#i mean in a literal sense

[quasarifxxy]

This episode was so painful (to us viewers and) for BOTH parents

Misaki realizing that they have almost everything she can’t provide Miri. from all types of clothing, to a room filled with everything the child wants, Misaki realized that this place has everything she couldn’t afford. In her eyes, this is paradise for a child like Miri. 

But if there’s anything Kazuki and Rei can’t do, it’s to provide Miri a normal life. One devoid of lies and danger. If they choose to keep this up, it will hurt them all in the long run.

[sameboot]

Simon petrikov coping FAIL compilation

[twinstxrs]

idk if this is accurate but i’ve felt like in previous seasons riz & gorgug have been one of the inter-bad kids dynamics we’ve seen the least of & this season has been so great in that aspect. gorgug having helped make some of riz’s magic gear. riz helping gorgug with his studies. the shared birthday party. gorgug’s gift to riz being something he himself made to protect riz. riz’s gift to gorgug being something he illegally grabbed to protect gorgug. gorgug who utilizes rage to put his body on the line for his friends & riz who will take deep levels of mental stress for his friends. even though it was within the context of a joke, riz calling gorgug an “absolute sweetie.” like yea they might not be in a band together or both part of a presidential campaign team or owlbears teammates, but they’d go to war for each other, because they’re best friends.

[inkskinned]

it is totally okay to be hurt and tired and fed up with the american schooling system but i need you to understand that we need to be better about loudly and routinely defending public education.

yes, many teachers suck, many schools utterly suck. i also got bullied and was absolutely not given the right support for my needs. i am not defending public education because it was kind to me. i am defending it because it needs to exist.

right-wing republicans do not want an educated population. they want kids to be homeschooled or in private school. there is a huge religious undertone to this.

the most common argument is that despite high costs, the "result" is not "good" enough. they point to failing schools as proof that public education is just never going to work out. there will be arguments made here that you actually agree with: that teachers can be bullies, that we taught online for 2 years and still charged the same amount of tuition, that we have no recourse for students to actually have agency or a voice, and that schools are now unsafe for kids due to risk of illness and gun violence.

these are all placing the blame in a fraudulent way, one intended to get your parents to homeschool you. the less kids in a school, the less federally-awarded funding for that school, the less any school succeeds. they will not mention the fact it is their legislation that takes away important funding opportunities, that teachers are living at or below the poverty line, that buildings are not kept up to code, that administration is overpaid and forces specific curriculums, that corporations like (my personal enemy) Pearson Education control certain classroom goals because teachers can't afford other options. they pretend to be ignorant of the gun violence and say "oh just get a gun" - but these are the same people who will be sending their child to a private school with a bulletproof backpack. they don't care if your kid dies, though. they "don't believe" in covid, but they did get their kid vaccinated, because of course they did.

it is a closed loop. conservative parents hear the fearmongering and remove children from the system. frequently these parents are also deeply religious. the kids are raised without access to other media & learn to parrot their parents. you have now created a new generation of conservatives. additionally, one of the parents/caregivers must stay home and homeschool the children, usually for free. i will give you 1 guess which parent tends to stay home to homeschool the children. these parents are encouraged to have many, many children. those children are most likely not getting access to safe sex ed.

we might laugh at fox news suggesting teachers are forcing children to use kitty litter but: first of all, there is kitty litter in the classroom. it's part of an emergency kit in case children are locked in due to a shooter. so that's fucking dystopian, and the fact they've completely reimagined the scenario to somehow make the teachers look bad when it's instead a fucking huge symbol of our failure as a country to protect our children.... it feels a little intentional.

secondly: don't just dismiss the situation. because, yeah, obviously, no teacher is encouraging kids to be a catboy. but the actual undertone that fox news is trying to sew is an outright distrust of teachers and of public education. they rely on the dehumanization of trans people as a common touchstone to hide the fact they're pushing two agendas at once. (which is ironic. because the thing they accuse teachers of. is pushing. an agenda.)

