#i want more seasons so bad so we get more of their dynamic

[oswildin]

Debated making this, but oh well, here we are…

I rewatched the Loki series.

Going to add here quickly that I have been a fan of Loki since 2012/2013, and I personally relate to his character for a multitude of reasons.

Now, I enjoy the series, but I wish they made it more character focused than they had. I do feel like they prioritised story in terms of making it fit the next phase over exploring and expanding on Loki’s character to some degree (a lot of it was surface level).

For example, I would’ve loved to have seen:

Exploring Loki’s Jotun heritage, even if it was a variant of him in the void that embraced it, dropped his aesir form, a conversation between Loki and his Jotun variant as they explain why they chose to embrace it, giving a different view to maybe how our Loki sees himself/the Jotuns. If ‘What If’ could have a frost giant Loki variant, why couldn’t the show?

Expanding upon what happened to Loki during that year after his fall from the Bifrost. The reason for this is self explanatory really, it would add more lore/depth to his experiences/actions during the Avengers. Maybe address the trauma he has from it.

Loki fighting with his so-called ‘desire’ for a throne more. By this I mean, I felt he flipped pretty quickly from his plan to overthrow the time keepers to just following along with Sylvie - which is fine, but I kinda thought there would be more push back from him. I get it was a life or death situation and Loki’s whole thing is ‘survival’, but it would’ve added to their dynamic and the fact the writers clearly wanted to push how Sylvie was different to other Loki’s.

Exploring Sylvie’s backstory more. It really did feel like it was an afterthought, which is a shame. I suppose they left it ambiguous for certain reasons, but I think they should’ve had more flashback scenes of what Sylvie could remember. I think it would’ve helped people understand and relate to her more. (I do love her though).

Actually showed Loki’s gender fluidity & shapeshifting ability more. Again, self explanatory really & important to his character, plus the whole implied only ‘woman variant’ thing with Sylvie should’ve not been a thing, like at all.

They should’ve given Loki more time to process everything. This show really should’ve had 8 episodes each season, I get that’s not the writers fault, likely Disney/marvel’s doing. Perhaps then the shift in his character wouldn’t have felt so jarring, especially considering he’s 2012 Loki. I do agree they wrote him as if he was Ragnarok!Loki, and that’s not necessarily a bad thing, but it just felt jarring considering the last we saw of this Loki was Avengers. But then I could also argue that maybe he thought ‘what’s the point of it’ because the TVA know everything about him, but I digress.

Used Sylvie more in S2. It did feel like they didn’t quite know what to do with her, her and Loki clearly just needed to sit and discuss the citadel fight, but the closest thing we got is in EP3 where Sylvie says ‘this is all rather familiar, isn’t it?’, referencing their different/opposing opinions on the TVA/He Who Remains. And also maybe the pie room scene, but it’s very vague/not directly addressed.

Explored the fact that Mobius is not a good guy more. Because, he isn’t. And that’s okay. To me, the whole point of the show is based on Loki’s quote of ‘no one good is ever truly good, and no one bad is ever truly bad’, and whilst they do reference Mobius’ own morally grey actions/traits, they don’t particularly make it clear and most just see him as this ‘happy go lucky old man who likes pie and loves Loki variants’. In fact, I actually really liked the scene where Sylvie confronts him - which is a very unpopular opinion to have it seems, lol.

Delved into the psychology of Loki further than surface level/what we already know about him. Yes, we know he’s the God of Mischief. Yes, we know he isn’t evil. Yes, we know he is redeemable. Yes, we know he’s cunning, manipulative and selfish. We get that he projects this ‘illusion’ of himself, but it was only really mentioned in S1 EP1, maybe slightly EP2, before it’s never really mentioned again. I suppose S2 does this to a degree with the bar scene and EP5 of S1 in the time cell with Sif - also I think they tried to take the narcissist angle from the pov that it’s because of his low self-esteem as to why he needs validation and it’s a defence mechanism, but they didn’t particularly make that clear and made it seem like he just thinks highly of himself.

I know it seems like I have a lot of issues with the show, and I do, but I still enjoyed it. It’s okay to be critical of a piece of media and still enjoy it.

I do prefer S2 to S1, mostly because I prefer the direction they took it in and whilst I, of course, wanted better for Loki, I can’t deny S2 EP6 is a stunning finale. I sobbed so hard during the ending and still feel the grief that I actually lost someone I knew personally. But I also have hope that this means Loki is now a main player in the next phase (am I delusional? Maybe).

I enjoyed the dynamics, the back and forth/chemistry, the story was interesting, the set & costume design, the acting, the directing/colour grading, the music (Natalie Holt, you are genius), the emotions, the fun, the characters…

So this is not a hate post by any means, I will once again state, I enjoyed the show. But, I do have issues with it, and that’s okay too.

Please, dni if you’re just going to be argumentative or confrontational. I also don’t want to hear that just because I enjoyed the show that I’m ‘not a real fan’ lmao. I’m sorry, but I’ve been a Loki stan for over a decade, and I will not have someone tell me I’m not a real fan because of a piece of fictional media. Also, please do not mention anything regarding ships on this post, I do not care for it because it always ends up in arguments and I am a multishipper so I don’t tend to fight for any side. Thank you! :) /gen

[spaceorphan18]

The Lady Whistledown Papers : 1x08 After the Rain (Part 2)

Welcome back, Gentle Readers, to The Lady Whistledown Papers, where I’m taking an in-depth look at Penelope Featherington and Colin Bridgerton’s character arcs and romance within the show Bridgerton!

For previous issues, follow tag : The Lady Whistledown Papers

This is going to be a very musical issue, guys ;)

Boxing Match

So. We're here at this boxing match where Will's going to face an ethical dilemma, Simon's going to be involved, Lord Featherington is going to face some consequences of his actions, and Anthony's going to fuck Siena against a wooden beam in the back.

And Colin... is going to sit and happily chat with Benedict in the background. Apparently, he's not in a moody mood over Marina anymore.

I like the top hats though. There are times when this show veers so far into fantasy that I don't necessarily recognize the 1800s. But the top hats feels very much like 1800s. And I appreciate that.

Well, this scene might not really have anything for me to meta but... I'll bring in a BTS thing...

Apparently, Jonathan Bailey, Luke Thompson, and Luke Newton spent Season 1 harmonizing this little tidbit and it makes me wish that Bridgerton was a musical, because these boys can sing, and this is absolutely delightful. I wish this was better quality and longer.

(Bringing it up here - because I think this was filmed around the time of this boxing match? The costumes look similar.)

Anyway... there should be more singing on this show. Just, there should. That's how I feel about that.

Speaking of more singing...

Family Time

Omg, it took me forever to find this gif.... But I wanted to use a gif here because I wouldn't be able to still Colin because he's moving so much. Anyway...

We've got one of our big family scenes again. And as I've said before, I've always liked these scenes because the family dynamics are always richly on display, and one of the aspects the show does really well. The interplay between all of the different storylines is great here, as each one kind of gets a little nod as they weave in and out of the scene.

So, let's talk about this almost blink-and-you-miss-it Polin moment.

Francesca is back in town, so are Simon and Daphne, and the family is in high spirits (since we're at the end of the season and wrapping this thing all up). And they get Colin to sing in a catchy little tune (which I'll get into in a moment). And, as much as Colin was sulking and in such a bad place in the previous episode, he's bounced back rather well. And while he's not over it (Colin, we're learning, seems to hold onto things -- and the Marina stuff isn't done yet), he's come back from the heartbreak rather quickly.

Which... I think really speaks to the nature of Colin's feelings more than anything -- as they weren't that deep. Do I think Colin cared for Marina? Yes. Do I think he got caught up in a grand fantstical romance? Yes. Do I think he actually loved her? No. Because as his family members mentioned in the previous episode -- he didn't really know Marina. He just liked the idea of her. And those shallower feelings are easier to bounce back from.

So, we have here a Colin who is in better spirits. And the thing that really sticks out to me in this scene is how young Colin looks. He's singing what's essentially a child's play song, like London Bridges or Twinkle, Twinkle Little Star. Colin was pushing himself to be An. ADULT. But he's not fully there yet. And I feel like this scene kind of pushes Colin back to where he was at the start of the season. That sweet, charming young kid. Only he's not that anymore. Not really. Experiences do change a person.

Meanwhile, we have Penelope. She comes into this a little hesitantly. She's clearly there for Eloise. This is the first time we really see her in the family dynamic. Even though we don't see it -- it's implied that Penelope is often over there, and feels pretty comfortable being in the Bridgerton drawing room. She grew up there. She and Eloise's friendship formed there. And there she can be around Colin in an appropriate way. It is a home for her.

So, it's interesting that she comes into this room with that hesitancy. She takes a moment to watch Colin while he's singing - and I do believe in this moment she doesn't regret what she's done with Lady Whistledown. Because she's seeing Colin be happy again. Things are back to the way they were. And Colin feels like /her/ Colin again. And, oh, her longing look for him. Her love is always just radiating through her that it can't be contained.

There is also a small, little detail that I absolutely love. As she comes in, he's in the middle of a line, and his voice wavers and catches when he sees her. And I mean, not only does he see her - which is notable in that she's the girl who hides on the sidelines and doesn't get notice. But the sight of her is enough to catch him off guard. There's an unresolved tension there. And the moment acknowledges it, even if it can't address it.

Eloise, oblivious as usual, is going to jump in and steal Penelope away -- she's got news about Lady Whistledown. And the look of pure panic and terror on Pen's face as she worries that Eloise has discovered her secret...

But Eloise isn't there to unmask her, she's there to say that her sluething has brought her to the conclusion that Madame Delacroix is Lady Whistledown.

Penelope has a myriad of emotions that cross her face at this news. She's relieved that Eloise hasn't figured out her secret. But she's grateful that Eloise is on her and her family's side, and that Eloise's intentions are to have Lady Whistledown make a retraction to restore the Featherington name. It's an act of true friendship -- and Pen is so grateful that Eloise is her bff.

But also, there's a little bit of deflation there, too. It's a hard read, but the conversation takes a turn -- Penelope commenting on the fact that it's impressive that Madame Delacroix can run her business and be Lady Whistledown. And I'm not sure if it's out of a twinge of sadness that she can't tell Eloise that she is Lady Whistledown, or the fact that she's concerned that Madame Delacroix might be posing as LW, or just the fact that even if Penelope is rich -- Delacroix being able to live her life freely is a sad reminder that she can't.

Eloise loves the idea that Madame Delacroix can live life as she pleases, and aspires to be like her -- the unmarried and doing her own thing being the biggest appeals. But Penelope admits she can't be like that. She tells Eloise the fact that she has a sister who is a duchess will make it easier for Eloise to do whatever she likes -- including being a working, unmarried woman.

But Penelope isn't like that. Here she blames it on her family, and it's tattered reputation. Eloise can coast on her family's good fortune, but Penelope will always be fighting against her name and placement in society. But what is unsaid, too, is that while Penelope wouldn't mind making her own money (and, in fact, she already is), she does want to be married -- she does want love. And herein lies the comedy/tragedy of Penelope/Eloise friendship -- each has what the other one wants.

Of course, neither of these issues are going to be resolved here, so Eloise does something she doesn't even want to do with her siblings, and shares her chocolates, which brings a grin to Penelope's face. because they are good bffs.

And, of course, the ending moment is punctuated by the end of Colin's song, where he dissolves into a fit of laughter. And I just adore when Colin laughs, because he's such a sweetheart when he does.

But, okay, let's take a second and talk about the song -- which is called Now We Are Met. And, guys, I tried. I really tried. But I couldn't find much about this song, other than it was written by composer Samuel Webbe sometime during this era? There's not much to meta out of it -- other than it's a fun little song that you sing with your family around the piano, and it's usually done as a round. In case you're unfamiliar with rounds... here is a choir singing it (which, honestly, is really cool)

I would love to know the reason the show picked this particular song. Is it just a children's song that kids in the UK sing? Or is there some other meaning to it? I have no idea. Would love to hear from anyone who knows more about it - as I love discussing the use of music within story.

Yellow

Tying it to the boxing scene, Lord Featherington won a bunch of money, and now the Featheringtons aren't as badly off as they were - (even if society isn't that fond of them, still), and they're able to get bran new dresses for the Hastings' ball. Prudence is excited because she gets to let hers in. Phillipa finds hers to be perfect.

And... Penelope's is yellow.

It's such a great little comedic beat. (and, I mean, the bit with Portia telling Phillipa she can get married now that they can give her a dowry and Phillipa asking when it was lost is so hilarious. I'm so glad they pushed in on the comedy angle during Season 3.)

