been followin slimes POV of the qsmp since it started but mMY GOOOODDDDD i never expected to fall so in love with it...
I LOVE THE TRADGEDY OF A COMEDIC CHARACTER! so funny so silly, who could ever take him seriously? when the reaction to grief can be so overblown and strange, its hard not to laugh! because wheres the line, really? we're just here to have fun!
i look forward to the day this guy snaps! its gonna be REALLY FUNNY i tell ya hwat!!!
(CREDIT TO A COMIC I REFERENCED UNDER THE CUT)
something about this comic makes me so so emotional, and its so well framed. to discover something by the end of a comic, to follow the same line of thought as a character within a drawing, to either come to the same conclusion, or the dramatic irony of figuring it out first.
it was made by the talented Lynda Barry, and she has a wonderful shop here https://drawnandquarterly.com/books/greatest-marlys/
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i may be just gasping at straws here but there is something just. so insane about how the nature of kendall and shiv’s relationship is somewhat cannibalistic. like shiv spitting in his drink and kendall drinking it anyway and the ‘i love you but i cannot fucking stomach you’ and the idea of kendall being the sacrificial lamb in 2x10 + shiv’s ‘can’t eat’ . like the whole consumption aspect of it all.. just wondering if you had any thoughts on it i suppose!!
YES very true. the kitchen scene is a callback to their childhood in more ways than one--it reflects the siblings' relationship with each other and with food and how they're linked (dyou remember the summer of competitive eating disorders:)). its notable that only shiv and kendall say they're hungry despite none of them having eaten dinner, and that kendall is the only one who ends up eating anything. roman licks the cheese as a joke, passes the ingredients to shiv, who actually blends the discordant foods together, and together they feed kendall this drink that is definitely terrible for him. siblings ! no but i do think its an unsubtle metaphor but it works ! kendalls position as the heir has always relied on roman being the weaker dog bolstering his position, on shiv being the baby who will never get it bc shes a girl. and if he wont drink the rest, they'll drench him with it, turn his own promised position against him in jealousy and self interest and a mistaken notion of love
and shiv spitting in it was very much foreshadowing, yeah. i liked how it was a callback to her spitting in kendalls notebook after the "rape me/i'm not the only one," incident during her speech--it was a childish act then, and its one now, and it shows how any attempts at enmity or solidarity come from the same place of shared abuse, of seeing someone better than you see yourself and punishing them for the traits you share. kendall drinking it again reflects how his position will never be untinged by shivs simultaneous understanding as well as animosity. mirror traps real
the way this all relates to the characters' relationships with food is also ofc very interesting. roman doesnt eat at all, he denies his body and sees it as evidence of his failure to be logan's son. he never wanted ceo, it couldn't have been him, dad's death cements the impossibility of the love he craved by which proximity to the ceo position was made valuable at all. shiv admitted she was starving but never ate anything, only asked her mom if there was food. she brings up food only as a move, only as something that can serve her, because to acknowledge it otherwise would be weakness. ofc this is reflective of her relationship with power, and love--she'll bring it up first so she's noted as being aware of the cards at play without showing her hand. but she never actually gets it because when she's said the quiet part out loud, voiced her ambition, there's nothing stopping the quiet parts of her weaknesses in this world from being consumed i.e. her womanhood :) in the end all she can do is acknowledge the fact of her starvation, and spit into the poisonous food bowl while still hungry.
ofc its kendalls bowl she's spitting into. he sees food as fuel, as something that gets him where he needs to go, but never actually enjoys it, and sees such enjoyment as juvenile--we're not at buckley anymore--but his firm belief in rationality and health corresponding to awareness means its another step to the ideal position that doesn't really exist. at the end of the day he will drink the concoction because he considers himself stronger for it. i did a fucking year in shangai, i'm ready, etc
ultimately this is reflected in their choices in the endings. roman says yes first then retracts with shiv. i think hes the one who says shiv has no stomach for admin which is like, him pinning the decision to support kendall as well as the consideration to kill him onto shiv lol. SHIV doesnt have the stomach for admin, and SHIV cannot stomach kendall, and it comes down to the same thing--shiv shutting kendall out bc she's never been able to digest his choices. this DOES relate to pierce ofc and logan throwing up at the breakfast and ultimately waystar being a declining corporation that could never have eaten up pierce. do you see what im saying do you see how it makes sense from this angle that shiv was the only one who ended up still "in," even if only as the ceo's wife. shiv being unable to stomach kendall is the final nail in the coffin--its acceptance of this fact. of the death of waystar, and by extension logan. anyway i keep thinking about how when they all trooped into the kitchen, wet through, kids again, there was never really any real food in the fridge :)
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To anyone in the TUC fandom who has looked at AHS and skipped it because they heard the ending is happy...
... and then assumed that it's just a wish fulfillment "ideal reality" kind of outcome of the TUC story that cuts all of the depth, pain, and realism ... Go back and read it right now.
Because that is not what AHS is. Not even close.
AHS is not "my version" of TUC where I just change whatever I dislike without regard for themes or characters in the original. Far from it. One of the main goals I had was actually to give more of the Underland. More characterization (that aligns with canon, although some characters develop in a different direction because of shifts in circumstances), more worldbuilding (that coincides with canon, adding onto it), ... just more, period.
The best way I can describe what it actually is is honestly saying that AHS is to TUC like Marvel's "What if ...?" is to the MCU. It is quite literally a "What if Henry had survived his fall at the end of "Gregor the Overlander"?" And I kid you not, 95% of the changes in the story, compared to TUC, are simply a result of exactly this change.
But the entire plot of the final book is different, right? Well, I didn't say that the consequences of that one change weren't substantial. They are. Without spoiling too much I can only say that Henry happens to be an optimist, and it also happens that an optimist was exactly what the TUC story needed to achieve a happier outcome.
Anyone who has actually read my version of the CoC plot will tell you that it is far from ideal, perfect, or pain-free. A lot more happens in the actual plot, but most of those new events are there to serve the dark, violent nature of war. There's so much talk about loss, and sacrifice, exploration of (also the dark side of) heroism, and whether "for the greater good" is worth it. There's corruption and death, injustice, and grappling with unkind fates and alienation/rejection.
Now, I will admit that I did put less emphasis on the societal pressure aspect of CoC, but mainly because that theme is a huge part of AHS 2 already, and it did not really fit this part of the story anymore. Instead, "Gregor against society" becomes "Questers against society" (quite literally, since they are — small spoiler — banding together to actually overthrow Solovet and bring about change.)
BUT ... if there is corruption, death, and the violence of war, how is it happier then? How can it have a happy ending?
Very simply because it is not only corruption but also redemption. Not only death and suffering but also growth and gain. Not only violence and breaking of relationships but also companionship, hope, and mending of relationships.
... The main change that happens to be so powerful it can give this series a happy ending without disrespecting or abandoning its original gritty violent core is ... a shift in mindset toward the positive. For Gregor, but also for everyone else. One of the main themes I added is the exploration of the double-edged nature of things: Everything has good and bad consequences. What we take away from it is what we choose to focus on.
Now you might see better what I meant by "All this series needed was an optimist" earlier. If there were someone to remind people of the bright side, to remind Gregor that his rager power does not make him evil and that he is never alone or choiceless, to embody this hopeful outlook and bring it out in everything ... I promise to you that this is all it would have taken.
And this is what I'm giving you.
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