ur works lmao

and gets especially riled up about fighting someone who resembles any characters from them (esp villains, what a cutie)

You cannot fathom the amount of research throughout Teyvat that has been secretly or indirectly funded by Pantalone/Tsaritsa

from the experts to analyze them, to funding play companies to act them out, to actually excavating places to get more of ur stuff unearthed

(the Harbingers absolutely are the first group of people that got to read several of ur stories first bc of this, like the world’s most exclusive secret book club lol)

Scaramouche used to clown on Childe all the time about how he was too impatient to even “sit down and read the King’s classics”, and he was downright insufferable when he found out about Tartaglia’s habit of recreating battle scenes/that being what motivated him to fight sometimes lol

that being said, Wanderer surprisingly never forgot ur stories.

Even when his memories were wiped for a bit, he found comfort in these fantastical epics still sticking around, even when his old names did not

(he mayyyy or mayyy nottt have secretly namedhimselfafteroneofthetragicprotagonistsherelatesto- )

oh btw, Nahida also found joy and comfort in ur stories when she was trapped, they also helped her literally grow as a person bc she had ur stories to help her sort of process the world/what life was like outside of her dreaming prison 🥺💔❤️‍🩹

◇

OMFG

ANYWAY FULL TONE SHIFT LMFAO-

the ABSOLUTE SPIRAL-RED-STRING-CONSPIRACY-THEORY-BOARD ENERGY IF THIS WAS A BLUNT LANGUAGE AU LMAOOOO

like specifically how Teyvatians like to give all the context ever thru their words, but older deities/beings like you just do simple phrases that can have deeper meanings (whereas teyvat just explains all the meanings behind their words)

STOP there’s like an official display at the Akademiya and Fontaine Institute of red string theory boards 😭😭 (look what you’ve done to themmm LMAO)

for like every story of urs, INCLUDING THE FANFICS STOP

IMAGINE THE SHIPPING WARS IF U EVER WROTE ONE THAT WASNT EXPLICIT OR LIKE ONE OF THE MAIN ROMANTIC INTERESTS HAD CHEMISTRY WITH OTHER CHARACTERS HAHAHAHAA

that's actually what Akademiya scholars argue about the most viciously, it’s like politics you can’t just bring up ships from ur stories casually in regular convos 💀

(poor Cyno has to deal with a shipping war once a year bc someone always makes the mistake of reading ur work for the first time (without being told to not talk to others abt ships lol) and it starts an all out brawl in the cafeteria every time LMAO)

Also yes.

Cyno is a fanboy.

(he has read Creator x Reader-insert fanfiction.)

(As have most of the characters mentioned, and those not lol)

…

(I'm gonna make a whole Creator x reader fanfic post one day i stg lmao)

☆

an iced coffee? for me?? :0

ok but real talk…

wtf do you guys wanna see for new years!!

i didn't do a inktober/october days thingy bc i felt too unprepared (and bc id wanted to post that 1000+ followers eldritch au for Halloween)

but now i kinda wanna, at least for a few days :o

ill post a poll in a minute, so check it out!! but still, please feel free to comment some ideas here! :)

Safe Travels Deafening Dreamer,

💀♒

If you wanna join a taglist, DM me what for! "Pspspsss, please tag me for [All SAGAU posts, Only SAGAU Language AUs, diff fandom, etc.]!"

(If you ever wanna drop, just DM me! "No more taglists/[specifically this AU/fandom] please!")

♡the beloveds♡

@karmawonders / @0rah-s / @randomnatics / @glxssynarvi / @nexylaza / @genshin-impacts-me / @wholesomey-artist / @thedevioussmirk / @the-dumber-scaramouche / @chocogi / @fallen-starr / @areaderofbooks / @devilangel657 / @esthelily

[elleloquently]

i honestly don't even really like to talk about tlou2 but something that will absolutely baffle me until the end of time is how many people romanticize the farm sequence and view it as happy. every time someone says the game should've ended there or that ellie threw away her whole life and she could've been happy etc etc etc, it really makes me realize how many people do lack literacy and the ability to read between the lines. because how are you seeing the farm scenes and not realizing how devastating it is?? it feels so empty and lifeless.

yes ellie laughed and they listen to music and dance but those are such small snippets. anyone with severe ptsd / mental trauma can be okay for a moment. but ellie was quite literally killing herself on that farm and absolutely would've ended up dead by her own hand (which is not a crazy assumption to make it is quite literally context clues)

like she’s always been skinny and lean but she’s even more thin on the farm?? she literally says she doesn’t eat or sleep?? and the panic attacks that she has?

also when ellie says “i’m not like you dina” and dina instantly snaps back with “you think this is easy for me?” like no that’s not what is being insinuated at all, but the fact of the matter is that dina is still able to function and cope in healthy ways and ellie is not. and the fact that dina doesn’t understand that kinda kills me. also telling ellie to “prove it” when she tells dina that she loves her is so fucked considering everything.

she would’ve died! i will stand by this forever, ellie would not have lived much longer. (confirmed btw in directors commentary, ellie was severely suicidal at this point. so not sure how everyone views the farm as her happy point.)

i don’t think ellie had an obligation to suffer in silence for the sake of what dina wanted.

i don’t blame dina for leaving obviously, that was the best choice for her and i don’t blame ellie for going either!! i think their relationship is very doomed, it was quite literally built on years of miscommunication and it only continues as they’re together.

i don’t blame ellie for leaving the farm whatsoever, she did not “fumble dina,” she didn’t throw away her life, she was barely functioning in the first place. if the game ended with ellie on the farm and the last thing we saw of her was her trying to play house while knowing how much she was suffering, that would’ve been so damn depressing. her leaving may not be the “morally good” choice but it was necessary considering her own mental state.

i think it’s also so important to remember the way in which joel died. she’s not just grieving and dealing with survivors guilt, she’s also living with the brutality of what she experienced. watching the person she loved the most get brutally tortured/beaten to death while she was held down and begging for it to stop?? and you guys expect her to just move on and deal with it so she can keep living on this isolated farm and play happy family??

and it’s not like ellie was fine until tommy showed up. she was already on the edge. the evidence is in her behavior, her journal, the clues around her house (the whiskey glass at her bedside) and her literal mannerisms.

this is very messy and disorganized i just don’t understand how many people STILL oversimplify the farm stuff or act as though everything was happy and good. every time someone says that ellie owed it to dina to stay, i lose a year off of my life.

basically a ramble instead of a proper analysis/breakdown bc i’m trying to focus my energy elsewhere but hopefully it makes enough sense to be understood

[annabelle--cane]

so um. I think I accidentally figured out who my hater anon is. saw a post by happenstance that pinged my "hang on this sounds familiar" alarm, searched a keyword on their blog, and found a couple of posts with almost exactly the same wording and overall syntax as the anons I've gotten, made on the same days I received them. not sure what to do about this one, I don't think that would be enough evidence for a proper harassment report even if staff weren't running on a skeleton crew, and I am not too keen on the ethics of publicizing their url, but. uhhh. I might? if they don't back off?

so, as a final peace offering, an open letter to my weird hater anon:

from what I can tell, your problem is not actually with me, it is with how tma is written, and I just happen to like and frequently talk about the parts you hate the most. we have a fundamental disagreement about a work of art that we're both invested in, but That's Fine, we can and should just block each other. heck, I think I've had your main blocked for like two years maybe, and hey presto you stopped passively annoying me with your posts until you started regularly directly harassing me in my inbox and serially block evading.

you seem to be motivated, at least in part, by a desire for people to treat addicts with more sympathy. that's great! love that for you. I also wish people would treat addicts with more sympathy, this is a matter on which we can both agree. the problem is, you are directing all of that desire for sympathy towards a fictional character who does not exist and cannot ever feel pain or suffering while continually insulting and belittling me, a real life human addict who can feel pain and suffering, whenever I talk about the themes of addiction I enjoy and relate to as they are presented in that fictional character. you clearly receive my analysis of this piece of fiction as demonizing of addiction and condoning violence against addicts, and I as the person who is me shrimply know that is not what I have ever said nor thought, because, and I really cannot stress this enough, I am an addict, and have been since I was fourteen of god's own years old. I do not believe that I, or anyone like me, should be "put down like a dog" for having disordered patterns of substance use, and I find it frankly offensive that you would repeatedly accuse me of advocating for that both in my inbox and in a series of vagues on your main.

I am usually much more didactic and direct in anything I say about real life human non-allegorical substance addiction, but, to be as fair as is possible, you might have missed most of what I've posted on that topic in the recent past, as I talk about it considerably less than I did 2-3 years ago. this is because when I talk directly about it without the oven mitts of metaphor, people are usually very quick to inform me that they think I'm not human and should be put down like a dog. believe it or not, I don't really enjoy this. even when it's coming from easily blockable faceless anons, there was really only so much of that I was willing to voluntarily subject myself to before deciding to be a bit more judicious about when and where I talk about addiction in public online spaces.

I tell you the above for two reasons.

1. to let you know that I'm intimately familiar with the kind of dehumanization you keep accusing me of and appear to believe that only you can truly understand. for realsies, I am sorry that anyone has ever made you feel like that, that feeling is the kind of awful and insidious that's hard to ever fully shake, and I'm doubly sorry that you feel like no one else gets it and the world is uncompassionate to your experience. I profoundly get it, if I went into any of my offline history with addiction in my mid teens then this would become unpostably upsetting, and I know that kind of thing makes one liable to be prickly and lash out.

2. to explain as clearly as I can that your harassment does not come in isolation, and why I take such an issue with it. I can't make bland-ass PSAs about treating substance users like human beings without people coming into my inbox with stories of abuse and explanations of why this makes it okay for them to hope all addicts die alone and in pain, I can't make casual personal posts about addiction without people coming into my inbox with graphic accounts of loved ones' overdoses and demands to know why I'm encouraging substance abuse, and now, because of you, I can't even talk about. fucking. jon podcastman's metaphorical addiction-like character arc about peeping the horrors and feeling like the torture sphere had a sort of "je ne sais quoi" without risk. it is very hard to exist as an addict on tumblr dot edu, and you are singlehandedly making my one relatively low-stakes outlet for talking about it like 5x more inhospitable. you are one arm of the great machine making this site hostile to me and people like me.

so, like, maybe you still hate my fiction podcast analysis posts and the ideology you read them as conveying, that's your right, so block me, add my url to your content filtering, and move on. you cannot be honest with me and tell me again that you think I believe addicts should be summarily executed because of, and I say once more, my fiction podcast analysis posts, but the great news is that there is no malevolent entity out there forcing you to tell me that over and over again. you can just hit da bricks and Stop.

after many attempts at blocking you that you have repeatedly bypassed, I am explicitly laying down the final boundary that I do not want you ever interacting with me again.

you are thirty-two of god's own years old. give it a rest.

[mydearzero]

Prey | Professor!Spencer Reid x Reader

MASTERLIST

PART 2

18+ MINORS DO NOT INTERACT

Summary: You were determined to stay collected and have your professor make the first move. To make him believe he's the one desperate for you. He's onto you though. He knows what you want, what you need. And he's going to give it to you.

Warnings: Professor!Spencer, fem!Reader, Teacher/student relationship, age gap, smut, unprotected sex, penetrative sex (p in v), NO Y/N, fingering, praise kink, degradation, dacryphilia, humiliation, semi-public sex, rough sex, creampie, choking, aftercare. If I missed any warnings please tell me!

3.9K words

Criminology wasn't the first class you'd voluntarily take. It was interesting enough, really. But not at all necessary for your degree. 

You loved true crime as much as the next college-aged girl. That's what your excuse would be, at least, when people would inevitably ask why the hell you signed up for the class. But the real reason? 

You'd seen him on campus a couple times, only a semester ago. His jagged yet put-together exterior intrigued you. His eyes met yours, if only for a split second. He was perceptive. Very perceptive.

The third time you saw him meeting with the dean, you knew you were hooked. You felt yourself mouth the syllables of his name. Heard the sound falling off your lips in a whispered tone as you overheard him introduce himself to the Criminal Law professor. 

Doctor Spencer Reid. 

You'd done your research, as any self-respecting student would. He was an FBI agent working for the Behavioral Analysis Unit. He was a proper genius with several degrees under his belt, even when he was your age. 

He wasn't anymore, your age.

A notice got posted on the college's website a few days after your last sighting. Doctor Spencer Reid of the FBI would teach several seminars this semester, with voluntary attendance and limited availability. 

You signed up in a heartbeat. You told yourself it was because he was an enigma, a puzzle for you to solve. His posture, eyes and even how he spoke screamed 'Solve me!' You, someone notorious for your ability to read people, couldn't figure him out. It frustrated you. Everything about him invited you to try and peel back the layers to let you see inside. 

Were you maybe a tad too obsessed with the man without ever having spoken to him? Obviously, but you couldn't help yourself. You loved a good mystery. And this was one gorgeous mystery. 

You tried to be deliberate about everything when you entered the first seminar. Don't spare the professor a second glance, but be genuinely interested. Don't hang off every word falling from his lips but raise your hand often enough to appear engaged. You wanted him to be the one to notice you first, even if it was anything but the truth. 

But Professor Reid was a professor in his field for a good reason. He caught your calculated gaze a few times. Watched as you schooled your expression to perfection. Spencer had to admit, you were good. But he was better. He noticed how your stare dropped to his hands as he moved them while speaking. Noticed how the pattern of your breathing was unnatural. If his hearing was superhuman, he would've heard your heart beat irregularly. 

You could seek control of the situation as much as you wanted, but your body would betray you time and time again. Spencer thrived in this little cat-and-mouse game you'd tried to set him up for. He knew you'd convinced yourself you were the cat, calculated, ready to pounce. He smiled to himself at the comparison. If only you knew you were the mouse in this situation, insignificant and small under his watchful eye. Something for him to feast on.