And, oh Penelope just isn't there yet -- she doesn't have the confidence to push against her mother's wishes. She doesn't have the power to let her clothes reflect the person she really is. She's still going to be that girl stuck in yellow, clinging to the walls of the ballroom for just a while longer. And that's okay. We've got a lot of great story to go!

And on that note, I'm going to end this musical based post with a cover Coldplay's Yellow -- a song, as you know, means a lot to this story, as we'll talk about a lot more come Season 3. :)

[hazelcallahan]

1.01 // 1.08

[sskk-manifesto]

Ep 5!!!

[captainreecejames]

Down Bad || My Ex is a Footballer OP81 Edition

links [masterlist][my ex series masterlist]

summary it's time you date someone actually your age

pairings ex!andy robertson x reader, oscar piastri x reader

warnings not a good relationship with robertson, cursing

notes guys I'm not a liverpool fan so this was hard for me [kidding]. this took so long because I had trouble getting the dynamic right also I got a new job and working two places has not been easy but I gotta make money in this world.

yn's message august 2022 ---------

ynusername posted august 2022 --------

liked by estebanocon, andyrobertson94 and others

ynusername it's race week again yay!!! But I can't be with my boyfriend booooo

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username1 girl drop him!!!

username2 no boooo actually yayyy!!!

username3 shame she can't be with andy for the start of the season ↳ username4 girl be serious, season started almost a month ago and she was at every home game ↳ username5 yn is a diehard liverpool fan don't worry she was supporting her man

andyrobertson94 gonna miss you babe! ↳ ynusername miss you more!

alo_oficial excited !! 🩷

username6 yn I mean this in the nicest way possible, he's too old for you and he's not good

ynusername posted december 2022 -----

liked by oscarpiastri, alpinef1team and others

ynusername 22 season recap! Thank you so much to Alpine for bringing me into the world of f1 and introducing me to some amazing people, I will always be grateful for the chance you took on me and have love in my heart for you! Now on to being at anfield 24/7 to support my man!!!

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username11 ahhhhh oscar!! I' m fine everything is fine

oscarpiastri have a good break yn! ↳ ynusername you too ossie!

username12 ossie??! i'm screaming i love it already. alpine why did you have to break up my bestfriends that i didn't know were best friends?

estebanocon gonna miss having you around yn! ↳ ynusername oh estie! i'll see you around don't worry.

username13 why the fuck is Andy not commenting? ↳ username14 cause he's a little bitch 👍🏼 ↳ username13 oop

alpinef1team we love you yn! ↳ ynusername gonna miss you babe

username15 damn Andy finally got what he wanted and won't even congratulate her on doing this job ↳ username16 I'm new here, what did Andy want? ↳ username15 he has publicly wanted yn to not work and basically be a housewife, also he's like almost 10 years older than her so it's like weird he wants her to be a kept woman

liverpoolfc we're ready for you! ♥️ by ynusername

yn's messages --------

twitter february 2023 --------

ynusername posted august 2023 -----

liked by landonorris, lance_stroll and others

ynusername first half of the season done with my boss featuring ossie when he sees me sneak into the mclaren garage

oscarpiastri that's literally a lie I don't look like that when you come in ↳ ynusername then why do I have a picture of you looking like that??? ↳ landonorris gonna back him up on this one he does NOT look like this when he sees you ↳ username21 WHAT DO YOU KNW LANDO AHARE WITH THE CLASS

username22 guys not to be dramatic but there's been no Liverpool mention in months, I think she broke up with andy ↳ username23 DONR GET ME EXCITED

ynusername posted december 2023 --------

liked by carmenmmundt, georgerussell63 and others

ynusername sad that the season is over but happy I get a short break from being a full time Alonso Wrangler and part time student. Also lance is sad he hasn't been in a season photo dump so here have this

carmenmmundt 🩶🩶

lance_stroll wtf? ↳ ynusername 🫶🏼 ↳ lance_stroll I sent that to mari ↳ ynusername and she sent it to me ↳ mariloublg_ and I'd do it again ↳ lance_stroll DONT GANG UP ON ME

username34 TWO(2) OSCAR PICTURES? we're winning oscaryn truthers ↳ username35 we need him in the first picture now, no swiping is the next goal

username36 wait, yn are you in classes right now? ↳ ynusername I'm taking 2 classes right now remotely for my masters! ↳ username36 OMG you go girl! ↳ ynusername thanks babe

february 2024

landonorris posted on his story

replies to your story

oscarpiastri delete this

landonorris HAHAHAH

alo_oficial working on getting her to realize

landonorris they are both so dumb

mclaren get a picture together

landonorris you got it boss 🫡

username36 IT'S YN RIGHT! TELL ME IT'S YN LN

ynusername posted march 2024

liked by astonmartinf1, oscarpiastri and others

ynusername and we're back!!! Starting off with some helmet swaps and getting papa stroll a debut on the page

landonorris damn papa stroll gets a pic before me?? ↳ lance_stroll it took me a year to get a debut and even then it was a shit one so shut up ↳ georgerussell63 haha you guys suck ↳ ynusername it's cause Carmen bribed me ↳ lance_stroll and mari didn't? ↳ ynusername she did, that picture is what she wanted ↳ landonorris so what youre saying is I need a gf to bribe you ↳ oscarpiastri damn guess youre never getting your debut on this page ↳ landonorris and how the fuck did you get here???

username41 where's that girl that wanted oscar on the first slide? ↳ username35 RIGHT HERE AND I'M THRIVING

lance_stroll also landonorris that's mr. stroll to you ↳ landonorris okay...

ynusername posted july 2024

liked by landonorris, alo_oficial and others

ynusername oscar i don't have the words to describe how proud i am of you right now but just know that I always believed in you and always will

username51 ughhhh, when will it be my turn

username52 OSCAR WIN SO YN POSTS JUST OSCAR YES

username53 username35 aRE YOU OKAY GIRL? ↳ username35 NO I'M NOT

username35 JUST OSCAR IN EVERY PIC??? AND HE'S CLEARLY LOOKING AT YN? IS THIS MY BIRTHDAY PRESENT?

username54 the way oscar was looking for her >>>

alo_oficial congratulations oscar! ↳ oscarpiastri thank you nando

oscarpiastri thank you yn, you're support means everything to me

username55 no offense but I was kinda expecting more from you here ↳ username35 you want her to confess her undying love for oscar here on a social media post? you want her to do it on the internet instead of just to him privately so you can consume media and be in the presence of a relationship that you clearly have no respect for nor no need to be apart of because they don't know you?? that's what you want? be fucking for real ♥️ by mariloublg_ ↳ username55 first of all you also have a parasocial relationship with them, second of all, it's not weird for me to want her to express more about this when his team was shit to him ↳ username35 i can be excited about her posting him and still fucking respect their privacy. they don't need to post anything for us and it is a PRIVILEDGE that we get to see this. if you make it weird for them and ruin their PRIVATE relationship because you personally think she should be more vocal on social media then maybe you need to do some reflection on how you interact with people

ynusername posted august 2024

liked by oscarpiastri, landonorris and others

ynusername summer break is over, now I go back to being a student

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landonorris yay i can have my osc back ↳ ynusername uhhh... no, you can borrow MY ossie ↳ landonorris agree to disagree ↳ oscarpiastri don't I get a say in this? ↳ ynusername depends ↳ oscarpiastri well i pick you yn ↳ ynusername then yes you get a say

lance_stroll it's about damn time ↳ estebanocon SAYS YOU ↳ alo_oficial none of you have spent as much time with her as I have! I'm the only one that get's to complain ↳ ynusername I was not that bad ↳ alo_oficial yes you were ↳ estebanocon yes you were ↳ lance_stroll yes you were ↳ pierregasly yes you were

oscarpiastri haha babe you have a crush on me? ↳ charles_leclerc you were just as bad ↳ landonorris what he said ↳ oscarpistri damn okay

username35 ahhhh!!! congrats yn and oscar ↳ ynusername thank you! and we both appreciate you being so supportive

username63 see everyone, it pays to be a decent human being! ^^

[understandableparadox]

a comprehensive list of everything wrong with hazbin hotel.

quick note before i lose myself in madness, my standards for helluvaboss are non existent because its a free show on youtube. also i kinda like helluvaboss and i will indulge in any bias i damn well please.

oh and spoilers. i guess.

the greater narrative of the entire season is "White lady civilize inner city hoodlum". ex: The blind side. rich girl, affluent family yadda yadda.

the story is set up to be like amphibia, owl house, svtfoe, steven universe, that being starting as something episodic then transforming into story driven narrative. why? because we know the benefits and drawbacks, episodic starts allows us to wander the world, it allows us to understand the dynamics, we are not forced to reckon with anything because there is no deadline. characters are allowed to bloom and shine and the audience can actually get attached.

the source material is Vary Clearly formed from remnants of something out of a middle school edgelord narrative. the usage of transformation, the big spooky grins, the "and then i smile as my eyes glow and-"-isms which in most cases i don't mind because in some instances but in a vary Particular case its astoundingly annoying and that annoyance is like a mold, shit spreads quick.

the color Red. as a lover of homestuck cherubs and karkat and aradia, as someone who fucking loves the color red, it is so painful to say but holy shit tone it the fuck down, i know its hell but their are so many other colors that you can use, its everywhere, the streets, the air, the windows, the screens, the characters, i know the pride ring is represented with red but change up the palates every so often for backgrounds

the rush, this ties into the second point made but i think the story itself is rushed. we know everything way to early. i know way to much and it makes it hard to care about anything because im still trying to digest the last chunk of info. "oh ok, so they clear out hell once a year. oh hell has a heaven embassy? ok. oh that adam the angel, i though he wou- oh its every 6 months now. wait the exterminators die a lot? then why is everyone sca- people in hell already have weapons that can kill angels? w- oh we are in heaven now, ok ma- no one in heaven except for the elites know the exterminations occur? how do-" and its that, just this incessant rush to explain everything to you. notably that's just the god damn spark notes, we need to know everything about the characters now, every single bit of their story, their insecurities, what charlie needs to fix, how she can fix them, the major bad guys, everything. you are never allowed to dwell on a character because we need to rush towards something else. it almost feels like this should have been like... season three, it would have been a fantastic season three if you dropped the introductions honestly.

the concept of redemption. for a story of redemption to work you need to look at three things. What is there crime, Do they want to change, What is preventing them from changeing? there is only one single character that has a notable path of redemption, angel dust, but if you look through their story it feels off. What Exactly is he guilty of? he has sex, does drugs and drinks. his apparent nymphomania is tied to his sad backstory as someone forced into the sex industry so how is that their fault? then if you think about it you start to spiral and notice "hey why are most of these people in hell?" like sure some of them may deserve punishment but then you see the fucking dichotomy and its like "I was a inventor in england and died of the fucking plague, i may have made evil little contraption hoohoohoo" vs "I was a cannibal, a full on cannibal, i fucking killed people and ate them and then someone shot me". ONE OF THESE THINGS ARE A LITTLE MORE FUCKING EXTREME. i'm going to go fucking nuts, the thing they went to heaven with when presenting a case to angels on the idea that redemption and becoming a better person is actually real was angel dust not drinking at a party and not having sex with consenting adults and i want to go fucking insane. WHAT IS THE CRIME, WHO IS THROWING THE BOOK, WHAT DOES THE BOOK INTEL, ARE WE ON GOOD PLACE RULES?! half the cast dont Need redemption they need fucking help, and the other half of the cast do need redemption but they do not seek it making the point moot. sir pentious acts like he has the brain of a hyper intelligent toddler tossing about toys, its almost like he did his one bad thing of spying and then got caught, sank his little diddy about forgiveness and second chances and become a null point through out the rest of the series, sure their was Some weight to him sacrificing himself, he was a decently funny character and he had good moments but him popping up in heaven felt like a fore gone conclusion, he didn't deserve to be in hell so why do i care that he is suddenly in heaven? because its working on the concept the good place already made. no one actually deserves eternal punishment they just need help processing what makes them a dick, but instead of looking at all the parts of the afterlife that make it bad, inefficient and then creating and trying ideas to see if it work instead over a few seasons, we crash dick first into all the major plot points in regards to that and say "tada, we fixed it.".

having a sub-plot about sexual assault and its victims then having multiple sexual assault related gag ruins your point.

don't make a bunch of stereotypically jewish characters into cannibals, that was a big thing, really shouldn't have to say it.

if you are going to make a character black, make them black, you can say alastor was black but sweet seren-fucking-dippity that's not a black man.

pot meet kettle but yeah the cursing could be a little less liberal. maybe just blue hair or the pronouns, not both.

there is a very distinctive art deco/jazz aesthetic which normally i love but i feel as though it is not used to its full extent and in some cases really hurts the character design in and of itself.

this is a vary obvious bit but the story is a million times more interested in gay men then it is of lesbians, which culminates in this insane thing where the writers clearly have more talent or perhaps it would be more abt to say practice writing male gay pining then they are with lesbian pining. which i personally think is hilarious because i did not know you could min max fujoshi-ism that hard.

this next section is more to do with each character on a fundamental level, for the sake of brevity whatever there is left, i'm just doing ones with speaking roles.

