#if you haven't seen s3 yet...

[clumsy-words-again]

watching heartstopper is such a beautiful experience for innumerable reasons but also. me when. me and who. picnic with friends i love and who also love me WHEN

[moonstrider9904]

2WORLDS | Crosshair | The Bad Batch Season 3 Tribute

You guys have no idea how happy it's made me to see Crosshair growing so much and becoming an even finer character than he already was. I knew he was headed for greatness and he had a heart of gold. So I wanted to dedicate the first Season 3 tribute to him (with a touch of his amazing dynamic with Omega). ! SPOILERS until Season 3 Episode 9 !

A big thank you to @im-no-jedi for helping me get that first audio. You're great!

[diabeticgirl4]

I have no idea how the tlovm watch party will go, is it like a watch along? Will I be fine if I haven't watched season 3 yet or should I binge the 3 eps first before joining the watch party? Idk what to do ahh

[multifandombitxh]

Keep It Down

Pairing: Din Djarin x Fem!Reader

Genre: Smut/Angst with some fluff sprinkled in there ✨

Warnings: Self pleasure, caught in the act, jealous/protective Din, 18+

AN: some good ol Jealous!Din for the girlies 😌 It's such a stereotypical fic gang I'm gonna be so real with you lmao. It's also a long one so prepare for the worst typos you've ever witnessed.

PS I haven't seen S3 yet but I got back into the hype 💁‍♀️

18+ minors dni

It had been quite some time since you were able to have a moment to yourself. So long, in fact, that you couldn't remember the last time you did anything for yourself that was even remotely relaxing. You had been stuck on one mission for months, scouring the corners of each galaxy for a specific target with an unreasonably high bounty over their head. Din kept telling you it would be worth it in the end, but you were beginning to doubt that sentiment about two months into the search.

After a very pleasant visit to Alderaan, you were able to snag something for yourself to help with some much needed "stress relief".

You did your best to hide it from Din, considering you really didn't want him to know you'd just purchased a vibrating self massager. They were hard to come by, so when you found a merchant that sold them discreetly, you knew you had to take the chance. After it was all said and done, and Din asked where you'd been while he was busy getting information about the target, it was hard to explain to him where you'd gone.

"And where have you been this whole time?" He asked as you approached him outside of a local bar.

"I was, um, chatting up some locals," You lied, trying to maintain some semblance of composure as he stared you down. "Wasn't able to find anything about the target. I don't think he's been here."

"Well, while you were busy wasting your time, I was able to find one of his distant relatives," He explained, "Turns out he has such a high bounty for more than just murder, he's a real piece of shit in the eyes of his family. She said she knows where he might be."

"Yeah? Where?"

"Tatooine."

You scoffed. "That's not far."

"Which means we need to leave soon," He explained, "There's a crew heading there in just a few hours."

"Okay, so who's the crew?" You asked, eyeing him suspiciously. "Why can't we just go on our own? The ship could make it."

"It could, but not that quickly," He sighed, "Their ship is a little more advanced. It'll get us there faster."

You shrugged, raising an eyebrow at him. "Have you talked to them?"

He nodded once and began to walk off, likely in the direction of the meeting place. "I have. That distant relative? She knows these guys, let me talk to one of them over her communicator. They said they'll take us there, no questions asked."

You followed closely, trying to match his pace. "I find that hard to believe."

"You find a lot of things hard to believe," He teased, nudging your shoulder with his own. "It's kept us out of a lot of trouble. Always liked that about you."

You tried not to react to the compliment- the last thing he needed was an ego boost- but internally, it made your heart flutter and your stomach feel heavy. You opted not to respond to this, hoping he wouldn't press.

Unfortunately, that only made it worse.

"Would it kill you to take a compliment every once in a while?" He asked, his tone annoyed.

"It might," You replied with a smile, "Never done it, so I don't know."

"Maybe you should try it some time," He scoffed back at you, causing you to roll your eyes.

Your relationship with Din was complicated to say the least. You knew from the start you had some kind of attraction to him- what kind, you weren't sure, but it was strong and unrelenting. His voice was dangerously enticing, leaving you shivering any time he spoke just above a whisper, and the mystery of his face only added to the excitement. You had no clue what he looked like under that helmet, but you didn't care at this point. It never occurred to you to fantasize about his appearance- the way he carried himself, his voice, his confidence, everything about him struck you more.

But you'd be lying if you said you weren't a little bit curious about the color of his eyes.

When the two of you finally arrived at the crew's headquarters, you gave him a skeptical look. The warehouse before you was old, rusting and decaying in every corner. It was discolored, looking to have once been a pale green. The roof had caved in in several places, and the stairs to the roof were a death trap waiting to collapse on any unsuspecting victims. Din took note of your expression, waving his hand once to dismiss it.

"Not a word," He commanded, "I don't want to hear it."

"All I'm saying-"

"Don't make me tell you twice, Y/N. I already know what you're going to say, so zip it."

Frowning, you folded your arms over your chest in a pout. You followed him inside, passing through a creaky metal door that you were sure would be better off as scrap metal. Din led the way, checking corners and keeping one hand close to his blaster. As you entered the warehouse, the smell of burning rubber invaded your nostrils, causing you to make a face. As you rounded a corner, a large, shiny silver ship sat in the center of the large open space.

It stood out like a sore thumb, clean and sparkling among the rubble. You both exchanged looks, watching as three people stood around the ship and chatted away. They didn't seem hostile, but you knew better than to underestimate them. You approached carefully, keeping an eye out for any others who might be hiding nearby. One of them took notice of you as you stepped under a light, giving you away.

"Hey, the Mandalorian is here!" He called out, waving excitedly at the two of you. The man was tall and thin, barely any meat on his bones but a smile that was charming in its own way. "He's got a friend! Come on over, you guys!"

Din glanced over at you slowly, and you returned his look with a shrug. As you walked over to the group, you took in the remaining two of the crew; a woman with short, dark hair, several tattoos, and a frown that would scare off anyone. The other, a man of similar stature to the first, wore round, thick glasses, and was covered in what appeared to be oil.

"Lera said you'd be coming soon," The man said, "What are your names? I'm Dom, that's Starsei, and this guy over here is my twin, Arus."

"Y/N," You greeted, offering a small smile, then gesturing to Din. "He won't tell you his name, just call him whatever you like."

Din nodded, affirming your words. Dom watched the two of you for a moment, a huge grin still plastered to his face. A fourth member of the crew emerged from underneath the ship, covered in more oil than Arus. His dark, straight hair clung to his forehead and his mouth hung open as he breathed heavily. Oil stuck to his bare torso as he offered the two of you a wave.

"And that's Nox," Dom said, an annoyed tone to his voice.

You couldn't help smiling at Nox- he was handsome, likely more handsome than most- with a wide jaw, dark stubble, and his body toned similarly to that of a God. You shifted your weight as he locked eyes with you, shooting you a half smile that gave you butterflies. Din stood beside you, moving closer as he noticed the tension that hung between you and the mystery man. Nox took note of Din as well, offering him a full smile.

"Have any trouble getting here?" He asked, his voice just as dreamy as he looked.

"No," Din said simply.

An uncomfortable silence fell over the room as the two of them held each other's gaze, as if a silent conversation was happening just between them. You cleared your throat and looked over to Dom, giving him a warm smile. "So, um, when do we leave?"

"As soon as you're ready," He replied, "We were just finishing up repairs on the ship, so you're welcome to head inside and make yourselves at home. We'll all be roommates for the next two days, so we'll do a big dinner tonight to get to know each other better."

"Sounds great," You said, your voice as friendly as you could muster. There was a clear rivalry brewing between Nox and Din, and you were trying to do everything in your power to alleviate the tension. "We'll head inside."

Din ignored you, still staring at Nox. Irritated, you grabbed his upper arm and began dragging him toward the ship, smiling at the others along the way. Nox caught your eye again and you smiled, hoping he wasn't intimidated by Din too much. Once inside the ship, you all but slammed Din against a wall once you were out of earshot of the others.

"What is wrong with you?" You asked.

"What's wrong with me?" He replied, his voice filled with anger. "What's wrong with you?"

"I haven't done anything wrong!" You said, shouting in a whisper. "You're the one acting crazy!"

"Oh, I'm the crazy one?" He laughed, "I'm not the one making doe eyes at strangers."

Your mouth hung open in shock. "Excuse me?"

"You heard me, Y/N," He went on, "This is serious. We don't know them. If he tries something because you couldn't help yourself, and everything goes sideways, this was all for nothing."

"Why do you care?" You asked, becoming annoyed with his reasoning. "He's hot, give me a break! I'm allowed to think people are hot, Din!"

He let out a deep sigh, shaking his head. "We're on a mission, Y/N. This isn't the time."

"Well, it's been a long mission," You huffed, raising an eyebrow at him. "And I'm bored. The least I can do is have a little fun."

In truth, you hadn't even been planning on doing anything with Nox other than admire his good-looks. Your feelings for Din ran deep, and you weren't about to ignore those feelings for one good looking guy. If anything, you were hoping this would show Din that you weren't his, and that he had no claim over you. Maybe, just maybe, it would be enough for him to come clean about his own feelings.

If he even had any for you, that was.

Once everyone was loaded up onto the ship and you'd set off, you found yourself relaxing on a very comfy couch in a very cramped lounge area. The ship was dimly lit, offering little light to help you find your way around, so you opted to sit down and wait until someone told you to do something. After a while, Arus found you, and decided to sit with you.

"So, uh, is your partner, um... Okay?" He asked quietly.

"He's fine," You said, waving your hand.

"What was he so angry about?"

You shrugged, trying not to give away what was really going on between you. "Beats me."

You decided to get to know Arus a bit, finding out that he and Dom were engineers that escaped from the Empire many years ago after faking their deaths. You learned that Starsei is their pilot, and she seems standoffish because she doesn't often speak. She was a prisoner of the Empire, who helped Dom and Arus escape many years ago. Nox is their newest recruit; also an engineer, but mostly specializes in communications. He also used to be a smuggler.

After a while of chatting back and forth, Nox joined the party, sitting between you and Arus.

"Seems like the Mandalorian isn't having a great time if I'm not mistaken," Nox joked, glancing over at you. "Thought he was gonna slit my throat after I saw him in the hall just now."