He'd seen you that day; the first time he was on campus. Captured your observant eye with amusement simmering in his mind. He knew who you were, and why you were here, the second you walked into the classroom. You'd tried to appear confident, sure of yourself, by walking to a spot near the front without sparing anybody around you a second glance. But Spencer saw it for what it was. A nervous but powerful stride of a girl begging for a grain of validation. 

It had been brought to his attention that several girls in the class were only auditing, but not you. You were here for the real deal. You were committed to figuring him out. He could see it in the way your eyes raked over his body, reading his body language with every syllable spoken. You were genuinely interested in the subject matter, even if it was only to listen to him explain it.

He was flattered, really. Although your interest in the professor might've started as superficial as the other girls', he could see himself in the way you lost yourself in the infatuation. It wasn't just his looks that pulled you into his orbit. You were intrinsically aware of the grief, trauma and heartache he'd built up over the years. You were dying to be a part of the gravity that shaped him. 

He could see how you had the power to mould people when you had your claws in them. Though, he wasn't sure it was a conscious ability you possessed. Maybe it was just who you were. You had a need for control in every sense of the word. And God, did he want to take it away from you. 

If he didn't know any better, he'd be afraid you'd commit a string of murders if only it meant he would have to read into it. Consider every detail of the crime scene so he'd have to figure you out. It was admirable; your passion for complete dominance. But you couldn't fool Spencer. 

He saw the way you crossed your arms, bit the skin on your lips until they bled, and picked at the skin around your nails, not quite bringing them up to your mouth to bite them, knowing it would convey insecurity. You were an insecure little girl, convincing yourself of the opposite. 

Your need to understand him and domineer every situation was likely a defence mechanism, but he couldn't judge. Not when your little game got him right where you wanted him. Spencer had to applaud your dedication. The anticipation kept him on his toes every time he set foot on campus. He knew you wanted him to break, to make the first move, and he just might have to if he wanted to rid himself of the everlasting tension that seemed to have taken over his body. 

Fine. Spencer would play your little game if that's what you wanted. 

He saw you getting more confident, convinced he was falling into your trap the second he gave in. How the corners of your lips curled up ever so slightly when his gaze lingered on them. You were so caught up in your success that you failed to notice every action was premeditated on his part. It was only inevitable your eyes would light up with glee and triumph when he requested you to meet him in his office after class. 

You knocked on his door tentatively, trying to slow your racing heart. 

"Come in." Spencer's voice carried through the door. You turned the handle and stepped inside the dimly lit office. 

"You wanted to see me, Professor Reid?" You spoke as your hand lingered on the door, a calculated move to come across as unsure. It was a complete 180 of your usual behaviour in class, but it was a surefire way to let him let you in. You were no threat. 

If only you knew how true that was. 

"Yes, close the door and have a seat, please." Spencer motioned to the chair across from him. You nodded and closed the door quietly before pulling the chair out and sitting down. 

"I would like to discuss your paper with you if you don't mind." Spencer held up the printed copy he insisted everybody hand in. You scoffed when you read the specifications of the assignment. Figures he'd be old school. 

"That's fine. Is there something wrong, Professor?" You batted your eyelashes the way you knew no man could resist. The act of the meek, helpless deer. 

"There's nothing wrong with it, necessarily. I would simply like to discuss the subject matter with you. You sure picked an interesting topic." Spencer leaned against the back of his chair and interlocked his fingers as he saw you smile. 

"What can I say? Your job intrigued me. Though, as I'm sure you could tell from my essay, I can't say I completely agree with the logic behind it." You gave him a small smile to let him know you weren't antagonising but stood behind your choices. 

"Some critiques definitely can be taken into account. But it's been proven time and time again, with every case we solve through behavioural analysis, that the science and logic behind it work. Sure, we can be wrong, even way off. But it's a rare occasion." His eyebrows raised in challenge as he spoke. A small smile threatened to appear on his face as he awaited your answer.

You squinted at his apparent amusement. He wasn't taking you seriously. He knew he'd cracked you when your facade dropped. You looked genuinely offended at his lack of interest in your opinion. He almost wanted to laugh at how easy it turned out to be, to get you to drop the act. 

"Don't look so smug, Professor. It's not a good look on you." You jabbed. You cursed at yourself. That wasn't an argument. You crossed your arms as you leaned back in the chair, never breaking eye contact. 

"I must say, I'm kind of disappointed in you. You seemed to have a great grasp on the subject matter while in class, yet you failed one of the biggest requirements of the assignment." 

You frowned at his words, genuinely confused. You egged him to continue talking. 

"You see, the main requirement was to stay objective. This essay was anything but. I guess I misjudged you. I assumed you were above letting your personal opinions and vendettas get in the way of your academics. Apparently not." Spencer tsked. He was taunting you. 

"How was my essay subjective?" You asked. The more you thought back to it, the more you realized how tainted the words on the pages in his hands were by your disdain for your attraction to him. 

You hated him for making you feel the way you did, and you hadn't even realized it until now. 

"I expected factual work. The only fact I can get from this essay is that you're driving yourself crazy with how much you want me to fuck you." 

You gaped at his vulgar words. 

Hook.

"Don't look so scandalized. You knew what you were getting into when you signed up for my class. You made your bed. Now lie in it." Spencer leaned forward and placed his elbows on his desk, crossing his fingers once again. 

"I think you're full of shit, Spencer Reid." You sneered. 

Line.

"I'm sure you do, sweetheart. And it's Doctor or Professor. I'm not picky." He had the gall to laugh. 

"Profile me then, professor. If you're so damn sure of yourself." You rolled your eyes but looked at him expectantly. 

Sinker. 

"Stand up, lock the door." He instructed. You did as he asked with no rebuttal. He raised from his chair and walked around the desk. You followed him closely with your eyes, unable to predict his next steps. 

He placed a singular finger under your chin and lifted it to make you look up at him. "Good girl." He whispered with intent. You tried to give no outward reaction to the words, but as Spencer had come to predict, your body betrayed you. Goosebumps raced down your crossed arms, and your breathing hitched, even if only slightly. 

You didn't break eye contact, to Spencer's amusement. You really should've known better. 

"You want me to profile you? Sure. In your essay, you kept mentioning speculation. But, you see, it's not speculation. It's deduction. You would've known and been able to differentiate the two if you weren't so busy rubbing your thighs and biting your lips in my class." His words were accompanied by his thumb coming up to your mouth, running it over the chewed-up skin of your bottom lip. 

"You want to know what else I deduced just now?" He didn't wait for your reply as he brought his face closer to yours, leaning in to whisper in your ear. 

"I think you like being called a good girl. But not because of the validation... No... It's the implication that turns you on." His breath scalded the delicate skin of your neck as he spoke. 

You urged him to continue with your silence, breath stuck in your throat. 

"You see, most girls like you like being called a good girl because they lack external male validation. They're desperate to hear those words from anyone. Not you, though... No..." Spencer laughed before continuing. 

"You like it because it implies a level of authority. You love hearing it, especially from me, because it implies that I have the authority to decide for you what you are. And you wanna know what I think?" He leaned back a little to be able to look you in your wide eyes. He traced his finger over your jaw. 

"I think you're a little whore. You don't want someone to validate you. You need someone to completely dominate you." He grabbed your chin forcefully. A soft whimper left your lips before you could stop it. 

"Your pupils are dilated, your skin is flushed, and you're barely breathing. That's how I know I'm right. And I'm not speculating, darling." The alarmed look you gave him did nothing to deter him. 

"Get on your knees." He demanded as he let go of your chin. You did so without question. You looked up at him expectantly, heart beating in your throat. 

"Looks like I finally found a way to shut you up. Though, I can think of other ways. You're going to address me as 'Sir' from now on. You won't speak unless spoken to. Am I clear?" 

You nodded quickly, spreading your legs to alleviate the pressure quickly building. Spencer raised an eyebrow before putting his shoe between your thighs, putting even more pressure than before. 

"I asked. Am. I. Clear?" 

"Yes!" You yelped. A smile that could only be described as devilish made itself apparent on your professor's face. 

"Yes, what?" He asked as he pushed the point of his shoe further between your thighs. 

"Yes, Sir." You all but moaned as you tried to hold yourself up, keeping your back as straight as it would allow you. 

"Good girl." He said the riveting words. 

You expected him to pull his pants down and force your mouth on him, but he did no such thing. 

"You're gonna make yourself cum on my shoe. You better not make any noise." He instructed. 

"Yes, Sir." You mumbled as you slowly started grinding against him. You felt your cheeks get redder and redder in embarrassment. You were mortified at the realization that the humiliated feeling only added to the ease of your grinding, getting wetter and wetter. Your underwear was no longer doing much to keep his shoe clean. 

You looked up at Spencer, who looked unaffected. He put his hands in his pockets and sighed as if the current situation was nothing but an inconvenience to him. You slowly put your arms around his leg as you moved closer to him. 

Soft whines left your mouth as you felt yourself getting closer. You'd never felt as conflicted before. So incredibly turned on, yet so embarrassed to be basically humping his leg. 

Suddenly, Spencer ripped his leg away. You lost your support and fell flat on the floor in front of his feet. "That's enough." 

"I thought you said I had to make myself cum, Sir?" You could hear you sounded as desperate as you probably looked. 

"And I decided I'm not going to let you. Now, who said you could speak?" You quickly closed your mouth. "That's what I thought." 

He gripped your upper arm harshly and hoisted you off the floor. You dared to peek at the shoe that had just now been your seat and were embarrassed to find it reflecting the light, unlike its matte counterpart. 

Your legs wobbled as Spencer guided you to his desk. It was only now you realized the shutters weren't completely shut, light from the hallway shining down on your face as he pushed it down against the mahogany when he bent you over at the waist. Spencer followed your gaze. 

"I guess you'll really have to be quiet, baby. My office hours start in less than an hour." You met his eyes with your own panicked ones. Anybody who did as much as try and look inside past the shutters would see you bent over his desk. He brushed your hair out of your face before flipping your skirt up and examining the sight before him. 

"You soaked right through those panties of yours. Better take 'em off." He said as he hooked his fingers under them and pulled them down. You stepped out of them to the best of your ability.

Spencer picked them up, and gave them a short whiff, before walking around his desk. You didn't dare move but followed him with your eyes, confused. He looked at you as he unlocked a drawer, put them inside, and locked it again. You weren't getting those back. 

He walked back around and admired the sight for a little before he unexpectantly gave your ass a harsh smack. You closed your eyes tightly as you felt yourself get wetter at the stinging sensation it left behind. 

You jumped as he pushed two fingers inside without preparation. He placed his other hand on your back to push you back down against the desk. His eyes were warning you to stay still as he moved his finger expertly inside you. He brought his thumb to your clit, and you had to bite your lip to stop yourself from making any noise. The circumstances from before had ensured you were nearing the edge concerningly fast. 

When Spencer sped up, you brought a hand to your mouth to muffle any noise. You felt your eyes tear up at the intensity of the sensation, so you squeezed them closed. Just as you were about to fall over the edge, Spencer stepped away. His weight against you was what was keeping you up. You felt your knees buckle as a desperate cry left your lips. 

"Please, Spencer. Please." 

He looked furious as he grabbed your shoulders, turning you around and pushing you back on the desk. Your legs instinctively wrapped around his waist. He pushed your shirt up, exposing more skin to him. He tugged your bra down, not bothering to unclasp it. He tugged roughly at your nipples, making you keen, and the tears finally spill from your eyes. 

"Not so tough now, huh?" He mumbled as he undid his belt with one hand. The other was still pawing at your crudely exposed breasts. He didn't bother properly pulling his pants down, only taking his cock out of its confines. You imagined you looked downright filthy compared to how composed the man in front of you still managed to appear. There was a stain on his pants from where your crotch had met his, but other than that, he was pristine. 

He gave his cock a few tugs before lining himself up, grabbing your thighs and pushing inside. You couldn't contain the guttural groan that escaped you as the strength of his thrust forced your head off the desk, hanging over the edge. He didn't care as he started pounding away, using his grip on your thighs as leverage. 

You could barely breathe, the angle of your neck not allowing much air to flow. Your ears started to ring as blood pooled in your head, making you dizzy as Spencer kept his brutal pace. You tried gripping his arms to pull yourself back up before you passed out, but hardly to any avail. Spencer noticed your struggle and pulled your head back on the desk. The blood rushing back down, along with a particularly harsh thrust, had you moaning his name. 

You heard his haggard breath as he continued filling you again and again. The sensation of him inside you drove you crazy, the tears from earlier still fresh on your cheeks. Low groans fell from Spencer's lips when one of his hands moved to your clit, rubbing rough circles. 

Just as you'd recovered from your little upside-down stint, Spencer brought the hand still resting on your thigh up to your throat, reclaiming your ability to breathe freely. He squeezed in the exact right spot. Your hands moved to his wrist, not to get him to stop, but as leverage. 

"You look so good like this, like a slut for your Professor. Crying on my cock while I decide if you get to breathe." You moaned as your nails dug harshly into his wrist. You were slowly getting lightheaded again. 

"You're gonna cum on my cock when I tell you to." He spoke through the sound of skin hitting skin. His voice was strained, low moans reaching your ears.

"Yes, Sir." You struggled to get the words out. 

"Good girl," Spencer said once more, giving a few more intentional thrusts deep inside you. A noise that could only be classified as a scream bubbles straight out of your chest when he hit the right spot over and over and over again. He finally released the hold on your neck. 

"Cum." The demand had barely reached your ears as your vision went white. You felt his hips stutter against your own, shooting his load in tandem with your own orgasm. 

He slowly pulled out and admired the sight of you still trying to recover, legs wide open, dripping with his cum on his desk. 

