#man its crazy how much my two most hated parallel each other

[silly-plays-p3r]

Yukari: I hate how everyone has something going for them! I hate how I have to keep being rescued! I hate being so useless! No I'm going to keep fighting! *unlocks Theurgy* Me: ........................I mean I never thought of any of that, and I'm literally your biggest hater. But ok, guess we'll keep the Makoto N. parallels for you going, Yukari.

[seokjinsonlyone]

Not My Type | 3

pairing: jungkook x female reader

summary: "She's a lot more than nice, so you need to be careful."

genre: friends to lovers

warnings: none; jimin here tho being flirty and stirring the pot <3333

rating: pg

wc: 1.7k

part 1 | part 2 | part 3

Jungkook’s newfound hobby was driving her crazy. One too many times had their little lunch rendezvous made its way into her mind in the past week. The way he sniffed her hair oddly enough was a recurring playback. She had a thing for weirdos and Jungkook could definitely be classified as that. And, that was exactly why she needed to shut this whole thing down.

Now, she considered herself a progressive individual. She didn’t mind change as long as it was for the better. She didn’t have a problem evolving her relationship with a friend. In fact, she preferred it. Always said that if she was gonna get into it, she wanted to be with a friend. But, this particular friendship wasn’t the one. It wouldn’t make sense. There was no way it could possibly be better.

They were like oil and water. They didn’t mix. Which was fine as a friendship, they could peacefully coexist. Anything more than that, however, would be an unnecessary burden. And, her life didn’t need to be anymore difficult than it already was. She wanted an easy love. It was this line of reasoning that carried her straight to her best friend’s house.

“You need to talk to your friend,” she announced, waltzing into Jimin’s home, throwing her purse on the couch before finding him sitting at the island eating cereal.

He looked up. “I’ve already told you should just ask Taemin out. He’ll most likely say yes. He thinks you’re hot. Stop trying to get me to create scenarios.”

“And, I’ve already told you I refuse to pursue a man. No matter how dreamy and evil he is,” she sighed.

In all honesty, she probably would’ve gone for it if it weren’t for the fact that she could tell he wasn’t really into her. Not in the way she would’ve liked for him to be into her. He flirted with her in person (and in her dms), held her in a way that made her stomach jump after a few drinks, but ultimately his goal was a few nights in the sheets. And, that just wasn’t her thing. She didn’t do casual. Didn’t like to invite people into her life that weren’t going to stay. So even though she thought they could be good together, she was deciding to let this one go. If he couldn’t see what was right in front of him that was on him.

“You’re gonna end up alone.”

“You must realize that I am my favorite person.” He rolled his eyes. “Anyway, I wasn’t talking about him. I was talking about Jungkook.”

“What he do?��

“He’s been acting weird ever since last week.”

“What happened last week?”

She sucked her teeth. “You know, when we were all here?”

He narrowed his eyes at her, pupils shifting from side to side, visibly racking his brain trying to recall what happened at his place last week. “Oh! Wednesday! I was so drunk, bro. What happened?”

“Ugh. You don’t remember asking me to rank all of y’all from most to least my type?” Typical Jimin. Cause trouble then dip.

“What’d you rank me?” he asked, wiggling his eyebrows.

“I ain’t doing this again.”

He dropped his legs from the footrest of the barstool, tugging her closer and wrapping an arm around her waist. “Mmm. You couldn’t handle me either way.”

She’s not gonna lie, her heart skipped a beat. But, that’s the only reason he did it in the first place. He knew it flustered her on some level. So, she decided to play along for once, bringing her hand up to toy with the hair that rested at the back of his neck. “Baby boy, I could make you cry,” she whispered seductively.

He made a face, then pushed her away turning his attention back to his cereal. “You’re gross.”

“You started it,” she accused, laughter bubbling up at his reaction. He was CEO of “Do as I say, not as I do.” Always in the mood to dish it out, but hardly able to take it in return.

“So, what’s going on? Why do I need to talk to him?”

“Because I told him he wasn’t my type, and now he’s trying to convince me that he is.”

He choked. “What?”

“He literally showed up at my work the other day and brought me lunch.”

“That was more so directed at you saying Jungkook isn’t your type.”

“He’s not.” He raised his eyebrows, smirking conspiratorially. “He isn’t,” she insisted.

“So, you didn’t used to drool over him when you two first met?”

“See why you gotta go and bring up the past.” She wouldn’t say that she had a full blown crush on him, she didn’t know him and therefore couldn’t actually like him, but for a minute she was down bad. She wasn’t expecting to meet him when she did. Jimin had wanted to hang out and asked for a ride. He was with Jungkook when she picked him up and she was effectively caught off guard. Before she even realized what she was doing, she was out of the car and shaking hands with him in greeting. The next few weeks were spent trying her hardest to be in his presence. She never said more than two words to the boy, but yeah she was down bad. Once her hormones subsided, though, they eventually developed a friendship. A friendship that needed to stay a friendship. “Besides, I never said he wasn’t hot. I’m saying our personalities don’t match up. It wouldn’t work.”

“You aren’t that different from each other.”

“Yeah, but we’re wrong in just the right ways. It wouldn’t work.” He was right in saying that weren’t all that dissimilar, but it was because of that that she was sure starting any kind of relationship with romantic intent would go up in flames. The two were like parallel lines. Never meant to cross. Adjacent, but never intersecting. As they should.

“It sounds to me like you’re just afraid of what could happen.”

“Hold on there partner. I didn’t come here to be lectured or psychoanalyzed. I don’t even think he likes me for real, but he’s heading down a slippery slope. I just want you to talk to him before he goes and starts something that’s gonna get his feelings hurt, alright?”

“Yeah, yeah. I’ll see what I can do.” One thing about Jimin was that he was nosy. Had absolutely zero qualms about getting all up in other people’s business. Knowledge equals power is what he always told himself. So, if she hadn’t come to him voluntarily offering up this information, he would’ve picked up on it sooner or later, inserting himself in the middle of it all. As it stands, he’s been giving explicit permission to do some digging. All he has to do is wait for the opportunity to arise.