"He'll warm up to everyone eventually," You said with a small smile, "He's a little hesitant about new people."

"So, how long have you two been together?" Nox asked, wiggling his eyebrows at you. Shock took over your features and you laughed awkwardly at the gesture.

"We're not together," You stated, "We've been working together for a long time now. Maybe a year."

Nox seemed to ponder your response for a moment as Dom entered the room, knocking on the wall to get everyone's attention.

"Arus, we need you up front," Dom said in a soft voice. "Star could use some help."

Arus excused himself, leaving you with Nox in silence. You tried to relax, sinking into the sofa as much as you could to appear as non-threatening as possible. Nox did the same, leaning back and yawning as he crossed his arms over his broad chest. The only sound was the rush of the ship, shaking softly as it dove through space.

"I want to know more about you," Nox said after a moment, turning to meet your gaze. His green eyes were soft, but lidded. "Who is Y/N, exactly? Other than the Mandalorian's pet, I mean."

"I am not his pet," You scoffed, laughing slightly and hitting his upper arm before looking away. "We're friends, that's all."

"You might want to check on that with him," He replied, "He was ready to kill me earlier just for looking at you. I don't think that's a normal thing to do for someone who's just a friend."

Nox's hand came to rest on your knee, his palm open fully and his thumb gently stroking back and forth. "If I'm being honest, I think he could tell why I was looking at you, and I think that pissed him off."

When you met his gaze, a pit formed in your stomach. Nox was handsome, and charming, and clearly making a move on you. But... Something was wrong. It felt wrong. There was something about the way his hand felt on your knee that made your skin crawl, his voice made you cringe, and the entire setting was uncomfortable. It was hard to pinpoint exactly why, until you thought a little harder about it.

He wasn't Din.

"I... Think I should go," You said, standing from the couch and turning back to face him briefly. "Look, you seem nice. But I'm... I'm not interested."

He smirked up at you. "I knew it. You totally have a thing for each other."

Dom appeared in the doorway again, a huge grin on his face. "Who's ready to eat?"

-

After what felt like hours, you were finally able to step away from dinner to your quarters- Starsei showed you the way- closing the door behind you. You removed your gear, tossing it to the floor and sighing in relief at the loss of the heaviness. Removing the massager from your pocket, you walked to the bathroom and gave it a good wash, not trusting it after being in your pocket all day.

Once you returned to the room, you actually took in what it looked like. Star had told you that you and Din would have to share one room, which hadn't bothered you until you realized there was only one bed that sat in the center of the room, facing the door. It looked big enough for both of you, but still, you knew it would be an awkward conversation to have once he arrived.

The room was dimly lit- much like the rest of the ship- one wall light sitting above the door and casting a reddish glow over the entire room. The bed looked uncomfortable, with a thin, gray blanket sitting atop the mattress and two equally thin pillows where your heads would rest. It wasn't home, by any means, but it was a place to sleep.

With that, you laid down in the bed, shivering from anticipation. It had been a long time since you'd had enough privacy for something like this. Not bothering to remove your pants, you slowly lowered your hand past the waistband and sighed softly as the blue silicone material grazed your skin. With one press of the button, you felt yourself melting into the hard mattress, all of your worries fading away with the soft sound of buzzing.

Your breathing began to pick up in pace and you wriggled slightly as the sensation became more and more intense. It was getting hard to suppress the sounds you were making, so you bit down on your lip to try and stifle whatever noises threatened to come out. A shaky breath managed to worm its way out of you, hitching in your throat as it started to escape.

Thoughts of Din infiltrated your imagination, and you didn't try to suppress them as they came. You thought about the sound of his voice, talking you through the pleasure and egging you on. A wave of energy passed through you and went straight to your core, wetness beginning to pool. You thought about his hands pinning you down as he had his way with you, panting and sweating above you. It was almost too much, and it felt like the room was spinning.

Closing your eyes, you began to focus on finding release, waves of pleasure flooding your body with each passing second. Your breathing picked up in pace, and it was getting harder and harder to stop the tiny moans that escaped your throat. With a flick of your wrist, the massager hit the perfect spot, pulling a sharp gasp out of you. Just as it left your lips, a large, warm hand clamped over your mouth.

Terror filled your body and replaced all sense of satisfaction, forcing you to rip your hand out of its hiding place and your eyes to shoot open. Din hovered over you, one hand covering the lower half of your shocked face while the other pressed into the mattress beside your head. He was missing most of his armor, his helmet the only piece that remained. Adrenaline shot through your veins, and you struggled against his hold.

"Sshh," He shushed you, holding a single finger up to the part of his mask where his lips would be. "Everyone in this quadrant is gonna hear you if you don't keep it down."

Confusion replaced the shock, your eyebrows drawing together as you breathed heavily through your nose. He seemed to see the questions in your eyes, and you could swear you could hear the smirk in his voice when he spoke again.

"I could hear you from down the hall," He explained, "Thought maybe you were... With someone. But it looks like I was wrong."

You shot him a glare, thinking back to the evening you spent with Nox and how it must have implicated something different to Din.

"I don't have to help you, if you don't want me to," He reasoned, the hand covering your mouth beginning to lessen the pressure it was applying. "I just don't want you to get caught by the others. Just say the word, I'll walk away and we'll never speak of this again."

You wished you could see his face to make a better decision about what his intentions were, but with the helmet in the way, it made it impossible. You thought back to the feelings you were having just minutes ago, and felt excitement bubble up in your gut. Despite the surprise, you wanted this. Your expression softened under his gaze, and you felt your body relax under his touch.

"The way you're looking at me... Should I take that as a yes?" He asked, tilting his head to one side. "You want me here? You don't want me to go find your little friend, do you?"

You shook your head slowly and a soft, amused laugh filtered through his helmet, sending a shiver down your spine.

"You wanna give that thing to me?" He asked, gesturing with his head toward the massager. You lifted your hand and placed it in his, your body beginning to shake at the idea of what was about to happen. "That's my girl."

His words sent a shockwave down to your middle, causing a soft whine to escape from behind his hand. His girl. Remembering to keep you quiet, he pressed down on your mouth again, shaking his head.

"As much as I want to hear every little sound you're going to make," Din said, his voice sounding strained. "Can't have anyone else listening in, got that? You're mine tonight."

You nodded.

"Glad to see you can follow orders somewhere, at least," He joked, the laughter in his voice making you shiver.

With one hand he managed to remove your pants, lowering them to just below your knees, the cool air hitting you and making you shake. He took note of this and pressed the massage straight against your clit, keeping it there, but not turning it on. Frustration began to build as he teased you, running the material over the spot slowly and gently. Your brows drew together at this and you gave him another deadly look.

"Give me a break, I've been waiting for this for a long time," He said, sounding breathless as he looked you up and down. "You have more scars than I thought you would. Still, you're as perfect as I imagined."

With wide eyes you wiggled free from the hand that covered your mouth. "Are you saying you've thought about me like this?" You asked, your voice strained.

"Quiet," He commanded, shoving you back down into the mattress with his free hand. "I already told you, the others might be listening."

"Seriously?" You questioned, exasperated. "Did you think I wasn't gonna react to that?'

"I knew you would," He replied, gripping your jaw with his fingers. "I just wanted to distract you so I could do this."

You opened your mouth to respond, but were quickly silenced by his hand once more as he pressed the button on the massager, effectively turning it on. A hearty groan filled your throat as your head fell back, Din's hand keeping you in place. Your knees shook as he worked you over, circling the massager before pressing it against your clit again. Whines and moans were easily muffled by his hand.

Without thinking twice, you reached out and gripped his bicep, your fingertips digging into the soft flesh that hid beneath his shirt. He grunted at your touch, lowering his face closer to yours as you squirmed beneath him. "Eyes on me, yeah? Keep your eyes on me, Y/N."

With that, you reached up to touch the side of his helmet- a silent plea for him to remove it. You begged with your eyes, since you couldn't with your mouth, hoping he would give you what you wanted so you could look him in the eye. He hesitated, his movements slowing as you pressed your hand to his helmet. Sighing, he removed his hand from your mouth, instead placing it to your cheek. "I can't, you know that."

"Please," You blurted, all dignity vanishing from your body as you begged him to show his face. "You know me-"

The massager hit a rather sensitive spot, causing you to cry out and lurch upwards. Just as it began to leave your mouth, his hand was quick to silence you.

"You've gotta be more careful than that," He scolded, pressing it harder up against you. Your back arches off the bed, causing your chest to graze his. Sighing shakily, he kept the massager stationary, sending wave after wave of pleasure washing over you. You'd all but forgotten your desire to lock eyes with him, your climax on the horizon and taking up all priority in your brain.

"That's it," He encouraged, drawing out each word. "You're being so good for me."

Broken whimpers spilled past his hand, and he didn't stop them this time. Instead, he doubled down, maintaining the same position that was driving you closer and closer to the edge. It was within reach now, just a few seconds more and you'd be coming undone beneath him. Din could sense this somehow, his face mere inches from yours.

"I know, I know," He mewled, breathing hard behind his mask. "Be a good girl, now. Give me what I want."

His words were the tipping point, sending you flying over the edge. Your climax crashed through you, your head falling back against the mattress as several stifled moans filled the air. Din hummed as you finished, as if satisfied by his work. He never wavered, his helmet stationary, a sure sign that he watched your face the entire time. His hand abandoned your mouth and you gasped, gulping in air as you came down from your high. The buzzing ceased and your body fell limp, your muscles relaxing.

Din helped you redress yourself, taking his time and tracing his fingers over your exposed skin before it vanished beneath your clothes. "So that's where you went today," He laughed gently, turning the massager over in his hand. "I knew you weren't talking to locals. You've never been a good liar."

You groaned and rolled onto your side, facing away from him. Embarrassment flooded your body, the realization of what had just happened setting in. Despite the fact that he entered the room, saw you as you pleasured yourself, and still felt the desire to help you get off, you couldn't help feeling vulnerable.

"Y/N."

His voice sounded... Different. It wasn't metallic, it didn't sound muffled or altered in any way. It was organic, and soft, and hung in the air like gentle music to your ears. The realization hit you like a brick.

His helmet was off.