whenever someone tells you they want you to read less, you should be suspicious of that. when someone tries to separate you and your education, you should be suspicious of that. i don't even like incel rhetoric nor would i want my kids exposed to it - but i would not take away my child's (age-appropriate) access to the internet. i would just provide more educational materials, not less. the difference here is that i believe we can resolve ignorance with knowledge; whereas conservatives believe that ignorance is bliss.

they misappropriate funding and demonize teachers. they pull the same trick each time - the same thing we are seeing with anti-trans rhetoric. they do not want you to have access to safe sex ed, so they act horrified, claim sex ed teaches you how to thrust deep, claim that we have no idea what "age-appropriate" means. since the mid-nineties, the united states has spent at least 2 billion dollars on abstinence-only education, even though to quote the above link: "a preponderance of studies has found no effect of abstinence education at reducing adolescent pregnancy". conservatives want you to think less of any person struggling with addiction so they can continue their racist "war on drugs", so they spend up to $750 million dollars a year on the DARE program which has absolutely no effect. acting like teachers "must" be "grooming" children is just the same thing - so they can demand that funding either goes to their causes or the funding doesn't "exist" ("i'm not paying for our kids to learn that thing!")

and they want you to feel uncaring about this. they are aware that you will hate some parts of your school experience. pretty much everyone does. they want to lean into the parts that you hate so that you don't put up a fight about it when they take it away for not being "good enough."

i know i maybe sound like a conspiracy theorist. but truly. truly. it is beneficial for conservatives to reduce your faith in the american public schooling system.

one of the explicitly stated campaign promises of the conservative party: to axe the Department of Education in 2024.

i know we are all tired and burnt out and there is so much else wrong with their entire platform. but maybe just - pay attention to this one.

[theygender]

The more I learn about judaism the more I wonder where tf christianity got all its bad shit. Why is divorce a sin in christianity when judaism has recognized the right to divorce for nearly a millennia and has codified religious laws for it. Why does christianity consider sex to be dirty (to the point where puritans considered it a sin to enjoy having sex with your own spouse) when in judaism it's considered holy and it's a literal mitzvah to have sex with your spouse on the sabbath. Why does christianity consider it a sign that you're faithless if you question your religion when in judaism that's considered an essential part to developing your faith. I'm probably stating the obvious here but I still can't get over the fact that there's no historical basis to any of this shit before christianity started, it's like christians just said "hey guys what if we took the torah and built a new religion around it but this time it was actively hostile to human life"

[tsunosagun]

smoke and mirrors

[doe-prince]

Lately my dreams have been bloody

[superhell]

house md is wild because house tells wilson that he’ll sacrifice many things but never himself and then he sacrifices himself for wilson. and then he sacrifices himself for wilson. and then he sacrifices himself for wilson. and then he

[turtleblogatlast]

Every day I’m haunted by the fact the boys happily swim in sewer water

Even if it’s filtered somehow there’s no way it’s not still nasty 😭 Bet they can defeat any of their villains just by accidentally giving them diseases I swear

[kaladinkholins]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[luxaofhesperides]

For ghostlights: baby Ellie + tired Danny + Duke the baby whisperer?

He has no idea how his parents did it. 

Babies are exhausting. Toddlers more so. Any infants in the strange stage in-between? Doubly so. 

Ellie is wonderful and sweet and cute and such a terror that Danny genuinely has no idea how his parents managed to raise not one, but two kids. For all their eccentricities and absent-mindedness, he and Jazz turned out pretty well. Ignoring the whole halfa thing because that’s more his fault than theirs even if Jazz says they shouldn’t have created the dangerous environment in the first place.

That environment is exactly why Danny refuses to let Ellie go to his house in Amity Park. His parents say they’ve disabled all the weapons and ecto-sensors since he’s had to reveal himself as Phantom, but he knows that things slip their minds and if they can’t guarantee that the house is safe, then Ellie isn’t going in there. Simple as that. 