You were on the edge of hyperventilating, all the sensations overwhelming you. Spencer slowly helped you sit up, careful to not let your privates touch the harsh wood of the desk. You let yourself fall against his chest as he held you up.

"Hey, hey. You're okay. Come on, look at me." He spoke softly, in complete contrast to just mere minutes ago. You met his eyes, which had softened tremendously. 

"I'm sorry if I was too harsh on you." He quietly apologized, wiping the stray tears from your cheeks. 

You shook your head. "No, no... You were right. That was exactly what I needed, I suppose. Good profiler." You chuckled emptily. 

Spencer stifled a laugh as he wrapped his arms around you. "Next time, you can just ask for what you want, okay? No more of this little game." 

"It was fun, though. Guess I underestimated you, Sir." 

Spencer groaned at the title. 

"Too soon, baby girl. Maybe clean yourself up before going there again." 

You winced as you felt a trickle of his cum down your leg. 

"Yeah, maybe." You grimaced. You were going to be sore for the next week.

He lifted your face to his, the action feeling a lot less domineering. His eyes were gentle as he slowly leaned in, placing a delicate kiss on your lips. 

"You'll still need to rewrite that essay." He muttered as he pulled away. 

You rolled your eyes and scoffed, hitting his shoulder lightly before giving him a peck. "Sure thing, Professor." 

PART 2

[lobotomy-maybe-bestie]

i'm in the middle of writing some kind of fic about it, and i might make a proper analysis post too, but isn't it fucking wild that in the prayer that is apparently so common that everyone apart from the ninth knows it by heart and is able to rattle it off in a chant immediately when prompted, john is called a LYCTOR DIVINELY ORDAINED? like did everyone think this was just a figure of speech?? are mercymorn and augustine UNAWARE of the prayer?? or did they all think it was referencing something else (dominicus?) that john allegedly merged souls with? and what does calling him a lyctor mean to the houses who don't know that lyctorhood means having eaten someone's soul? is it just the equivalent of saying "he is really good at necromancy but not because he studied he just got a power up from god" WHO EVEN IS DIVINELY ORDAINING HIM WHAT IMAGE OF GOD PRE BECOMING JOHN DO THE HOUSES HAVE??

[munnmolads]

A small detail about Rafayel's family and Final Farewell

A small speculation about some details in the new Abyssal Chaos commission Final Farewell and Rafayel's mention about his family in his new Tete-a-tete introductions. Spoilers for the new Abyssal Chaos commission as well small bit about Finding Tobias.

If you ask Rafayel to introduce himself to your family with the "you're my boyfriend" option, he will mention this about this family:

Now - I really would want to make a longer post about this but I need to take my time checking eveything before making a full, proper analysis, but I want to draw your attention to these bits in Final Farewell.

For context if you haven't played/read the commission story yet, Rafayel and MC are investigating strange happenings in an abandoned sanatorium.

If you have read "Micro Universe" World Underneath story and "Siren's Song" anecdote, you know that Lemurians have been captured and experiemented on by Ever/Xander Sciences. I believe these Wanderers might actually be Lemurians and even possibly, Rafayel's relatives/family. I don't know yet enough details about the signal to understand completely what does Rafayel mean in the last screenshot, but I will read about it later. I'm gladly taking suggestions!

I have additional theory on Luna on Reddit, who we hear from in the Finding Tobias commission if you are more interested in Rafayel's family and the experiments on Lemurians. I will expand that theory with the new Final Farewell information to Tumblr once I have thought about this more what this all could mean.

[alltimefail]

Why doesn't Edwin call Charles, "Charlie?"

I shared the isolated audio of Charles' death scene where his "friends" taunted him as they killed him, and in that video, they called him "Charlie." This confirmed what many people in fandom already believed: Charles, a sporty teenage boy in the 80s, would not have gone by his proper first name and likely went by a nickname/shortened version of his name instead.

Now that we know that to be true, it does beg the question: why does Edwin call him Charles? I told you all not to get me started on this in the tags, but you stinkers want me to yap, so let's get into it! 😜

This is a very uninteresting answer, but I think Edwin does not call Charles "Charlie" simply because Charles did not introduce himself as such. Had he introduced himself as Charlie, I don't think Edwin would call him anything else.

This actually brings us to the "meat" of this analysis, and the more important question we need to ask: why would Charles choose not to introduce himself as "Charlie" if that's what people seemed to call him?

I have a couple of theories:

The first one: when Charles meets Edwin he's in a fragile state. A boy he's never seen in all his time at school approaches him, seeming to come out of thin air, just to bring him a lantern without any strings attached (even though Charles cannot give him anything in return). Charles has never experienced that kind of unconditional kindness in his life, and I'm sure that alone was enough to be a bit earth-shaking, mind-scrambling, and intimidating.

But it doesn't end there! The boy who brings the lantern is also claiming to be dead. Delerium/hallucinations are a common symptom of hypothermia so Charles could have though that Edwin was not real or was maybe even some kind of angel-like figure coming to keep him company in his final moments. I mean, the boy's wearing a dated school uniform, enters in a halo glow of golden light, and can walk through walls...it's not the wildest conclusion to jump to.

I think either of thos things individually or a combination of having your guard up, being a bit frazzled from the whole "dying" thing, and believing you're in the presence of an ethereal deity (combined with the fact that you're a people pleaser at your core) is enough to feel compelled to introduce yourself not in formal manner. Not to mention if Edwin introduced himself first, hand outstretched in a formal matter and proper posh accent on full display (something I can totally see him doing), Charles might have felt a bit silly calling himself by such a casual title.

While I think all of this can be varying degrees of true, however, my biggest personal headcanon is that Charles might not have introduced himself as Charlie because who's to say he LIKED that nickname? My circumstances were similar to Charles' growing up, I also had many nicknames from friends and family that I didn't ask for but was given anyway against my will... and I always hated it. Still cringe at some of them to this day, actually! So I think it's possible that Charlie Rowland met Edwin Payne, with all his formal stature and proper professional-sounding name, and took the opportunity to choose what he'd like to go by, without the influence of family or friends. In that way, his chosen identity that would kick off the rest of his existence moving forward (unknown to him at the moment, but true from a narrative standpoint nonetheless) serves as a "Taking your power back" moment for Charles who literally just heard the name "Charlie" being hurled at him as he begged for mercy from people who were supposed to be his friends. Even if he tolerated the nickname "Charlie" before, it certainly wouldn't have fond associations following the event that ended his life (if it had any positive associations to begin with).

Again, speaking from experience, Charlie also sounds like the kind of nickname that could be sugar-sweet on some tongues, innocent even, (his mother cooing over a young Charles), but terrifying from an abusive figure... a scathing kind of mockery. I've always imagined that Charles' dad more than likely called him Charlie, for example, and not in a fond, loving way (in the same way his so-called "friends" were not doing so in a loving way).

So yeah, why would Charles WANT to go by Charlie?

Now that we've established that, we can go back to Edwin...what you came here for!

All that in mind, I still don't see Edwin as the nickname type at all. From a romance standpoint I could maybe see him using a few dated, sappy endearments, but we don't ever hear him use a casual name toward anyone. In his lifetime Charlie would have been a perfectly normal name, but the kind of "fond" nicknaming practices and casual male friendships that happened in 1989 were not common practices in 1916, the Edwardian era. Even with his infinite fondness of Charles, I could never see Edwin uttering "Charlie." It doesn't feel right.

Plus, let's be honest: Edwin says Charles' name with enough love and reverence that he doesn't need to use an endearment. His tone says it all (lol).

Beyond that though, like I said above, I can't see Edwin feeling to impulse to call him "Charlie" because that's not how Charles introduced himself. Edwin strikes me as the kind of person that would be like, "If he wanted to be called Charlie, he surely would have said as much" and left it at that. But a name like Charlie also conveys a sort of youthfulness, and while he and Charles are 16 forever, technically, they have been detached from their lives for a long time and they're MUCH older than 16 in experience and in their professional life.

The only question I was left with, and one I've seen several people ponder, is why Charles would suggest they call The Night Nurse Charlie, (like from Charlie's Angels), as it seems a bit strange if his own name is Charlie/he went by Charlie. My answer/interpretation isn't that exciting, but it's one I feel makes the most sense: I honestly think this can easily be explained away by the fact that Charles is so far removed from that identity and so dissociated from his life that he no longer associates the name "Charlie" with himself in any way. Like it literally didn't even occur to him, in that moment, that Charlie/Charles are so similar because he has built a barrier in his mind between himself and that nickname; they're two entirely different identifiers to him. Whether that be a coping mechanism, or simply just something he wasn't thinking so deeply about (it has been 30 years since anyone called him that, except for Brad and Hunter in Port Townsend), we can't say for sure. However, it's clear Charles does not want to go by Charlie, and at least now we can safely assume why.

Let me know your thoughts! Do you agree with my interpretation? Do you have your own opinion that I didn't cover? Feel free to share with me!

Keep streaming Dead Boy Detectives & screaming about it ! Hugs to each and every one of you! 💜

[rewriterory]

Reo Mikage is Actually Great BPD Representation- Some Thoughts

So I had the extremely unfortunate experience of being exposed to Blue Lock (unfortunate because it's all my tiny pea brain can think about now), and while it is absolutely full of silly guys whose brains I want to pick, this little bugger really stood out to me. The second he came onto the screen, I KNEW I smelled the borderline on him. As I watched the series and read the manga, I noticed he is actually an incredibly well-written depiction of someone struggling with BPD. Reo is a super layered character and my favorite hobby is picking apart those layers and yapping incessantly about them, so here we are. I want to write this analysis for a few reasons:

1.) Too many people misunderstand Reo and categorize him as dramatic or childish without any elaboration and he deserves a proper character deep-dive. I think him being borderline explains a LOT of his reactions/choices throughout the story.

2.) Borderline representation is extremely important to me. I'm diagnosed borderline and have struggled with this disorder for around ten years now, so I get really excited when I spy BPD-coded characters (especially if they're likable people and not just ghoulish irredeemable villains or manic pixie dream girl characters). This disorder can be so isolating, especially when the majority of people will never even bother to research or understand it. I know that some people like to chalk Reo's emotional reactions up to him being a moody 17-year-old, but I think I have enough evidence to prove that this is undiagnosed BPD that's festering in his noggin. Not to mention, literally nobody else acts like this in the series. Reo is incredibly unique and distinct in the way he behaves through this narrative and I think it's way past the point of normal teenage angst. Regardless, believe what you want. He'll always be borderline to me tho <3

3.) I have a master's degree in English and what good is that if I don't write long, painful, pointless essays on anime guys? Not that this is exceptionally well written, I just like to laugh at myself for getting a whole M.A and then this is the shit I publish online lmao

By the end of this, I hope I can shed some light on wtf is going on inside of Reo's silly little head. (I'm also obviously not a psychologist, don't use any of this to diagnose yourself pls I don't need the scandal)

If you want to read, buckle up, because this is gonna be a long one!

First, let me define BPD- It's a personality disorder characterized by a long-standing pattern of instability in mood, interpersonal relationships, and self-image. At its core, it is a disorder categorized by emotional dysregulation (the inability to regulate one's emotional responses) People with BPD feel everything EXTREMELY hard. That's important to keep in mind IMO, because while their reactions may seem dramatic or extreme, what they're feeling IS dramatic and extreme. Everything they're feeling is amplified, so their reactions are amplified. Obviously from the outside, people assume it's an overreaction since they can't see what's going on inside the borderline's head. When you sit down and dissect the thought process of someone like Reo, it becomes a lot easier to understand why they react the way that they do to certain situations.

(Also, I'm not going to reiterate more than once that an explanation is not an excuse to treat people poorly. I cannot read ANYTHING on BPD without hearing every 2 minutes how the disorder isn't an excuse to hurt other people. We get it!! I'm explaining it, not excusing it. This enter essay is an analysis of why someone acts the way they do, not whether or not it's excusable)

So then, what behaviors/signs does somebody need to exhibit to receive a borderline diagnosis? The 9 diagnostic criteria for BPD are as follows:

1. Fear of abandonment

2. Unstable or changing relationships

3. Unstable self-image; struggles with identity or sense of self

4. Impulsive or self-damaging behaviors

5. Suicidal behavior or self-injury

6. Varied or random mood swings

7. Constant feelings of worthlessness or sadness

8. Problems with anger, including frequent loss of temper or physical fights

9. Stress-related paranoia or loss of contact with reality

Someone would only need 5 of these to receive a proper diagnosis. Just with the main story and the spin-off manga that is currently released, I think I have enough evidence to argue that Reo has 8 out of 9 criteria for a BPD diagnosis. For the sake of organization, I’m gonna group some of those together though, indicated by a + symbol. I also want to define a few important terms before I start yapping, so that y'all without BPD can understand wtf I'm even talking about.

Favorite Person (fp) - This is someone who holds massive significance in a borderline's life. They emotionally depend on this person a lot and to a certain extent, their worldview almost revolves around them.

Splitting- the change in perception of someone or something caused by black-or-white thinking or dichotomous thinking. It is the devaluation of someone who was once idealized and vice versa.

Mirroring (aka: the chameleon effect)- the constant, unconscious change in one's identity or sense of self by imitating another person’s behaviors, characteristics, or traits. It is common in people who have a vacant or distorted self-image which is a general symptom of BPD.