As you tried to turn back around, he was quick to stop you, moving you back onto your side as he laid beside you in the bed. His breath hit your neck, whispering past your ear like a soft breeze. The sensation made you flinch, drawing in a sharp breath as his arm wrapped around your middle from behind. He pulled you close, the center of your shoulders pressing into his warm chest.

"I hope you know I did that by choice," He mumbled, his lips grazing your skin. "I didn't embarrass you, did I?"

"No, no, it's not that," You said quickly, "I just... didn't think you'd ever want to do something like that. I thought it was against your creed. It took me off guard, I guess."

"It is," Din sighed, "But if I'm breaking the rules for anyone, it should be you."

"Are you still mad at me?" You asked, a hint of playfulness in your voice.

The quiet laugh that left his lips was enough to make anyone crumble at his feet. "I was never mad at you. I could tell you were getting... Frustrated, to put it mildly. I didn't blame you for being attracted to someone else. It was him I was mad at."

"You barely knew him," You replied.

"I know," Din agreed, leaning in close enough to kiss your jaw. "But he was looking at my girl."

[zepskies]

The Boys S4: Is it just me or...

Okay, anyone who knows me knows I love this show. And I don't mean to be overly critical, but...there's something missing for me in season 4. 🤔

Episode 4 brought me back in a bit more this week, but I have thoughts and just wanted to get them out. Which of course you don't have to agree with, if you so choose to dive below the cut. 😂

So here we go! Highlights and lowlights (and **spoilers**): ⤵️

Sorry in advance for my slightly stream of conscious-style thought process.

Lowlights (so far):

Kimiko x Frenchie: Violently pushing down something you built up for 2.75 seasons? Because "being more than that/family" can also be romantic? Why do you hate the fans, Kripke? 😂

The political "satire" is getting a bit old for me. A lot of the same jokes over and over. However, the problem of taking out Victoria Neuman is a very intriguing conundrum (and Bob Singer sweating over it while trying to keep supes out of the military/law enforcement is keeping me hooked).

THAT Rob scene: lmfao come on now. This was for gross shock value and nothing else. Even the exploding dick and Love Sausage in S3 served a narrative purpose. (But I enjoyed the footnote commentary while watching it on Prime: Rob B. apparently wants to remind everyone that he's a Shakespearean-trained actor. 🤣) I’m actually more disappointed that he didn’t have a more meaningful role in the show, because he really is a fantastic actor and I was looking forward to seeing what his character would bring. (Not that lmao.)

Overall, the season just feels...emptier than seasons 1-3? Maybe that has to do with the lack of Soldier Boy's gravitas as a new antagonist, and connecting the entire narrative and various conflicts of the season -- all while shedding light on the grisly past of Payback, Grace Mallory, and Stan Edgar. Stormfront also brought that ante up in season 2 in a similar way, all while shedding light on Vought's sordid history with the creation of Compound V.

We're missing the layers here in season 4. Now, this could just be because we haven't seen the full season yet as well, but that's what I see so far.

I think it also has to do with the odd dynamic the boys side is in right now. With Butcher on the fringe of the group, and the others splintered off on their own side plots, it feels like the supes' side of things are more...for lack of a better term, "unified" in the narrative.

Which I realize is probably to reverse parallel the state of each side in season 3. But it just feels "off" to me somehow, since we're supposed to be just as invested in the boys side lol.

Highlights:

Butcher and Ryan: Butcher's doing his best there now, and it soothes my heart.

Ryan's slowly seeing the consequences of his choice to join Homelander. In fact, I'm wondering where Ryan is in episode 4. Hiding in his room?

The Khan Worm that appears to be inside Butcher is both frightening and intriguing. I wonder if this is the key to saving his life? Or just another lovely side effect of taking V24 long term. 🐛

JDM (Joe) and Butcher: All their scenes were golden. And that subtle John Winchester reference? Being willing to train up his son to be a killer? Being able to grieve at his son's funeral, knowing he "saved the world?" *Chef's kiss* 🤌🏽

(And if Butcher or Joe end up being the one to break Soldier Boy out of his cryo coffin, my fangirl heart will freak TF out. 🤣)

The way that Homelander is noticing his age is fucking hilarious. Bet you wish you had that life longevity from your father/sperm donor, dont'cha? 😂

But also the way Homelander "confronted" his past in E4 had some truly WTF/Holy Shit™️ moments, in a good way. As in, I'm once again afraid of this unhinged psychopath--kind of way. 😅

A-Train continuing to struggle internally with the place he's fought so hard to keep in the Seven, versus recognizing the evil around him, his own complicity, wanting forgiveness from Hughie, and wanting a true connection with others (namely his family).

It's interesting that Hughie's mom is being brought back in at this time. And even MORE interesting that she seems to be the one who gave her ex-husband Compound V. Her story of why she left her family seemed so normal that I actually got a little suspicious of her. But now, even more so. 🤨

M.M. doing his fucking best. (Except for the way he suddenly had a change of heart about Butcher in E4. Not sure about that one.)

Tilda effing Swinton voicing Ambrosius. PLEASE. My Queen. 😭🤣🤣

I actually had more lowlights before I watched episode 4. There were some really interesting moments that literally had me gasping in shock (this time in a good way), more so than in the first 3 episodes. However, I still think seasons 1-3 were stronger from the get-go.

But even with my lingering reservations, now I'm actually more so looking forward to getting into the meat of the season in this second-half coming up. 👏🏽

[rassicas]

Frye is not a Vampire Squid.

It's one thing to headcanon something, but it's another to pass it around a fact, which is why i have to say: Frye is not canonically a vampire squid. This idea originated from a popular twitter thread made at the time of Splatoon 3's direct, and the evidence it's based on is...weak. And yet I still see this info passed around... Yeah I think Frye is just supposed to be a regular Inkling.

the splatoon team has shown us that inklings, like humans, can have a lot of diversity. while our player character models are limited, in-universe its a different story. these are all considered regular inklings. look at the varied eye masks, faces,...they can even have blue skin! So i think that frye is just the splatoon team showing us how more diverse inklings can be.

I made a google drive folder of Inkling hairstyles with a lot of concept art, you can see many diverse examples. To address the other specific points of evidence used:

Long fangs: All Inklings have sharp "teeth"/ beaks. Inkling beak shapes can vary. the last one appears to have a snaggletooth.

Long ears: Ear shapes can vary as well. compare ears of the squid sisters with the player character. Pearl has short ears. hell even the player inkling ears between s2 and s3 are different.

purple fingertips: prior to S3, fingertip coloration was something only seen on octolings, not on inklings. with how her and Shiver can freely change finger tip colors according to their ink, it seems like just a thing inklings and octolings can Do and we just haven't seen much of until now, like how we didn't see much varied hairstyles until s2. Perhaps with how integrated octarian culture is in the splatlands, inklings have caught onto this style as well? Her earrings, the sharp pointy bits in her design: Yes this was used as evidence for the vampire squid thing. That's all eel motifs.

Now the biggest reason she cannot be a vampire squid... vampire squids are NOT squids! They're more closely related to octopuses, but really, they're their own thing (also they're called 'bat octopuses' in japanese... the language the splatoon developers speak. nothing to do with vampires or squids)

With how splatoon's designs have been so far, other species of cephalopods are not guaranteed to look like inklings, especially if not closely related to ink-producing squids and octopuses (and vampire squids are not) Here we have a dumbo octopus (not octoling). also nautiluses. In the case of a species that would be more closely related to the playable species, what seems to be an octoling based on a blue ringed octopus.

Going off this, if the splatoon team were to make a vampire squid character, it most likely wouldn't be a subtle 'inkling/octoling but 2 inches to the left,' For such a unique species, I think they would be pretty explicit about it in the design itself. And considering that they are deepsea creatures that do not produce normal ink, a vampire squid in splatoon might look pretty odd! In conclusion...please stop claiming frye is "supposed to be" or "canonically" a vampire squid, it's a flimsy headcanon based on superficial traits at best and there is zero evidence that was the developer's intent.

(And while I'm here, Pearl is not confirmed a pygmy squid, marie is not confirmed to be a firefly squid, marina is not a webfoot octopus etc. That's fanon based on their japanese names, not canon. As far as we know, the player inklings and inkling idols are all just one species of inkling. inklings and octolings seem to take inspiration from multiple species, but it's not confirmed if they are those species.)

[meatballlady]

It's time for the fandom to start Looking Where the Furniture Isn't

For a bit of background, one of my irl professional responsibilities is to identify and avoid making undue assumptions. There are a LOT of things that we humans assume. We assume that terminology means the same to other people as it does to us. We assume everyone has the same context of a situation we do. We assume that we aren't missing any information.

We operate on the information we have.

There was an ask before season 2 aired asking whether many of the plot points had been revealed by the clips (which almost all took place during the first half of the first episode). Neil's response was something like "oh you sweet summer children you know nothing yet." And boy was he right.

Neil Gaiman is a master of controlling assumptions. Just look at his Tumblr askbox replies.

Here's a few s2 examples of assumptions we all made (as I'm starting a rewatch):

Why did Crowley do the (very fun and distracting) apology dance? You might say it was because he walked out on Jim, but he never specified, did he? And Aziraphale was surprised that he proposed they would hide him "together"

How did Shax get a rumor about something going down in the Up (presumably) before Gabriel even went downstairs?

Did Jim need to bring Aziraphale something other than the box? He never actually specifies; Aziraphale just assumes it's the box.

Why did Aziraphale assume Maggie could feel [Michael, Uriel, Saraquael] arriving?

Why does Aziraphale say Heaven would notice even a small miracle? Crowley is seen doing a miracle before their large miracle (traffic light), and later Aziraphale makes the guy leave the table at the pub

To go deeper:

Are we assuming that characters are telling the truth? Example: "Miracles don't work like that," "[Extreme sanctions] was just something we said to frighten the cherubs" etc.

Are we assuming that nothing of note happened between apocalypse v1 and s2? (ex. the claims that Crowley didn't tell Aziraphale about the trial in heaven despite him referencing it in s2s1) What if we the audience are just jumping in near the end of this story?

Are these assumptions correct? Or are we just working with the information that we have?

Now that I'm looking for it, there's also SO many corrections of assumptions (usually for the sake of a joke, but still) (these are just the ones that happen while I type them out while watching e2):

"Can I be a blue one?" "You haven't annoyed me yet" "But can I be?"