The opportunity came a few days later. Jungkook was sitting on his couch, phone in hand, completely zoned out when Jimin pounced.

“So... Y/N?”

Jungkook startled at the mention of her name. It wasn’t like he was just thinking about her. He definitely wasn’t about to text her. He hadn’t spent the past minutes in a daze typing, deleting, and retyping messages to send. Nope. “Huh?”

“Y/N? What’s going on with you and her?” Jimin asked again.

“What do you mean? Nothing’s going on,” he feigned innocence, voice raising an octave. Even though, for all intents and purposes, there really wasn’t anything going on.

He looked him up and down, raising an eyebrow. “That’s not what she said.”

“What did she say?” She talked about him?

“You tell me.” He smirked sitting down, crossing one leg over the other like some kind of therapist.

“I don’t know. We had lunch,” he mumbled.

“Why?”

“Because I thought she might be hungry.”

“And this has nothing to do with the fact that she said you’re not her type?”

He blew raspberries into the air. He couldn’t lie to Jimin even if he tried. The man always managed to see right through him. A consequence of nearly ten years of friendship. “I’m just trying to get to know her better,” he insisted.

“Why?”

“Because she’s nice.” Which wasn’t the complete truth, but if he admitted that he thought she had stars in her eyes he’d never hear the end of it.

“She’s a lot more than nice, so you need to be careful.”

“What’s that supposed to mean?”

“It means that she’s one of the best people I know, but she’s stubborn and once she has an idea in her head it’s very hard for her to let go.”

“So you think I should stop?”

“I think you shouldn’t go into this blind, is all I’m saying. Whatever you’re doing, probably won’t be easy. And, I don’t want you to get hurt. Or hurt her. What do you plan on doing if you manage to make her like you? If you’re not serious then I think you should stop.” Jimin patted his shoulder, then got up leaving him to his thoughts.

Jungkook heard what he was saying. He did. And, he was right. He hadn’t been thinking too hard about what he was doing. Honestly, he was just following the skip in his heartbeat and so far that led him to her. There was a very real possibility of him getting his feelings hurt. She was very strong willed. Couldn’t budge her mind with a bulldozer. So, if she was dead set on being against this, there wasn’t much he could do anyway.

Still, this wasn’t something he could let go of easily. He had no intentions of hurting her. It wasn’t just some conquest for him. That much he was sure of. He would hate to get closer to her, have her catch feelings for him, then dip because he wasn’t feeling it. But, he seriously doubted that would happen. It’s not like they were complete strangers. He was just seeing her in a new light now. And as much as he didn’t want anyone to get hurt, at this point he didn’t know if this was something he should even avoid. It didn’t seem like it.

Truthfully, he didn’t feel this way often. This pull he now felt toward her. He was usually much too caught up in trying to be the best version of himself he could be to entertain thoughts of others. However, right now she had his attention and he didn’t want to look away. He opened his text thread with her typing and finally sending a message before he could overthink it.

[10:53pm] jk: lunch tomorrow?

[little-diable]

Bonnie and Clyde 2.0 - Biker! Bucky Barnes (smut)

Witten for @firefly-in-darkness movie challenge (I chose pulp fiction) and my own 9k challenge. @band--psycho created the moodboard. You’ll find some parallels to the movie and a few quotes. Enjoy my loves. xxx

Summary: Two fugitives on the run, two lovers that live out of a suitcase, leaving their hometown behind to strengthen their connection.

Warnings: 18+, smut, unprotected sex, robbery, guns (nobody gets hurt tho), some good ole’ angst, but a happy end (kind of) 

Pairing: Biker!Bucky Barnes x fem!reader (2.4k+)

“Are you ready?” His voice dropped with each syllable that spilled from his chapped lips, metallic arm shining in the bright Los Angeles sunlight. Her pupils slightly got wider behind the dark pair of sunglasses, gaze flickering between her lover and the waitress that tried to calm a pair of unsatisfied customers.

(Y/n) reached for her suitcase with one hand, while the other one tightened its grip on her gun. A slight nod of her head signaled him to rise from his seat, clearing his voice before he raised his own gun, metal just as shiny, just as mysterious as his arm.

“I love you, doll.” Bucky turned towards his girl, smirking as she blew him a kiss.

“I love you too, you crazy motherfucker,” she settled behind him, cocking her gun as Bucky’s voice echoed through the diner, speaking to the confused and scared customers.

“Everybody be cool, this is a robbery.”

--

The wind was blowing through her hair, arms tightly wrapped around his middle, squeezing him with each turn his machine took. Alpine was roaring through the night, rattling as the moon was standing high, guiding the two through the rough land, protecting them from the darkness that lingered behind thick clouds of rain.

Both trusted the road to take them where they would be safe, hidden from the cops that looked for the two that got called “Bonnie and Clyde 2.0” - a cheap nickname the newspapers came up with. Two fugitives on the run, two lovers that live out of a suitcase, leaving their hometown behind to strengthen their connection.

By now it almost felt too natural, too easy to rob one diner after another. It was always the same routine, he’d tell her how much he loves her before drowning his cup of coffee, rising from his seat with a gun in his hand, not planning to kill anyone but the register full of cash.

Not once would they doubt their motives, two lovers that needed money to survive, to make their way through the land, highs, and lows that kept them on their toes. At the end of the day, they’d just be themselves, a suitcase and a bike that swore to take them wherever they planned on driving to next.

Late at night, as they’d crash in a motel on the side of the road, he’d make love to her in the most intimate way. Caring, soft and sweet, kissing promises into her skin, silently apologising for the unstable and dangerous lifestyle he had pulled her into.

Bucky would fuck her on the bed, against the wall, or in the shower, sometimes - just sometimes - he’d pull Alpine over, would stop the engine to fuck her on his bike in the middle of nowhere. His cock would twitch deep inside of her, holding onto her as the burning heat would engulf them, sweaty bodies would meet, kisses would get pressed against their swollen lips.

He was addicted to her, urged on by the adrenaline that would rush through him while he’d speed through the streets, hiding from the cops that kept on looking for the two. They were careful enough, ready to lay low for days on end, parting ways for a day and a night, just to meet again at the end of the road.