Now, time for me to break down the most prominent moments where Reo showcases borderline behavior. As I mentioned, I'm going to try and organize this under each criteria point (with some being grouped together)

Unstable self-image; struggles with identity or sense of self:

Before I delve into Reo's relationships, I want to start with his baseline sense of identity. It’s established early on that Reo is a very bored, empty, unsatisfied person. Nothing excites him, nothing motivates him, and everything is handed to him. He’s frustrated because his parents notoriously try and buy his affection even though he doesn't want anything. For most of his life up until the narrative starts, he's wandering through life empty and frustrated. That is, until he finally sets his sights on soccer and decides to dedicate his life to winning the World Cup:

The wording, 'proves my existence' is interesting here. I think this is the first instance Reo has felt alive. So far, the only notable thing about him has been his family and his money. He hasn't achieved anything exceptional for himself, but now he has that opportunity. With this goal, he can really build something up from nothing and make it his own. It's almost like he's clinging to this dream to prove that he has some purpose in his life other than being the family heir.

Now, this dream changes when he meets Nagi, of course. I'm not gonna focus too much on their relationship in this section, but I will mention that meeting Nagi shifted Reo's entire dream, and not for the better. Through the narrative, his dream went from:

Winning the World Cup

Winning the World Cup with Nagi

Proving to Nagi that leaving him behind was a mistake

Improving himself and becoming a good striker on his own

Being a tool for Nagi to become the best striker

Had Nagi not come in and ask for Reo to come back to him, I think Reo could have done a great job at establishing his own sense of identity without Nagi. But no matter how much he works on himself, with Nagi in the picture, he's never going to value himself more than Nagi. Reo lets Nagi cloud his identity to the point where Isagi calls him out and asks what he's even doing at Blue Lock in the first place, since he clearly can't survive on his own, he needs Nagi with him.

After dealing with the turmoil of being abandoned by Nagi, Reo goes through a few stages. He starts with wanting to become somebody worthy of being beside Nagi, somebody that Nagi would want to choose. Devoting himself to becoming stronger and more versatile, his end goal is to have Nagi realize he made a mistake by leaving him behind. After a few more matches, Reo starts to realize that he needs to grow and change and become a stronger, better version of himself for himself and not for other people.

He decides that the fight was all his fault to begin with, that he should have never forced Nagi to play soccer and now he is going to get back to what his dream was originally, combined with his new desire to be a stand-alone player (and person, for that matter). Reo accepts the mistakes that he made, admits that he shouldn't have forced his ideals onto Nagi, and resolves to become a better person for HIMSELF. That's excellent!

Of course, Reo can't be happy for TOO long. Nagi comes out of the woodwork saying that he can't beat Isagi on his own and asks for Reo's help. Reo does stand up for himself a bit, saying that Nagi is being inconsiderate of his feelings and mentioning how long it took for him to recover from Nagi leaving. Now, the BPD trait here is how Reo not only forgives Nagi and is jumping on him and hugging him THE NEXT PAGE, but he also just disregards everything he said in this sequence. In a matter of two minutes, he no longer wants to be a player that can fight on his own or improve for himself, he wants to improve for Nagi. He starts ruminating again about how hurt he was when Nagi left, but now he's saying all of it wasn't so that he could get stronger individually, it was so that he could be reunited with Nagi again. Nagi asking for his help and saying that now they can play together again motivate Reo more than anything we've seen so far. (Nagi notoriously throws Reo little affection crumbs like this that Reo eats up, but I'm not trying focus on that) Now, Reo's alright with being a tool for Nagi's success again. Everything that happened was supposed to make him stronger so he could be a better partner to Nagi, right? Reo also says as the chapter ends, to please let him be a part of Nagi's dream until Nagi becomes the world's best striker. That's literally so sad!

He's also immediately back to the 'our' 'we' 'us' talk as well. If he can master his chameleon style in order to keep Nagi above the rest of the players, he wont get left behind again. If he devotes his time and energy into being a solo striker like the rest of these guys, Reo knows that he wont be able to keep up. This was always supposed to be his role, right? Building Nagi up to his full potential! :*)

I also like the detail that Reo is back to hugging Nagi and holding him, but Nagi never really touches him back. I think Reo's love language is touch for sure, not that it's incredibly relevant, but I do think it shows that Reo is back to being 100% comfortable around Nagi as if their fight never happened. I hear a lot of fans asking how Reo could have forgiven Nagi so easily, and I say this with my entire chest, it's the BPD. The black-and-white thinking combined with Nagi being Reo's fp and the excruciating pain of being abandoned by him in the first place ?? Of course he's going to take him back. Also, I've seen people blame Reo for not saying no to Nagi when he asks for help and I have to say that is an absolutely insane take. How are we gonna look at a panel where Nagi asks for help and then blame Reo for helping him?? I'm not going to focus on it too much in this post but in my opinion, it is crazy how little accountability both the narrative + fans give Nagi. Reo is pegged as responsible for both of their downfalls and it's nuts tbh.

Currently in the story, I think Reo's identity is still centered around Nagi. It's really easy for borderlines to structure their entire lives and personalities around their favorite person, but I can only hope that these two keep having open and honest discussions with one another. Hopefully, Reo will eventually learn that he can exist without Nagi and that he's more than just 'his arms and legs'.

Unstable or Changing Relationships:

The most notable relationship in Reo's life is Nagi. They're both each other's first real friends, which already sets up a less-than-ideal dynamic. Nagi has no idea how to communicate and he has pretty weak emotional intelligence. On the other hand, Reo is great at communicating, but he isn't used to regulating his emotions. For a lot of borderlines, they can go a very long time without experiencing any symptoms when they don't have a favorite person. When you think about it, the bulk of the disorder is shown through those interactions with other people. If Reo has never had a real friend in his life, I don't think he'd be used to the emotional turmoil that comes with having a fp.

The minute Reo meets Nagi, he's attached. All his classmates notice it, too. They question why Reo is suddenly so obsessed with this random kid who has no interest in him. Reo is ignoring everybody that isnt Nagi.

Very quickly, Reo boils down his view of the world to being him and Nagi versus everybody else, and he makes that very clear. It also depicts something that I think is incredibly crucial to Reo’s character that a lot of people overlook; as Nagi develops to be Reo’s favorite person, Reo’s dream isnt ‘playing soccer’ anymore. It’s Nagi. It’s being with Nagi, playing soccer with Nagi, being useful to Nagi, taking care of Nagi, and being somebody important to Nagi. He doesnt teach Nagi the rules or how to actually play, he teaches Nagi how to play with him. He literally re-writes and re-structures the game so that it can center around him and Nagi. Nagi calls him out on this in the spin-off manga:

Reo doesnt care about the structure of the game, he cares about Nagi. The other people on the field don't matter. The other team doesn't matter. He also starts to unknowingly put Nagi up on a pedestal, which is another borderline trait. He starts reiterating that Nagi is special, he's different from everybody else, he's destined to achieve great things. The more he raises Nagi up, the more he isolates the two of them in his mind, reiterating the idea that it's them against everybody else. His language reflects this too: Reo exclusively talks with 'us' 'we' 'our', insinuating that they're going to do everything together.

When Ego says that there can't be two winners, Reo says that he'll make Nagi the best striker. His 'ego' will be making Nagi successful. Along with putting Nagi on this pedestal, Reo also very early on establishes the fact that he'd pick Nagi over himself any day of the week. He's the only person in Blue Lock who really couldn't care less about becoming a striker himself: his dream is to be a tool in Nagi's success. Or, in simpler terms, he wants to be useful and make Nagi happy.

These two were in trouble from the very beginning. Nagi is lazy as all hell, has 0 motivation to do anything, and his dream is to live a life of luxury and never have to work. Reo, being the borderline baddie that he is, is more than happy to do EVERYTHING for Nagi. Borderlines love extremely hard! It's one of our best traits and I think it's important to showcase that Reo is a massive sweetheart at his core. He clearly loves Nagi a lot and goes to extreme lengths to make sure he feels taken care of. To someone with BPD, NOTHING is too big of an ask for a person they love, especially if that person is their fp. I also disagree with the argument that Reo 'made' Nagi codependent. Nagi likes being taken care of, he says it all the time. If you ask me, I would actually argue that Nagi takes advantage of Reo a little bit because he knows that Reo will do anything for him. But regardless, I think that Reo starts to develop an unspoken expectation with Nagi that he'll provide him with everything he needs, and in turn, Nagi will stick around. I don't think he's doing this intentionally, nor do I think it's being done in a manipulative way. I just think that Reo has a dormant fear of being abandoned that he doesn't totally know he has yet.

It isn't just Nagi that Reo showcases having unstable relationships with, though. Zantetsu is another good example. Reo starts out disliking Zantetsu, he snaps at him a couple times, and calls him a moron more than once. He starts to warm up to him because Nagi tells him to. The favorite person has MASSIVE sway in the borderline's life. If Nagi likes someone, Reo likes them too. (This is, of course, on the condition that they aren't a threat, looking at you Isagi).

In the immediate next chapter, Reo is acting like they're all best friends. He's climbing on top of them in their big bed, saying that the three of them are gonna win their matches, being a little pookie. He goes from not liking this guy at all to considering him one of his close friends super fast. Also on the topic of Isagi, when they're making up the teams for the second selection, Nagi doesn't initially want to tell Reo that he wants Isagi on their team bc he's worried Reo will be upset. But, when he does finally say it, Reo is literally fine with it because like I said, who Nagi likes, Reo likes! On the condition that they don't replace Reo, which clearly happened soon after.

On the opposite side of the spectrum, Reo also shows how he can go from loving someone to despising him very quickly. After Chigiri and Kunigami tell him to get back up in the game post-Nagi's abandonment, we can literally see the switch flip in Reo's head:

Suddenly, he hates Nagi. Nagi's a jerk who abandoned him; he never cared about him, and he threw him away. Dude literally says "Let's kill the bastards that betrayed us". This act of unintentional devaluing is called splitting. What Reo's essentially doing is going from one extreme to the other: if Nagi isn't his perfect treasure, he's the devil that broke his heart. There's no room for a grey area. The reasoning behind borderline's developing this black-and-white mindset is rooted in self-defense. If Reo devalues Nagi into being nothing more than a traitor, then he's stripping away the power that Nagi has to hurt him. If he looks at him like a rival or a villain, it's protecting him from being hurt by Nagi again.

That doesn't mean that he genuinely believes any of this, more so, he's trying to convince himself that it's true. We see that at his core, the reason he's acting like this is because he's hurt. I'll go more into it later on, but he's constantly thinking, what does Isagi have that I don't? What do I have to do in order to win Nagi back? This black-and-white thinking is an automatic self-defense mechanism that I think he's doing subconsciously. Regardless, the shifting he's doing here can cause a little whiplash, which brings me to:

Varied or random mood swings + Problems with anger, including frequent loss of temper or physical fights:

I can’t think of a better way to describe Reo's temperament than the wiki, so let me quote it: "Generally, he seems to feel every emotion with full force and is extremely aware of his own faults and shortcomings, which is evident in several instances of painful breakdowns shown in the spin-off manga. Due to his high emotionality, he can even get violent when he loses his temper."

Reo is characterized as being emotionally unstable. When he's happy, he's elated! When he's sad, he's miserable. There are a ton of scenes between the manga and spin-off manga that show how fast his emotions can flip, but this one was one of my personal favorites:

In this scene, Reo has developed a little scheme in the dining hall where the guys are trading their side dishes. At face value, a throwaway moment. But, I think it's worth looking at because not only does this show Reo's emotional response being triggered in an opposite, semi-extreme direction, but the root cause for the reaction was that he felt rejected by Zantetsu. In his own weird way, he's asking Zantetsu to come over and hang out with him. He's not being exceptionally clear with that message, but I can still pick up on it. "You wanna join in, don't you?" He's extending the invite, making himself vulnerable, and Zantetsu shoots him down by saying nah, I'm fine with my noodles. Reo JUMPS on him like YOU KNOW WHAT? I TOOK THAT PERSONALLY! lol. Jokes aside, I think this moment is a great one to argue Reo's BPD tendencies because it's such a seemingly mundane interaction. Even Zantetsu is surprised by Reo's random outburst. This also sets up the fact that one of Reo's most obvious triggers is being rejected/abandoned/betrayed, an extremely common one between those of us with BPD.

Other instances of Reo having a bad temper are a lot more obvious. In the match against teams V and Z, Reo straight up elbows Raichi in the throat, and then tries to go throw hands with Kuon for hurting Nagi. He only stops because if he gets into any more fights, he’ll get thrown out of the game and won't be able to play with Nagi anymore. He’s visibly pissed though and calls Team Z a joke. Hell, even Reo himself can recognize on a certain level that he can't control his emotions: they control him. They cloud his judgment and make him react in ways that he wish he didn't.

He is constantly plagued by these extreme emotional reactions that are out of his control. Not to say that people with BPD are unable to ever control their emotions, because we can! It takes time and therapy and practice though, which Reo hasn't had. His lack of regulation is also why he has such a dramatic and extreme meltdown when Nagi abandons him.

Fear of Abandonment:

Reo's biggest trigger and the cause of his inner turmoil throughout Blue Lock is his fear of abandonment. I mentioned before that I think he's had this fear dormant inside of him for a while as so many borderlines do, since he hasn't had the chance to experience it before. He alludes to it early on when they first arrive at Blue Lock:

The thought of leaving Nagi for somebody else? Reo considers that heartless. They came together, after all. They're going to win the world cup together. Nagi could break both of his legs and Reo wouldn't leave him, because again, Reo isn't there to team up with the best player and become the best striker in the world: he's there to play with Nagi!! And, like I said, in Reo's mind it's him and Nagi vs everyone else-

Reo exhibits a lot of signs early on of being jealous while they're playing in Blue Lock. I mean, as we discussed, everything should be focused around him and Nagi. When Nagi passes to Zantetsu in the team V and Y match, Reo pulls up like 'hey, why didn't you pass it to me?? ):' There are a lot of little moments like that, but Reo's jealousy is a lot more relevant to my argument after he gets abandoned by Nagi.