13. Charlie:

(see what i mean about that red thing?)

as originally stated charlie fits rather comfortably into every white saviour narrative, though that seems to be part of her joke. though i'm not entirely sure how much of a joke it can be when its rewarded and expected to advance the plot.

her character design says nothing, it has the motif of old puppets or dolls, she wears something vaguely similar to service suits, her demonic form is just some extra horns.not to say every character needs to have their life on a clothes rack but some more snake and goat imagery would be nice

its not the chol design of charlie with snake hair, not an actual problem but its a problem to me, damn you @cholvoq for ruining my ability to look at any of the characters without wishing i was seeing your designs instead.

character wise aside from the white savoir bit, i'm having a bit of trouble understanding what the arc of the character is. she is shown to be naive, someone who doesn't understand how the world works but everytime she says something its something astoundingly clear like "people can actually get better". and its treated like someone demanded faygo in every water fountain. is the joke that the world around her to cynical or is so to naive? please pick one or the other.

now if you know me, you know i fucking hate overpowered characters with a blinding passion, one that would set alit the god damn abyss but in this one special instance, i feel like its warranted, she's the direct descendant of fucking God, she can swing her weight around a little, i mean god damn. she in so many instances looks like shes cowering so often, why would the daughter of lucifer get backed down by some rando pimp? why wasn't she the one to fight adam? sure you can say she is young but how young? her parents were there since pre-abrahamic times, most of the characters showed up in hell in the 1900s, some of them showed up in the 1600s, how old is charlie??? how long does it take for her to learn how to be strong? The story does not suffer if charlie is strong and knows she is strong. it can easily be a case of "i don't believe in violence to a weird degree". fit it into her apparent naivety about the world to believe that violence is never the answer even when dealing with a being that is unilaterally horrible and abusive and monstrous.

she ga- no im kidding, i do think her romance was waysided a bit, it would have been fine to have more scenes of them togather and in love you know?

14. Vaggie

why did you name the lesbian vaggie...? Don't do that maybe?

I like how her design is almost moth like but again i feel as though you could have amped that up.

she feels as though someone tried to combine undyne and pearl from steven universe, same story beats and design elements. it makes it hard to really distinguish her as a character.

i honestly dont have much to say about her. she is fine.

christ kill me, lets just get the big one out of the way

15. Alastor.

God Damn

where to start.

"alastor is mixed race" mixed with fucking what? concrete? there is not a single black feature on that creature, now im not saying you have to make him a png of louie armstrong but it wouldn't hurt to add a curl to the hair maybe? make it a tiny bit more wavy? Something? a crumb i beg of thee?

his symbolism is all over the god damn place, native american monsters (you know the one), voodoo, radio, puppets, stitches, circuses??? and Tentacles i guess. two of those are from closed religions so if you dumped those you would actually get a more concise character focused on the concept of vox populi as a means of societal control and influence as we see in his first song. but again that gets drowned out repeatedly by all the other random toy box bits shoved into him.

tumblr sexy man bait

he serves no purpose in the story. he does spooky stuff, pretends to do things and then goes back to sitting around looking spooky. i understand that his motif is supposed to be aloof mastermind but maybe have him do more mastermindy things? if you remove most of alastors scenes, bar the songs, it doesn't change all to much. husk and nifity can still be at the hotel, they could be looking for outs in their contracts the same as angel dust. hell it even helps with the one scene where he dose some spooky shit, asking charlie for a favor in exchange for his help in the fight with the angels instead of asking him about angel weapons which should have remained a strictly vaggie scene.

his presence in a way delegitimize the story, as I noted in in the section regarding redemption, the three parts are "what is the crime, do they want to change, what is stopping them?" and alastor kinda just spits in the face of that. he is a serial killer cannibal that has no qualms about how evil he is and apparently must continue being evil due to being under the control under someone legitimately called the Root Of All Evil. show him take a slight interest in the idea that maybe shit for him could be better, make him Want Change at the bare fucking minimum or dont have him at the hotel.

his stupid little fucking horns, big shot the troll liker wants characters to have big fucking horns, make them noticeable or dont have them.

he looks more like a dog boy, which could have been an interesting thing with the collar motif but fuck me i guess.

personal pet peeve but i fucking hate characters that have a million plus powers, stick to a set number, be creative.

im getting more petty as i go on so last point: he could have been in less episodes, he didn't need to be in dad beat dad, that should have been just a lucifer and charlie episode. inverse the red and black and i think he would be fucking great color wise, his body type is the same as ten different characters, he isnt radio enough, aside from the voice and and staff if you told me he was the fucking Cat Demon i would have been just as convinced.

16. Angel Dust

what the fuck, gay spider? its hard to actully articulate all the thoughts i have on angel dust, not in the sense that he is a deeply thought provoking character but in the fact that there is not much meat on the bones.

all around i think angel dust is kinda middling. he has a decent enough romance with husk, he has a decent enough story line that revolves around battling addiction and removing yourself from an abuser (which the story tries to brand as "Redemption???")

I dont like that most of his jokes would qualify as sexual harassment, i don't mind him being sexual as a character but continuing on when clearly someone doesn't like the jokes hurts the character.

not a critique but he is pink, which honestly ill fucking take at point, as long as its not more fucking red.

i think his design is an improvement over some of the old vivzie designs but it feels like it could have done with going a few more rounds of design changes.

same thing with alastor, charlie and vaggie, there is not enough of the animal that they are supposed to be. You could have told me angel dust was a fucking bee or something and i would have had to believe you. nothing about angel dust initially says spider, hell he dosent even have enough limps to be a fucking spider.

17. Carmilla carmine

are... are you supposed to be a rabbit...?

Big Yoai Hands

ballet fighting style, could have been cool, wish she fought more like sanji or chun li.

A single mom that works to hard, who loves her kids and never stops-

her song was decent, not great, decent. it feels as though the actress has experience singing but not in the way they tried to make her sing during her two songs. they have a obvious mexican influence, honestly just let her sing in spanish in the english dub. go listen to the spanish dub, "out for love" sounds great in spanish.

i wish i had more thoughts on them, fucking rip.

18. cherri bomb

that's not a punk aesthetic that's 2010s alt

decent character, they showed up once or twice i guess, no real thoughts.

19. egg boiz

absolutely perfect, i have not notes on them, these are perfect creatures.

20. Emily

im so fucking happy to see a singular blue character

does the naive dreamer bit better then charlie

We really shouldnt have seen her until the end of season two or middle of three.

good contrast with the other angels on screen.

Wait she is supposed to be black??? Where???

21. Husk

keith david you absolute delight, Why on gods green earth did they only give you one singing part?

one of the few charecters where its clear husk is a cat, i do like the kinda... marquee design, he is a magic cat, thats neat. i still think you can toss the wings and eyebrows and still have just as good of a charecter.

has a deeply intresting story of someone who died as a nobody, became the fat cat of hell and then was forced back to the bottom by their own vices, not used at fucking all.

huge potential, little pay off.

22. lillith

I know nothing about her except she ditched her kid and husband to vacation in heaven and i think thats kinda funny.

alot of werid things floating around her, again she shouldnt have been shown in the show at all until next season.

23. lucifer morningstar

no notes, funniest charecter, did a song based on friend like me.

few notes: i do like the idea that the immortal symbol of pride is a constant emotional wreckage constantly seeking approval through grand showmanship and manic energy that threatens to take over anything they touch.

would have liked more snake stuff on him, maybe some more goat things like horns.

that is such a stupid fucking staff lmao.

24. Adam.

alex brightman you absolute fucking delight, you should have had more songs.

I wish his design was more focused on the idea of him being a glam rock wash up

I fucking hate his mask

We shouldn't have met him until the end of the season.

25. Niffty

again she is supposed to be a bug or cockroach but nothing about her points to that.

token straight

keeps rocketing back and fourth between sexulization and infantilization

you had kimiko glenn but didnt give her a single fucking song?

26. Sir Pentious

the secret season one redeemed.

the pilot version of him felt more like someone that could do a season one redemption arc, a megalomaniac constantly attempting territory grabs, there is something you can work with, actual character flaws to work through.

essentially a child after the first episode.

actually a snake which i appreciate.

no where near steampunky enough.

27. the villians of the show dont make much sense, each one feels like they should be season long deals on their own instead of a bunch of team rocket esque idiots that show up on occasion, do a bad thing and then leave.

28. Valentino

gOD THERE IS SO MUCH RED

only a moth some of the time.

sucks as a villain, maybe they need more screen time to show why they suck in a more substantial way aside from being told that he sucks.

it is interesting that angel dust is only under his magical control when in the studio, it shows that angel dust has to make a conscious choice to return, which in turn can be made to show how abusers can draw back their victims. I do not think it was done well in this circumstance as it shows him to be cartoonishly evil, constantly flying back and fourth between sweet and utter psycho, there is no actual reason for angel dust to ever actually go back to the studio, he just does so every so often.

29. Vox

legit who cares? the only thing about him that is in any way substantial is all the dope ass fan art we get.

propaganda machine angle that is not explored at all, just hinted at. no actual barring on the story whatsoever.

why didn't he try to do the same shit as alastor by the way? he knows its bad if alastor gets in good with charlie so shouldn't it be a ass kissing race?

same body shape as literally every other male character.

tumblr sexy man version of pyrocynicals fursona.

30. Valvette

the actual poster child of the shows huge problem of "Show me, don't tell me".

apparently the glue that holds the villains together. never shown.

apparently the one that makes the love potions that valentino is famous for. had to learn about that in the fuckin wiki trivias

we know so much about her from things outside of the show.

was there to call carmilla a coward, that's her plot contribution. she shows up every now and again but its never anything substantial and serves to more around take up run time for people We Don't Need To Know Yet.

im not trying to be mean, animation is animation, we need smaller studios to have success in the industry so that other indie studios can have that success, felling a tree makes it easier for others to follow. showing that its possible to number brain rot exacs helps all animators.

but this show has so much bullshit attached to it, it has so much fucking potential that it fries my brain with unyielding frustration.

this took a bit to write, im tired, thanks for reading.

[k8lynjoy]

I'm so tired of people telling those of us who are upset about the LA atla remake that we are "being too dramatic" or are just "finding things to be upset about". We are allowed to be upset that something that we love so dearly has been butchered, AGAIN. If you liked it, then that's your personal opinion, but don't sit here and tell those of us who didn't that we're the problem.

I personally think the CGI, costumes, and sets all look terrible. None of it is immersive. Sure, it LOOKS like atla, but it doesn't FEEL like atla. The heart of the og is gone, and people are allowed to be upset about this. They've altered characters to the point that they aren't the character anymore (looking at you Aang and Katara), which is a huge upset for me personally because Katara is one of my favorite characters ever. So watching her be turned into someone meek and docile is more than a slap to the face. Not to mention them removing her as the narrator as if Bryke themselves didn't state that Katara is the person the story is being told through. And before you start telling me that Aang is the same. No, he isn't. Major parts of his development through season 1 (him coming to terms with the fact that he's the avatar and embracing that role, and him also accepting the fact that he RAN AWAY and how he is never going to do that again, which is also pivotal to his character later on) are completely removed. And don't even get me started on what they did to Kataang. Regardless of whether you ship them or not, those 2 are deeply connected to one another from the start, and their relationship is a big part of the show, so to see that butchered is heartbreaking for me.

This isn't just about them "making some changes" or it not being a 1:1 adaptation. I'm fine with adaptations that aren't 1:1. What I'm upset about is that the changes they are making are VITAL changes to characters and dynamics between characters. They're rushing through the plot and condensing the story (and I will scream if I hear one more person say that it's because they couldn't fit it all in with their runtime. The runtime is an HOUR LONGER than the og, so yes, they did have the time). The changes they are making make it evident that they do not understand the og show, and if you don't feel like that, fine, once again, that's YOUR opinion, just as this is MY opinion. So stop telling us we have no right to be upset and that we just want to hate everything. That's not true. What is true is that we are expressing valid complaints about another bad adaptation of something dear to us.