They’d dance to Johnny Cash as the sun was setting, whispering tunes only the dead knew by heart. Where the gun is cocked as the bullet’s cold, where the miles are marked in the blood and gold - they’d always meet up further on up the road. 

“I’ll see if they have a phone,” (y/n)’s feet tingled, legs quivering from sitting on Alpine for way too long. His metal hand clamped down on her hand, pulling her against his front, not giving her a chance to leave the dark and dusty hotel room. Bucky’s cold breath met her neck, hairs rising, hyper-alert to her surroundings.

“We talked about this, you can’t.” Her heart ached, desperate to hear her mother’s voice again, to talk about the ones she had left behind, sick and poor, healthy and rich, caring or not about her sudden disappearance. She turned around in his embrace, ran her hand through his hair, scratching his burning scalp.

“I just miss her, you know?” A kiss got shared between the two, lips meeting hers to stop her from talking, not used to seeing her this fragile and confused, with waves of sadness crashing through her system. Impatient hands tugged on the zipper of her leather jacket, watching the heavy piece of fabric tumbling to the floor.

“Maybe we just need to distract you for a while,” Bucky’s rough voice sidetracked her from the loud thoughts that screamed at her to run, to rip herself out of his claws. His metallic fingers danced up and down her throat, softly squeezing the skin, a simple reminder of their arrangement, she was his, till handcuffs would tighten their grip on his wrists, ready to convict him for his wrongdoings.

Swiftly he had her pressed against the wall, forcing his hand into her trousers, rubbing her clit through her panties. She panted his name, (y/n) was fighting a war inside her head, holding onto the last strings of sanity that kept her focused, trying to ignore the silent whispers of the darkness, pulling her further into his trap, chaining her to the criminal.

Heavy breaths spilled from their lips, the temperature kept rising, begging them to finally undress themselves, to give into their cravings. Bucky watched her step out of her trousers, working on the dark belt of his, freeing his hardening cock from the confines of his clothes. He slipped into her before she could say another word, roughly fucking her as the pictures on the wall began to shake, about to crash to the floor.

“You feel this?” His metallic hand disappeared beneath her shirt, pressed against her lower belly, feeling his cock deep inside of her. Bucky fucked her like it was their last night of freedom, facing the cops that were betting on the two lovers, watching them fall apart as the world was closing in on them. “I’ll always be right here with you, we belong together.”

Her teeth nibbled on his lower lip, hands tugging on the hairs at the nape of his neck, keeping him close. Their orgasms were creeping closer, ready to rock through them, to distract them from the life they were living, allowing them to take deep breaths without worrying about curious eyes.

“I love you,” were the last words she spoke before her walls began to clamp down on his cock, squeezing him, begging him to fuck her through her orgasm. Bucky seemed to understand the signals her body was sending out to him, he kept on snapping his hips against hers, cock covered in her arousal, the sweet drops of her release.

The moment his warmth began to spread through her (y/n)’s legs gave out, body tumbling against his, almost knocking him off his own feet.

Late at night when she was asleep he’d lay next to her with a racing heart. Bucky couldn’t help but feel guilty, hating himself for tainting a pure girl like her, she could live a life filled with love and success, no longer having to sleep on dirty mattresses, to eat cheap meals. She could live the life she deserves. A life without a criminal by her side, though with a man that would cherish and love her just like he should.

---

“You never can tell” played from the jukebox. A few people danced through the diner, moving to the song, singing the lyrics. (Y/n) watched them with a tight smile playing on her lips, sipping on the cocktail she had ordered an hour ago. Bucky was absorbed into the newspaper he had stolen from a gas station earlier that day.

(Y/n) studied him, he was biting down on his lip, eyebrows furrowed, trying to figure out if they were in danger if the cops were truly as close to them as the newspapers kept on telling. Words were burning on her tongue, she couldn’t help but feel somewhat disappointed and jealous, of the ones that got twirled around by their lovers.

“Don’t you hate that?” A sigh left her, eyes still focused on Bucky, waiting for him to finally lift his gaze off the white paper.

“What?” Just for a second, he placed the newspaper down, waiting for her to speak, to explain her random choice of words. He couldn’t waste any time, had to figure out if they still had enough time to eat before having to cock their guns.

“Uncomfortable silences. Why do we feel it's necessary to yak about bullshit in order to be comfortable?”

“I don't know. That's a good question.” Bucky tried to stop his eyes from rolling, slightly shaking his head, averting his gaze once again.

“That's when you know you've found somebody special. When you can just shut the fuck up for a minute and comfortably enjoy the silence.” Her voice was dripping with sarcasm, (y/n) was spitting each word, placing her glass down, finishing the way too expensive drink.

Her hands tugged on his, pulling him out of their booth, straight towards the dance floor. She felt her gun moving with each step she took, burning into her skin, preparing for their old routine, the one she could talk about as she was barely awake. In this very moment, it was just the two of them, dancing with one another, sharing kisses, not worrying about the road they’d have to take in a few minutes.

“You need to promise me something, doll.” Bucky’s hand found its way to her jaw, holding onto her as she danced to the beat. “Do you see the door back there?” He twirled her into the right direction, eyes focused on the barely alight door, the one where a lazy waitress had scribbled “exit” onto the wood.

She only nodded her head, didn’t reply to his question, wondering where he was going with this.

“The second I tell you to run, you’ll take off through that door, understood?” Her mouth opened and closed, thoughts racing, trying to figure out if he was coming up with a new routine, anything to set the cops onto the wrong track. But the dark eyes of his told a different story, the almost painful expression he wore explained everything she needed to know.

“I won’t leave you.” Tears welled up in her eyes, hands trembling, reaching for the collar of his leather jacket. Her lips found his, he could taste her tears on her skin, the drops that were as salty as the ocean, rocking his boat back and forth as the sun was setting, painting the dark water in a red shade.

His heart burned, trying to understand that this was the last time he’d see her, the last time he’d get to hold her. She had been like a dream, too good to be true, too colorful for his dark world, a splash of color he was about to wipe off his soul.