Let's talk about that word: abandoned. It seems dramatic, right? Reo uses that term constantly and exclusively. Every time he brings that moment up, he uses the word 'abandoned', or he'll say 'betrayed' or 'chose'. These are very definitive words. He’s not saying Nagi ditched him or flaked on him or blew him off, no; he has abandoned him. That word choice may seem disproportionate to the situation, but that's Reo's reality. This was the ultimate betrayal to him. The constant use of that vocabulary reiterates that in Reo's mind, there is no grey area. Either Nagi chooses him, or he chooses someone else. In choosing someone else, he abandons Reo. Reo is paranoid that Nagi isn't ever going to come back to him and it's because of something that Reo is lacking. How can Nagi like Isagi more than him, anyway?

Now, I do fault Nagi a bit for not communicating better at that moment. I understand that he's bad at communication, but I don't think Reo could have been more obviously upset if he tried. The dude was in TEARS. Nagi saw him devastated and then expected everything to be fine when he met him in the bathhouse? Idk. I'm going to give him the benefit of the doubt and say that he didn't realize it would upset Reo to such an extreme: maybe he thought that they would miss each other, but Reo wouldn't take it personally. I'm doing my best not to harp on Nagi since this is about Reo.

Abandonment is detrimental to people with BPD. It causes extreme inner turmoil that we see with Reo as the story progresses because it is the only thing he can think about. If he isn't trying to cover up his hurt feelings with this idea of revenge, he's self-destructing over being abandoned. He becomes obsessed with wondering why Nagi chose Isagi over him. Was there something wrong with him? Isagi isn't that impressive, why would Nagi rather be with him? These thoughts torture him endlessly and fuel his desire to 'steal' Nagi back. He literally says to Isagi, that he's going to steal Nagi back. Much to his dismay though, Reo starts to notice that Isagi is bringing out some positive traits in Nagi. Nagi's entire vibe is different with Isagi. Nagi is having fun playing soccer without Reo. In fact, he's having more fun. He's making plays he's never made before. His face is visibly different; he's more excited than before.

This is heartbreaking for Reo. Not only was he right that Isagi did have something to offer Nagi that he couldn't, but Reo is having a massive self-hate spiral during this point as well, so he's internalizing all of his flaws and mistakes while the thought is sitting in the back of his head: did Nagi actually have a good reason for abandoning me? Was I not enough to satisfy him? Did I only drag him down? This gets significantly worse the longer he watches Nagi and Isagi play:

Everything is falling apart. Nagi is doing completely fine without Reo, and Reo is an absolute mess. We're circling back to Reo's lack of identity here as well. He's watching firsthand that he's losing Nagi to Isagi: what does he do? What happens to him if he loses Nagi, who is he without Nagi? He's overwhelmed during this match and at one point Reo literally screams that he's going to tear apart their connection. Jealousy is consuming him, but it's also those feelings of inferiority and wondering if he really did deserve to be abandoned. If Nagi is so happy without him, maybe he really did have a reason. These are the thoughts that are circling around in Reo's head. Not to mention, he is constantly tortured by the flashbacks of Nagi leaving him, which I think is a great detail. Some readers might say it's just pointless recapping but I disagree, I think it's depicting how traumatic that was for Reo. As a borderline, being abandoned by your fp IS traumatic. Reo relives that moment so many times because so many things trigger it for him throughout Blue Lock. He can't even look at Chigiri and Kunigami without thinking about him and Nagi. It's a really devastating experience that quickly deteriorates him emotionally.

Constant feelings of worthlessness or sadness + Suicidal behavior or self-injury:

One of my favorite things about Reo is the fact that he is self-aware that he's behaving somewhat irrationally, but he doesn't know how to stop. When we look at one of the several times that Reo is curled up crying over Nagi, he mentions how he really did want to tell Nagi to go and have fun, but he didn't. He couldn't. The visuals shift for this too:

Reo doesnt want to be acting this way, but he can't help it, and that's frustrating to him. It makes him start feeling ashamed of himself. His inner thoughts start to spiral and he feels weak and alone. He's reflecting here on what his true feelings really were at that moment, and how scared and lonely and weak he felt as a result of Nagi leaving him behind.

These feelings quickly evolve into Reo feeling worthless and falling into bouts of self-hatred. He's so ashamed of the way he's feeling and behaving but it feels so out of his control. He says, "maybe if I hadn't gone to Blue Lock in the first place, I wouldn't have to experience this feeling." As I said before, borderline's feel things EXTREMELY intensely; the disorder is described as living with third-degree burns all over your body. Everything hurts. His feelings are so intense and all-consuming right now, it's all he can think about:

I saw some posts in the fandom reddit asking why Reo is acting like this. One in particular reads: "I get that he is betrayed and stuff but he is acting like it’s the end of the world, is it explained later why he acts like this? Is it because he doesn’t think he can win without Nagi?" Not to call this person out, I just want to answer the question in this post-

It has nothing to do with winning; it was never about winning. It was always about Nagi.

If we're looking at Reo through the borderline lens, it IS the end of the world for him. Nagi was his world. What's worse, he's fully aware that he's not acting rationally and he doesn't know why, which is making him feel ashamed and weak and embarrassed. Now I know why he's acting like this, but there are no Blue Lock psychiatrists sitting around to wack him with the mood stabilizers or the DBT handbook, so he's gonna stay feeling like a monster.

He lets these thoughts, along with the resentment and anger from being abandoned in the first place, fuel him for the second selection match. As he's watching the game play out, as Nagi is about to score the winning goal, Reo's mind starts racing with intrusive, negative thoughts.

He's praying that Nagi fails, that he gives up, that he stops trying, anything to stop that solidifying moment where he scores the winning goal and proves once and for all that not only was Reo not strong enough to stop him, but Nagi doesn't need him anymore. He catches himself really quickly, because he realizes he's sounding just like his parents. Everything is spinning out of control so bad, Reo wants Nagi to end up in a vulnerable position so that he isn't the only one falling apart. As he catches himself thinking this, he's disgusted with himself. He calls himself 'utter trash', and as he watches Nagi score the winning goal, he falls to his knees, wishing he was dead.

As he sits there decomposing in emotional turmoil and suicidal ideation, Nagi's team chooses Chigiri to join them, and it's the nail in the coffin. This is probably Reo's lowest point in the entire story IMO. Nagi comes up to compliment him on his plays and Reo shows us another classic borderline move: he's anticipating how bad it's going to hurt to be abandoned by Nagi again, so he's trying to push him away before it can happen. We see the dichotomy of his spoken words and inner thoughts here, where he's talking big game to Nagi, saying things like 'you clearly don't care about me anymore, you're throwing me away, if you're going to abandon me just do it properly', while internally he's thinking 'I'm the worst, I wish I was dead, please take this bait and break my heart so that I can self destruct in peace'.

i LOVE the visuals during this moment. This is what Reo thinks is his last line of defense, the last thing he can do to preserve any part of his dignity is to make Nagi hate him so that he'll stop throwing these crumbs of affection at him. It's also really telling that despite his switch in behavior and the devaluing of Nagi, the root of all of that is STILL that he was so hurt by the abandonment.

I don't think I need to analyze the suicidal ideation because he just straight up says he wants to die like three times in this scene but, aside from that, the visual of his inner thoughts vs what he's actually saying is so powerful. Not to mention the chameleon imagery which i'll geek out about in a second, this is another example of his black and white thinking along with the reiteration that being abandoned was literally traumatic for Reo: he says they can never go back to what they were before. Speaking as a borderline, this is painfully true. When people break my trust even in a small way, I can never view them the same as I used to. I can forgive them and let it go, but I'll never be as open with them as I once was. In Reo's shoes, he had Nagi up on this pedestal that he was perfect and would never do anything to hurt him, but he did hurt him (in the worst way possible).

After Nagi tells him he's a pain in the ass and that he doesn't care anymore, Reo thanks him for 'finishing him off'. In his mind, they're done now and he can suffer in peace and quiet without dragging Nagi down anymore.

Bonus Point: The Chameleon Effect

I LOVE THE FACT THAT HIS THING IS CHAMELEONS AHHHH

The chameleon imagery with Reo makes me INSANE dude. As I mentioned towards the beginning of this post, a part of borderline that is seldom talked about is the tendency to take on 'the chameleon effect', or mirror the people around them. REO'S ENTIRE THING IS CHAMELEONS LIKE BFFR ?? That image where he was trying to get Nagi to hate him, was before he even started using his chameleon style, it was just something the authors thought was necessary to include during Reo's mental breakdown. Aside from the cool imagery, his chameleon style is a reflection of his relationship with Nagi. He gets called a jack of all trades and a master of none early on in reference to how when he’s without Nagi, hes not really exceptional at anything. He never really took the time to master one specific thing because he was always so concerned with helping Nagi. This rings my BPD bell for a couple reasons: first of all, when you have no sense of identity and you’re worried it means you have no real personality ?? Steal one!! Take the closest person to you and copy that one. That’s something us baddies know VERY well. Also, think there’s something about you that your fp doesn’t like? Change it! You can morph into anything they want as long as it means they won’t leave you !! :*) Before he makes up with Nagi, he copies moves in hopes that it'll make him stronger and appear more desirable to Nagi. After they make up, he copies whoever he has to so that he can get Nagi to that goal and make himself useful, make himself somebody that Nagi wants to have around. It is a literal direct metaphor for him changing anything and everything about himself for Nagi and graaaahhhh it’s so cool

Reonagi ?? Some thoughts-

I want to close this yap session with my thoughts on Reonagi as a ship. I do think that they can work and I want to make that clear. I'm not on board with the 'borderlines arent capable of having loving and fulfilling relationships' crap. That being said, they both have to put in a bit of effort. Reo has already recognized a lot of his own issues. He admits that he was wrong for pushing his ideals onto Nagi, that he needs to let Nagi grow and be his own person, etc. Nagi really hasn't accepted any fault. I stand by the fact that Nagi needs to be more sensitive with Reo. Way too often when a relationship like this fails, all the blame is put on the one with borderline. I'm gonna be the outlier here and say that if Nagi cares about Reo, he needs to learn about Reo's triggers and be mindful of them. I'm not saying that since Reo is sensitive to abandonment that Nagi should just isolate himself from everybody else, but what I am saying is that when he's going to do something that doesn't involve Reo, he needs to learn how to communicate that he still loves and values Reo. "I'm gonna go play soccer with this person right now, but I haven't forgotten about our promise. When I come back, we can play together. I still love you and I'm not going to leave you for whoever tf I'm playing with rn." (sneaking that 'i love you' in bc like..they're literally canon at this point asdfghjkll) But, I do think that Nagi loves Reo and cares about him in his own way. The two of them just have to keep working on their communication skills. Nagi has the potential to have a hot rich husband who will literally bend over backward for him and buy him all the robux he could ever want, he's gotta put in a shred of effort!

I also like to think that Nagi didn’t totally get the fact that Reo doesn’t gaf about just playing soccer. Nagi thinks soccer is what they do together, it’s what makes reo happy, right? He’s always pushing him to train harder and take the game more seriously because he likes the sport, RIGHT? It would make perfect sense to go play with isagi so that he can get better at soccer and come back to reo a more improved player. Maybe that’s why he was surprised when Reo was so mad in the bathhouse, bc he wasn’t making the connection that Reo cares more about him than soccer. That Reo puts all that energy into him playing soccer because he thinks it’s something that they can have as their own, and once Nagi notices how good he is, he’ll start enjoying it and the two of them can hold hands and run around the soccer pitch!! I think Nagi missed that part tbh, and I don’t think he know that even now in the story. Maybe Reo doesn’t even notice it.

Anyway, a shameless plug to my reonagi playlist if that's your thing (i cooked with this one, i fear) https://open.spotify.com/playlist/5CsvSqmuI4cxOl1nTaV4GJ?si=737a0f21e0bd482a

Closing Thoughts:

Reo is a bpd baddie and I love him very much. I think he's a sensitive guy with a lot of feelings who would benefit from taking time to work through his trauma and his emotions. I hope that he eventually is able to build an identity for himself that doesn't involve Nagi, but baby steps, I suppose. I think Reo is a great balance of positive and negative borderline traits and he reads as a really believable and sympathetic character. He is, however, definitely that friend that you have to slap to stop them from running back to their ex.

Jokes aside though, BPD can be extremely hard to live with, even more so when it's undiagnosed and untreated. If someone you love has BPD, take the time to read up on it and do your best to understand them. I promise you, it will mean the world to them.

If you managed to get this far, thank you for reading! This was a messy stream of consciousness and I appreciate your support by listening.

[williceunleashed]

Me when I delve more into how fucked up Plasma is as a concept and how much it must have psychologically destroyed almost every single member outside of the Sages : 👍👍👍 im fine

Under the cut is a small analysis of Plasma as cult and how it's functioning might have affected the grunts (autism moment sorry)

Plasma is definitely some sort of religious cult, we know that (Ghetsis being some sort of prophet, N being so some sort of God-sent). The people within Plasma, outside of the Sages, are most likely vulnerable, mentally ill, or young and impressionable. We know that Plasma goes out of its way to choose people with little to no support system (N, Concordia, Anthea, the Shadow Triad...), keeping them isolated and making sure they can't be confronted with new, different opinions.

In fact, the Sages themselves are isolated from their support system, as they all come from different countries and are not native of Unova...... Outside of Ghetsis himself.

It's also suggested that Ghetsis is most likely abusive to his grunts, though we don't know to what extent, seeing how panicked the grunts who were hunting down Munna get when Mushana makes them hallucinate about Ghetsis.

The grunts, when moving as a group, are always seen moving in synch and in a very organized way. I think it's a good symbolism on how they stop identifying themselves as an individual, but rather as one single unit : They aren't a person anymore, they are a gear in the machine that is Plasma.