Edit: If you also come at people who are upset bc they were expecting a faithful adaptation and didn't get it bc "its not supposed to be the cartoon," you're missing the whole point. An adaptation is ADAPTING SOMETHING from one medium to the other, not rewriting it. "Yall expected it to be just like the cartoon." No, I expected a FAITHFUL ADAPTATION and was met with poorly written fanfiction.

[prideprejudce]

I think alot more people would enjoy the show if they learned to see Rhaenyra and Alicent as Unreliable Narrators, and characters who are supposed to have glaring flaws and weaknesses.

Mandatory preface- There are Issues™️ with season 2 that are its own other ask- but the complaints ive seen about character assassination on both women kind of tells me ppl just wanted to see the two just GirlBossing around, not being tragic characters trapped in their own circumstances.

For Alicent specifically- she just isn't written to be Cersei 2.0, and while it was really interesting to see motherhood from cersei's point of view, its already been done!! I actually prefer seeing Alicent's mercurial clinging to and abandoning motherhood- its interesting!! She was made a mother at what- 15? An age where you truly arent mentally developed enough to raise 3 kids, AND be a child bride, AND be a queen, (AND be a lesbian).

Alicent is interesting to me because she's stunted at 15 years old, she's an adult woman who talks to and sometimes bullies her kids as if they are her peers, and is obsessed with her childhood crush(es). She hasn't built any new relationships* past the ones she was entangled with as a teenager, she's obsessed with both acting out to make SOMEONE see that shes suffering, (she's honestly pretty blatant for someone who prides themselves on being the Temperate Voice of Reason) but also to erase herself and reset to before she had to marry the king, before aemma died.

I think most of her 'bad out of character' decisions are just these two impulses winning out, her trying to force a reset, go back to a time where none of this had happened yet, when things were simpler and she had love and every day wasn't the worst day of her life™️.

She sleeps with cole, the man she thought was pretty at 15 (her last uncomplicated attraction just before it all went wrong and aemma died) -she doesnt seem to like it that much, but she does seem compelled to seek him out, esp when upset- shes obsessed with, and desperate to reconnect with Rhaenyra, her childhood best friend (and first love) and get back to where they were as kids, AND she still treats and asks her father for absolution as if he's still the only authority that matters to her just like she did at 15. Alot of her 'victim complex/bewildered they took it so far' behaviour in the plotting of rhaenyra's usurption reads to me like a teenager in over her head, she talked big game and now its real and shes panicking!! She's tragic BECAUSE she's still a teenager- so stunted shes unable to meaningfully grow up and learn to make healthier choices for herself, or move on and stop trying to grasp at the 'if i could just go back' urge.

As a mother, I think this creates an interesting dynamic as well, and I do like that in the casting even, she seems closer in age to her kids than rhaenyra does to hers. I think the contrast ppl are drawing with Alicent Protecting Her Kids in season1 compared to her giving them up in season two isn't bad writing to me, just massive differences in context. Sure she protected Aemond in driftmark, but we cant ignore that she probably felt humiliated by her husband choosing rhaenyra's side over hers in front of everyone, did it seem like a grown woman fighting for her son?? or a teenager furious with her ex winning one over her again? or both!! both sides twisted together is still interesting! When she protected Aegon from Rhaenys, is stepping in front of her son the king to protect him from the enemies dragon fire not the most romantic daydream of a deserving death a child bride could come up with?? Was it the impulse to protect the son she couldnt decide if she loved or hated, or was it to have the most heroic death possible to escape the reality that she sees coming. And if Rhaenyra hears about how Brave she was in the face of a dragons maw, and cries about it forever and feels sooo bad and regrets it til the day she dies, thats an added bonus. I think Alicent loves her kids, but is teenager selfish about HOW she loves and protects her kids, and is unable to be a mature, consistant, protective mother to them when she also sees them as having ruined her life. I think in season 2 when she 'gives them up' shes relieved, and once again following the compulsion of 'if i reset to when Rhaenyra was heir, i had no sons, and i wasn't married or queen, everything will be better'. I think theres complexity to it, i think she does love her sons and feels insane about it, but I think Alicent has been trying to Go Back in more and more Intense ways ever since she got married, and we might be giving her sanity more credit than it deserves when it comes to the need to wipe the board clean and go back to being 15.

hey anon are you trying to get married to me or what

[twilightcitysky]

Everything Is Meant (long S2 analysis, part 2)

Part one here

Okay, so that's how I think the pre-creation scene and Gabriel's arc connect to Aziraphale's choice. I also think the ineffable bureaucracy speedrun exists to prove totally different things to Aziraphale and Crowley: Aziraphale loves that they can love each other but notes they have to run away to be together; Crowley sees this and immediately thinks "hey, we can do that too!", forgetting that running away is not a solution Aziraphale has ever been interested in. It's the mentality of an individualist vs a group-oriented mind, and neither of them is necessarily wrong, it's just that their priorities are different and they HAVE TO TALK ABOUT IT, which they don't.

Continued analysis under the cut:

3. Let's take the Job minisode. Why include it? We already mentioned that it proves Aziraphale remembers Crowley as an angel, since he mentions it. And he believes Crowley is the same person he always was, and that he doesn't want to harm Job's crops or animals or children. Crowley tries to convince him he's a Big Bad Demon who is all in on this assignment, but fails utterly to kill even a single goat, soooo... Aziraphale comes to the conclusion that he knows what Crowley wants. Alert! Alert! This is a big problem! Crowley says, "What do you know about what I want?" Aziraphale: "I know you." Crowley: "You do not know me." But because Aziraphale got it right this time, he goes ahead assuming he'll always get it right, which is a crucial failure when it comes to the final reckoning. He doesn't ever ASK Crowley what he wants, he just assumes. When you assume you know what someone wants, you usually assume their priorities align with yours... he couldn't be more wrong about that. The Job minisode sets up this dynamic for them, and they never really manage to change it.

The other thing happens at the end of the minisode. Crowley acknowledges two crucial points: 1) he's lonely ("But you said it wasn't!" "I'm a demon. I lied"), 2) he doesn't think Aziraphale would like Hell. Aziraphale DOESN'T like Hell. Aziraphale hates Hell for what they've done to Crowley. He doesn't see Heaven as innocent or benign, but importantly, Heaven has never tried to hurt Crowley directly. They never threatened his safety. They never tortured him (as it's heavily implied that Hell did). Fast forward to the last ten mins of season 2: Aziraphale excited to tell Crowley that he can be an angel again BECAUSE: he never has to go back to Hell. They can never hurt him again, not the way they did before. And he doesn't have to be lonely anymore.

Last point before I leave Job: Crowley has the chance to cause Aziraphale to Fall, here, probably. ("I lied to Heaven to thwart the will of God!" "You did, but I'm not going to tell anybody. Are you? ...good, then nothing has to change.") He doesn't take it. He doesn't want Aziraphale to be a demon. He loves Aziraphale as he is. "Angel" as an affectionate. Aziraphale certainly doesn't use "demon" as a pet name for Crowley. I think they set up this scene to contrast the final one, and show how deeply hurt Crowley is that Aziraphale suggest he change.

4. Moving on to Victorian Scotland. This one confused me at first. I was delighted that they brought back the "the lower you start the more opportunity you have to rise" dialogue from the book, but apart from that I didn't really see the point of it. It seems like the statue of Gabriel and the fact that he and Beelz ended up at that pub in the present were more or less coincidental.

The point, I think, is actually not the girl, but the doctor. He's a person who is trying to do good by working in a system that's deeply flawed, and engaging in questionable moral practices for the greater good. (Cadaver dissection is still an essential part of medical school. You need dead bodies to understand living ones.) He shows Aziraphale a tumor he removed from a child who died, and Aziraphale clutches it to his chest. The camera zooms in and lingers to tell us that this is a guardian through and through. He wants to protect people. He wants to do good with every fiber of his being.

To Crowley, it's enough to just "be an us" with Aziraphale. He doesn't really want anything more than that. That's an issue! For one thing, it fosters unhealthy codependency, and for another, Aziraphale would never be happy without the opportunity to help and protect people. It's an essential part of who he is. Metatron knows that, and he plays Aziraphale like a fiddle. The doctor showed Aziraphale that you can make a difference even in systems that are flawed, and even if you have to do things you'd rather not do. Aziraphale doesn't want to go back to Heaven, but he truly thinks he can change things; thinks he can be a guardian with some real power. In his mind, that's the right thing to do.

Last thing that happens in Scotland: Crowley saves a soul from Hell, arguably, by preventing a suicide. He gets in Big Trouble. Whatever happened to him downstairs resulted in him coming back up, leaning on a cane, and asking Aziraphale to give him holy water. Go back and watch that scene knowing what we know now about the Victorian minisode. Ask yourself how Aziraphale must have felt. He likely blamed himself for what happened, because if he hadn't meddled then they never would have been there in the first place. He knew where Crowley was, and why he was there, and he had to sit with that knowledge for years. He desperately wants Crowley to be safe; is perfectly willing to push him away to keep him safe-- which is what he does do, the minute Crowley gets back.

Now think again about what Metatron offered him. A chance to keep Crowley safe forever. He'd never be harmed again. Aziraphale is going to take that offer, no matter what else is asked of him. He's shown over and over again that he'll sacrifice his own happiness to make sure nothing happens to Crowley. And he'll do it without talking to Crowley about it first, because he is a moron who doesn't know how to use his words. Leading Crowley to assume that Aziraphale doesn't love him. The idiot angel is doing it all out of love, but because he doesn't make himself clear Crowley doesn't know that.

Part 3: Maggie and Nina, and their roles as mirror couple/ Greek chorus!

[bloop-bl00p]

In defense of Octavia

TW: Lots of Trauma Dumping, Mention of abuse

She’s been wronged way too many times in this fandom for some reason. Look at her vibing, how can you hate her?

I’m a fan of Helluva Boss, mainly because of its potential but the quality dropped dead in the second season. We’re gonna talk about a character I’ve seen other fans misinterpreting in favor of the so-great Prince Stolass.

I want to talk about her mainly because I do what I want and because after studying her character I just realized that she’s just like me. Especially regarding her relationship with her father, I see myself in my younger years.

All of that to say…

She has all the right to feel abandoned.

Octavia obliviously has a stronger bond with her father, it shows in her behavior and little background details

When she wants to draw her family, she draws her and Stolas, we mostly see her being happy with him which leads me to think that she’s emotionally neglected by Stella. To her, Octavia is just an ‘egg’ that fell off her and she doesn't care about the impact killing Stolas could have on her daughter.

Despite being emotionally absent, Stella has a much more physical presence than Stolas. Most of the time Stolas is alone in his castle which leads me to think that Octavia is somewhere else with Stella. They did mention the two went on a weekend somewhere. This leads us to this question…

How can Octavia feel more close to her father?

Here’s the thing, I see a lot of my family dynamic here. My mom doesn’t pay attention to me at all, she doesn't want me to bother her and she makes it clear. My dad, however, who’s absent like 90% of the time, always tried to spare time with me. He explained to me that he was working and why he was doing all of this (I was like barely ten) but it never prevented him from trying to play with me, sharing his hobbies, going on a walk, and else.

He was there emotionally and, as a kid who was bullied, had no friends at all, and a mother who didn't give a damn, I cherished this relationship.

I believe the exact same thing happened with Octavia, we never see her with friends or even outside the castle, she’s isolated. Stolas has Prince duties, we’ve seen him carry them in the shows, hence why he’s mostly absent leaving her with her mother. But, at least when she was a kid, he tried to do stuff bringing her to Loo-Loo Land or being the one to comfort her. That is why she clings to her father, he’s the only one who actually shows her love and she’s terrified of losing that.

Regarding her mother, Stella obliviously doesn't care about her so the feeling is reciprocated. From a narrative standpoint, Stella is an unpredictable force of nature getting angry for pretty much anything that doesn't go her way. So Octativa learned to not cross her mother's path.

I know this expression, this is the “Oh fuck… they’re at it again?” she’s used to her mother's constant screaming, she's used to her parents fighting.

She did say they were a time when a parent didn't hate each other, which to me refers to the time when Stolas tanked Stella’s abuse. But, that doesn’t mean that Stella wasn't abusing him in front of a younger Octavia, she’s erratic and they did imply that she can get physical in her toxic behavior. Since Stella was passive, it was probably mostly harmful comments.

Putting personal things here, my mom was also very abusive to my older sibling. Since I was extremely young I learned not to ‘be a burden’ to avoid being abused as well, which includes things like not talking to her unless she does it first. Whether Octavia is aware of the physical abuse or not, she must know enough to know that it’s a bad idea to annoy Stella.