“Call your mom for me, tell her I said sorry.” Bucky dried her tears with his lips, kissing along her cheeks, anything to remember the feeling of her skin, the scent of hers he’d hold onto as life has lost its meaning.

Bile pooled in her mouth, insides churning, finally understanding that he was saying goodbye. He was waking her from the dream that had clouded her mind for months, pulling her back into the harsh reality of her life. She couldn’t live without him, couldn’t survive if she wouldn’t breathe the same air as Bucky.

“Take the suitcase and run.” A soft push ripped her off his chest, hands no longer holding onto him. (Y/n)’s vision was blurred, tears kept on streaming down her cheeks, dripping onto the dirty diner floor. Bucky disappeared in the crowd of dancing people, he didn’t spare her another glance, didn’t stick around for long enough to see if she’d make it to safety.

---

Rain was falling from the sky, pitter-pattering against her window. Different polaroid pictures were placed on her blanket, memories she had kept in her suitcase, hidden away for months. The reminders of him had been too painful for (y/n), she barely looked at the pictures she had taken of his handsome face, but she couldn’t make it through the day without touching the necklace he had gifted her, hoping that his scent was still sticking to the metal.

“What’s that?” Her chuckles rumbled through her, naked body placed in front of him, waiting for Bucky to finally give in. He had been teasing her for the past hours, keeping her at arm's length, barely touching her.

“A promise,” his voice dropped, hands finally reaching for hers, “a promise that no matter what, you’ll always have my heart.”

The silvery necklace he pulled out of his jacket got placed around her neck, twinkling in the faint light. (Y/n)’s fingers traced the pendant, smiling at the man her heart had chosen to love. The kiss she pressed against his lips grew raw and hungry, pulling him closer to her naked frame.

Bucky’s fingers ran through her folds, collecting drops of arousal that dripped from her heat, begging him to finally fuck her. She reached for his length, pumped him a few times, silently asking him if he was ready to make love to her all through the night.

Both moaned in unison, holding onto one another, settling for a calm rhythm, trying to get adjusted to one another’s body. Her walls fluttered, feeling the thin, velvety skin of his, exploring every inch of his glorious self, ready to burn her touch into his soul.

“Here, this came for you.” Her mother entered the room with a smile on her lips, placing a card down on (y/n)’s desk. She had left before her daughter could ask any questions, leaving her behind with her loud thoughts. Cautiously she neared her desk, fingers running along the slightly worn-out paper of the card.

“Greetings from Rome” had been printed onto the paper, next to a few pictures. Her hands trembled as she turned the card, a single chuckle left her lips, glassy eyes reading through the words that had been scribbled onto the paper. 

No matter what, he’d always have her heart, even oceans apart.

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[redrose-arrow]

Do you think Royal Ranger is not as good as his other books? I know a lot of people don't like Madelyn.

I honestly don’t think the Royal Ranger is a weak link in the series. I am aware that a lot of people don’t like Madelyn, and I think that’s fair and understandable, even if I don’t agree. I actually have another post up about that, so go check that out if you want to know more about why I like Madelyn and why I think many other fans do not!

In regards to the strength of the Royal Ranger itself - personally, it’s as high up there in my personal ranking as some of my other all time favourites. I’ll explain why in a bit.

For starters - I think a lot has to do with expectation management: we never would have gotten the stories we wanted. Romantic relationships - and even emotions, in some ways - don’t even reach the podium in terms of the series’ focus. I think, since I never really expected to read a book in which Will and Alyss’ relationship would be a focus, I also wasn’t that disappointed not to get that. More on that later.

Obviously, there’s the discourse surrounding Maddie. If you don’t like her, it’s already challenging to convince you to like her books. I have another long post about this, in case you’re curious :). In any case - I love her.

What I also loved was Will’s character development. Now, this is a tricky point, because I know a lot of fans do not approve of how Will’s depression was handled. Let me preface my own point by saying this: I understand. I understand that the harsh pull-back to reality is not something that works for everyone and I can understand that many fans would have liked to see something else. But here’s the thing: it works for some. It worked for a close friend of mine. It worked for me. Throughout the series, we always see Will as the hero. Even when he’s addicted to warmweed, he recovers from that quickly (ignoring the trauma is another point unrelated to this one). He almost dies - more than once - but he’s always quickly back on his feet. The Royal Ranger is the first (and so far only) book in the series that explores a different side of his character. His darker side. The side that’s hurting, that’s uncaring about anyone, least of all himself. The side that could kill him in more ways than one. The side that he needs to be saved from. Seeing that side of him shocked me, and I love the book for it. Especially to see his growth back to happiness. He laughs again, for the first time, but when he’s reminded of Gilan and Jenny’s relationship he’s sad and a little jealous. He has to physically restrain himself when he finds out he’s hunting Ruhl, but he’s also joking around with Maddie when they’re coming up with their plan. And then there’s the crying, and we read that the tears are for Alyss, finally, but they’re also for Maddie. And for him - most of all, for him. That growth was so relatable for me, that sentence so close to me, I loved it so much, I cannot help but love the entire book for it.

But. Alyss had to die. Believe me when I say that that was a shocker for me too. In my post about why I like Maddie I mentioned that I think many dislike Maddie because she’s Alyss’ replacement, and I want to include that here as well. Yes, Maddie’s pretty much a replacement for Alyss. And something in me hates it, to excuse a male author for killing off one female character to introduce another, and yet again, I cannot help but do so. In this book, Maddie has two roles: one, to be a female hero, and two, to help Will’s character development. There’s little for me to say about the first point, so let’s delve into the second. Given the fact that the Royal Ranger was initially the finale for the series as a whole, we can assume that Will’s character development (that I mentioned earlier), was the most important aspect of the book. So, his dark side needed to be brought out. If Halt would’ve died, Will would’ve been heartbroken and he might’ve gone a little crazy too, but his mentor was old, and so the impact would’ve been different. Halt getting murdered was just too unrealistic, which leaves a semi-natural death, and that’s just not interesting for this series to explore. (Not to mention that that would’ve truly made the fandom riot.) The death of Horace or Cassandra would’ve disrupted the Royal Family too much, and it would’ve required much more of a politics focus than the series likes to delve into. That leaves us with Alyss as the only viable, realistic, and simply useful character death. Yes, yes, YES, I would’ve loved for both Alyss and Will to mentor Maddie, I think she could’ve learned a lot from them together. But that situation wouldn’t have made good on Maddie’s second role. Add to this that a Will-and-Alyss relationship never would’ve been explored a lot anyhow, and her death can be seen in a different light. Hence, I don’t very much mind her being killed off as much as others (but I am still heartbroken about it). Especially since in the future books, Maddie has really come into her role as a character of her own, and since her second role then isn’t so important anymore, she doesn’t really feel as a replacement anymore.