This means that they live somewhere else now. Danny had thought about it, during the hours Ellie was asleep and he was awake, exhausted and worn down to his bones, and took Jazz’s advice to accept Vlad’s offer of buying a house for him. Except he argued Vlad down to an apartment in a city of his choosing where he wouldn’t stand out too much and he would be safe, or as safe as he can be, from anyone trying to hunt down ghosts. 

So here they are. Standing in the empty living room of their new apartment in Gotham. 

Gotham may not be very safe as a city, but it’s good for two ghosts trying to pass as normal. 

Danny sighs yet again, and looks at the space he’ll need to fill. At least Vlad is footing the bill. It’s the least he can do for creating Ellie. Frostbite was the one who was able to stabilize her, though it was almost too late and resulted in her reforming as a baby, just one and a half years old. Jazz is the one who’s choosing most of the furniture, thankfully, so it’s something that Danny doesn’t need to worry about it.

It’s a new start to their lives and it feels so empty. So overwhelming. How did his parents do it? How do any parents do it?

Ellie smacks a small palm against his cheek and babbles lightly.

“I know, Ellie,” Danny says, giving her a tired smile. “Don’t worry, we’ll have this place looking good in no time.”

He adjusts her in his arms, then heads towards the bedroom. It’s the only room that has any furniture, and all that’s there is a bed, a crib, and a bookcase. There are a few boxes on the floor, labeled ‘bedroom’ and ‘clothing’ and ‘books’. Most of it came from his bedroom in Amity Park, but he’s pretty sure he caught Jazz sneaking a few things in before they closed the boxes and loaded them up into the car. 

“Can you be good for five minutes?” he asks Ellie. 

She babbles again and smacks his shoulder.

“I’m taking that as an agreement. Just let me open these boxes and start unpacking before you start causing trouble, okay?”

Ellie makes another sound, but it seems agreeable so Danny carefully lays her down in the crib and gets to peeling off the tape on the boxes. The opens the one labeled ‘bedroom’ first, finding blankets and sheets folded and stacked in vacuum sealed bags. One of them is his old childhood blanket, the one he carried around everywhere that was faded with age, barely blue, with white bunnies decorating it. 

He was so small when he had this. It makes him oddly emotional to unpack it and pass it on to Ellie, draping it over her so her pudgy little hands can grab at it. 

This is no time to cry, though! He forces himself to focus and makes his own bed, shaking out the sheets and fluffing up the pillows. He’ll worry about washing everything later; Vlad made sure to get an apartment with an in-unit washer and dryer, which means he was actually sensible while apartment hunting for Danny. 

He doesn’t mean to flop onto the bed once it’s made, but he ends up there anyways. He’s barely gotten a full six hours of uninterrupted sleep since Frostbite deemed Ellie healthy enough to leave his care. The drive up to Gotham was long and wore him down to his bones.

He doesn’t mean to fall asleep, but he does, drifting off as he wonders, distantly, when Jazz will be back from getting them dinner.

Ellie wakes him up at dawn with a loud cry. Danny jolts awake, heart pounding in his chest as he panics because Ellie isn’t here, she’s supposed to be in his arms, where is she? And then he sees the crib, where Ellie is staring at him through the bars, and he nearly collapses with relief. 

“Morning, El,” he says, voice rough from sleep, as he picks her up. She just stares up at him, then leans forward and rests her head against his shoulder.

It’s quiet moments like these that make his heart melt. Ellie’s had a hard life already; he wants to give her a better one, this time around. 

A quick check of the time on his nearly dead phone shows that it’s barely past six in the morning, and Jazz texted him a few times. All about furniture, saying that she didn’t want to wake them and that food is in the fridge. 

It’s only the mention of food that makes him realize how ravenous he’s feeling. Danny makes a beeline for the kitchen, ignoring everything else, and pulls out the boxes of take-out Jazz left stacked in the fridge. He devours it like he’s been starving for weeks, then gives Ellie her Ecto-Jello, the only food she’s allowed to eat until Frostbite gives the okay for solid, human food. 