This is the only picture where we see her seemingly having a good relationship with Stolas, which to me feels like she’s faking it considering all we know about the family.

She has a pretty shitty household but her relationship with her father make it bearable until Stolas did a 180°

He randomly started to prioritize Blitz and don’t spill me the bullshit of ‘he’s trying’ he stopped trying long ago.

Let’s analyze this episode by episode:

In Loo Loo Land, Stolas seemingly tries to rebuild a visibly strained relationship with his daughter by bringing her to a park she liked when she was a kid. To this, she immediately responds with an “I’m not 5 anymore.” and an “I rather kill myself.” There’s no room for miscommunication, she doesn't want to go there, and she won’t enjoy it as much as she did back then. Still, he decides to go there, showing that he doesn't listen, and, he brings the one the thing that is currently ruining his already horrible marriage because of his own actions. Blitzø.

He’s trying to spend time with his daughter after a long time (this is mentioned in the episode) and he decides to bring in that one guy he’s hooking up with to deliberately make sexual remarks about him in front of her.

She’s uncomfortable the whole time, not just because she allegedly doesn’t like listening to her father's comments but because she doesn't like the park. She said it, yet Stolas doesn't acknowledge it, he doesn't realize the faces she makes which are to me pretty communicative of her annoyance and discomfort.

This is not even subtle body language, yet he only notices it when she runs off. The worst part is that he still finds a way to think about Blitzø when his daughter leaves.

He looked upset that Blitzø didn't follow him! Did he expect that guy to pursue him constantly? He was in the middle of an argument with his daughter, I personally would have stepped away to give them space to talk and reconcile. But no, apparently Blitzø should be at his beck and call all the time.

But you know what, after all of this. He still apologized. That absolutely does not negate everything he did during the day but, at the end of it, he finally listened to her and even brought her to a place she actually wanted to be. Which is good, he acknowledged her discomfort and did something she liked.

Until Seeing Star.

Look I know Stolas was busy with Stella but he clearly doesn't care about her and her stuff.

Don’t tell me he couldn’t pinpoint Stella’s location with magic and teleport all of her belongings to her. Their discussion was barely about the furniture, he could have said that they were gonna be delivered and hung up the second he saw Octavia. Arguing with Stella is pointless, he’s the number one guy that should know that! Why does he continue to insult her, he’s just fuelling the fire!

Moving out her belongings would have been 10 times faster if he just hung up the phone, then he could have had a more mindful talk with Octavia without the constant bickering of his ex-wife.

But he didn't for some reason, fair enough, I guess. The writers do whatever they want. Anyway, Octavia got angry and ran to go see the stars on her own.

So, Stolas’ castle is in Pride but my point still stands, Octavia had the time to run from home and make the way all from her father's place to the city, find the specific building Blitzø held his organization in and Stolas didn't notice a thing.

You cannot tell me Stella managed to get his attention for that long AND you cannot tell me that his castle is close to the shitty disaffected building and the populace. His daughter ran off and he did not notice a thing.

Not only that but he has the nerve of blaming Blitzø for not watching the book. Like, dude! You should have watched your daughter instead!

Then he spills out more bullshit.

I don’t know Stolas, how could you possibly find her when you were shown to have countless abilities to do so?

Like bubbles projecting the image and locations of people.

Or that on time when you possessed corpses and one woman just to go full eldritch monstrosity just for one that one guy you’re cheating your wife with. And don’t whine about “They don’t love each other.” it’s still affecting his family, mainly his daughter so it’s still bad.

Of course, you do all of that without your grimoire without any problem, brushing it off with a…

I guess he forgot his ‘ways’ when it came to Octavia. But honestly, Loona literally found her easily just by looking at her Instagram account, couldn't he just call her or something? The girl had her phone the whole time and he didn't just think of calling her.

Me when I forget that I have teleportation power when I am in an enclosed space with nobody is looking.

You’re certainly not worrying right now. Via literally told him to his face that she was scared and he kept flirting with him even though he once again caused her to run away because of his neglect.

He’s not trying his best, THIS IS NOT TRYING!

No Loona, his daughter communicated very clearly issues related to their relationship, rather than reassuring her and being there for her as much as it’s realistically possible (he still has duties to carry), he gets in an avoidable petty fight with his ex and keeps an unhealthy dynamics with an imp he's been obsessing over. He doesn't focus, his priorities aren’t straight, and now Octavia feels abandoned.

I did mention that I had a good relationship with my father back then, but it stopped abruptly. His focus changed and he went out with friends after work and gradually stopped spending time with me. Until we never spent time together again, (to give you an idea the only moment where I could see him was in the morning for breakfast) now that can sound silly but I was a child, with no friends and a neglectful mom, losing the only good thing I had in life broke me. I knew his schedule, I knew he was spending time with work buddies and that just stung my self-esteem even more leaving me feeling like a burden when I was just a kid who wanted to feel love.

This is why I don’t like the “He’s trying.” I know what a trying struggling parent looks like and I know what happens when they stop. If you keep trying to do something and you’re constantly failing, either your technique isn’t the right one or you’re not and you’re convincing yourself you are.

And then there are people that’ll tell me that “He lived through the abuse of Stella for years for her.”

If you read all of this then I don’t feel like I need to explain how Octavia was at least partially exposed to Stella's toxic behavior and was affected by it.

For those who don’t know how it feels to live with an erratic mood-swinging person, it’s pure constant stress. You have to think constantly before you talk or move because you know that if you fuck up you’re gonna pay the price. And if you still eventually mess up you can never know with these types of people! You can’t defend yourself because the punishment will be far worse. You are ALWAYS in the wrong.

So he lived through the abuse of Stella just so his daughter could get neglected and abused in a less physical way?

The difference between my parents and Octavia is that they love each other. Stolas doesn't give a damn about Stella, he did say he was nice at first because he empathized with her they were in this shitty situation together, and fine, it's reasonable. But she never changed! Stella stayed the same! Why didn’t he leave her when he stopped carrying about her?! There’s no trauma bounding, Stella isn’t guilt-tripping or manipulating him, they got the child he could have divorced her easily without consequences! If anything, she’s the losing part of this divorce she’s lower in the hierarchy! “Andreaphul will get angry.” HE’S A MARQUIS! Hierarchically speaking Stolas is far more important and he mopes the floor with his peacock ass!

Am I supposed to be empathetic with that one dude who willingly let his daughter grow up in a hyper-toxic environment with an emotionally neglectful and unpredictable wife?! Am I supposed to believe he cares when he kept sleeping in his house in his bed with the same guy his daughter clearly is worried he’s going to leave her with?! Really?!

Don’t ever tell me that this is trying.

[astonmartinii]

motormouth | charles leclerc instagram au

pairing: charles : x host!reader 

charles finally gets the chance to go on his favourite internet show, but completely embarrasses himself in front of the host - his celebrity crush 

yourusername 

liked by charles_leclerc, florencepugh and 1,303,765 others 

tagged: scuderiaferrari, charles_leclerc 

yourusername surprise!!! the next guest on the bargain bucket is ferrari prince, il predestinato and chronic bad trouser-enjoyer charles leclerc! in this episode we ate monaco’s local bargain pastries while discussing his f1 career, being the middle child and a potential career as a pianist. available this friday. 

view all 320,761 comments 

charles_leclerc thank you for having me on the show 

yourusername the pleasure was all mine charles, tell ur pr department to stop calling me 

lovelyleclerc oh god what did charles say 

wdccharles this is my multiverse of madness 

pierregasly oh thank the lord he can finally shut up about getting to go on your show 

piarlestruther pierre always exposing his bestie 

charles_leclerc 

liked by yourusername, scuderiaferrari and 601,761 others 

tagged: yourusername, thebargainbucket 

charles_leclerc i had a great time when y/n wasn’t trying to bait me. check out my ep of the bargain bucket this friday. 

view all 4,092 comments 

yourusername i didn’t bait you at all, you admitted it all on your own baby 

charles_leclerc lying isn’t cute y/n 

planetleclerc i’m lowkey loving their dynamic 

leclercfan16 yessss i want to see more 

pierregasly did you admit your crush? 

f1wagupdates PIERRE WHAT 

yourusername 

liked by charles_leclerc, gracieabrams and 1,208,945 others 

tagged: thebargainbucket 

yourusername ahhhhhhhhhh my heart is so full. after a successful few years my little show that started in my parents’ spare room is getting a big upgrade. i can’t say too much now, but watch this space... 

view all 7,092 comments 

florencepugh so so deserved 

flowersforcharles ah i’m so excited 

charles_leclerc but you can’t possibly upgrade from me 

yourusername don’t flatter yourself 

danielricciardo congrats y/n - when can i come on? 

yourusername might be sooner than you think 

f1wagsupdates 

liked by likedbypierregasly, leclercmylove and 431 others 

tagged: yourusername, charles_leclerc 

f1wagsupdates charles and y/n spotted in the background of joris’ instagram story before it was taken down. are they a new couple in the paddock and does this have anything to do with her new project? 

view all 24 comments 

violetleclerc idk about you guys but i love them 

gasly10 this feels kinda forced especially with rumours that her new project is with f1 

f1fan16 yeah it defo feels like she’s only with charles for that reason 

yourusername added to their story 

[caption: a little change of scenery] 

f1 

liked by yourusername, charles_leclerc and 2,309,812 others 

tagged: yourusername 

f1 this season the bargain bucket is on wheels and international. y/n y/ln is sampling the local delicacies while giving you a behind-the-scenes look at the world of f1!

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tedkravitz welcome to the team y/n!!!! 

yourusername thank youuuuuu ted 

lewishamilton looking forward to seeing you in the paddock y/n 

yukitsunoda0511 can’t wait to show you all the best places to eat in japan

yourusername omg yes yuki

charles_leclerc proud of you lovely 

yourusername sharlllllll i’m blushing 

charles_leclerc 

liked by pierregasly, yourusername and 1,409,532 others 

tagged: yourusername 

charles_leclerc best thing about y/n always being in the paddock: kisses 

worst thing about y/n always being in the paddock: how much she loves lipstick 

view all 12,078 comments 

yourusername you love me really 

charles_leclerc i really do 

leclercfire the way charles was scared he embarrassed himself on the bargain bucket by saying she’s his celeb crush and now they’re together 

babyleclerc i’m proud of him for real 

pierregasly i guess our five hour phone call before going on the show was worth it now 

[formulawolff]

ii. eighteen minutes - t.w.

pairing: reserve fem driver!reader x toto wolff

word count: 2.5k

warnings: morally gray individuals, slow burn, sexual content (intercourse), allusions to sexual content, cursing, marijuana use, references to alcohol use, lots of power imbalance, questionable boss x employee dynamics, light toxicity, slight controlling tendencies from toto

a/n: here’s the second chapter of my new baby. i really like the direction of this fic & i hope y’all do too. also, i really wanna clarify and say that the reader, toto, and max are NOT supposed to be good people. they are supposed to be written as people who have flaws + make mistakes. i hope y’all enjoy! <3

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ────── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ────── ･ ｡ﾟ☆:

“look at you! come on now, do a little spin for me.”

sucking in a breath, you swivel on your heel, turning in a tight circle. lewis nods in approval, his tongue swiping along his lower lip.

“who knew a fire suit could look so good on someone? if you’re not careful, you may have quite a few drivers in your dms later. me included!”

“stop,” you hiss through gritted teeth, “it’s a little tighter than i would like in some areas.”

lewis’ lips purse, the british driver eyeing every inch of the suit, “that’s not necessarily a bad thing–”

“could you stop harassing our sweet girl?” 

george strolls through the entrance of the garage, arms folding over his chest. lewis rolls his eyes, mouth forming a pout as george plucks a strand of hair from your right rib-cage, “how come you get to be that close?”

“because i don’t sexualize her every five seconds,” george mutters, shaking his head, “how are you feeling? nervous?”

“nervous?” a dry laugh erupts from the base of your throat, “i’m clenching my cheeks right now. i’m afraid i’m going to shit myself.”

“it’ll pass,” george shrugs, “soon the adrenaline will kick in and you’ll be fine. don’t stress yourself out too much. it’s only qualifying.”

“it’s only my first qualifying in formula one,” you counter, wiping your slick palms on your suit, “it’s only my debut as one of the few female drivers in a male-dominated sport. it’s only the first time the other teams will get to watch me drive and–”

“you just want to look good for red bull,” lewis waves a hand, “don’t act all coy over there. we’ve seen your interviews. we know you have an interest in joining the dark side.”

“the dark side?” you arch a brow, “what does that mean?”