Now that we’re on the topic of death, here’s a quick detour to Crowley’s. Yes, I would’ve loved to see more of Halt’s grieving, but again, that’s not something the series pays particular attention to in general. It would’ve been a little too Halt-focused book and honestly? Wouldn’t have really added something to the plot. So we have to make do with a short sentence that mentions Halt finding comfort in the fact that Crowley died happily. (Also, why do y’all want Crowley to have been murdered so bad?? The man was ancien, let him rest in peace after a natural death with a smile on his face.)

Then there’s the matter of Cassandra and Horace’s parenting. Again, something that not everyone approves of, and rightly so. Yeah, maybe disinheriting your daughter is not the way to go. I agree. I also think it’s a very interesting “mistake”, because it is something that happened in medieval times. Furthermore, Cassandra takes after her father and Horace admits to being a bit sexist. It’s interesting, especially when you see how much Horace and Cassandra grow as parents throughout the Royal Ranger books. Fairly, the fact that Horace and Cassandra admit to not being the best parents makes me readily excuse their actions, but I cannot help it (and, I have loads of headcanons about the Royal Family that make me love them more and more).

Another thing about the Royal Ranger that tends to be disliked is the “repetition” - by which I mean Will turning in Halt 2.0 (in more ways than one). Again, there’s a few reasons why I don’t mind, and even love it. One - why wouldn’t Will be like Halt? Everyone loves their father-son relationship, and there’s more than one son I’ve seen turn into their dad in real life. Two - Will’s confronted with acting like Halt by Jenny. He tells her he just tries to copy his mentor, and she shoots right back saying how much he always complained about that. Yes, Will’s a lot like Halt, but it’s fully backed up and admitted by the series - also when it’s said that Will was barely considered as Commandant because, like Halt, he tends to bend the rules a little too much, and again in Duel at Araluen, when Duncan expresses his faith in his granddaughter partially because Will’s her mentor and Halt was his. Third - I like the parallel between Halt and Will’s relation-/apprenticeship and the one between Will and Maddie. Again, it makes sense for Will to copy Halt in a lot of things (Gorlog knows I copied a bunch of my teachers when I was standing in front of a class). But here’s the thing - Will and Maddie already know each other. They’re close. They’re almost literally family. It’s a very interesting balance that I loved to see in the Royal Ranger 1, and again in book 4. I’m really hoping for it to be explored even further in book 5.

All in all, I really like the compromise of the Royal Ranger. We got another apprenticeship, without the repetition of Halt being the mentor. It’s in the future, so we get a glimpse into the later lives of our favourite characters, but the fact that there’s 15 years unaccounted for leaves enough to the imagination. We have a new main character, but the original characters play important and recognised roles. For me, that means the Royal Ranger is many of the things I love about the original series, but it’s also fresh and new and therefore a valuable addition. Getting back to a point I made earlier: it’s an addition to the series because it is a little different and a little the same. Again, if the series would’ve ended with the Lost Stories, that would’ve been perfect. But if it would’ve continued the way a lot of fans wanted it to (honestly me included, and again, a very understandable point) the series would’ve become extremely repetitive (something that it is risking now as well, I’ll admit, but it’s taken a few more books). So, to me, the Royal Ranger seems like a fair compromise between continuing the series and keeping it intact!

Again, a bit of a longer answer, sorry anon! Also, I want to stress again that no one forces you to love the Royal Ranger - least of all me. If you want to pretend none of that happened - be my guest (even I love doing that every now and then). But I hope to have shown you why I also celebrate its existence!

[theywontletmebeprincipal]

can you give me drowsy headcanons, ramble, or anything please, i am so deprived. do not be afraid to make it super long, the more the better, i just love drowsy chaperone and love to hear other people (plus you’re one of the only people i’ve seen who knows a lot abt it)

ASK AND YE SHALL RECIEVE

I’ll divide this into a few different parts, going from least to most excruciatingly sad :)

1. general headcanons

2. in canon things i noticed and think about daily

3. a full analysis of man in chair’s connections with the drowsy chaperone as an in universe show (trigger warning for abuse ment, alcoholism ment, suicide ment)

SECTION ONE: HEADCANONS

- okay the chaperone is trans I don’t make the rules

- also her name is ambrosia :) she forsook her last name :)

- she’s about 12 years older than janet and kinda hung with janet’s family after leaving her own for a while . essentially she’s a big sister to janet

- aldolpho has some lines where he asks if the bride is big and/or burly and while in canon this is supposed to show he’s kind of a womanizer I like to believe it’s because he was fully prepared to fight her if needed

- speaking of which Of Course janet is ripped she does gymnastics

- my batshit crazy headcanon for this show is that dee dee allen from the prom is a descendant of roman bartelli no I will not elaborate

- is aldolpho one of those bitches with pets that definitely shouldn’t be legal? yessir

- post show kitty becomes a star okay I just want her to be happy

- the “pastry chefs” do discover a love of baking post show and now run a shop along with performing in feldzeig’s follies which might maybe be a front for some crime too

- TRIX DROWSY AND ALDOLPHO WORLD TRAVELING POLYCULE CAUSING PROBLEMS ON PURPOSE

- underling’s name is james I will not elaborate on this either

- show never says what trix does so I’ve decided she’s an explorer. she charts maps and punches colonialists and drags her stupid friends along with her, the only bitch in the show with a braincell

- drowsy was a former vaudeville child star pre transition - she left the business but was a mentor to janet