"You recognized [Michael, Uriel, Saraquael] those people who were in the shop just now?" "Of course, they were in the shop, just now!"

"oh my god!" "blasphemy, angel, that's not like you", "no, oh, my god"

Many of the themes were about hiding things in plain sight: the kids (and kids), Jim, "aim for my mouth but shoot past my ear." Clue (1985) was heavily referenced in the lead-up. The whole point of that film was looking at what was going on elsewhere. Looking where the furniture isn't, you might say.

The more I watch s2, the less certain I am that any of it makes sense on its own.

I'm currently combing through it to see if there are any discrepancies with where people are (easiest example is when Crowley just disappears from the bookshop while they're reviewing the Job story). It'll be a lot of data and might not lead anywhere, but I'll definitely share once I finish looking into it.

I will also honestly admit that these things are all circumstantial, and I could be going insane. But they just keep cropping up all over the place. I've got a lot of time before S3 comes up and I intend to investigate the furniture. And try to not make assumptions.

[therainscene]

There upon a rainbow is the answer to a Neverending Story: Will's time-travelling coming-of-age

[Spoilers for The First Shadow ahead, though they don't begin until after the cut. And obligatory disclaimer that I haven't seen the play for myself yet.]

Will Byers is a character haunted by his past.

I mean, obviously, right? After the awful events of S1, Zombie Boy finds himself getting literally hunted down by a giant metaphor for trauma; by S3, when all his friends are starting to grow up, Will is still clinging pathetically to childhood escapism while that trauma metaphor continues to bristle under his skin.

That's not to say that Will's refusal to conform to other people's ideas of what growing up means isn't one of his strengths -- but there's a difference between that and refusing to grow up at all, and Will is very much digging his stubborn little heels in when it comes to the inevitable changes of adolescence.

Because Will is also a character haunted by his future.

As a gay boy growing up in an era that despises gay men, Will's fate has been quite clearly spelled out for him: if he's lucky, he'll just be looked down upon as a pervert; if he's not, he'll get murdered or become an AIDS statistic.

It's hard not to be a late bloomer when you know how quickly undesirable flowers get pruned.

So the prickling at the back of his neck doesn't just flare up in moments that remind him of his past, but also in moments that remind him of his future.

The dark intimacy of the cinema and the sweltering eroticism of the sauna remind him that his feelings for Mike are developing into something new and terrifying...

...while Milevn's heteronormative antics remind him of how unlikely it is that Mike would ever want that sort of future with him anyway.

Even his debriefing on the Mind Flayer's return hints towards his struggle to accept this truth about himself:

Will describes his encounters with the Mind Flayer as like being frozen in place, and I think that applies to his timeline too: the Shadow surrounds him on both sides, boxing him in, preventing him from moving forward or backward.

The only temporal direction open to him is sideways... towards that equally frozen realm the Shadow came from in the first place.

And he's not the only one in this predicament.

-------------------

Like Will, Henry was trapped in an alternate dimension as a child, and like Will, the Mind Flayer followed him home and possessed him -- allowing past and future to torment his adolescent self in tandem.

Brenner pressures and manipulates young Henry to give in to the dark urges demanded by the Shadow, sending him helplessly down the path towards becoming Vecna.

It's the classic self-fulfilling prophecy that dooms many a "difficult" (traumatized/neurodivergent/queer) child whom the adults in their life have no idea how to handle: Henry is deemed too broken to be worth treating with patience or compassion, and when the abuse finally does break him... well, that's just proof they were right about him all along.

The Shadow possessing Henry in 1959 somehow presents not as a formless cloud of particles, but as the spider monster he himself would shape twenty years later...

...and I think this is evidence of a predestination loop.

El didn't just banish Henry to Dimension X, but sent him back in time, allowing him to create the same monster that possessed him as a child. The Shadow was never an alien -- it was a manifestation of Henry's worst possible future, bootstrapped into existence by Brenner's meddling.

Note that this means El is also trapped in a self-creating loop:

If El hadn't used her powers to send Henry to Dimension X, then he never would have been able to sabotage his own childhood... which means Henry might never have become an asset to Brenner, which means Terry would never have been injected with Henry's blood, which means El would never have been born with powers.

To be clear: I'm not saying that El or Henry brought this on themselves.

This is all an allegory for the cycle of abuse, so the self-sabotage going on here isn't about these characters literally being to blame for what Brenner did to them, but about how they self-blame: internalizing the abuse and perpetuating harm in turn.

Let's return to Will and consider one of the show's biggest mysteries: why was he taken in S1?

The play heavily implies that Henry's powers were acquired in Dimension X, and outright states that the lab kids' powers came from Henry's blood, so it's unlikely that Will was born with powers.

Maybe Will was just in the wrong place at the wrong time... but then why was it so important that this random kid be spared from Vecna's plans to kill everyone in S2? Perhaps something happened during his week in the Upside Down that made him an asset to Vecna... but given the similarities between Will's connection to the Mind Flayer and Henry's, I propose an alternative explanation:

Whatever made Will a target in S1 is something that won't happen until S5. Because Will is also trapped in a predestination loop.

If predestination loops are what happens when a self-sabotager is linked to the supernatural, then frankly it's almost impossible for Will not to be trapped in one.

Every season since returning from the Upside Down, Will has sacrificed himself to help his friends fight the horrors... and all three of those sacrifices have been deeply entwined with his feelings for Mike.

In S2, Will was willing to die to save his friends from the Mind Flayer after Mike's heartfelt monologue broke through his possession.

In S3, Will bottled up all the pain he was feeling after his fight with Mike and refused to address it again once he realized the party was going to need his help with the Mind Flayer.

And in S4, Will pretended that his painting was actually from El in an attempt to support Mike -- and save the day once it started to look like a S2-esque monologue from Mike was needed once again.

Over and over, Will takes the love he feels for another boy and channels it into The Greater Heteronormative Good as though he's trying to atone for something. But the older he gets, the less effective that becomes:

S2's sacrifice was crucial to saving the day.

S3's sacrifice was helpful... but like... his role was to be a glorified Geiger counter; he didn't exactly need to shut down emotionally to pull it off.

S4's sacrifice did fuck all to save the day, and he definitely didn't need to meddle with Milevn's relationship by injecting a lie into it -- the painting could have passed as platonic if he wanted.

If this pattern holds, then we can expect Will's next move to start causing harm.

I usually interpret Troy's above line as Vecna foreshadowing... but what if it's actually foreshadowing how Will's nearly-adult self is going to start the chain of events that lead to 12 year-old Will's kidnapping?

Homophobes often accuse gay men of being a threat to children, which is rich because homophobia is the actual threat to children. In his desperate efforts to suppress the desires that make him a target to homophobes, all Will has accomplished is to hurt himself on homophobes' behalf. He's become a homophobe.

And thus he dooms an innocent child to needless horrors.

It's tempting to believe that Will's S5 coming-of-age is going to involve breaking the loop and undoing all the horrible things that happened...

...But I don't think this is likely to be the sort of time travel story in which the past can be undone. For one thing, Will breaking the loop would also undo the entirety of Stranger Things; for another, this show isn't really about defeating abuse so much as surviving it.

My bet would be that Will can't destroy the loop any more than he can destroy 80s homophobia. But once the loop completes, he'll also be free to leave it in the past and take a brave step into the future -- one in which he fully accepts his right to be in love and lust with a boy.

As scary as that future is...

...he might be pleasantly surprised by what he finds there.

[markantonys]

season 3 tidbits from rafe at the nycc panel (nothing surprising, but interesting to hear nonetheless)

he said again that season 3 really focuses in on TSR and that it was nice to be able to focus on a single book this season, especially since TSR is one of the best books in the series (my personal opinion is that this still doesn't mean we absolutely won't see ANY elements from other books, though, but who knows!)

rhuidean confirmed as a location we will see during the season

there is a forsaken who has been cast and filmed stuff for s3 whom we haven't seen yet in the first 2 seasons (i'm guessing he means asmodean; but there could be more than one brand-new forsaken in s3 for all we know, he didn't specify that there's ONLY one new one)

s3 dives deeper into tel'aran'rhiod and dreamwalking (he specifically mentioned learning about dreamwalking with the aiel)

we'll know very early in season 3 what liandrin has been up to recently

and a fun season 2 behind the scenes fact, he said that donal had been filming a different project in morocco when he got cast in WOT (i'm assuming SAS rogue heroes is what he was filming - great show if you haven't seen it!) and that when they were filming the heroes of the horn scene in the finale, donal seemed emotional so rafe asked him if he was okay, and donal said that that wall was THE VERY PLACE HE WAS STANDING ON when he got the call that he'd been cast as mat!!!! i'm sobbing!!!!

[vidavalor]

Here's a thought... the protective wing moments aren't actually totally what Crowley is describing in the scene in the pub, from what we have seen of them, but it is pretty obvious that Crowley's talking about when he fell in love with Aziraphale, soooo... what if the wing moment in Eden wasn't the vavoom moment? What if S2 is trying to tell us that it was during The Flood? And... maybe what if it's a S3 flashback scene?

Crowley says this about this moment we all know was about him lol and not just from films...

They *look into each other's eyes* being the key thing here, right? And also *both* of them, ideally. It is a *shared* moment. The thing about the wing protecting scenes is that, in both of them, both Crowley and Aziraphale look straight ahead at the first celestial and, later, rain, storms. There is a storm and there is, for *one* of them, a sudden canopy, each time, but it's not the both of them *together* forced under a canopy from a sudden storm and then looking at *one another*, right? But when else could this have happened that is mentioned in S2? The Flood. Mentioned in the Job minisode.

Aziraphale shows up and says "It's you. Oh, dear me, haven't seen you since what... The Flood?" and Crowley agrees but also the scene we've seen so far circa The Flood is the "you can't kill kids" bit of it, which thematically ties to the Job episode. We didn't see The Flood itself (yet).