Once he’s got her burped and cleaned up, Danny looks out of the kitchen and realizes that Jazz was very productive while he was asleep. The living room isn’t empty anymore; a dark green couch is against the wall, a low, rectangular coffee table made of dark wood in front of it. Two armchairs are on both sides of the couch, and a television has been installed, fixed into the wall. 

Jazz is asleep on the couch. Her legs hang off an armrest and she’s drooling slightly. 

Her phone is charging on the floor, so Danny takes it and snaps a picture of her for later teasing, then sends it to himself and writes a note to her that he’s going out with Ellie to explore the neighborhood.

He’s finally feeling more settled, energized from sleep and food.

In the warm dawn light spilling in through the windows, Danny looks down at Ellie and thinks that they’ll be just fine after all. 

. . .

Four months ago, Danny had hope. He was optimistic. 

Gotham was a fresh start, a new lease of life for Ellie. It is Danny’s attempt to be a single parent, sacrificing college for Ellie, and he’s planning to go out and beat the gangs black and blue if they start anymore shootouts in the next year.

He had just gotten Ellie to sleep. She was actually peacefully taking a nap.

And then a drive by shooter raced down the street, gunshots echoing down the road, and Ellie work up crying. She still hasn’t stopped, despite how Danny rocked her, soothing her as best he could.

They had been outside when Ellie fell asleep, her head on his shoulder. He had been catching up with Sam and Tucker when the car drove by, people ducking and crying out to avoid the bullets. Danny instinctively covered Ellie and made them both intangible, saving them from any stray bullets, but they ruined her nap and he needs to make them pay for that. 

“Shh,” he soothes, “You’re okay. We’re both fine. It’s okay, El, it’s okay.” 

Her little hands clutch at his back, twisting the fabric of his shirt, and she lets out a heartbreaking wail. He pats her back, hurrying down the street to get back to his apartment building, ignoring the looks people were giving them as they passed by. 

“I know it was scary, but you’re alright. You’re always safe with me, El.”

Ellie’s cries down down a little, but they don’t stop. She whimpers, burying her face against his shoulder as he finally reaches their apartment building.

The door’s locked, which wouldn’t be a problem except Danny can’t get his keys from his pocket. He knows he has them! But his pocket refuses to relinquish them and he has to stop every few seconds to pat Ellie’s back, trying in vain to calm her down. 

“We’ll be inside in a second,” he tells her, trying to keep the frustration out of his voice, “as soon as I can get these freaking keys!”

“Hey, you alright?”

Danny startles, whirling around so fast it makes Ellie go quiet, clinging to him so she doesn’t get flung into the air. There’s a guy standing before him in a gray hoodie, looking at him with clear concern. It speaks to Danny’s level of constant exhaustion that he hadn’t clocked someone sneaking up behind him. 

The guy offers an awkward smile. “Sorry, didn’t mean to scare you or anything. Um, do you need me to open to door? I live here too.”

Danny wonders for a moment if this someone dangerous, someone hoping to hurt Ellie, but she starts to cry again and he steps to the side. “Please. I can’t get my keys.”

“I’m Duke, by the way. I don’t think I’ve seen you around here before.”

“Danny,” he replies, watching as Duke pulls out a large key ring, jangling with the amount of keychains on it, and easily opens the door. “I’ve been here a few months, but I’m usually inside. Or walking around in the mornings with this little monster.”

“That would explain it,” Duke says as he holds the door open, letting Danny in first. “I’m usually in classes at GCU, but I decided to take a mental health day after my lab, so here I am.”

Danny walks in and waits for Duke to follow, making sure the door closes properly behind them. “Thanks. How is GCU? What do you study? I was thinking of going there myself once she gets a little older and can go to school.”

“Oh, I’m majoring in English and Human Services.” He goes to say more, but Ellie wails again and Danny winces.

“I’m so sorry. That drive by woke her up and it’s really rattled her.”

“Hey, no need to apologize. I get it, Gotham is rough to kids.”