- I do have a headcanon for mic’s name but in the spirit of every actor who’s ever played him I won’t fucking tell

SECTION TWO: SHIT I NOTICED

- robert refers to himself by full name a lot of the time which is v interesting given he’s named after the writer, bob martin (whose wife is also named janet van de graaf). the real bob martin is like five feet away at all times playing mic

- idk how to describe it but the dynamic kitty and feldzeig (VICTOR felgzeig. we have a name from one (1) line) have when talking to each other is so snappy and funny and good

- aldolpho’s lines in spanish are mostly romantic bullshit but his first one hints that he has/had a wife who, if we’re taking the translation literally, refused to touch him. yeah I’ll bring this up in analysis

- the “pastry chefs” provide liquor for the wedding even though it has absolutely no relevance to their mission of stopping it :)

- drowsy is like. SUPER endearing towards janet and despite her bad social skills it’s super clear she cares a lot about her

- robert speaks fluent french apparently

- everyone says “ew” after aldolpho reveals his affair with drowsy despite her being a certified milf

- the body language of drowsy in the end of the show where she takes mic’s hands and breaks the barrier between reality and fiction is just so good. she was iconic the whole show but I honestly think this final bit is what won beth leavel the Tony in the end

SECTION THREE: OH NO

before diving into the way the drowsy chaperone affects his character, we need to understand what exactly it’s playing off of. to fully understand mic’s attachment to the drowsy chaperone, we need to outline what led him to isolating himself and living in fiction to the extent that he does.

mic’s father left his family at an early age and his semi estranged alcoholic mother was the one who began his love for theatre. mic grew up in a broken household and eventually moved on to land in a one sided marriage, which lasted a few months until he slipped up and expressed his discomfort with the situation, after which he and his wife split. nowadays, he lives alone in his apartment surrounded by records he uses to escape to a better life - his favorite of which being the one his mother gave him, the drowsy chaperone.

symbolism in the drowsy chaperone regarding mic’s life can be split into two main categories - mommy issues and internalized homophobia. there isn’t nearly as much mom symbolism as there is the latter, so I’ll cover that first.

drowsy covers both bases, but she definitely has some undeniable mom symbolism going on. drowsy marries aldolpho and mom dreams of being swept off her feet by a latin lover, both feel they’ve wasted their chances at love, both drink to forget, etc. this is where the idea of the drowsy chaperone being mic’s ideal way for things to work out, a positive parallel, comes into play. given that we don’t hear too much about mic’s mom other than her connections to major life events and the record itself, we can assume they grew apart in one way or another. the key difference is that drowsy finds a happy relationship for herself and retains her bond with janet, unlike what we’re led to assume mom was like.

further elaborating on the drowsy chaperone representing mic’s ideal fantasy version of events is the wedding the drowsy chaperone’s plot centers around. here’s a list of the things that didn’t stop that damn wedding:

- a minister not showing up

- the groom cheating on the bride with the bride

- the bride having a complete mental breakdown

- indirect mafia interference

- direct mafia interference

on the flip side, what little mic says about his wedding indicates it sucked absolute ass. he spent the entire ceremony in internal distress as he went through with a life changing event he, at that point, knew at least a bit that he didn’t want. I think he also implies he had severe diarrhea on the wedding day? it gets worse when you realize mic’s relationship before the wedding wasn’t any good for him either - he was playing along the whole time because it would be cruel not to, right?

throughout the show, mic is pretty clearly shown as an extremely repressed gay man. there are five specific instances that point at romantic and/or sexual attraction to men directly and another moment outside of his commentary that pretty much confirms it if you look a little bit deeper. thus, here is what I propose - to mic, the drowsy chaperone’s wedding plot represents a world where he was able to ignore that part of himself and have a happy marriage with his wife despite all the overwhelming obstacles thrown at him. however, bits and pieces of that internalized homophobia manage to show themselves throughout the drowsy chaperone anyway despite its happy ending. here’s a rundown on a few significant instances:

- by the end of the show, the “pastry chefs”, who had literally been planning to kill feldzeig, have left their life of crime to perform with him. this symbolizes how in mic’s ideal world he would have been able to turn away from what he perceived at the time as living wrongly - his homosexuality

- at the same time, the “pastry chefs” have this line, spoken in regards to janet: “if she gets married and leaves the show... there ain’t no show.” this is a take on mic’s subconscious concern that he might lose himself if he goes on with his marriage pretending everything is alright - of course, as we already know, he doesn’t listen

- “cold feets” is a pretty obvious instance of mic’s hesitation

- aldolpho’s line in spanish regarding the wife who won’t touch him flips to reflect on mic’s treatment of his own ex wife - she was alien to him as a lover, just as aldolpho was to this woman

- janet recalls her meeting robert at a point in the show and states “we spooned, briefly, then he proposed.” though mic’s relationship pre marriage was much longer than that, it must have felt that way to him - just as quick and nonsensical as janet describes

- just as janet is caught in showbiz but has a toxic love for it, so does mic with his own repressed life

- janet has a line in “show off” that alludes to her experiencing harassment/assault: “I don’t wanna be cheered no more/ praised no more/ grabbed no more/ touched no more/ loved no more” , which I believe represents the way mic perceived his intimacy with his wife - labeled as love yet unenjoyable for him

- “I look into his eyes... I get all woozy. and that’s... love, isn’t it?” is another very clear nod to mic’s misconception of love based off the only thing he’s ever experienced, relationships with women he’s had to fake

- this is the part where I tell you the lyrics to toledo surprise are a metaphor for actively suppressing gay thoughts. I’ll just leave you with “if it tries to rise; don’t let it”. these lyrics are not comprehensive enough to make a dish - trust me, I have tried. it’s also notable that they serve a double entendre as instructions on how to beat the shit out of someone, but several lyrics are also directed towards the singer/audience. for example: “it’s a snap/ try it folks/ whip your whites/ split your yolks” is an easy metaphor for the unhealthy mental gymnastics required to repress oneself so wholeheartedly

it’s also worth noting the obvious just for the sake of it - mic copes with all this by isolating himself in a safe spot where he can use musicals to escape and live his ideal fantasy, even if it’s only for a short time. there are plenty of nods to this throughout the drowsy chaperone as well. in “as we stumble along” drowsy notes that “the best that we can do is hope a bluebird/ will sing a song/ as we stumble along” - to mic, musicals are his bluebird. while mic mostly indulges in these fantasies, he knows to a certain extent the sheer amount of time he’s spending in them is unhealthy. the first line of the show is “I hate theatre” and I think that to an extent? he does. obviously mic loves theatre as a concept, that can’t be denied. what he hates is the way he’s allowed it to confine him.