Cults are known to destroy their victims' sense of self, to then rebuild them to function entirely around their leader. Cult members are rewired to give their possession, money, belongings and if necessary even their body and life to their leader. You often see cult members defending their leader after their arrest and pleading to have them released, despite how vile their leader could have been to them.

Now for the part that shatters me : The Plasma Safehouse of Driftveil. This place makes me both happy and sad, in such a bittersweet way. In B2W2, the ex-grunts, alongside Anthea and Concordia, are seen staying around the Plasma Safehouse, still huddled together, instead of returning to a life or normalcy, miggling with other people, or experiencing the world like N did. The way they work is still very similar to B1W1 Plasma, with Rood acting as a leader, with how devoted they are to N's ideals.

There is this sad implication that these grunts are in no mental capacity to go back to a normal life. To me, the Driftveil Safehouse is just some place that was built specifically for Plasma's victims who were too traumatized to recuperate a proper sense of self and go back to a normal life. Of course these grunts are happier now, because Rood seems to be a gentle and kind person, and they are under the supervision of the pokémon league. And yet, the grunts still wear the uniform, they still behave as a unit, they still struggle to bond with outsiders to their group. They live with the guilt of having been part of Ghetsis's nefarious plans and they are too traumatized to be able to move past the cult.

Plasma grunts make me so sad man

oc is dardanne

[ms-cartoon]

Although I like this guy, he's not exempt from my critical analysis.

Cuz-- who tf even is this guy??

Viv seriously needs to work on giving these characters a proper appearance. Either that or just STOP introducing hundreds of characters. Or just don't have them speak!

He interrupts Andre in court and sticks up for Stolas, and most of us don't even know his name yet. It was a really rushed introduction. As far as we know, he's Spanish and he's a big-time Stolas dick-rider. He seems to have high respect for Stolas and he sides with him the whole time, then feels bad for him when he gets his powers taken away.

But like-- why tho??

Why does he like Stolas so much? Do they even know each other? Does Stolas know him personally? Are they good friends or is Vassago just fangirling?

I'm just saying if Viv is gonna introduce these characters, she needs to take her time with the story and the already-existing characters she has now before even making more. Then again, she is LOOONG overdue with that.

I also find it ridiculous that he's both ars goetia and supposedly an overlord?? Why can't it just be one or the other?

(Edit: 12/5/24) Okay, so apparently he was supposed to be an overlord, but Viv decided on him being a Goetia.

[calliecopper]

Ian Gallagher Being His Own Person, and Why That's Controversial

A meta about Ian's story during his time away from Mickey, and the hate his character receives for it. Inspired by @dazzle02 :)

How many times have you heard somebody say that they skipped season 8 of Shameless because Mickey wasn't in it? How many times have you heard somebody say that season 7 is only good during Mickey's episodes, or that the story is boring without Mickey in it, or that Ian's S6-8 arc was boring without Mickey? How many times have you heard somebody proclaim that Ian wasn't a good partner to Mickey?

Mickey is undeniably THE fan favorite character of the show, and with that comes a tendency for fans to defend him tooth and nail, even when he is in the wrong, and refuse to see any other points of view. Characters who go against Mickey in any way receive a harsh amount of criticism that sometimes is not fully justified. This applies even to Mickey's main connection to the story: Ian.

During season 5 and onward, some fans hold Ian's actions against him very harshly when I feel he deserves a bit more empathy. Of these, there are three main things people criticize his character for during seasons 5, 6, and 7 that I feel are not given proper analysis and thought by fandom.

Disclaimer before we get in because people feel very passionately about these two: Every interpretation of a character is entirely unique to each individual viewer, and these are just my opinions. This is in no way an anti-Mickey post, so as you read, keep in mind that any criticism toward him is not meant to make him out to be a bad character. Don't bite me.

Season Five: The Breakup of All Time

I think a large part of why people get so upset with Ian for the breakup is because of the growth Mickey experienced in seasons 4-5 leading up to it.

Mickey in seasons 1-3 is in extreme denial of being gay, and when he grows feelings for Ian, he lashes out and treats Ian like shit. Seeing Mickey's slow growth starting in season 3 brought interest to his character, and in season 4 with his major growth during his coming out, he becomes very compelling to a viewer. After all the angst that it took to get Mickey to finally open up, there's a natural desire to see that positive growth and relationship development continue. When Ian throws a wrench in that by breaking up with Mickey in season 5, people get upset, and they're going to direct that toward Ian because he is the easiest to blame.

There's the sentiment of, "Mickey came out for Ian, took care of Ian, and supported Ian when he needed him most despite his faults. Why is Ian leaving Mickey in the dust when he now needs him most?"

This is honestly not an unreasonable thing to feel when looking at things from Mickey's perspective.

But, when you take a look at Ian's character, and you really think of his motivations in that moment, his decision to break up is actually very understandable. Ian didn't break up with Mickey because he thinks Mickey is a bad partner or because he doesn't love Mickey enough. He broke up with Mickey because he thought that's what was best FOR Mickey.

I think comparing the breakup to their fight over marriage in season 10 to be an effective way to understand Ian better.

In season 10:

"How do you know you love me? Huh? How do you really know? I'm bipolar, right? I don't know who I am from one day to the next, and I can't guarantee shit. So why do you wanna spend the rest of your life with me?"

- Ian to Mickey, S10E9

Compare this to this conversation during the breakup:

"You used to love me. Now you don't even know who I am. Shit, I don't know who I am half the time... You don't owe me anything."

"I love you."

"The Hell does that even mean?"

- Ian and Mickey, S5E12

I feel that Ian's mindset is pretty similar in these two moments. In season 5, he is still grappling with his diagnosis, and he has no frame of reference of how a healthy life with bipolar can look. Everybody has been comparing him to Monica, and he himself seems to oscillate between thinking he is like her and not like her, so in his mind, he has nothing to offer anymore.

Then, in season 10, in his mind he proved himself right. He tried to get his shit in order, lived happily and found peace with his diagnosis, and then he fucked it up. He had an episode, and he lost everything he fought so hard to have. He has practically ruined his life because he DID what he FEARED he would:

"I hate the meds. You gonna make me take 'em?"

"You get fucking nuts when you don't."

"Are you gonna want to be with me even if I don't?"

- Ian and Mickey, S5E12

That conversation isn't Ian saying he isn't going to take his meds, given how in season six, he IS taking his meds. I interpret his above statement to be a warning to Mickey. Because Monica has tried to get on her meds before, has tried to get better, and has failed many times. IAN has gone off his meds willingly twice now. This is him telling Mickey, straightforward, "I do not like the meds, and there will always be a risk of me deciding not to take them."

And in seasons 8-9, he does exactly that. He goes off his meds, and he destroys everything he built for himself. That's part of the reason why he hesitates to marry Mickey in season 10, and part of the reason he breaks up with Mickey in season 5.

Ian views himself and his disorder to be a burden on the people he loves. He believes that Mickey will be better off without him.

"I don't want you sitting around, worrying, watching me, waiting for me to do my next crazy shit."

- Ian to Mickey, S5E12

Because Mickey HAS been doing that. Ever since he was diagnosed, Mickey has been watching Ian like a hawk, acting like a nurse, which frustrates Ian.

"Fuckin' nurse now?"

[...]

"I'm sick of your whiny, pussy crap. I don't need a fucking caretaker, alright? I need the shit-talking, bitch-slapping piece of Southside trash I fell for. Where is he? The fuck is he, Mickey?"

- Ian to Mickey, S5E10

But, of course, Mickey doesn't see it that way. To Mickey, Ian is anything but a burden he wants to unload.

"It means we take care of each other. [...] It means thick and thin, good times, bad, sickness, health, all that shit."

- Mickey to Ian, S5E12.

Mickey would do anything for Ian. He confronted his worst fear by coming out, stayed with Ian even after the infidelity, defended Ian after he kidnapped his son, and tried his best to understand a mental illness he had no prior knowledge about. Yet, Ian still won't commit to him. After everything, he still isn't good enough.

"I'm not saying never!"

"No, you're just saying you don't love me enough now."

- Ian and Mickey, S10E9

And Ian, meanwhile, thinks that HE isn't good enough for MICKEY. He has been diagnosed with a lifelong condition, one that he has seen ruin lives firsthand, something that will be a part of him for the rest of his life, and he doesn't wanna tie Mickey down to that life.

It's all one massive miscommunication.

Finally, I think the part that is the most confusing to fans regarding Ian's mindset during the breakup stems from his moments with Monica in S5E11 and S5E12.

Specifically, the parallels between these two conversations.

"Ian, there's always gonna be people that are gonna try and fix us. And you can never make those people happy. Like it breaks their heart just to look at you."

"Yeah, um, even Mickey now."

"He's your boyfriend, right? [...] I'm sure he means well, but you need to be with people who accept you for who you are. And they're out there. You should never apologize for being you."

- Monica and Ian, S5E11.

Vs.

"What the hell is wrong with you?"

"Too much! Too much is wrong with me. That's the problem, isn't it? Too much is wrong with me, and you can't do anything about that. You can't change it. You can't fix me, 'cause I'm not broken. I don't need to be fixed, okay? I'm me!"

- Ian and Mickey, S5E12.

Monica's interpretation of the relationship seems to paint Mickey in a negative light. "He means well, but he doesn't get it," or something along those lines. Based on her previous experiences with the diagnosis, she has come to the conclusion that people like Mickey or Fiona, who try to get them to take medication and are saddened by the diagnosis, are being controlling, and do not love them for who they really are. That's why she always went back to Frank; he actively tried to get her to NOT take her meds or get better, and did not encourage her when she DID try to get better. So, to her, being off her meds IS the TRUE version of herself, and the people who can not accept that do not accept her.

But I think, while Ian's lines parallel Monica's, that he does not think the same way that she does.

Toward the end of season 5, Ian seems to do a complete 180 from his previous statements on his similarities with Monica.

"You flushed your pills? You get thats a full-on Monica move, right?"

"I'm not Monica."

- Ian and Fiona, S5E8

Vs.

" [...] Cause they all say how alike we are."

"That's probably not a compliment."

"Uh... No, I think it is."

- Ian and Monica, S5E11

This happens in the wake of his arrest, after Ian's siblings talk about him to the military police. Many of their comments seem to hit Ian in a way that makes him feel misunderstood or like a burden.

Debbie: But he's been acting crazier for longer than that.

Lip: Yeah, at least this past year.

Officer: How would you characterize his behavior?

Debbie: Compared to how he used to be... He's different.

Lip: He'll go back and forth from, you know, being depressed, to, you know, incredibly wound up. I mean, he ran off with a baby for no reason.

Debbie: He almost hit me in the head with a baseball bat.

Fiona: Our mother was bipolar, so we know what it looks like. She put us through Hell, and- I'm not saying you put us through Hell, but when they're manic they can be destructive.

Officer: In your opinion, does he require medication?

Fiona: Yes.

Officer: Is he unable to care for himself?

Fiona: Sometimes, yes.

So, when Ian talks to Monica when they reconnect, Ian expresses loneliness and a feeling of isolation.

"I'm really glad you came, yknow? I just... I needed someone to talk to who... gets it."

- Ian to Monica, S5E11

When Monica tells Ian to not be ashamed and that she loves him for him, she is kind of acting like his Frank. The meds have been taking a toll, and recovery is so difficult that running with her and getting validation from the only other person who could "get it" is an easy choice to make. I think the combined factors of Mickey treating him so delicately, his siblings laying out his flaws so plainly, and his mother's open acceptance creates a feeling of bitterness or shame, and Ian is hoping to find comfort in his mother.

But it doesn't go the way he expects it to.

At the diner, he thinks that Monica is going to prostitute herself for money, and is relieved when she doesn't. It's likely he was thinking of his own stint at the Fairytale in this moment.

Then, he recalls a moment from his childhood that he does not look upon fondly, only for Monica to refer to it as "good times."

He meets Monica's partner and discovers he is an aggressive teenage meth dealer that she is helping to sell the meth.

I think Ian has a true moment of clarity during this. He had thought that he was vindicated, that everybody else was wrong, that they didn't understand, that Monica was right, and that he was perfectly fine just the way he was. But then he sees what Monica considers to be "a happy life."

"Ian, I'm finally happy. People like us, we can be happy. I love him, and that's the most important thing, to find somebody to love, right? Who loves you back for who you are. I want that for you. I love you. We're gonna be okay. We're gonna be okay."

- Monica to Ian, S5E12.

Monica's perception of life is warped. What she considers a good life is living in a trailer selling meth. Good memories are traumatic memories for those around her. True love and support is an aggressive teenage dealer, or Frank Gallagher.

A simple drive to Ian was a horrifying kidnapping to Svetlana. Doing a porn that was no big deal to Ian was a betrayal of trust to Mickey. Joining Monica and ignoring the calls of his well-meaning but ignorant family to Ian was a painful and worrisome disappearance to them. Ian's perception HAS been warped, and he's crashing back to reality, realizing that he has run off with MONICA, realizing that he can't continue down the same path as her, and needs to go home.

He's come to accept that he is bipolar. He's internalized what his family has kept repeating, that he is just like Monica, and looking at her living like this, believing that she is living well, is terrifying to him.

So he goes home, believing that he is just like his mother, and he's doomed to be a piece of shit. He goes back, and he breaks up with Mickey. Because he doesn't think that people like him can be happy, and he doesn't think he'll be okay. And that isn't something that Mickey can change. Too much is wrong with him, and Mickey can't do anything about it.

Really, it's just a matter of Ian operating under the "if you love them, let them go" mindset, and Mickey interpreting it as a rejection. It's the two of them both believing they are not good enough for the other and internalizing it instead of properly communicating.