“you’d be under the helm of christian horner if you went over to red bull,” george exhales, his hands settling on his hips, “that’s a no-no in the mercedes handbook. so, we refer to it as the dark side.”

“oh,” a slight wave of shame blazes within you as you sense the subtle scrutiny radiating off the british drivers as they pick you apart, anticipating your response, “i just wanted to showcase my capabilities, that’s all.”

“there’s no harm in that,” lewis whistles, “after all, a lot of seats are up for grabs. several long-term contracts for drivers are going to be up after the season. 2025 is going to be one interesting year. that’s for sure.”

“indeed,” george nods, “not a lot will change around here though. i’ll be sticking around. so will lewis.”

at george’s statement, you notice the way lewis tenses up, almost freezing in place. yet, he loosens up the moment another individual enters the paddock, the driver bearing a meek smile.

“howdy, toto!”

“guten morgen,” the team principal is almost cold, showing no emotion as he approaches the three of you, “i assume the two of you briefed our little hase on our strategy for qualifying this weekend?”

“yep,” lewis dips his head, “she’s chomping at the bit to get a hot lap in!”

“ah!” the team principal’s head turns in your direction, a smug smirk now apparent, “is that so?”

fuck you, lewis hamilton. fuck you big time. 

“yup!” you swallow thickly, shifting in place, “i’m ready!”

in reality, there was nothing more than you wanted in that moment to be in max’s arms, snuggling against his chest as his hands roamed, rubbing gentle circles into your back. 

as much as you shunned those feelings that bubbled to the surface whenever he was near, there was one thing that you could not deny. 

he knew how to make you feel safe. 

and god did you wish he was at your side, your fingers intertwined together. even the sound of his voice was enough to soothe your nerves.

if only he was here right now.

if only.

due to the nature of formula one’s guidelines, in order to replace george, you would have to participate in at least one of the practice sessions on the track. which, since qualifying was considered a practice session, you would be given the okay to compete. however, there was the more petrifying aspect of it all.

qualifying determined the grid.  

if you did not perform, then mercedes would be at the bottom of the grid, fighting their way to the top in order to earn points. if you did not manage to snag a position in the top ten, then you would not earn any points. 

and no team wanted zero points. 

especially at the beginning of the season where a high-caliber team like mercedes wanted to make a statement. 

so, it was up to you to set that tone. 

to prove that you were not only a worthy competitor, but also that you were capable of earning points. 

talk about a pivotal point in your formula one career.

a point which would hopefully last more than eighteen minutes. 

hopefully.

“all right,” toto clears his throat, placing a hand on your shoulder, “come with me. we’re going to go on over to the car. i’m going to have you meet with bono, marcus, and james. they are going to give you a little insight about the new upgrades to the car, along with some adjustments we’ve made since sakhir.”

“sounds good,” letting out a shaky breath, you follow the team principal’s lead, dipping your head to fellow members of the crew as they wave, circling around you like vultures. they appear eager, poised to pounce at any given moment. with every passing second, the tension in the air thickened, a buzz beginning to grow among the garage. 

of course, they were talking about you. 

this was the first time you were going to be behind the wheel of their car. the car that they had worked tirelessly on over the course of weeks, if not months. the car they had poured all of their passion, their energy, and their resources into. the car that required numerous donations and sponsorships to build, craft, and perfect. 

a car that was worth millions. 

and it was up to you to ensure that the car came out unscathed, without a single scratch or dent.

some pressure that was.

and god, was it starting to weigh on your shoulders.

“before you speak to the team, i need to tell you something.”

you pause, cocking your head, “yes?”

toto leans forward, his mouth hovering merely millimeters by your ear. 

“don’t fuck this up, hase. the moment you get behind the wheel of that car you are going to do one of two things for me. one, you manage to qualify in the top ten for tomorrow. or two, you crumble under the pressure and crash the car.

if you crash the car, you’re fucking done. you will never step foot inside brackley ever again. i will release you from your contact the very moment you make it back to the paddock. so don’t fuck this up, yeah? i’m sure you don’t want to lose your cushy little lifestyle in the reserves.”

a shiver courses down your spine, fear bubbling up in the pit of your stomach as he towers over you, wearing a sickeningly smug grin. however, that terror only lasts a second, dissipating as retaliation takes over. it’s fiery and hot, your jaw clenching as your fists form tightly wound balls. 

“fuck you,” you manage to spit out, “fuck you, toto wolff.”

“that’s exactly what i wanted to hear,” he coos, breath hot as it fans against your ear, “good girl.”

“fuck you,” you sneer, “if you utter so much another word to me, i’m crashing the fucking car.”

toto wolff couldn’t help but let the satisfaction course through his veins as you glower, folding your arms tightly against your chest as you make your way over to the huddle of engineers and crew. you were almost stomping, your steps a little louder than usual. 

he had you right where he wanted you.

tensed up, fury filling you to the brim. your brows pinched together with dismay, a frown etched across your features. the toes of your shoe tapping away against the floor, itching to feel the wheel beneath your fingertips. impatient as ever, the fear of loss mixed with the desire to win creating a dangerous yet lethal mix. 

a loaded gun, merely seconds away from firing. 

to toto, this was necessary. 

this was the only way he was going to make you a champion. 

you see, toto wolff made no mistakes.

he was a calculated individual, carefully plotting and carrying out every single move when it came to the decisions made by the team. no detail, no matter how miniscule or trivial was finalized without his permission. no contract was signed without his presence. no calls were made without his knowledge. 

so, the decision to replace george with the reserve driver for the first grand prix was not a decision that was made lightly.

in his eleven years at mercedes, the team principal had witnessed it all. with eight constructors’ championships, seven driver’s championships, and a stake in the team, toto was a dominant force in the world of formula one. he had seen his fair share of controversies, faced backlash from the media, and harbored his secrets. 

although he thought he had seen just about everything there was to see in formula one, that all changed the moment he saw your face. 

that was the exact moment in which toto wolff’s entire world came to a screeching halt. 

that was the moment in which he knew he had to have you. 

he knew he needed you at mercedes. 

no matter the cost. no matter the stakes. no matter the risk.

he had lewis hamilton to thank for that. 

it all happened one race weekend in zandvoort. toto could recall the memory perfectly, down to the exact minute. he could remember the way lewis was toting you around, your arm entwined with his. it was in the garage, as lewis was giving you a tour, showing you around a little bit, introducing you to a few prominent members of the team. 

at first glance, toto was under the impression you were just another fuck for the british driver, another innocent girl that fell victim to the bachelor’s charming ways.

that all changed when lewis introduced you as the prodigy of prema racing, the one who shattered records and obliterated barriers.

the next world champion pf formula two. that was, if you played your cards right.

the next face of the mercedes team, if toto played his cards right. 

as fate would have it, you did earn that title. 

in turn, that achievement ended up changing the trajectory of your life. it opened up numerous doors, more than you ever thought were possible. brands reached out to you through social media, inquiring about sponsorships. fans praised you across social media, stating that you were a trailblazer for the world of motorsports. 

most importantly, it opened the door to formula one. 

you had toto wolff to thank for that. 

with the help of lewis, he was the one who got the ball rolling on your contract. he was the one who took a chance on the hot-headed, bratty driver. he was the one who called you, inquiring if you wanted to sign a two-year deal with mercedes. you would be in the reserves, but you would be on the team, nonetheless. 

although you were not the first or second driver sitting in a seat, toto was well aware of the potential brewing within you. 

which, was partially the reason why you were competing today. 

he wouldn’t have made the call if he did not believe in you. 

as you slip into the car, he lingers at the helm of the control panel, sliding on a pair of headphones. 

“one, two, radio check. hase, can you hear me?”

your voice, so sweet and delicate, floods his ears, “i can hear you, toto.”

“good, good,” he tuts, “okay team, let’s have a good qualifying, yeah?”

as the remainder of the crew finish the check, the team principal’s gaze fixates on the reserve driver. her helmet was a little too big, but he could make out her lashes as they fluttered, her head bobbing along as the team buzzed about, ensuring that everything was in perfect order. 

a member of the crew flashes toto a thumbs up, signaling that it was time.

“all right hase,” with every fiber in his being, the team principal fights a grin as you mimic the wave of a princess, a gloved hand rotating back and forth as the car lurches out of the garage.

“es ist zeit zu gehen.”

the second you sailed on to that track,, your foot pressing on the gas, any doubt or fear dissolved, replaced by nothing but pure, electrifying adrenaline. 

“all right ms. reserves,” marcus’ voice seeps into your right ear, “let’s see what you can do.”

when it came to qualifying, all it took was one lap. 

one singular lap to prove yourself. 

and by god, that’s what you were going to do. 

you were going to prove yourself that you were more than just a body in the reserves. you were going to prove to the world of formula one that you were dominant on the track, just as you were in formula two. you were a world champion. 

the only woman in your sport to ever accomplish that magnificent of a feat. 

one of a kind.

the longer you were on the track, the more you realized how your body longed to be behind the wheel. the bells and whistles of the car came easily to you, really. natural, even. just as you had practiced in the simulator. 

your reflexes were sharp, on point with every turn of the chicane. your feet rotated back and forth between the gas and brake with ease, almost as if they had a mind of their own, like they knew this circuit by heart. 

before you knew it, you were sailing back toward the pits, to the mercedes garage. the chatter of the radio was almost like white noise to you, as you had paid no mind to the voices that filtered in and out of your helmet. part of you felt a sense of guilt for not listening to the engineers or crew. although, at the end of the day, you were the one driving the damn car.

coming to a halt at the garage, you pit, flipping the visor up. members of the crew swarm your car. yet, the only one you really make out is toto. with his broad stature and powerful aura, he was truly hard to miss. 

the team principal leans over, one hand resting against the halo of the car. 

the other taps your helmet, the corners of his lips tugging into a broad smile. 

for the first time, you make note of his dimples. how they soften his chiseled features. 

and for the first time, you can’t help but notice how gorgeous toto wolff is when he smiles. 

“congratulations, hase,” a chuckle rumbles in his chest, his hand lingering on your helmet. 

“with the fastest lap on the track, you’ve made it to the second session of qualifying.”

─── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ────── ･ ｡ﾟ☆: *.☽ .* :☆ﾟ. ────── ･ ｡ﾟ☆:

taglist: @sweetjellyfishland @ts1m1kas @bxuzi @racecardilfs @bblouifford @justacornerofmybrain @irishmanwhore @noooway555 @sleutherclaw @okdokeygryssel63 @jeannealicette @marknolee @allyisalright-blog

[yannaryartside]

CARMY NEVER WANTED TO CREATE A MENU WITH SYD.

AND WHY THAT IS THE CORE THEME OF THE SHOW

PART 1: THE LIE THAT CARMY BELIEVES

So, one of the bases of creating an efficient character arc is to give the character something they want, and something they need. In the pursuit of getting what they want, the theme of the show and obstacles will show them what they need. Most of the time, they need healing from an emotional wound that prevents them from growing into the ultimate version of themselves, capable of winning the challenges of the story. I will try to explore Carmy's wound and, more importantly, the lie that created that wound.

In 'The negative trait thesaurus" by Angela Ackerman and Becca Puglisi, it reads:

"Wounds are often kept secret from others because embedded within them is the lie-an untruth that the character believes about himself."

When I started therapy (disclaimer: this is not professional advice; I am just talking from how I interpreted all of this), I was introduced to the concept of "limiting beliefs:" lies we have told ourselves about our own nature or the nature of the world. The most difficult beliefs to leave behind are those established in our early childhoods, and we told ourselves those lies to make sense of the world, to make peace with realities we were not equipped to comprehend yet. 

Some examples of lies people belive:

"I am too stupid to learn anything; my teacher said so" "It was my fault that I was molested." "I am a bad person for wanting a different life."

When people believe these lies, they will act accordingly, maybe attracting situations that hurt them but keeping the lie active in their lives. They may self-sabotage or create bonds with people who also believe the lie, even if it doesn't seem this way. 

In some cases, people may develop complete personalities or behaviors to prove the lie wrong, but deep down, they still believe in the lie. Carmy falls into this last category. This is where we find the most contradictory parts of his personality, how he can act shy and insecure in some instances and appear confident and even aggressive in others. 

Long post underneath.

THE RESENT OF A MOTHER:

We can only assume here because I think Storer is gonna let us know more about this soon, but I think I got an idea of this wound when I saw the only moment Carmy was alone with Donna on "Fishes."