with all that out of the way, let’s move on to the most important moment of the show. if you’ve ever seen the show, you’ll know exactly which scene I’m talking about immediately. I’m referring to, of course, the infamous “l-ve while you can” scene. as janet stands at the alter she asks drowsy for one final word of advice, which is partially obscured by aldolpho dropping his cane. “l-ve while you can.” it’s a simple moment, but mic reveals to us that he’s been agonizing over it for years - did drowsy say “live” or “leave”? it occurs to everyone eventually, whether a couple days after the show like with me, or years after like with bob martin’s replacement on broadway that the most likely answer is that she had said “love while you can”. it’s this moment, when you realize why mic had never seen that as an option, that the drowsy chaperone’s status as a musical within a comedy within a tragedy is solidified. mic had no love in his life - his parents hated each other and he was forcing himself into relationships in which he felt nothing. to him, living and leaving were options, but loving never was. so he locked himself away.

as the final note on the record is playing, all power in mic’s apartment shuts down and the fantasy is ruined. the superintendent arrives and further invades his space, breaking the private sanctity he had built up for so long. she fixes the power and before mic can stop it from happening, the final note of the record plays. and the super recognizes it as a musical. she makes a remark about how much her wife loves musicals and leaves, completely unaware of what she’s just done.

mic sits in silence for a while. and then he begins to sing. gradually, the cast members begin to echo their songs, dancing around him but never touching him. then drowsy appears and sings harmony to mic. and she takes his hands. the show ends with the entire cast, including mic, taking off on trix’s airplane as the curtain falls, drowsy handing mic his record as the plane takes off.

some people interpret the ending as mic committing suicide, finally deciding between live and leave. I don’t personally believe that and neither does writer and original mic bob martin, but it’s still a valid interpretation. the drowsy chaperone’s ending is ambiguous, yes, but not to that extent. no matter what you believe the ending means, it was brought on not by the interruption of the fantasy, but by whatever realization the super’s remark about her wife triggered. as I see it, there are two main options here.

option one - mic realizes he still has time to live and to love. when he was younger the prospect of living as himself was unthinkable to him, yet now he sees that while he was spending countless years alone the world grew. drowsy offers mic her hand, an invitation to finally become what he had admired in her - someone who isn’t anywhere near perfect, but is damn well trying and living life without regret. he accepts.

option two - mic realizes that while he spent years alone the world moved on without him and he’s isolated himself so much from social interaction that he’d no longer be able to make a meaningful connection with anyone outside. so he stays inside instead, never trying, always trapped between live and leave. drowsy offers mic her hand - at least he’ll have a tune to carry with him.

I really want to believe we got option one. I think option one is the intended, really, given mic ends the show with a joyful goodbye to the audience. but the way that the ending is still left open for interpretation makes it so that we can never really know - we as the audience only get to be privy to a small part of mic’s life, and we don’t get the answers we want because at the end of the day they’re irrelevant to us - all we can do is make our own choice.

[pop-punklouis]

top five HL fanfic!!!!

biiiiitch you all know how hard it is for me to choose only 5. but sigh FINE here’s my all-time favorite list that isn’t 5 sorry i can’t choose 😔:

• Here in the Afterglow (89k)

“If you hadn’t noticed, I don’t have many friends,” Louis whispers, the blossom of insecurity in his stomach unfurling and clawing its way into his throat.

Harry is silent for a long time, and then he speaks; a soft, slow uncurl that makes Louis’ stomach shake. “I’ll be your friend.” 1970’s AU. In a tiny town in Idaho, Louis’ life is changed forever by the arrival of a curious stranger.

• Coax the Cold (86k)

England, 1897.

English Professor Louis Tomlinson’s passion for the occult has been a source of mockery and derision for most of his life. When he hears whispers of a travelling freak show newly established in London claiming the existence of a monstrous sea hybrid, half-man, half-fish, Louis sees it as his ticket to credibility amongst his peers. The summer he spends undercover working on the show, however, gives him much more than that.

• Wild and Unruly (124k)

Harry is a cowboy sitting on the biggest oil reservoir in Wyoming, and Louis is the paralegal assigned to pressure him into selling his land.

• This Wicked Game (70k)

An AU in which The Bachelor is gay, Louis is a contestant, Harry is the bachelor, everyone drinks a lot of champagne, the entire world gets to watch them fall in love, and no one plays by the rules.

• Love is a Rebellious Bird (135k)

AU in which the boys still make music. Louis is the concertmaster of the London Symphony Orchestra, Harry is the New! and Exciting! interim conductor/ex-cello prodigy who "has made Mozart cool again" according to Esquire Magazine (Louis hates him immediately, which is definitely why he internet stalked him in his dark bedroom late at night that one time), and Niall is the best. Zayn and Liam are around too.

• Fixated On One Star (53k)

Louis is just a boy with the world on his shoulders, and Harry's just a boy from the wrong side of the galaxy. A little thing like love doesn't stand a chance against a thousand years of war, at least until the right two come along to break the mold.

Or: space Romeo and Juliet AU

• Finding Lou (60k)

Louis is the nomadic stranger who wanders into Harry’s bookstore. Harry is the skeptic who falls for him.

• California Sold

Notoriously closeted boyband member Harry Styles is famous on a global scale, meanwhile Louis, as his best friend, is back home in Manchester, living the typical life of a 24 year old. When Harry needs Louis with him in LA, a publicity stunt gone wrong changes their friendship forever.

A fake-relationship AU between two lifelong best friends.