TL;DR: Ian's breakup with Mickey in S5E12 is not done in a healthy OR selfish mindset. To him, he will do nothing but drag Mickey down, and in his unmedicated and clearly altered state of mind, he thinks the best thing is to let him go.

Season Six: Dating Caleb and Other Blasphemy

The first time we see Mickey in season six, it's behind a pane of glass in an orange jumpsuit.

Mickey had tried to murder Sammi, Ian's half-sister, and had been sentenced to prison for 15 years. It's established that Ian has not been to visit Mickey much and is trying to move on past that time in his life. But, upon being bribed by Svetlana, Ian visits, and during this visit Mickey asks Ian a question:

"You gonna wait for me?" - Mickey to Ian, S6E1.

And when Ian shows hesitation:

"Fuckin' lie if you have to, man, eight years is a long time." - Mickey to Ian, S6E1.

So, Ian replies:

"Yeah. Yeah, Mick, I'll wait." - Ian to Mickey, S6E1.

Before even meeting Caleb, fans absolutely tear into Ian for his decision to not commit to Mickey in this moment. They call it selfish, or out of character, or unfair to ice Mickey out when he is going through this difficult time.

But, let's look at it from Ian's position.

Ian has dealt with abandonment issues his entire life, with both Monica and Frank being unstable and infrequent providers during his adolescence. Throughout his relationship with Mickey, they had been separated on three separate occasions, one of which was entirely voluntary on Mickey's part. Now, due to committing a major crime, Mickey has been sent away for up to fifteen years. They would both be in their thirties by the time Mickey would be released, or close to it if he got out early, and that's not even considering that he was actively taking part in jobs / activities that could extend his sentence, like stabbing people.

Ian has dealt with recurring disappointment and abandonment his entire life, and throughout their time together, Mickey hasn't really established himself as stable.

Now, before you bring out the pitchforks;

"But Mickey was there for Ian and supported him through seasons 4-5. He grew as a person and proved he IS reliable."

Yes, that's true. He did undergo massive development that allowed him to be a better partner and more reliable person to Ian. But, canonically that period of time only takes place over a few months.

Mickey, for the better part of 2-3 years, was NOT a good partner to Ian. Multiple years of an unsteady situationship is not so easily forgotten. Yes, Mickey 1000% had valid reasons for acting the way he did. It's made very clear in S3E6 and S4E11 why Mickey hides his sexuality and lashes out when forced to confront it. But that isn't an excuse. His reasons for acting in a negative way towards Ian the first three seasons is understandable, but he went about it in a bad way.

Not to mention that, despite his growth, Mickey has just been sent to PRISON. No matter how you spin it, his decision to go after Sammi was NOT justified and does not necessarily bring forth confidence in his reliability and stability.

It's not unreasonable for Ian to not want to wait for over a decade for a man who has not always been the best for him. It sucks as a viewer who is invested in them, but Ian was not in the wrong.

Beyond (justifiably) selfish reasons, Ian also already thought that he was bad for Mickey, was worried that he would ruin his life, and with Mickey's justification for his torture attempt being that he did it FOR Ian, that Sammi had it coming because of what she did TO Ian, Ian probably felt responsible for that as well. There was probably a level of guilt in Ian from the whole situation, both for Mickey being in prison and for leaving him there.

But from his point of view, it's better for everybody to try and move on.

What really bothers me about this criticism toward Ian is the sense that he OWED Mickey his time and loyalty. Because Mickey had given and sacrificed so much for Ian during seasons 4-5, it's like people think Ian is then obligated to return that for Mickey, no matter what Mickey did. It's a very transactional way to view the situation, and it just leaves me with an icky taste in my mouth. Nobody owes anybody anything in that situation. Ian does not owe Mickey companionship, and Mickey did not owe Ian support when he got put in prison in season 9. Returning to Ian was Mickey's decision to make, and not a decision Ian was obligated to make in season 6.

Now, onto the actual "dating other people" part of the conversation.

For months, Ian has done nothing but get his meds on track while working at Patsy's, then at the janitors job on Lip's campus. During this time, Ian expresses having a very low sense of self-worth.

"He as smart as you?"

"No."

"Yeah, he's smart."

"Lip is the genuis of the family."

"So that gives you an excuse for not finishing [high school]? You seem plenty smart, and Dav's uniform doesn't really suit you."

- Ian, Lip, and Professor Youens, S6E3

And:

"This is it for me, Lip. This job. This is where I land."

- Ian to Lip, S6E3

Which Lip comments on in a very concise way:

"Yknow, he thinks... Being bipolar means he's doomed to be a piece of shit like our mother."

- Lip about Ian, S6E3

Ian feels no sense of purpose during these months. He feels he has no worth and that he is doomed to work a dead-end job and have no happiness. He thinks he is just like Monica.

That only changes when he witnesses an accident on the highway, and he saves a woman's life by pulling her out of a burning car.

This leads us to Caleb.

Now I'll admit, this is where I take issue with the storytelling, because this would've been a PERFECT way to segue into Ian's EMT arc, but regardless of what I personally think would've been better, the way it plays out in canon does actually still make sense for Ian's character.

After saving the woman from the burning car, Ian collapses due to smoke inhalation and exhaustion. A firefighter on the scene provides Ian with oxygen, thus saving his life. Ian immediately fixates on this particular firefighter.

Now, Ian has a very complicated relationship with feeling his emotions post his diagnosis. In season five, when he is numbed by his meds, the only way for him to feel again is through pain, via self-harm or starting physical fights, and sex. In fact, sex plays a major part in many aspects of Ian's life.

From the age of fifteen, Ian had been consistently subject to sexual abuse. He's been used for his body by countless men throughout his teenage years and has been oftentimes reduced merely to his sexuality and what he can provide to his partner. Even Mickey, in season 2, tells Ian as such in a panicked rage.

"You think we're boyfriend and girlfriend here? You're nothing but a warm mouth to me."

- Mickey to Ian, S2E8.

(No, I'm not saying Mickey sexually abused Ian. But he did contribute to the way we see Ian default so heavily to objectifying and sexualizing himself.)

So, due to this recurring trauma, Ian has a tendency to default to sex as the primary way of getting satisfaction, be it emotional or physical.

So, when Ian gets a rush of adrenaline from the crash, after months of that numbness, he chases the emotions in the most effective way he knows how.

Ian goes to the firehouse with cookies to give as thanks to the firefighter who saved him, but with a clear ulterior motive of getting laid. When he finds out that the particular firefighter (who happens to be part of the "gay shift" which is an odd writing choice) he saw on the highway is married, Ian meets Caleb. In this scene, they speak all of one line to each other when Caleb invites Ian to a firehouse softball game. The next time we see them on screen together, Ian acts very flirtatious toward Caleb, which sets forth their relationship.

"You ever pitch?"

"... Usually, but I'm open depending on what you're into. Where we doing this?"

"Follow me."

[...]

"Wait, we're actually playing softball?"

- Ian and Caleb, S6E5

I think Ian receives hate for this simply because he's expressing interest in a guy that isn't Mickey. Fans get the impression that Ian is moving on too fast or that his interest in Caleb is sudden or rushed. However, I think the rushed nature actually works to show Ian's intentions. In this moment, Ian is not really looking for a full-on relationship. Given how little they interacted thus far, the fact that Caleb wasn't even who Ian was originally interested in, and how Ian's comments consistently err on the side of sexual, its safe to say Ian was just looking for a hookup. In fact, it's Caleb who pushes so hard FOR the relationship.

Mickey, in a deleted scene, hooks up with an inmate right after talking with Ian. If Ian's relationship with Caleb had only been a fling or hookup, I don't think Ian would've been as heavily criticized. As it is, fans get upset at this relationship because it IS a relationship. They go on dates, Ian starts staying with Caleb, and really they seem to be very domestic.

But I don't think Ian was as dedicated to the relationship with Caleb as fans make him out to be.

From the jump, Ian seems uncomfortable with the quick-moving pace of it. At first he only seems interested in sex with Caleb, but upon the negative reaction that provokes, Ian conceded to going on a date with Caleb (which is a bit of a slap in the face to Mickey fans after Gallavich's ruined date.)

"[...] I was hoping to get my hands on your hose."

"Is that what this is to you? A fuck?"

"You say it like it's a bad thing. Come on, let's get out of here."

"No. I knew you were younger than me, but I thought you were a grown-up."

"Fuck. Okay. Okay. Hey, I'm into you, alright? I thought you were into me."

"I am."

"Then what's the problem?"

"I don't stick my dick in just any guy."

"What do you want, then?"

"Seriously? Do I have to spell it out for you?"

"Yeah."

"A date."

"With, like, flowers and chocolate and shit?"

"No, we could skip the flowers."

"Okay. You're on."

- Ian and Caleb, S6E5

(Side note, pulling a "is that all this is to you" after two non-romantic interactions is not just quick in terms of hookup culture, which Ian is more attuned to, but is quick in any terms. More on that later.)

During this date, Ian is visibly very uncomfortable. Some would chalk this up to him having never been on a date before, and the writing even seems to imply that,

"Okay, look, I have no idea what I'm doing. My last boyfriend wasn't much of a talker, his idea of a conversation was to insult me a bunch and then punch me right before we banged."

- Ian to Caleb, S6E6

but that's actually not true, DESPITE the writers forgetting that.

"You know, Mickey and I never went out on dates. Ned never took me out, Kash and I fucked in the back of a convenience store, and I don't think jerking off strangers in a nightclub counts, so..."

- Ian to Lip, S6E6.

He actually HAD gone out on a "date" with Ned in season three, where he was visibly less uncomfortable than on his date with Caleb. He also went to many loft parties during his time dancing at the club, wherein he blended in very well and was able to sorta chameleon himself with the northside crowd. I think the show wants us to believe his discomfort is from him "never having been on a date before" or being unfamiliar with a "slower" pace, but I think his discomfort actually would stem from him just genuinely not being interested in Caleb in a romantic way, and thus feeling awkward on a date that's in a more romantic setting (compared to his one with Ned, which was undoubtedly more sexual.)

I also think his discomfort stems from being completely out of his element. Ian has taken a massive hit to his confidence since his diagnosis, so his Southside roots bring about a bit more hesitancy in him than it might have before, and he may be less confident in his ability to chameleon. That's why, during the date, Ian shows discomfort with Caleb when he shows more "class" than Ian.

"Usually, I get a bunch of apps to share. You good with that?"

"[Uncertain hum] ... Appetizers! Sure, yeah, big- big fan of apps."

[...]

"You seem like a very pensive kinda guy. You an only child?"

"Uh, no."

"Brothers and sisters?"

"A bunch, yeah."

"Older or younger?"

"Both."

"What about your parents? Both still alive?"

"... Yeah."

"... Fantastic. I'm learning so much."

[...]

"Where I'm from, people communicate with their fists."

"Where's that?"

"Southside."

"Mmm. Hands of steel. Okay, so you're a street rat. A brawler."

"Is that a problem?"

"Only if you make it one."

- Ian and Caleb, S6E6.

Then, beyond their first date, we have the actual relationship to dive into.

Throughout his scenes with Caleb, Ian seems to oscillate between neutrality, discomfort, or mild enjoyment in the situations he finds himself in.

There's this interaction, for example, where Ian lets Caleb take charge in defining their relationship:

"So what are we doing?"

"Whatever you want, I guess."

- Ian and Caleb, S6E7.

Or this moment:

"What are you smiling at?"

"I like having you over here. What are you smiling at?"

"I like having a purpose."

- Ian and Caleb, S6E8.

Or when Caleb invites Ian out with his friends, and we see Ian slip into his chameleon persona, mirroring the petty mannerisms of the most vocal participant of the conversation, as well as avoiding diving too much into his personal history.

"You haven't told me which one is your ex."

"Guess."

"Old guy, pink sweater."

"How'd you know?"

"Ooh, a redhead, Caleb? Does his carpet match his drapes?"

"You're a good sport."

- Ian and Caleb, S6E8.

[...]

"If we had known you were bringing a middle school student, Caleb, we wouldn't have come to a place that cards."

"Oh, no, it's cool, I don't drink. I hear it makes your skin old and leathery."

"That's-that's how we're playing this?"

"Hey, you threw down first."

"Where you from, kid?"

"Back of the Yards."

"Local boy. What's your story?"

"Story?"

"Who you are, what you do, how did you meet this chocolate bundt cake?"

"Met him at the firehouse."

- Ian and Gregory, S6E8

[...]

"We like this one, Caleb. Don't we, Gregory?"

"I mean, If young, beautiful, and kind of a smartass is something to like, sure, fine, I guess we do."

- Caleb's friends about Ian, S6E8.

OR, in a deleted scene where Caleb expresses frustration at Ian keeping the distance between him and Ian's family, as well as Ian's lack of communication, while Ian seems unbothered or even perplexed by Caleb's frustration.

"So, where'd you sleep last night?"

"Home. Got done at three, told you I'd be late."

"Yeah, like nighttime late, not next day late."

"Well, I didn't wanna wake you, and I had to go back there to grab some stuff: clothes, towels..."

"Where's there?"

"Home, you mean?"

"Yeah."

"Back of the Yards."

"Right. You did mention that once. I still don't know where it is or who I'd call if there was an emergency?"

"Uh... my brother, I guess? Or my sister."

"Brother or sister. Okay. I'll just track down Ian Gallagher's brother or sister on the internet."

"I'll... put their numbers in your phone."

"Great."

- Ian and Caleb, S6E11 deleted scene.

OR any of the follwing:

When they go to get Ian tested for STDs, he is visibly uncomfortable having Caleb in the room with him.

He is only comfortable revealing his bipolar disorder if it is done in exchange for another secret from Caleb.

He isn't very comfortable sharing his past, only references his previous relationship in a lighthearted manner, and he only reveals his sexual history upon feeling pressured to do so, which he purposefully presents in a callous way.