Aziraphale is *sure* by the Job era that Crowley won't kill Job's kids-- children or goats alike. Crowley makes an effort to fake it but it's the events of The Flood that led them to team up in the Job story. Yeah, running into Crowley before the start of it would maybe count but also if Crowley had then just left after that conversation, how would Aziraphale be so sure by the Job era that Crowley wouldn't kill the kids or animals? He wouldn't be, right? Crowley had to have stayed during The Flood. He then would have been there with Aziraphale, with both of them trying to save as many as they could, when the sudden storm forced them at one point to take shelter under a canopy, probably with some they were trying to rescue and, unlike during the celestial storm or in Eden, they weren't looking out at the storm but, finally, into one another's eyes and... vavoom.

They knew they were made for each other.

(Adding to this theory is that when Crowley tries his Awning of a New Age to make Maggie and Nina fall in love, it's a steadily increasing storm until he *accidentally weathers too much and turns it into a flood*, almost as if he's thinking about him and Aziraphale and it causes him to mess up his miracled weather... however? It also *still worked*, since even if Maggie and Nina didn't get together exactly yet, this is the still their vavoom moment.)

Crowley and Aziraphale both had moments of attraction and shielding one another with a canopy in scenes before this-- Before the Beginning and Eden-- but they both actually fell in love during The Flood and Crowley knows it. He knew it then and he knows Aziraphale knows. Maybe it took forever for them to admit it to themselves, especially Aziraphale, but they both know now in the present in S2.

So Crowley is all ok, so you want a romantic scenario for us to make Nina and Maggie realize they're in love? Let me describe the moment *we* did. Work with me, Angel, I'm trying to be romantic here...

Aziraphale: But they're humans, not us, dear, doesn't seem very likely. Jane Austen!

Crowley: We are way more like the humans than you think and we are on a date in the pub and I'm trying to talk about when we fell in love and was hoping for the sparkly eyes and the melting sigh and an "oh, Crowley" and what I got was "not likely". Brb throwing myself off the roof.

Vavoom. Sorted.

[genericpuff]

The Extended Mishandling of LO's S3 Midseason Finale Premiere (Pt 2)

Alrighty, I promised a part two back in the first part of this analysis, but found myself busy with Rekindled and my day job, so I'm finally sitting down and finishing this up. If you haven't read that first part yet, please go check it out!

CAUTION: THERE BE FASTPASS SPOILERS AHEAD!

We left off with Hebe and Apollo roleplaying that one scene from The Lion King, albeit with a lot less sense or nuance. Literally all the "drama" so far feels purely manufactured for cheap plot progression and tension and it hardly feels authentic. But now we gotta talk about the second half of this episode, where we finally address the cliffhanger that the FP midseason finale episode left off on - Persephone causing winter.

And what better way to kick it off than with a completely off-base Persephone monologue?

Now, what's shown here is actually a flashback to the job interview scene from S1, when Persephone asked to see the snow in the Underworld. But it's written as if Persephone has some intimate relationship with snow as a whole, as if she's experienced more than this one time which... she hasn't. There was nothing "romantic" really about that scene following the job interview, she literally just wanted to go out and see something she hadn't seen before.

But that calls into question - why does Persephone constantly act like she has an intimate relationship with snow when it doesn't occur in the Mortal Realm? She even says in the honeymoon episode that it's hot all the time in the Mortal Realm, and the temperature only drops every now and then during rainy days... and she somehow makes this about Hades when it literally has nothing to do with him lmao Persephone monologues are some of the worst /r/im14andthisisdeep moments in the series because she's constantly using word salad to describe feelings we never saw or scenes that never happened.

And this scene is no different. She says that snow is something that's interwoven with her most 'treasured moments' but all the visuals have to show for is that one scene from S1 that, again, didn't even come across as a 'treasured moment', it was just her seeing the snow for the first time, there was nothing 'romantic' about it in a vacuum. All the moments from the series you could call ACTUALLY TREASURED milestones of Hades and Persephone's relationship - and Persephone's supposed "love" for the Underworld - are scenes where snow was completely absent (ex. the scene of Persephone and Hades talking about Sicily in Zeus and Hera's garden, Persephone and Hades spending the night in the cabin during the trial arc, etc.)

But then, to make it even more confusing, she goes on to describe her losing her powers and causing winter a "betrayal". As if the concept of winter owes her anything. As if Erebus owes her anything.

The allusion to Erebus itself in the visuals implies that she feels "betrayed" over this happening, as if it wasn't made ABUNDANTLY CLEAR TO HER that she would have to sacrifice something. She's gone SO LONG without knowing or caring about what she could have possibly given up, that by the time it finally revealed itself, she's acting all shocked Pikachu because there's finally something she can't just have. Everything that could make her seem imperfect has been washed away, from her SA trauma to those pesky green hands. Now we finally ARE seeing her affected by her own choices and she's basically waxing poetic about how sad it is that her actions have consequences.

That said, she does seem to have a moment of self-awareness here... but I can't be confident it will actually amount to anything seeing as how all the past attempts at 'growth' have been overshadowed by her vanity and ego.

This line is really confusing / weird in the way that it's written but I think she's trying to say that the source of the cold is from her, she can't pin it on any sort of 'big bad' like she could with Apollo and Kronos. It's just her.

And again, this could be a moment of realization for her that her actions are her own regardless of whatever she wants to pin it on-

But she rejects it instead. She's still not capable of acknowledging that her choices affect others, that her actions have consequences, that she's finally paying the price for something she knew had a cost.

If this were any other comic, I would accept her rejection of this, I would have confidence in knowing she may recognize it eventually. But this is LO and we're three seasons in, she's technically already gotten her happily ever after in the form of becoming Queen and married to her 'true love', so all of this feels like a very last-minute attempt to paint Persephone as this "struggling" character. But she's not "struggling", she's just finally experiencing karma catching up to her and as expected for a person like Persephone, she's already cracking under the pressure of realization that she can't have everything she wants.

Again, in any other comic, this would feel satisfying or endearing to see her fall on her own sword, but to me it just feels frustrating in the context of LO because we've spent five years seeing her get everything she wants with barely any real struggle that wasn't manufactured - with all of it painted as a GOOD THING - while still getting away with treating the people around her like shit.

And when I say she rejects this concept of having humility, I don't just mean through her monologuing, but also through her actions.

If I were to critique LO the same way I would an actual functional series, I would say that this should be the point of realization, the point where we see her crumble under the weight of her not being perfect, not being able to "fix" everything. It all stems back to her entitlement as a bratty main character, someone who can't fathom not being the main character or the "hero".

Because she's not the hero. Demeter is - or at least, she tries to be.

Again, it's hard to know if this is intentional or if this is yet another attempt to present Demeter as an "overbearing mom", but Persephone here looks and sounds like she's been reduced back to the state of a child crying for her mother in the face of her own failures. Despite now technically being a mother herself (through literal babynapping sigh) Persephone is still not a mature adult. Aging her up 10 years and giving her a husband and baby will not make her an actual functional independent adult who's capable of taking care of themselves or making the right decisions... unlike Demeter who is still, ultimately, more skilled than Persephone. She is an actual experienced and mature adult who's capable of rationalizing and decision making, and knowing when it's time to put aside your ego, walk away and let someone else who's far more qualified take care of things.

What Demeter has is something that one can only gain through true hardship, failing, learning from one's own mistakes, and experience, all of which Persephone does not have because she transitioned from a cage of her own imagination where hard work and responsibility was a virtue, into a gilded cage where true hard work can be passed onto someone else whose efforts she could take credit for while sitting on a throne and buying anything and everything she could ever want.

Despite everything Persephone and the narrative claims to have 'earned', she's still a child. The adults have to take over.

And like a child, she doesn't let them.

This is not an 'anime moment'. This is not a moment of redemption. This is immaturity and irresponsibility in its most visible form for Persephone - refusing to let go of her ego and shortcomings to "prove herself", even if it means making things worse.

And Hades enables it.

I want to make it clear there is a massive difference between not being controlling over someone, and actually enabling them.

This is not some small hill to die on. Persephone is literally causing winter, which could very well kill the Mortals. As we've seen in that prior Hebe scene from the first part of this essay, the snow is showing up in Olympus. This isn't something that's happening in the isolation of this single scene, this is happening everywhere and instead of taking the L, Persephone is trying to make things 'better' by simply 'trying harder' which is just not the solution here, Demeter knows this, but Hades is playing the "girlboss" version of a "good husband" by not even bothering to try and convince her to do otherwise. Hades above everyone else should be the one stepping in because he'd likely be the only one she'd actually listen to, but he's refusing to because he has to be the "good husband" who doesn't control the actions of his wife.

So he flat out enables her instead by not even bothering to try and reason with her, to help her see that what she's doing is not helping. Not even so much as a "Persephone, I know you want to help but it's clear something is wrong and if Demeter can figure out what to do to fix this, we should let her", just him saying to Demeter who wants to stop her that he can't stop her from trying... ignoring the fact that he should at least try.

And that's the difference between being controlling and being an enabler. He's not keeping her from doing something that benefits her and doesn't harm him or others. He's not micromanaging her decisions or trying to tell her she's not capable. Now, don't get me wrong, there are definitely things that make Hades a walking red flag especially when it comes to him being a groomer, but when it comes to directly controlling Persephone, most of the time she's doing things of her own accord convinced that it's "the right thing" (which is still just a side effect of the obvious grooming because I really doubt S1 Persephone would have done this shit lmao).

Here, he's not stepping in to even try to reason with her because "well I'd be a bad husband if I stepped in", completely ignoring the fact that it makes him a terrible person, period, to not at least try to calmly reason with his wife and explain to her that her 'help' is not going to help here. Just like when he rewarded her with sex for abusing a nymph in her own home, he's completely complacent to Persephone's actions and doesn't step in to try and help because, according to Wattpad and TikTok, a "good husband" is someone who looks the other way while his life partner does whatever she wants regardless of the consequences to herself and others. "Happy wife, happy life, who cares if the wife wants to be an actual piece of shit to people if it makes her happy".

And thus she makes things worse in her pursuit of "happiness", while Hades stands idly by, watching it all unfold as if he's just an innocent bystander who can absolve himself of any responsibility in this situation. As if she didn't become this way because she ate the pomegranate to be with him and a part of his world.

Now, there's one other sort-of-blatant smoking gun that I want to talk about that I haven't really seen anyone else mention since this episode went up. Granted, this might be me reading far too much into it, but hey, that's what this blog is for and I think it's something that absolutely needs to be mentioned.