Danny tries rocking her back and forth, but it doesn’t help. He resigns himself to another hour of her crying before she exhausts herself, and makes for the stairs, going up to the fourth floor. Duke holds open the door again, then follows after them. It makes Danny wonder if Duke is planning to do something to them, then decides he can beat Duke in a fight, so it’s fine.

Duke doesn’t try to hurt them or steal Ellie away. He opens the door to their floor and stops before they do. “I’m in here,” he says, “If you ever need me to open more doors.”

“Thanks. Um, actually, I might need help opening mine?”

Duke just smiles and makes his way back to them, following them farther into the hall until Danny stops in front of his apartment. 

“If I could just get my keys,” he starts.

“Here, let me hold her for a second so you can get them,” Duke offers. Danny wants to insist that it’s fine, but Ellie cries directly into his ear and Danny, at the end of his rope, passes her over. 

Like magic, Ellie settles as soon as she’s in Duke’s arms. She sniffles and hides her face away, clutching to Duke’s hoodie, but she stops crying. They both go still, surprised, and stare down at her. 

“Seriously?” Danny says as he finally pulls out his keys, “Are you trying to say that I’m the problem?”

Ellie babbles lightly, and Duke turns his head to futilely hide his grin.

He grumbles as he unlocks the door and pushes it open. Ellie is acting as if she’s never been upset before a day in her life, making herself at home in Duke’s arms. 

“I can’t believe this. Betrayed by my own blood.”

Duke laughs as he follows Danny into his apartment, lightly patting Ellie’s back. “It’s always the smallest, cutest ones that do this.”

“Yeah? Do you work with a lot of kids or something? Used to being betrayed by the little ones?”

“I don’t work with kids per se,” Duke says, “But my foster family is a hot mess and the youngest of them likes to keep us all on our toes.”

“Family,” Danny says in a tired, fond tone.

“Family,” Duke agrees.

With his door open and Ellie calm, Danny’s ready to just lay face down on the floor for the rest of the day and not deal with anything else. He moves to take Ellie back, holding his arms out, and Duke tries to pass her over.

The key word being tries. 

Ellie tightens her grip and kicks at Danny. She refuses to be taken away from Duke, making him awkwardly try to pry her off his hoodie. Danny really hopes Duke doesn’t notice how she goes slightly intangible to make his hands fall through her arms and legs. It shouldn’t be noticeable, but it’s hard to focus on anything but a kid that clings to you, so Danny holds out for Duke’s goodwill and silence.

“As nice as it is to meet you, you need to go back to your… parent?” Danny nods when Duke looks at him in askance. “You need to go back to your parent. Okay? Come on, kid, he’s waiting for you.”

Ellie shakes her head, makes a frustrated noise, and then turns and reaches out a grabby hand towards Danny. 

She still refuses to be taken from Duke when Danny tries to pick her up again, so he settles with just letting her hold two of his fingers. 

“I’m so sorry about this,” he says to Duke, face burning. This is why he hasn’t been going out and being social since he moved in; Ellie is a handful even on the best days, and Danny doesn’t want someone to judge him as unfit to parent her and have her taken away.

Duke shakes his head, stepping closer. “It’s all good, man. I don’t mind. It’s not like I had any plans today. I’m already skipping my classes, might as well spend it with you two than sleep all day.”

“Are you sure? I’d be happy to invite you in, but I know Ellie can be a lot and not everyone wants to spend their day off with a baby.”

“I’m sure. Besides, I’d just be down the hall anyways. It’s no skin off my back, man.”

“Well,” Danny says, stepping to the side to give Duke full access to his open doorway, “Come on in, then.”

Ellie keeps them connected, one hand in Duke’s hoodie and the other holding Danny’s fingers, and though her cheeks are still red from how hard she had been crying, she’s calm now with her eyes shining with mischief. 

As the door closes behind them, Danny realizes that this is the first time someone he’s not related to has been inside his apartment. Not even Vlad has come in, always choosing to invite Danny and Ellie out for lunch instead. 