To me, the entirety of Ian and Caleb's relationship reads as Ian's desperation for validation through sex, which leads to him putting up with a relationship he isn't entirely comfortable in or commited to or ready for. To me, it seems like he's truly just looking for companionship in any way he can get it.

Out of everything, though, I think what really gets to fans most about this storyline is the constant comparison of Caleb to Mickey as a means of demonizing Mickey.

Throughout the entirety of Ian and Caleb's relationship, there is a constant comparison between the two relationships, seemingly with the intent of painting Mickey as a horrible partner.

When Ian tells Lip about his upcoming date with Caleb, he remarks that he never went on dates with Mickey, which comes off as an unnecessary jab.

During his date with Caleb, Ian talks about his lack of effective communication skills, which reflects negatively on Mickey, to the point Caleb brings forward the idea of domestic abuse.

During the wedding that Ian attends with Caleb, Ian mentions Mickey's marriage to Svetlana, and he uses a tone that comes off as belittling the situation and how difficult it was for Mickey.

There's this line, when Caleb asks Ian to kiss for the first time:

"Can I kiss you?"

"I thought kissing comes after you've had sex a bunch of times."

"Ian, kissing comes whenever you want it to. Even now."

- Ian and Caleb, S6E6.

Then, there's Mandy stating that Caleb was better than Mickey.

"A hot black fireman. Also an artist."

"Upgrade from my brother."

"I miss Mickey, but uh... This new guy's nice."

- Ian and Mandy, S6E9

These near constant comparisons to Mickey are frustrating to fans, because it can often feel like Ian, or even just the writers and the narrative, are trying to belittle Mickey's character and reduce him to a one-note toxic ex, which completely spits in the face of the development that he went through. THAT is what is most frustrating to fans.

Because it's true that Mickey was not always the best partner. In real life, Mickey would be a walking red flag, and Gallavich would be undeniably toxic. But that applies to EVERY SINGLE CHARACTER in Shameless. That is the entire point of the show. None of them are particularly good people. They all do shitty things, but they all have compelling reasons for doing it. That's why we can look at these characters and feel connected to them instead of just absolutely hating them.

It's a really odd writing choice for a show that focuses on morally gray characters, or the idea that nobody in the show is really a good person, to decide to play moral high ground in this particular instance, and have Ian suddenly turn his nose up at Mickey's behaviors.

But is this really how Ian feels?

Because, as established, Ian is VERY good at playing chameleon. He is good at shaping himself into whatever a partner wants him to be. He mirrors his partners mannerisms, beliefs, and attitudes.

And Caleb, for all that the story wants to make us believe he's better than Mickey, is actually not the best partner either. Not just for cheating on Ian in season seven and then gaslighting Ian about it; he shows some toxic behaviors in season six as well, including being lowkey judgmental about Ian's Southside roots.

Take, for example, Caleb implying that the Southside is trash, but that he can see the beauty in Ian despite being from the Southside:

"That's my latest. I love to find the treasure inside the trash. Trying to find the secret life in things. What it wants to be instead of what it is."

"Is that what you're doing with me?"

"Good question. Can I kiss you?"

- Ian and Caleb, S6E6

(Which, funnily enough, this line from Caleb goes pretty against the sentiment that Monica had in season five, of Ian finding somebody who loves Ian for who he already is, as Mickey did.)

Or, for another example, Caleb judging Ian pretty heavily during the softball game for being "not grown-up." Simply because Ian expresses sexual interest in him above romantic.

"Cmon, let's get out of here."

"No. I knew you were younger than me, but I thought you were a grown-up."

- Ian and Caleb, S6E5.

Which, as I pointed out before, is really strange behavior. Participating in hookup culture isn't something that Ian needs to be shamed over. There's a sentiment of "Hooking up is beneath me, it's immature," to Caleb's tone, which is unfair. Now, he has reasons for this, that being his experience with getting HIV from a hookup who lied to him, which draws a pretty interesting parallel to Ian.

"Don't worry, guy I did the scene with said he was clean."

"He didn't use a rubber? Are you out of your fucking mind?"

- Ian and Mickey, S5E5.

Vs.

"Guy in college. He lied to me."

- Caleb to Ian, S6E8.

(Which I actually find to be a very interesting plot point and is actually a pretty good scene.)

So, while Caleb was not wrong to put forth a boundary by not hooking up, he was wrong for acting as if IAN was the problem in the situation. Not to mention, his behavior at the game is very strange when taken into account how little they've interacted thus far. He had understandable reasons for his negative reaction, but he went about it the wrong way. Sounds familiar, doesn't it?

Anyways, I could talk about the relationship between Ian and Caleb more, but that's not what the point of this is.

The point I'm trying to make is that Caleb, however covertly, expresses a negative or biased view toward the Southside lifestyle. And Ian, being the type to mimic his partners, follows along in that.

Ian already fears that he is going to be left. He is afraid that showing Caleb who he really is and not being the idealized version of himself will lead to Caleb breaking up with him.

"I'm enjoying it while it lasts."

"You think he'll dump you?"

"Well, I've told him I'm bipolar, and my family's screwed up, and he took it pretty well. But it's one thing to hear it and another to live it, so... We shall see."

- Ian and Mandy, S6E9

So, he chameleons. He makes himself the treasure in the trash. He distances himself from the image of a brooding, Southside street rat.

Because, after so long of constant pain and numbness during and post his diagnosis, Caleb is the first good thing he's found.

"I haven't been this happy in a long time."

- Ian to Caleb, S6E8.

And really, everything that I just talked about doesn't matter when you think about it that way.

No matter how dedicated or invested Ian was in his relationship with Caleb, it still provided him with companionship and validation, which as we know, is something that Ian has an unhealthy dependence on to find self-worth.

And I don't think Ian was wrong in searching for that connection simply because that connection wasn't with Mickey. He could've been well and truly in love with Caleb, and he wouldn't deserve some of the hate he receives for his canon actions.

It's easy to look at Ian's relationship with Caleb and get frustrated because of all the time that was put into Ian and Mickey's relationship. But beyond the instinctual negative feeling that comes with seeing Ian with anybody other than Mickey, his relationships outside of Mickey deserve to be analyzed and observed for what they actually do for HIS character, and not just immediately cast aside as unnecessary or ooc.

So, to summarize:

Firstly, Ian wasn't selfish for not waiting 15 years for somebody in prison. Whether he was serious about Caleb or not, Ian was under no obligation to dedicate himself to Mickey. Ian did not owe Mickey anything simply because Mickey was there for Ian when shit got tough. If they had been together, sure, Ian would've been a lot shittier for leaving Mickey alone. But as it was, they were broken up, and even if they hadn't been, Ian would've had every right to not want to continue seeing Mickey after his decision to harm Sammi, just as Lip was justified in not wanting to be with Mandy anymore after she ran over Karen.

Secondly, Ian dating Caleb wasn't bad for his character. In fact, I think their relationship in season six was actually a very interesting way to progress Ian's character and get more insight into his mind and how he operates.

Thirdly, Ian and Caleb's relationship deserves to be analyzed for what it is, rather than what it isn't. Just because Ian is not with Mickey doesn't mean that he doesn't undergo some huge development in this season, both in and outside his relationship with Caleb. Furthermore, Ian entering a new relationship gives us the opportunity to see more sides of his character, and as such the relationship should be analyzed as it's own separate entity, and not just as a hurdle in the way of Gallavich.

Fourth, Ian was not just waiting to cast Mickey aside to jump on the next dick possible. I've seen this criticism before, and when looking at his actual arc at the beginning of S6 and analyzing his general character, that's just simply not true. Entering a new relationship is not equal to immediately disregarding Mickey.

TL;DR: The hate Ian gets from this season mainly stems from "Ian date somebody aside from Mickey, bad Ian" without any further thought behind why he enters the relationship and what the relationship actually means to him. There is no separation in the minds of fans between Ian and Mickey, and therefore, Ian having experiences and an identity outside of Mickey is negatively perceived.

Season Seven: Putting His Own Wellbeing First

This one will be less long winded than the previous one, because I have less to say on it, honestly.

During the entirety of Ian's bipolar arc, it is pretty clearly shown that to maintain mental wellness, Ian needs stability.

When Mickey shows up and asks Ian to run away with him to Mexico, that's threatening to uproot every amount of stability Ian has managed to secure the past two seasons of the show.

I honestly don't see as much hate directed toward Ian for his decision to leave Mickey at the border as I see for his previous decisions. I'd say the main thing I actually see directed toward this season is just that Ian's story is boring without Mickey in it. Mostly because he enters another new relationship with Trevor after his relationship with Caleb, which really just follows the cyclical Shameless cycle of, "Don't know what to do with a character? Give them a new love interest!" But because I talked about the judgement for non-Gallavich Ian relationships above, I don't particularly feel like doing a deep dive into the Ian and Trevor relationship in this meta.

What I want to talk about relates to the Mickey Mexico storyline, though, and that's the hate other characters recieve for trying to dissuade Ian from going.

After finding out that Mickey escaped from prison, Fiona and Ian have the following conversation:

"What are you doing up?"

"Couldn't sleep. You ever, uh, think about about what would've happened if you'd run off with Jimmy-Steve?"

"Lying sociopath Jimmy-Steve? My life would be a nonstop psycho-thriller. I definitely dodged a bullet with that one."

"What if nothing ever gives you that same thrill again? Still feel like you dodged a bullet?"

"I don't know. Probably. Where's this coming from?"

"Things have been weird between me and Trevor since Mickey got out."

"You mean since Mickey busted out of prison and has got half the Chicago Police Department circling the Southside looking for him."

"Can't get him out of my head. Just trying to stop myself from doing something I shouldn't."

"You turned your life around. Mickey would set a match to it. You've done really great without him, and I'm really fucking proud of you."

- Ian and Fiona, S7E10.

I've seen this conversation criticized many times because of how "unfairly" Mickey is treated in this scene. But I truly think that nothing said in this scene was wrong, and Fiona was 100% right.

In the past, Fiona has definitely shown a prejudice against the Milkovich family before. Specifically with Mandy, Fiona seems to look down upon her and disapproves of the relationship between her and Lip. This on its own is unfair treatment and is annoying to witness.

But in this particular case, absolutely nothing she is saying is wrong or biased simply because Mickey is a Milkovich.

People take the line, "Mickey would set a match to it," and compare it to his behavior in late Season 4 through season 5, where Mickey is taking care of Ian, and say that Fiona is being untruthful or hypocritical. If Mickey had never been sent to prison, or even if he had just been released legally, and Ian was simply thinking about cheating on Trevor and getting back with Mickey instead of running away with him, then the criticism toward Fiona would be more justified. But as it is, Mickey is a wanted fugitive, and Ian running away with him would make Ian a fugitive as well, and WOULD effectively set a match to the life Ian had spent the past two seasons working toward. He would be giving up a career he worked hard for and fought to have, he'd be living in stressful conditions on the run, he'd have no support system, and he would have less ease of access to his medication. Running with Mickey would have been the wrong decision for Ian's wellbeing, and honestly, Mickey should never have asked Ian to go with him.

I think that many people have rose colored glasses on when it comes to Gallavich, specifically with Mickey, and that makes it harder to view these moments unbiased. But, looking at it objectively, Mickey was so wrong for asking Ian to come with him to Mexico. He KNOWS that Ian needs stability with his bipolar diagnosis, and he KNOWS that this would be a stressful life he'd be forcing Ian into.

Simply put, he's acting selfishly in that moment. Having your own interests in mind is not always a bad thing, but in this specific case, Mickey would have thrown a huge wrench into Ian's life is Ian hadn't made decisions in HIS best interest.

Again, I have less to say on this as I did other subjects, because to me it feels much more cut and dry. Mickey was in the wrong here 100%, Fiona was not being wrongfully judgmental toward Mickey, and Ian was not in the wrong for not going with Mickey.

After so long of seeing them apart, it makes sense to want to see them together again. So when Ian, again, is the one making the decision to end their relationship, fans are going to lash out at him and those around him.

But it's important to put aside biases and allow your favorite character to be in the wrong occasionally. Mickey is not perfect, and criticism against him, both from characters in the show and fans, is not unfounded nor unjustified.

TL;DR: Mickey was wrong for asking Ian to uproot his life and run to Mexico, and calling that out isn't defamation of his character.

To End This Yap Session:

Ian is by no means a faultless character, and he is not exempt from criticism both inside and outside of his relationship with Mickey. However, I often feel that the criticism he faces is for the wrong reasons, and not much contemplation or exploration is done on him as much as it is for Mickey.

I love Mickey. He's an amazingly complex character, and his relationship with Ian is one of my favorite parts of the show. But in being a complex character, he is also an imperfect character.

I feel that many fans get very protective over their favorite characters, to the point that anything that goes against that character's interests is labeled as bad, and any criticism toward his character is disregarded immediately.

In this particular case of Gallavich, I feel that post season three, fans often see things from Mickey's point of view without looking at Ian's as much. This meta was simply to give my own thoughts on Ian's most "controversial" moments among fans. Obviously this is mostly condensed to season six and his relationship with Caleb, which I feel is the biggest example of jumping to conclusions and only seeing the surface level of his character.

However, I would like to acknowledge that Ian is also an insanely popular character in the Shameless fandom. While he is misunderstood in many instances, he is given much more sympathy and understanding than many other characters in the show, especially many of the female characters. This long-winded meta is only focused on the concerning tendency for fans to link Ian's identity to Mickey entirely without allowing him to be an individual, but a majority of the time he is still a beloved character who is treated favorably by fans. Compared to a character like Debbie, Ian sees much more support, and I feel that the energy I put toward this meta and trying to understand Ian should also be applied to (almost) EVERY character in the show.

Anyways feel free to leave thoughts.