I have a lot of things to say about Donna herself, but let's begin with the obvious: the conversation in this scene had little to do with the dinner itself. This was a woman stating that she felt alone and not valued, probably due to being abandoned by her husband and having to overwork herself at the beef to support her 3 kids, all while being a single mother. We don't know if this feeling of abandonment is something she has carried since childhood, but in the state of current womanhood, it wouldn't be uncommon. The work of women (especially mothers), particularly the emotional labor, is rather invisible and not valued at all.

But again, this is something she has used as fuel to resent her kids, who, at the end of the day, didn't ask to be here. Her anger has to go somewhere since she cannot direct it toward the people that ctually caused it. To get to the point:

THE BEARZATTO SYBLING DYNAMIC

Carmy said, "You are not alone; I am here with you." (This kind of comes back to telling Syd she was not alone at the end of the season.) This scene is about a kid trying to communicate to his mother that he loves her and trying desperately to connect with her, to get her to express her affection for him as well.

It tells me that growing up, he felt like he had to "earn" her affection. Donna likes to make her kids feel guilty about her unhappiness, so the kids feel that they are constantly walking on shells because they think their mother hates them, or at least that she resents them and that it is their responsibility to fix it.

In the scene, Carmy asked,

"What is so hard, Mom?"

I think what he was actually asking is, "What is so hard about being with us, to love us? What did we do to you that made you resent us this way?" He is asking because he wants to know, to finally understand. Why do you drink, Mom? Why do you yell? Why do you say such hurtful things?

When she answers, "Nobody makes things beautiful for me," you can see in his face the disconnection. He knows he can't do anything about that.

Then, a crucial part in the scene occurs when Donna calls him "Michael, " which indicates that the only one of her children who could make her feel happy was Michael, or at least that is how the other two kids felt. You can see the hurt in Carmy's eyes in the scene because this answer dismisses his effort to connect to his mother in his own right. She asks him to just leave. He offers to wait to connect with her. Then, it comes to the most chilling moment on the scene, the "we have a problem" using his full name, with resentment in every word. She hugs him while crying, kisses him, and then slaps him.

This is rejection. There is a book called "The Five Wounds of the Soul": wich are Rejection, Abandonment, Humiliation, Betrayal, and Injustice. I think Carmy's wound is rejection, for never earning his mother's love, particularly comparing himself to Michael.

Michael took responsibility for the Beef, finally giving their mom a break. It was Michael's job to make sure everyone was having a good time, to compensate for the discomfort that caused being in Donna's presence, to make sure all of them stayed as a family, which was Donna's intention, so Michael thought he had to make that happen for her. Therefore, Michael is the only one of her kids who succeeds and makes her happy. We know Donna rejects Natalie and Carmy. About Natalie, we can write another whole essay.

THE LIE THAT CARMY BELIVES

According to this scene, I think Carmy thinks that her mother didn't love him because he is not Michael; in fact, he is the most "not like Michael" someone could be. He was shy and stuttered and didn't have friends or girlfriends, comparable to Michael's ability to control every room he was in. Carmy was sensible and no macho alfa as Michael presented himself to be. Carmy left home and the family business, and both Michael and Donna expressed that they feel like he thinks he is better than them. Michael admitted later to admiring Carmy's work in Copenhagen, but Donna never did. carmy grew up having to live with the crumbles of Donna's attention that Michael left behind, wondering every day what was so wrong with him that made her reject him, and wondering what he could do to change that.

The lie that Carmy belives, could be sumarize this way:

I need to earn people's love. I need to always go the extra mile, doing the most possible at all times to earn people's love.

This all goes back to his trauma with Michael. It goes back to his career as a chef and how he became the best. He didn't need to succeed on a larger scale in the culinary industry to earn Michael's respect and love; he needed to be the best in the world, so he did that. He judges his own social abilities, comparing them to Miachae's. He left that promising career only because of Michae's death. He got the girlfriend Michael wanted for him (not saying it was the only reason, but it was there).

PART 2: WHAT DOES ALL OF THIS HAD TO DO WITH SYDNEY?

Well, what does a person who feels they always need to do the most? They do the most. I want to bring you back to the moments Carmy had to develop menu ideas with Syd on s1 and s2.

When Syd suggested items for the menu in s1, he gave her an inconclusive, not enthusiastic "maybe."

When she had to actually cook the thing for him to approve, he tried to make her feel small about it. He felt the need to remind her that she was "impatient and green," according to her previous bosses. He commented about her possibly ruining the flow by using time to cook her recipe. Yikes all around, but the core here is that he was treating her like an enemy, like competition, while she was trying to save the restaurant with what they had on hand to use the most efficient solution.

Then, when Carmy tries the dish and feels stunned by it, he has to make an ambiguous excuse on the fly and just finishes every chance of them using the recipe by saying, "is not ready yet"

And what does he do next? He goes to show the crew a recipe that is extremely complicated for the level they are operating at currently—they said so themselves. I think the recipe is a variation of Donna's butter chicken recipe. To put a nail on that coffin of his intentions to earn her love and approval at the end of it all.

But why does he do all this? Because he needs to be the hero, subconsciously, he is still that small kid begging for acceptance and love; he must go the extra mile. He cannot accept Sydney's help and partnership, because that will take away from him earning what he wants on his own merit.

In S2, he seems unenthusiastic about starting the menu in the first place. Then Claire comes along, and he tries to make it work with Syd and the menu, but I think he subconsciously thanks the universe for not having to go to his core wound. That is what self-sabotage is. That is why he bailed on the food tour with Syd, using such a stupid excuse as helping somebody else move out and never mentioning it again. He never asked her what she liked or what ideas she thought of. For most of the creative process, Syd is alone, working on her own creative crisis. The menu ends up being like two recipes they made in collaboration and then all of his family's traditional recipes. It is two of Syd's recipes and the rest of Carmy's. Then, desserts Marcus did on his own. The collaboration was superficial at best.

All of this creates the core theme of the show. The Bear was once a chaotic place (like their childhood home) that needs to evolve into an efficient, peaceful place built on love, support, and mutual collaboration like a functional family should be. Sydney is the member of this found family that forces Carmy to confront his core wound and learn he can actually be good enough while still accepting help. Therapy probably will play an important part in this theme, alongside with Carmy learning there was nothing wrong with him in the first place, that earning your parent's love is not something a kid can do.

Thankyou for reading. Gif and images are not mine.

[nohaijiachi]

Why I Think The Fandom Has Been Doing Aziraphale Dirty Ever Since Season 1 And It's Only Gotten Worse With Season 2 And It's Killing Me Inside

Before we get into the subject matter of the title let me preface a couple of things:

1- All that will follow is, big surprise, my opinion and my interpretation of this character. Do I think I am The One And Only Who Gets The Blorbo Right and that my ideas are 100% the way the author(s) intended to convey the character? No.

More likely than not the way I see Aziraphale could be intensely different from the way Authorman sees him, or Actorman sees him, and I don't think that my interpretation is necessarily any more correct than anybody's else.

That said, if I also did not think that I am, in fact, correct on a certain level, I wouldn't have bothered forming such a thought out opinion of Aziraphale in the first place, nor would be sitting here, writing this post that I can already tell is going to be entirely too long and might probably ruffle some feathers.

So I'll be writing the rest of this post with the caveat that I while I do think my interpretation correct, I'm also not trying to change anybody's mind nor to discredit anybody's else interpretation of Aziraphale. We can sit here in the sandpit and hold different opinions and still be able to build sandcastles together, it really isn't that deep at the end of the day; I can assure you, I'm not here to fight nor cause fights with this one.

2- With the above point, comes also the fact that I won't bother continuously saying "In my opinion" for the rest of this post. You already know that. So, if something will come across as a bit caustic, do know that it is very much tongue in cheek and I am poking a bit of fun at general fannish habits that I am also very much quote-unquoute 'guilty' of having partaken into, and will partake into again plenty of times in the future, I'm sure.

So, with that: Here's Why I Think The Fandom Has Been Doing Aziraphale Dirty Ever Since Season 1 And It's Only Gotten Worse With Season 2 And It's Killing Me Inside

A large part of the people comprising this fandom prefers Crowley. There, I said it.

This fandom's preference blatantly skews toward Crowley. Can we admit that openly? Let's admit that openly.

To be clear, this isn't meant to be an accusation or recrimination or any other -ation you can think of, I am merely stating matter-of-factly a phenomena I've observed in the last four years.

It is also not a wrong nor bad thing in any way, shape or form. I adore Crowley myself. I love them both so much it's unreal.

But I started with that because I think it is very much a symptom of the fact that a lot of people don't get Aziraphale.

I remember back with S1 there had been plenty of times when I found myself reading discussions and opinion exchanges about Aziraphale and Crowley, their dynamics, all the things that went unsaid behind the things that were said, and found myself genuinely surprised by seeing how some people interpreted certain moments wildly different from how I personally saw them.

I look back at that and I think "Oh, sweet summer child". Nothing could have prepared me from the onslaught of takes about Aziraphale that make me go "Good lord, what???" in the wake of S2, and the infamous Last Fifteen.

Now because I don't want to be pointing fingers at specific things and risk upsetting somebody more than I already am by being open in admitting that, guys, yes, some of the takes y'all have been sharing make me go "Yikes(tm)", I'll move on the interesting part and what I would actually love to discuss, aka cracking Aziraphale's head open and see what that actual fuck is going on in there.

Another preface: Because this duo is intrinsically linked and woven together it is downright impossible to only focus on Aziraphale without also mentioning Crowley, so... Let me circle back to our fav demon bae for a sec, here.

I think the reason why it seems that a larger part of the fandom favors Crowley is because I feel like Crowley is a much easier character to grasp. He is very open in his thoughts and feelings, at any given moment us, the audience, have a much easier time watching a scene and sort of ruminating in the back of our heads about Crowley's motivations for saying the things he says and doing the things he does.

That isn't to say Crowley is a less complex character than Aziraphale. They are very much equally complex and multifaceted individuals with their strengths and weaknesses, their issues and the way they each cope with them, how differently they approach their existence and so on and so forth.

But whereas Crowley as a character presents itself with a certain dynamism and a far more outward openness about his complexity, Aziraphale does the exact opposite; we can say Aziraphale is downright hermetic about it.

For us, the audience, he presents a challenge that requires a good deal of thought being put into him to see over the facade he presents at a more superficial level; he requires time and effort to fully dismantle him in our minds to try and see what makes him thick (other than his thighs), and thus I think it is entirely natural that more people latch on the far easier to identify-with, and relate-to, Crowley.

And that is the inevitable consequence of everything that makes Aziraphale... Well, Aziraphale.

So, where to start? Let's try and jot down what Aziraphale truly is at his core.

He is a contradiction.

This man-shaped being is a walking contradiction, constantly existing in a state of being coated in three thousand layers of misdirection and obfuscation and double thinking.

Why is that? Well. He's an angel.

Aziraphale loves being an angel. It is a tenet of his entire existence and something he cherishes. He wants, so very much, to be his ideal of what a good angel is: An entity who is kind and loving and understanding and forgiving.

Of course us, the audience, know that is utter bullshit, because we know angels can be individuals just as complex as the humans Aziraphale loves so much, with all their inherent flaws and capability for cruelty. And, on a certain level, Aziraphale knows that too.

So there we have it, one element of contradiction: Aziraphale wants to think that angels are always Good and Righteous and Never Wrong; Aziraphale knows that angels aren't, in fact, always Good and Righteous and, by god, can they make plenty of mistakes, too.

What else? How about Aziraphale sitting there, being in love with a demon, fully knowing that at the end of the day demons really ain't that different from angels, and also desperately hanging onto the concept of Good vs Bad.

And he sits there, existing with these two contrasting idea equally taking space in his mind, neither side ever capable of taking over the other.

What else do we have? Aziraphale loves God and wants so hard to believe in Her love for humanity and Her ineffable plan, and Aziraphale also time and again does things that very blatantly go against Her will, lies to Her face, and Doubts. He Doubts, a lot, and that requires the capital letter because those Doubts are what spur him in going against everything he's ever told to believe in order to do the right thing.

Aziraphale's very existence is a constant push-and-pull of things he wants to believe and things he knows are real; things he's told to do and things he wants to do. That's how we get "My side" and "there's a bit of good in you" and "you are the bad guys".

And nothing he's lived through has managed to break him out of this unhealthy way of existing quite yet; that's why he acts the way we see him act in the Edinburgh flashback in S2, or at the start of S1 when Crowley has to ease Aziraphale into the idea of trying to stop Armageddon with the usual song and dance of "temptation" and "plausible deniability" and "you'd be thwarting me", even though from the start we can tell there's a little part of Aziraphale who is clearly not at ease with the idea of the end of the world, and once he's been given 'permission' by Crowley nudging him, he is all the way in with the whole saving the world business, not take-backsies.