It should make him nervous, but Duke is calm and easy going and kind. 

He’s making silly faces at Ellie to make her laugh, completely at ease with her in his arms, as if he’s done this a thousand times before. 

Gotham is a second chance at life for Ellie. It’s a sacrifice for Danny, to be alone and without friends or family around. He’d been ready to give up everything for Ellie, to focus solely on raising her, but with Duke filling his apartment with laughter, he thinks that he can make a life here too.

All he needs to do is take that first step, reach his hand out, ask Duke to stick around.

He can do this.

[edsbacktattoo]

i wanna talk about the ‘treasure room’ because i think it does a really good job of summarising what’s happening between ed and stede at the moment.

stede ‘takes the initiative’ (or acts without discussing what he’s doing) and puts all of ed’s remaining treasure in one room that’s completely hidden. his reasons for putting it away are:

it was all over the place

he was tripping over it

some of it is quite ugly :/

and instantly ed hits him with the “excellent. a reminder of all my guilt. a guilt room. 😔🤘”

they’re not being subtle about it. this is a physical representation of their guilt and they’re demonstrating here exactly how they’re taking care of it.

ed is living with it. it’s in his space. sure it might be in the way but where else could he possibly put it? there’s so much of it and it’s his. there’s no use in just palming it off to someone else. no one wants this much treasure.

but stede can’t stand it and he has to deal with it now or he’ll die. so he just crams it into some hidden space and considers the matter resolved. it’s out of the way. it can’t hurt them if they don’t think about it. and it’s ugly! no one wants to look at something ugly, especially when they’re trying to rebuild their space.

but that’s just the thing. neither of them are actually dealing with or addressing the problem. stede has just. put it away.

WITHOUT ASKING ED WHAT HE THINKS THEY SHOULD DO WITH IT.

so they decide to just use it to throw this big party because surely that will fix it, right? that will get rid of the Treasure Issue.

WRONG!!

because they still didn’t talk about any of it. yeah they talked about “turning poison into positivity” and “giving some of it to the less fortunate” but they didn’t deal with the root of the problem. how did ed amass that much treasure in the first place? what’s the ideal way of getting rid of it? is there anything they want to keep?

they’re on such uneven planes this season because they can’t communicate to reach a common ground. ed is surrounded by his guilt and wants to leave it all behind. stede has just hidden the guilt and wants to pretend it isn’t even there.

[ineffableteeth]

They probably almost kissed after this

They probably almost kissed after this

They probably almost kissed after this

[robotsandramblings]

sorry the quality isn't the best, but i wanted to torture myself with zoomed in shots of Crosshair's expressions while Omega is trying to convince him of her recapture/Tantiss plan. 🥺(S3 E11)

[waterghostype]

If you and I had met under more peaceful and carefree circumstances, I wonder how well things would have gone.

[lillotte17]

Also also, since I seem to be incapable of shutting up, and because I haven't actually seen anyone else saying it:

Crowely offering/tempting Aziraphale with the ox ribs...it's a direct parallel to Adam and the creation of Eve. Adam's ribs are used to create his counterpart/lover/partner, and Crowley is doing the same thing. Up until now, he's had his suspicions about Aziraphale not being like the other angels, but in the Job flashback, we really see him testing the waters.

'Will you just do as you're told and watch an innocent man lose everything?'

'Will you notice what I did to the goats?'

'Will you trust me not to hurt the children?'

And then finally with the ribs: 'Are you like me? Do you take pleasure from all the things that humans are capable of creating? Do you see their potential? Aren't we the same?'

And Aziraphale accepts.

Which of course eventually leads to him lying to the other angels and his own epiphany about not quite being like the rest of them.

Naturally, it's not an exact correlation. Aziraphale already had those inclinations, so Crowley isn't really 'creating' him as his counterpart, but he is creating the opportunity for understanding and a chance to see the ways they already resemble one another. He's creating the possibility of their eventual partnership (romantic and/or otherwise).