Persephone goes on about how her powers aren't just gone, they've been replaced, all she can create is decay, and more specifically-

Now... think of the context of LO's narrative, what it's told us both literally and through subtext, intentional or not.

What does this sound like?

Hades lost his ability to produce children when he ate the pomegranate. He can no longer "create life".

And now, Persephone is finding herself in a similar situation, unable to "create life" the way she knows how. I'd like to think this isn't literal, but it really feels like there's a metaphorical implication here that Persephone losing her ability to create life is meant to be taken literally, that she not only can't create flowers and plant life anymore, but she's lost her fertility entirely. You can go even further back in this when it was established Persephone didn't eat six seeds, but nine, which originally felt like a weirdly random choice, but now seems intentional. I know some people have theorized that it has to do with her possibly being pregnant, but I don't think that's the case, I think it's the opposite - that the 9 months was a metaphor for the 9 months of childbearing that Persephone can no longer do.

And if that's the case... LO truly is no longer a "feminist" piece of work. It barely was before, but if the point of all this winds up being an attempt by Rachel to give Persephone a "flaw" by taking away her ability to bear children... that'll be a punch to the gut.

That said, if it does go somewhere, maybe the point will be Persephone learning she doesn't need to be able to reproduce to have value as a woman. But considering LO's track record with these sorts of plotlines, I can't be confident in the slightest that's where it'll end up. What I can be confident in is that Persephone will likely not stay this way. Like her green hands, she'll likely get her powers back, maybe after the resolution that she's still a real woman deserving of love even if she can't reproduce. I can't possibly know at this point where it's going, all I do know is that LO hasn't done a great job at resolving these sorts of deeper narratives so this just feels like another dart on the wall of bad ideas. Because it's, again, all being framed through Persephone being the "perfect woman", without there being any actual subtext throughout the narrative to imply that this may be a flawed ideology to have, it's just what Persephone has to be and it's sold in the narrative as a positive.

There's one term to describe this with that's rather consistent throughout LO when you peel back the layers of both the comic and Rachel's past work - white feminism. Despite LO's attempts to be "feminist", it's still ultimately being written through a heteronormative male gaze, that women are only "valuable" so long as they're youthful, that any goals or dreams a woman may have should be dropped as soon as they fall in love with a rich and powerful man, and that "other women" who don't fit into that mould of being rich, white, and heterocis are not worthy of love, empathy, or understanding. It's hard to trust that LO will actually challenge these norms when it's been practically enforcing them for five years.

But ultimately, that's a very loaded topic and right now, we don't know where this is going... I'm just not so sure I want to see it after all the missteps the series has pulled over the past half a decade. Like the miracle of childbirth, it's gonna take a miracle for LO to actually stick this landing.

Now, I'm assuming you read this line of dialogue, and you understood it. Yes? You positive? Okay, great. Why am I asking you this question as if you're an infant who doesn't understand what being "passed out" means? Well, you'll see what I mean in a minute.

Now, again, like with the whole "I can't bring life to anything anymore" thought process I just went through, I can't know exactly what they're trying to do here, but Demeter is fully in the right. I want to make that abundantly clear that Demeter was right the whole time and it's pretty telling that even a lot of the people reading the comic in good faith are pointing this out in the discussion circles they can actually access.

Now, in case anyone hasn't noticed, it's clear that Demeter herself is drawing upon the fertility magic of Gaia or Rachel is just alluding to Gaia for some reason. At first I thought it was supposed to be her form of "wrath" until I remembered that (unfortunately) Eris was the only reason for Persephone's wrath, so this is clearly meant to be some allusion to Gaia. Considering the fertility powers were passed down purely through Gaia and Ouranos, this means Demeter is a descendant of Gaia, which... calls into question Rachel's attempts to "remove the incest" from LO, but that's for another topic.

Either way, Demeter is fully in the right here. Hades is a fucking idiot - a useless lump - for not only enabling the shitty actions of his shitty wife, but for not taking even any amount of accountability for the fact that Persephone found out about the pomegranate through him.

"But Puff, she had to eat the pomegranate to beat Kronos!" Did she? Or was that purely manufactured for Rachel's sake because she just had to have an MCU Evil-Robot-Jeff-Bridges villain despite the fact that this FANTASY ROMANCE series didn't need one? The fact that it was written purely to 'force' Persephone into doing something she already wanted to do was completely redundant, it wasn't a 'sacrifice' she made, it was made pretty clear in Episode 165 that she wanted to eat the pomegranate as soon as she found out about it and while that decision is certainly her own, that does not absolve Hades of responsibility for not questioning his future wife's fascination with it or realizing that he unlocked the inner Pandora's Box of Persephone's mind.

And so, Demeter holds him responsible. As she should.

Okay, you read that, right? But remember that line I asked you about before? We should all know Demeter doesn't mean this literally. We have brains and we should all have a minimum amount of media literacy to understand that Hades was telling the truth when he literally said Persephone was "passed out".

We finish the episode on this panel, which I swear to christ I couldn't tell you in all of my own divine wisdom of the arts what in the world is going on in this panel. I'm literally looking at salad.

Is it Demeter and Persephone? Just some dying plants? I have no fucking clue, your guess is as good as mine.

But we're not done. Because we have one more glaring issue to talk about with this episode, and it comes in the form of an author's note that was inserted at the end of the episode. It is truly, despite EVERYTHING we've talked about in both parts of this analysis, the dumbest, most airheaded and egregiously pretentious thing I've seen in this entire episode.

Rachel quite literally put in a fucking disclaimer telling her audience what Hades already told us point blank in the comic - "Don't worry, audience members, Persephone is not literally dead, it's a metaphor for her spring powers being dead!"

I literally can't even express to you how pretentious and shitty this is of her to do. I can't tell if it's legitimately her thinking her writing is "too smart" for even her older audience members to grasp, or if she just wants to dispel the theories that people would want to make about this, or if she completely misconstrued the criticism about her writing not being "clear enough" and thinks that THIS is what people meant. Pardon my tone because I've kept it together relatively well throughout this post, but this is some 2009-era Fanfiction.net level of author's note bullshit.

If she thinks her writing is "too smart" for her audience to grasp, I'm sorry Rachel, but you're just wrong and this is incredibly shitty of you. You think the 14 year olds in your community aren't also reading other webtoons that have deeper writing than LO? I read Death Note when I was fucking 14 and I knew exactly the point of what the story was getting at by the time it was over, despite all the other stories I read at that age that completely flew over my head. And you think LO is somehow more complicated than Death Note, baby's first introduction to the grey areas of morality and justice?

If she's trying to dispel the theories... that actually holds some merit because not only is Rachel notoriously bad at not letting her fandom just talk about their theories without her swooping in to "um actually" them (even if it means killing the fun of theorizing), but the official FP page on FB was closed to new submissions in the hours following this episode and it since hasn't posted any new content. Is it because people aren't posting? Absolutely not. The mods are quite literally holding these posts hostage through the submission and approval system. People are legitimately trying to submit only for the mods to block it entirely from going through. If this is Rachel's attempts at trying to "protect herself" from the criticism this episode has surely earned, then all she's really doing is punishing her own fans who want to talk about it. It doesn't matter anymore that the discussion groups are finally back from 3-4 months of being shut down over the hiatus, they're still not being allowed to operate. The best there is now is the Discord and it's undoubtedly just as heavy moderated as the FB groups.

And as for the third possibility, this also feels like an attempt at Rachel trying to make her writing "more clear" without actually putting in the work of writing a good story. She's undoubtedly seen the criticisms towards LO as a whole that it doesn't express itself clearly, that it constantly flip flops on character motivations and information that has been established, and that any monologuing that's done implies things or events that we've never seen unfold on screen (case in point, the Persephone monologue from the start of this episode) but she seems to have either misconstrued or ignored the point of that criticism entirely by solving it with a quick and shitty author's note at the end explaining her intentions with a scene that was already clearly laid out to us. Instead of putting in the work to write a concise story to explain the things that are a bit more under-developed, she's slapping in a spoonfed explanation for scenes that literally don't need explaining and that ultimately cheapens the scenes that are TRYING to have impact, bringing them down to the same level of mediocrity as the scenes that never had the impact they intended to have to begin with. "You've killed the Goddess of Spring" was plenty clear after Hades said she was passed out, Rachel. Taking the time to explain it in a note at the end is just sad and it really goes to show what you think of your audience, especially when it comes to how you treat your fans in regards to community accessibility in the official discussion groups.

"The haters" didn't set this comic onto the path that it's on or ruin the fanbase experience, Rachel - you did.

[miss-musings]

"Not Alone; We'll Do It Together": A Mini-Analysis of the Bad Batch's Roles in Their S3 Family Structure

A few weeks back, I did an analysis on the metaphors and allegorical readings for The Bad Batch 3.05 "The Return." (If you haven't read it yet, please do so.)

I said it'd become Part 2 of a much longer analysis on the episode, and the soon-to-be Part 1 is still in the works. But, I decided to spin this part of the analysis off into its own post.

So, consider this Part 1.5 of my in-depth analysis on "The Return."

I wanted to look at how the five characters in the episode -- Hunter, Echo, Wrecker, Crosshair and Omega -- divvy up their roles and responsibilities when tackling the Ice Wyrm and reactivating the sensor beacons. Because I think it basically encapsulates how their roles in their family work out during the rest of Season 3, and presumably their post-Tantiss life on Pabu.

I'll state that these are just my opinions and interpretations. So, we may disagree on some points. Feel free to discuss and share your thoughts.

Of note: If you're not familiar with the Five-Man Band trope, I recommend you check out this video, because I'll be referring to the characters' roles in the Five-Man Band structure throughout the analysis.

A summary of the Ice Wyrm confrontation in 3.05:

After deactivating the sensor beacons and being attacked by the Ice Wyrm, the Bad Batch realize they need to reset the energy grid and get the Wyrm outside the perimeter so they can reactivate the beacons and eventually leave the Outpost safely.

Wrecker is the first to volunteer, saying he'll go to the back of the compound to reset the grid manually.

Omega then affirms that she will stay inside the base to reactivate the sensors once power's back.

Hunter says someone also needs to go out front and draw the Wyrm outside the perimeter, and Crosshair volunteers. However, Hunter tells him, "Not alone; we'll do it together."