Both the moments I mentioned here are very important for different reasons, but of the two is very much the Edinburgh flashback that gets a lot more flack by the fandom and is blatantly misunderstood, which I think is the inevitable consequence of that minisode immediately following the glorious, beautiful, heartbreaking piece of art that is the "A companion to owls" minisode.

I've seen a lot of people lamenting that Aziraphale acts obnoxiously in the Edinburgh flashback and, yeah. He does. But I feel like the fact that we are seeing this after watching Aziraphale struggle his way through saving Job's children, even being willing to go to Hell for it, is a though act to follow and probably soured Edinburgh-Aziraphale for a lot of people, made them think that the character had regressed instead of progressing.

But, see, the way he acts is wholly congruous with who Aziraphale is and has always been and keeps being up to the very end of S2. Yes, even after what he does for Job's children.

If you get down to it, Aziraphale had been ready to give up and let the children die, in episode 2. For a brief moment, after Crowley told him he 'longed to destroy the blameless children', Aziraphale was walking away, having tried all he thought he could try to do to stop this senseless act. That was until Crowley tested him by making the crows bleat, cuing Aziraphale to the fact that his impression of Crowley wasn't wrong, and the he could count on him to do the right thing.

To be clear, I don't want to undermine Aziraphale's action by only giving the credit to Crowley but... It is, also, only thanks to Crowley cajoling him and giving him the right excuses, that Aziraphale feels safe in doing what he's always wanted to do all along.

He'd wanted to save Job's children, and thought he couldn't until Crowley threw him that hell of a lifesaver. He wanted to save the world and thought he couldn't until Crowley nudged him on the path of plausible deniability.

He wanted to save Elspeth's eternal soul, blinding himself to the hardships she'd have to endure in her not-eternal life, and was smacked right in the face by the reality of human suffering multiple times.

The way Aziraphale acts in that flashback can't be a regression, because there never was a progression in the first place: He'd always walked the line between Heaven's and God's will and his own, personal morality and sense of justice.

By all means, if we look at Uz-Aziraphale and modern-day-Aziraphale at the start of S1, his reticence about the whole saving the world business should, by all means, appear as a regression as well. You mean to tell me that he'd been ready to become a demon for the sake of three mortal children, and then suddenly a handful of thousands years later when faced with the prospect of the whole world going up in flames he'd just be all like "Heaven will triumph over Hell and it will be all rather lovely"? Like, fuck off, Aziraphale, you lying double-thinker, you (/pos)

Aziraphale constantly exist while being at war with himself. Circumstances have allowed him to rebel the will of Heaven and God more or less safely time and again, but he never quite managed to break free entirely. He'd always ended up being reeled back in, being fed the party lines, being made to feel shame for his independent thinking, until it all becomes too much and he is forced to step back from that freedom he'd been inches away from grasping.

Back and forth, back and forth, never stopping.

And all of this, all of what he is, makes it so hard for us, the audience, to truly see him. To truly grasp him. To truly watch any given scene with him and figure out what he might be thinking or feeling.

To understand Aziraphale is to understand what he is not saying when he says something, which is a good deal harder to do than it is to understand and relate to a character like Crowley, who very much revel in saying exactly whatever the heck he thinks whenever he damn well pleases.

All those layers of obfuscation and misdirection and double thinking that Aziraphale coats himself in are as much an armor that makes it harder for the audience to understand him as they are his very own downfall because, good lord, if you exist like that, if you exist forced to keep things hidden from yourself, well... It's inevitable that at some point you are going to stumble into pitfalls of your own making.

And I love him for it.

So, there? I hope I managed to explain something with this post, and that it wasn't just the rambling of someone who spends way too much time thinking about her blorbos. To be clear, I don't think people who haven't spent as much time as me trying to dissect and better understand Aziraphale's character are like, dumber than me or anything. It's just that this pair of angelic-demonic blorbos take too much real estate in my mind, lol.

Feel free to let me know your opinion and if you think I am wildly off mark and my Take Is Bad. I might answer, I might not, it all depends on time and my mood ◝(ᵔᵕᵔ)◜

[pico-farad]

I finished season 1 of Vrains and it was cool but I thought it needed about 2 billion more secret identity shenanigans

extended thoughts below

So I went into a deep dive in my last two posts (1, 2) about all the problems I had with Vrains, and you'd think I didn't enjoy it, but in fact as I was watching, there was a separate, parallel version of Vrains that was playing in my head, a Yugioh I think we were robbed of and which fixes every problem I had with the first season, and that is Secret Identities AU.

Yusaku needs FRIENDS

This is YUGIOH.

This dynamic is everything I wanted from Vrains. Yusaku developing unexpected fondness for these bozos who think he needs a defense squad. I want Miraculous Ladybug levels of secret identity shenanigans. I want Yusaku slapping his duel disk every time Ai tries to blow their cover.

This AU sprung forth from the scene in the duel club where he shows Naoki his decoy deck. Having Yusaku passing as a bad duelist is 1) so funny, but 2) Yusaku needing to maintain his low profile is a useful contrivance for other characters to get more duels, and 3) I think it would be a really fun one-off episode where Yusaku has to duel using his bad deck. When he wins, Naoki is so proud he cries.

Having Yusaku actually have to interact with the other characters in the real world opens up Greek play levels of dramatic irony. The crux of a secret identity story is that every single interaction builds up anticipation, because you the viewer know that the other party is being deceived, and that the tension will snap when the secret is revealed.

I have zero anticipation about Playmaker's identity being revealed, because Aoi would be like "oh.... I guess he goes to my school" and Go would be like "have I seen that guy before?" But SIAU Playmaker? My guy is making friends just so he can betray them. Insane.

Go needs A ROLE IN THE STORY.

I said in my first post that Go isn't a rival or a best friend character. SIAU fixes this by making him both simultaneously.

Having him be the ace of the duel club is a natural replacement for his whole hero of the orphans schtick, while placing him directly the circle of relevance with the other characters. Instead of being disgruntled that the orphans suddenly like Playmaker more than him, he's disgruntled that Naoki and the duel club mooks are fawning over Playmaker -- which is actually just Naoki's character anyway.

I would kill for a big dramatic moment where Go learns that Playmaker and Yusaku are the same person, and even though Go feels betrayed that Yusaku has been deceiving him, he stands by Yusaku anyway because they're friends.

With a secret identity story, every conversation is working on multiple levels because each character is working with asymmetric information. You get these fascinating, layered scenes of two characters talking past each other because they cannot give up their secret.

Which would go especially hard with Go and Yusaku, because Go has legitimate criticisms of Playmaker in canon and Yusaku has legitimate reasoning behind the things he does, and as Go Onizuka and Playmaker they could never come to an understanding on them, but as Go and Yusaku, two friends in duel club, that door becomes open to them.

Aoi needs WRITING THAT ISN'T A TRAINWRECK

I made a whole post on this. Basically every problem would be solved if Akira doesn't know that she's Blue Angel. There's no reason for her to lose grotesquely against Yusaku, or have her basic autonomy called into question constantly. 

Having her actively deceive her brother is delicious. Like I said in my last post, it's so obvious how Akira's overprotectiveness has taken its toll on Aoi, and pushed her into developing this other persona, Blue Angel. I want this absolutely dysfunctional sibling relationship so badly. The Blue Angel vs. Zaizen duel would make me lose my mind.

And a secret identities setting works so well with the potential themes of VRAINS as a stand-in for the internet and Blue Angel as an idol. Give me that Perfect Blue Satoshi Kon good stuff. Give me those themes about identity, and the different lives we live, outward and inward, online and offline.

This also helps Akira's character, because I think he would be much more interesting and relevantly positioned in the story if he stayed a SOL Technologies baddie. SOL Technologies has very little presence in season 1 despite being critical to the story. After Zaizen is replaced by an irrelevant clown, they don't do anything but send out mook AIs to get destroyed. By having a three-way standoff between Yusaku's squad, the Knights of Hanoi, and SOL Technologies, both Hanoi and SOL Technologies become more compelling. They've both got all the reason in the world to want to take down the other. Zaizen vs. Revolver or Spectre? That's good shit.

And don't get me started on how I would turn Revolver into a Secret Identities character.

[regainingparadise]

Relistening to TMA Season 5, I am again struck by how goddam badly Martin and Jon need couples counseling.

I love them both. I ship them very much. But oh lord they have issues

Like, these are two individuals who, under the very best of circumstances, would really need therapy both individually and together. They are both people with plentiful quantities of relational trauma from childhood that neither of them have worked through even the slightest bit.

And then you throw them into the apocalypse. And you add a metric fuck ton of guilt, helplessness, and the dynamics of being "The Antichrist and +1"?

On a surface level--Jon is in a perpetual state of information overload. Martin is in a perpetual state of "can you please just explain the basics of what's' going on in a given situation and not just say "it's complicated" or launch into a gruesome monologue"

But on a deeper level, their childhood relational traumas have left them each with opposing avoidant tendencies: Jon is unwilling to broach a difficult conversation, which leads him to hide information until he's confronted. Martin, on the other hand, has a finely honed ability to ignore information that he doesn't like until he no longer can hide from it.

Biggest example of their avoidance tendencies: Martin's Domain

Way early on, when we barely understand any of how the hellscape works, Jon mentions it, Martin shuts it down hard and deflects quickly with a bid for affection from Jon

Martin is in deliberate denial, but Jon admittedly wasn't particularly clear to start with.

"We all have a domain."

Jon means it, presumably, as "Me, You, and other 'Avatars.'" Jon is used to being grouped with those empowered by the Entities. Martin isn't. (see also: MAG185: Martin" Is that how these creatures see us now? As one of them?") But that's not what Jon says. And this is MAG167--they've only been through four domains, at least that we've seen. Jon is speaking from a place of knowledge, and assuming his listener has that same knowledge.

And when this issue comes up much later in MAG183, Martin has spent 17 episodes ignoring or forgetting that he has a domain, not letting that information in so that he has never processed it. (See also: Mag170: "Sometimes I wonder if I forget things on purpose. Easier not to think about them, I guess. Easier to just let them… slip away. They can’t hurt you if you don’t think about them.").

Martin confronts Jon on his avoidance (because while Martin may be good at ignoring things he doesn't like, he's far better at bringing up challenging topics), Jon is able to manage some A+ communication on his feelings and the genuine challenging of figuring out how to share upsetting information when he has All The Information, Martin accepts that. I just desperately want a therapist to be there and make them continue this conversation and practice ongoing good communication skills!

Though they resolve this, even though Jon has an explanation that makes sense...he was really leaving this conversation to the last minute. Would he have "[brought] it up at the crossroads" as he claims to Helen? Or would he have avoided it entirely, as she accuses, or waited till they were at the threshold, as he does with The Desolation and the Hunt, leaving Martin to confront terrifying situations without forewarning or planning or explanation.

Again, Jon kind of tried to bring up some of the potential issues with Basira and Daisy before entering the Hunt domain, but kept it Vague and Ominous ("Things aren't...good"). Martin took that vagueness as an opening to avoid engaging with potential bad news. The teensiest bit of therapy for either of them about their communication issues could have let Jon add "I know you're exited but FYI here are some specifics that you should know" and/or Martin go "I'm excited to see them but given that nothing is good right now, can you be more specific?"

Instead, Jon approaches difficult conversations by being Vague and Ominous, Martin gets snarky or passive-aggressive at the vagueness, upset or aggressively avoidant at the Ominousness, Jon closes back up like a turtle into his shell, and the conversation only comes back up when the situation has drastically escalated, leaving them both more upset.

Jon wants Martin to trust him, because explaining what he knows implicitly is an ordeal for him, and because his upbringing by his grandmother has suggested that communicating is generally unwanted and burdensome (See: MAG081 A Guest for Mr. Spider).

Martin wants to know what is going on, because he's in an awful hellscape of shifting rules about what can and cannot hurt them, completely dependent on a brand-new romantic partner for his survival and purpose, and also because his upbringing and coping mechanisms as a caretaker rely on him knowing enough to help, and his time as an archival assistant has given him some not-inconsiderable trauma about being left in the dark (See: MAG118 The Masquerade) (There's also another post in my head about how MAG118 primed Martin for both the Lonely and his development as a more confrontational character in S5)

All that to say.

Martin needs therapy to deal with the way he chooses not to absorb information he doesn't like. Jon needs therapy to understand that sometimes it's ok to bring up important topics even if the other person will be upset. They both need therapy to cope with all the guilt and helplessness around the apocalypse so they stop taking it out on each other. They need therapy together to learn how to work through their conflicting coping mechanisms.