Crosshair apparently accepts Hunter's help, as Echo volunteers to spot both of them from the tower, which we later see is sort of in the middle of the base.

So, we have: Omega inside the main building; Wrecker at the back of the compound; Echo in the middle but outside; and Hunter and Crosshair out front.

Now, let's take a look at each character and see how their roles in this particular conflict parallel their roles in Season 3's larger narrative:

Omega

Within the Five-Man Band structure, Omega is definitely the team's Heart. We can see that here: she's the most protected AND she's coordinating with everyone else (except for Echo). She's also in the middle of the base, while everyone else is on either one side or the other.

Because she's a kid -- namely their kid -- it makes sense that the brothers would want to keep her safe while putting themselves in harm's way.

We see this play out later in Season 3 as the brothers work together to keep her safe and later rescue her from Tantiss.

Within their family structure, Omega is definitely The Kid.

Wrecker

Wrecker is the team's Big Guy in the Five-Man Band structure.

As we've seen throughout the show, Wrecker really doesn't have much in the way of ego. In sports terms, he'd be a Role Player: someone who's willing to do whatever needs to be done for the team to succeed, even if it's grunt work or behind-the-scenes type stuff. He doesn't need to be front and center. He doesn't need to be a decision-maker.

So, he volunteers to go to the back of the compound. He's more exposed to danger than Omega is, but he's still relatively safe compared to Hunter and Crosshair. But, that's fine by him.

Within the family structure, I see Wrecker as being the Big Brother. He's still older than Omega and wants to look out for her, but he defers to Hunter's judgment and even Crosshair's too on occasion.

During the rest of Season 3, we see that Hunter and Crosshair are often paired together to have important discussions or make decisions while Wrecker is elsewhere.

In 3.06, he's hanging with Omega while Hunter and Crosshair talk to Rex & co. about Tantiss and the CX operatives. In 3.09, he distracts Omega while Hunter and Crosshair talk to Ventress. And in 3.11, he's loading the ship while Hunter and Crosshair find Omega and get the remaining supplies.

Just like he's mostly coordinating with Omega -- not so much the others -- during the Ice Wyrm confrontation, he's fine with looking out for her even if that means he's not a decision-maker the way Hunter (and to a smaller degree Crosshair) is.

Echo

Echo is a bit tricky to talk about.

Within the Five-Man Band structure, I'd argue he was the team's substitute Lancer during S1-2 while Crosshair was off with the Empire. (Crosshair is the team's True Lancer, as we'll talk about more in a second.)

Echo was the closest thing that Hunter had to a co-parent for Omega, and was Hunter's (un)official second-in-command within Clone Force 99.

However, Echo leaves the Bad Batch as a full-time member in 2.08 "Truth and Consequences," and basically only rejoins them on a PRN status.

Within the family structure, I'd argue he's like a Godparent. Or maybe like a Big Brother who went off to college or something.

He's not a member of their household anymore. Heck, you could argue he's not an immediate family member anymore. He has his own life and goals, but he still loves his family and is definitely the first person they call when shit hits the fan -- as we see in 3.13 "Into the Breach."

The reason I argue he's like a godparent is that he definitely looks out for and is still a parental figure to Omega, just part-time now. Plus, he also supports Hunter (and Crosshair) as someone who can step into that parental role when needed, while also supporting them as parents in their day-to-day lives.

That's exactly what happens in 3.05. He is supporting Hunter and Crosshair, but from a distance.

In fact, Echo is now taking the military/tactical role that Crosshair used to have -- he's the Eyes in the Sky, the lookout, the person watching everyone's backs from a distance.

Because, as I'll talk about more in a second, Echo and Crosshair have essentially switched places. Echo is off doing his own thing now, and Hunter has Crosshair supporting him like Echo used to.

Just as he does in this episode, Echo still supports the Bad Batch but from a distance. He still loves them, but he's not as involved as he once was.

Again, like a godparent: He’s not in the household, but he still supports the family in a distant but parent-like role.

Hunter and Crosshair

Ah, Leaders and Lancers. They're either the best of friends or the worst of enemies, and there's not much room in between.

Hunter is the typical Leader. He is the Bad Batch's chief decision-maker, although in Season 2, he started deferring to his family's decisions if they all wanted to do something that he was reluctant about (like going after the War Chest in 2.01 or trying to find Hemlock's base in 2.15).

So, as a Leader, it's no wonder that he feels he needs to help Crosshair draw the Ice Wyrm outside the perimeter. He's more than willing to step up and help take on the most dangerous task.

Just as Hunter is a typical Leader, Crosshair is a typical Lancer. I know he was initially separated from his family unwillingly, but he had at least one opportunity to come back but didn't. However, in 3.05, he's physically and emotionally returning to his brothers after going their separate ways in 1.16 "Kamino Lost."

As I said before, Crosshair is actually stepping into an unusual role for him from a military/tactical standpoint. Normally, he's the one at a distance, keeping a lookout -- the role Echo takes in 3.05.

However, he now feels compelled to step outside his usual role in the interest of protecting his family, showing how far he's come since 1.01 "Aftermath."

In 3.05, Hunter and Crosshair are coordinating more with each other than they are with anyone else. They don't really coordinate with Wrecker once everyone heads out, and they only coordinate with Echo and Omega a few times.

Plus, after Hunter falls in the tunnel, Crosshair provides Hunter physical support by pulling him out.

This episode ultimately marks a turning point in Crosshair's relationship with Hunter, and by extension, the larger Bad Batch family. Omega, Echo and Wrecker have all welcomed Crosshair back in their own way, but he's really looking for and needs Hunter's acceptance. Once they fully reconcile at the end of 3.05, it's clear that Crosshair has fully reintegrated back into the family.

(As we see in the very next episode, Hunter has fully accepted Crosshair to the point where he defends Crosshair to Howzer.)

In Season 3, Hunter maintains his role as the family's Head of Household. He also remains Omega's dad -- her de facto guardian and primary parental figure.

However, after 3.05, it's clear that Crosshair steps into the role that Echo once had:

He becomes Hunter's primary emotional support and co-parent to Omega. He also seems to become the squad's unofficial second-in-command (at least over Wrecker -- I don't know about Echo).

I've pointed out in other posts how certain shots and narrative choices frame Hunter and Crosshair as being on (near) equal footing. Or at minimum, within the team/family structure, Crosshair's role is the most similar to Hunter's even if he's not exactly his equal in terms of decision-making.

As 3.09 "The Harbinger" makes clear, Hunter is still the family's head of household and primary decision-maker. But, the finale shows that Hunter does defer to Crosshair's judgment when the situation calls for it.

In regards to Omega, after this episode, it's clear that Crosshair wants to take on a more parent-like role and be "in the know" regarding Omega's well-being. Even if Hunter makes the final decision, Crosshair wants to have a say, and Hunter doesn't seem opposed to that. In fact, he seems to welcome it after he and Crosshair fully reconcile at the end of 3.05.

In the latter half of the season, the two seem to have an unspoken understanding regarding Omega. When one can't be with her, the other one takes over. And they have full trust in each other to look after her when the other one isn't available. This is best seen in 3.07 "Extraction," as Omega bounces back and forth between Hunter's side and Crosshair's side.

I know that a lot of folks argue that Crosshair is Omega's big brother or little brother. And while I agree that Season 3 has some moments where their dynamic feels like that, I will continue to argue that Crosshair transforms more and more into a dad as the season progresses. (I've already outlined why in a separate post.)

ADDITION: The typical Lancer mindset is “I’m gonna do whatever the Leader does, but better” (although it usually doesn’t pan out like they’d hoped). So in 3.07, when Omega tells Crosshair that he’s as much of a Helicopter Parent as Hunter is, Crosshair gives her a quintessential Lancer response: “Oh, I’m much worse.”

To clarify: when I say that Crosshair is Omega's dad, I don't mean that he's her dad instead of Hunter. I mean that he's her dad in addition to Hunter. The final showdown with Hemlock and their group hug basically confirms this in my mind.

As I said previously:

I don't think Hunter or Crosshair could've navigated that situation alone, especially given their injuries and how high-stakes it was. They HAD to do it together, which has been their approach since 3.05: "Not alone. We'll do it together."

They are a typical Leader and Lancer duo. They have no better friend or greater ally than each other.

And Omega could have no better dads.

In Summary

Hunter is Dad #1 and the family's head of household.

Crosshair is Dad #2 and Hunter's main co-parent.

Wrecker is the Big Brother (who's still at home).

Echo is the Godparent (or the Big Brother who moved out).

And, of course, Omega is the Kid/Little Sister.

I mean, Hunter basically confirms that the entire Batch raised her to some degree during the epilogue:

Hunter: You're our kid, Omega. You always will be.

As I said, this will become Part 1.5 of a longer analysis of 3.05 "The Return." So, stay tuned for that. And share your thoughts in the comments/reblogs! Cheers, TBB fam! :)

[utilitycaster]

not what I usually talk about here except that it's fandom related generally but wild to see people like "the problem with the modern state of television is that everything comes out in one big drop instead of week to week so the conversation is shut down and there's no time for things to breathe and fandoms to build" and then the same people like "anyway the entirety of S3 of a show that I would not classify as 'easily bingeable' has been out for 72 hours during the middle of the work week with a major televised event the night after it came out, and I haven't seen a gifset yet, so clearly it's dead" like ok instant gratification media consumer have you considered you might be part of the problem

[thechargrey]

Something bothering me after s3.e4. Zava's right, a lot. The first thing the guy says is that gender is a social construct! Hell yeah!

We all expected to hate him, expected him to be a Jaimie s1, and then he barges in to the scene saying all this stuff that we agree with. This episode where he talks about how we should name ourselves feels a bit "yes, king."

Except that it's not.

Zava does not ask Van Damme why he's Zoreaux because he wants Van Damme to look deeper, he does it because he was corrected by Van Damme on his name. Zava was wrong, and rather than admit that and move on Zava constructed a narrative in which he was right by using ideology that we already agree with.

It's a distraction technique. It's a massively toxic trait that is most often used by narcissists. It becomes impossible to argue with someone doing this, because you agree fundamentally with what they're saying, and the moment that you do you've fallen into a trap where the narcissist does not have to change their behavior or recognize their wrongs.

This particular situation is a small one, but it hints at something much bigger. The fact that Zava couldn't admit he was wrong over a more minor thing is a big red flag to me. Zava said what he said to protect his hero/idol status, and because he is the kind of man that cannot admit to his mistakes.

This also isn't the first time. His introduction is him sitting at Rebecca's desk. Which is clearly very creepy, but when he's called to answer to why he's there he distracts us by saying "gender is a construct." When he first speaks to Ted he simultaneously says the things all coaches want to hear and what he really means. "I am an empty vessel filled with gold. I am a rock, mold me." He's claiming he'll listen to Ted, but also very clearly saying that he will do what he wants in the end. He simultaneously says Will is the most important person and insults him by saying he's 11. We're used to himbo characters and seeing the best in people, but that just makes it all the easier to be taken in.

The writers are clearly using Zava to illustrate a new type of toxic male character we haven't yet seen on the show as of yet. And they're simultaneously demonstrating just how convincing narcissists are. They're so easy to like because they say the right things. Many of the fans of the show like Zava, and that's on purpose.

And the writers have also already told us exactly what Zava's going to do.

When Zava is first mentioned, Rebecca and Higgins talk about how he switches teams constantly. Now that we know Zava's character it's easy to connect the dots as to why that is. The moment people on the team wise up to who Zava actually is and stop hero worshiping him is the moment Zava skips town. He doesn't care what kind of situation that leaves his team in, because he's only ever been on a team of 1.

So what we'll see is that Zava will continue to use progressive words to prove himself right while being steadily more wrong and offensive. At some point that will cross a line where the team can no longer ignore it, and it will break the illusion of what Zava's been doing the whole time for both the team and the audience. Zava will immediately leave Richmond. And bc this is a tv show it will be at a moment where Richmond needs him the most.

[drconstellation]

Michael the Watchful

Updated 11 Nov 2023

I'm going to be upfront - I don't like Michael. But I am intrigued by some of their actions in GO.

The above screen shot highlighting their angel ring came across my dash last week, and there was a comment that the ring looked like "Ophanim rings with pearls for eyes." I have to admit that for all that I am fairly widely read in mythology I hadn't heard of these before, and had to go look them up. I realize its probably because I'm not up to speed with all the religious references yet. Don't get me wrong - I'm not a complete newbie in that dept, its just a muscle I haven't flexed in a while and its a kind of "use it or lose it" kind of thing, you know? Happens when you've been around for a bit.

Ophanim: "The many-eyed ones." Oh. Right. That's tv series Archangel Michael to a T, actually.

(There are probably some parallels to the greek monster Argus here, but not sure if I should digress. The hero Perseus, winged sandals, Medusa's snek-locks, the 1000 eyes that never sleep, rescuing a maiden, the goddess queen's grief over the slain monster...)

Michael was the one that presented the incriminating photos of Aziraphale and Crowley meeting over time to Gabriel in S1, then followed it up with a phone call to Hell on the back-stairwell to Heaven.

And Michael is the Duty Officer during S2, they are "on watch" so to speak.

Michael is also the one that maintains the back channel connection to Hell, "the grapevine that obviously doesn't exist" that Beelzebub mentions to Crowley in S2E1, and that Gabriel also officially denies exists in S1E4.

The fact that in S1 they were seen talking to Ligur originally, who was destroyed by the holy water Crowley obtained from Aziraphale, and then in S2 they are talking to somebody else again (Beelzebub) in S2 via their angel phone again, says that they have to have established a new connection in between seasons. I commented elsewhere it seems to be implied the contact is Dagon, due to the little flirtation the tried to send to the angel that Michael quickly shuts down in S2E6,

but the fact the back channel is still working is still something to be concerned about. I mean, weren't you just a little suspicious when it was Michael who turned up with the holy water for the bath during the body-swap punishment scenes, when Hell only bothered to send a disposable Eric clone with the hellfire to Heaven?

Wondering how this angle is going to play out in S3.

Edit:

Found some information about the golden collars in the Job minisode in S2E2 and the detail on Michael's costume adds to this meta.

Around their neck they have row upon row of eyes, and around their sleeves they have wheels.

[sarcasticscribbles]

I made a curious cat and people been asking about my designs so I thought I would share it here too If you have any question too you can send it here or over on curious cat!

Under cut is a very long monologue about some design choices regarding my s1 gang, Gerry and some avatars!

S1: Jon, Martin, Sasha and Tim

Right off the bat I'll admit I had seen TMA fanart before, but I assumed it was a game from how consistent designs are (Jon and Martin); however when I started I avoided fanart (but I am not immune to TMA fanon designs). I'll explain S1 gang, they are my favourites. I find fcs helpful to keep them consistence.

Jon: I have a basic Jon design: short, brown man with long hair and glasses. Jon has a put together façade but, he wasn't qualified for the archivist position, and he doesn't know what he's doing. Therefore, I like him with longer hair he can't care for, therefore messy. It gets longer with the seasons and adding on all the marks he gains from the entities. I gave him half-moon, golden glasses with chains holding two eyes. I like to think it's a Beholding artefact, so Gertrude wore them before him. I used to have Dev Patel as a reference for him, but I've switched over to Riz Ahmed!

Martin: Very basic: fat man with fluffy hair and glasses. When I heard his voice, I thought of Harvey Guillén, who stayed a reference for Martin's body. I pictured him in a dorky attire; round glasses, ginger, comfy yet business appropriate clothing. I added eyes in the pattern of his jumper and added freckles. I've recently play around adding a beard, because I think he wants to look older than he is (re: CV; "I'm only 29!") but haven't found a style I like. I keep him fat throughout the series, instead of him losing weight s4.

Sasha: She has some canon traits: tall, long hair and glasses. I draw her hair up to stay out of her face. Contra Jon, I think she was more qualified for the archivist position, so Gertrude started preparing her for the role. She wears an eye necklace I draw Gertrude wearing that's in the same style as Jon's glasses. She has a matching bracelet with Tim and overall is one of my favourites. (notSasha): I took what was established and flipped it; short, short hair, no glasses. I imagine notthem could pass as cousins (since they still need traits to the victim's family?); no immediate resemblance but with a few traits of the original.

Tim: Canonically described as hot so I have my own bias. I started with general attractive traits: tall and fit. I think he puts a lot into his appearance. I use Keanu Reeves as a reference, and he works great for him. He’s a hair guy, gets it professionally cut and owns expensive products, skincare routine and dresses in fitted clothing. His standard is a shirt with an eye pattern. He takes pride in his appearance, so S2’s worm scars troubled him. He stops shaving to let it heal properly but they never go away. He never liked looking at them and they are a cruel reminder of the past (however, one scar splits his eyebrow to x2 bisexuality). S3 he stopped caring about putting in effort, the stubble grew into a beard and his clothes aren't fitted. He loses muscles, gains weight, and isn’t who he was in S1.

Gerard Keay

I had just assumed Eric was hispanic (for some reason) and then I connected that he's Gerry's dad, and apparently I headcanon him half hispanic lol

But it was why I wanted to draw the Mama family portrait to play with genetics. Letting his dad be rather tall, tan with dark curly hair and Mary be ginger with paler skin; Gerry's pale, ginger with curly hair as a child. He grew up looking like Mary and started altering his appearance to be more like his dad; dyed dark hair and taking some of Eric's clothing (I also gave both a beauty mark under their eye he'll highlight despite wearing make up). Alternative scenes and goths tend to straighten their hair but I let Gerry have naturally wavy to still resemble his dad more. I tried to give him trad goth make up, mainly looking at Siouxsie Sioux in the late 70s. And a fun bonus to have his hair often cover one eye because, The Eye

Gerry cared for his dad, even if he died when he was a toddler (if I remember correctly). Gerry's chosen name is the nickname Eric referred to him as, which is also where my trans headcanon comes in (afab). I haven't thought it out fully, or how that reflects on other characters since everyone else calls him Gerard but I think there's some symbolising there having a chosen name relating back to Eric

(some) Avatars

Oliver Banks: "the Egyptians believed the most significant thing you could do in your life was die,"; I take inspiration from Ancient Egypt for my Oliver design! He wears an Ankh around his neck, but I want to look into more about Egyptian death symbolism (he has a cross too, but I'll probably remove it for future designs). I've also taken some inspiration from Nordic mythology, with Hel (Hela In English? Loki's daughter (not Marvel) ) as half his face is beautiful, and the other is a corpse (skull). I don't wanna mix too many cultures just for the sake of it, but it was a really fun design decision. And he's goth. Bonus death aligned I next time I draw Georgie I'll draw inspiration from the Death's-head hawkmoth

The Distortions: Michael's 60s and Helen's 80s inspired, no reason, just vibes. I like to think of Michael as a spiral while Helen's a twist, if that makes sense, I've been meaning to draw them together to demonstrate, but I'll include a doodle of it

Jane Prentiss: I looked into a lot of paganism, and fell into a rabbit hole. She's described as a modern witch, so I wanted a subtle alternative look with a shaved side and gauges. One of her breasts are exposed because (boobs) in old pagan traditions a lot of rituals were performed nude, to be closer to nature. A lot of pagan art has a very strong feminine force, I want for Prentiss. She has one eye, but I'll probably remove the other too, I've seen a lot of people do for more holes

Nikola Orsinov: Drag king. Because we need more of those. I love drag so Nikola's has a mix of both male and female attributes since he's just trying to imitate a human. Their design is also inspired The Toy Soldier in the mechanisms (haven't listened? To it but a lot of people pointed me to that designing Nikola!) that's also her actor Jessica Law! I put all my gender into Nikola lol, and when I can sneak an IT reference in I will

Breekon and Hope: Wario and Waluigi

Annabelle Cane: She's described having web keeping her skull together, but for some reason I imagined it to be down her neck. So I pictured her head occasionally falling off and being restored by a web. So I gave her both lol. Her vintage style is old, goth Hollywood glam to me and I love looking at reference for her

Bonus Agnes: I haven't drawn her fully, but I wanna take inspiration from Scandinavian culture, think Midsommar (both the movie and the tradition) and maybe Norse paganism. I love Agnes story and how it's only told by other people, and her relationship with Gertrude is so interesting!