• Empty Skies (134k)

For three years, Harry has been running from his past. Now, he is moving to London and pledges to fulfil his only dream -- making it big in the music industry. Not everyone has a place, though, and the competition is tough. As is his past catching up on him.

Louis is part of the biggest boy band of the world, and getting there had meant a lot of hard work, as well as sacrificing parts of his heart and soul. He's still happy. Maybe not as happy as he could be, but who is he to complain?

• And Then a Bit (159k)

“We’d like to give the fans what they want.” Magee states, placing his hand on the table in front of him and leaning forward. “We want to give them Larry Stylinson.”

Or, take a parallel universe where Louis and Harry were never together, mix in a two year hiatus and an impending comeback, pour in a dash of lost fans, two tablespoons of strong friendship and a Modest! employee with a good idea. Add a squeeze of pretending to be a couple, lots of kisses and a tattoo or two. Stir. Serve: the mother of all publicity stunts. (aka Harry and Louis fake a relationship for publicity. Eventually it becomes a lot less fake and a lot more real.)

• Dream Awake (31k)

The sun leaks through the tent wall behind him the way it leaks through eyelids, bathing the boy in an ethereal half-light as he croons. The crowd is mesmerized. Louis is mesmerized. This is the most important person in the world, he thinks wildly, and then can't figure out how to take it back.

On a hazy day in August, Louis sees Harry perform at a music festival as an unsigned act and convinces him to spend the rest of the weekend in his company. Harry gets signed; life changes. They never really wake up from the dream.

• Say You’ll Remember (93.5k)

au. louis and harry are best mates that are only half aware that they're also soulmates. alternatively, louis goes to university and harry travels the world, and they always manage to find their way back to each other.

takes place over nine years, in which they love and hurt, make mistakes and learn, and above all, grow.

• Outwit, Outplay, Outlast (61k)

Survivor All-Stars AU in which Harry and Louis are just in this game to win the million dollars, but they end up with something better.

Featuring Harry's yellow swim shorts, Louis in snapbacks, and OT5 shenanigans.

• Nothing Else But Us Right Here (35k)

Louis sighs and gives himself a mental pep talk as he smooths his jumper down over his hips. He can do this. He can resist the draw of Harry Styles, because he is a responsible, mature adult, and as much as he wants to tangle his fingers in that mess of hair and map those ridiculous tattoos with his tongue, he does not want to get his daughter’s favorite teacher fired.

• Wings to Break Your Fall (103k)

strip club AU. Harry’s work and family are keeping him busy. He really isn’t looking for a relationship, doesn’t want one. He just wants Louis. Problem is, Louis has other plans.

• Leave it to the Breeze (81k)

Louis couldn’t be prouder of his bake, but there’s something—there’s something. Something about Harry Styles and the earnest way he measures, pours, mixes, scrapes. Something about the tip of his tongue poking out of his mouth as he knocks the air out of his batter.

or a great british bake off au in which louis cares about winning and winning only, harry is made of sunshine and rainbow sprinkles, and niall sticks his nose into other people's business. also featuring liam as louis's best friend-slash-concerned mother, and zayn as a macaron connoisseur.

• You Come Beating Like Moth’s Wings (81k)

Harry smiles. He's only known Louis for about two hours, knows nothing about him past his first name, but he's nice and sarcastic and helpful and so, so pretty. And Harry's still got a few days left in Barcelona, and he thinks he wouldn't mind spending them with Louis.

Also known as, Harry takes the summer before uni to travel Europe and meets Louis in Barcelona, and they end up traveling together.

• Hold Me Closer (36.5k)

Louis Tomlinson is one of the most promising dancers of the English National Ballet, on track to become the youngest principal dancer in the company's history. That is, until forces conspire to significantly complicate his life, including: a surprise ballet, an unfairly attractive guest choreographer, and being pushed into a rivalry with his best mate. Featuring lots of wine, dancing, pining, and a happy ending.

• In Vogue (121k)

Fashion AU. Louis is the editor in chief of Vogue magazine, and Harry's running British GQ. Featuring Zayn as the crazy creative director and Louis' confidant, Liam as the sports writer that gets to sit front row at fashion week and DJ Neil as the only sane person in the whole story. (There are no skinny jeans in this fic)

• These Things Will Never Change for Us at All (1.5k)

The room falls silent as they stay wrapped up in each other. Harry can feel Louis’ soft breaths on his neck, and he almost thinks Louis’ fallen asleep until he says softly, “How did you know you were in love with me?”

Or, Harry and Louis look back on five years.

• A Runaway American Dream (15k)

AU. they take route 66 with only each other and their secrets.

• Things Have Gotten Closer to the Sun (49k)

it’s strange, making the choice to face his past—it almost feels like he’s heading for the sun straight on, like he’s screaming come on and burn me, i deserve it.

when a solar flare is announced to end the world in twelve days, harry reunites with the people that he used to know better than the back of his own hand.

• Here (in your arms) (60k)

the one where Louis is a successful real estate agent and Harry works at a retirement home. They’ve never had a real home. Up until now.

(Starring Liam Payne as a fitness trainer, Zayn as an artist, and Niall, who busks.)

• These Inconvenient Fireworks (190k)

Future AU in which nobody tries out for X Factor but the boys end up finding one other eventually anyway. Louis is a jaded bastard who owns a cat named Duchess and teaches drama to teenagers, Harry is an idealistic aspiring photographer/part-time footy coach, Zayn teaches English lit and wears leather jackets, Liam saves people from burning buildings, and Niall is Niall.

• In Dreams (23k)

AU. When Harry moves to a new city, his new flat come with a number of sweet, anonymous gifts and surprises that brighten his days. Could it be a friendly ghost? Another friendly presence in his new building is his tattooed neighbor, Louis, who seems determined to put a smile back on his face.

• My Heart is Breathing for this Moment in Time (160k)

When Louis first saw Harry at the 2010 X Factor Auditions, he thought he was watching a peculiarly special stranger. But Harry has known Louis ever since he was five years old. Because Louis has a rare genetic disorder that causes him to Time Travel to important moments in his past and in his future - and to Harry, always to Harry. When they’re put into a band together, it seems like everything Harry has been waiting and wishing for has finally come true. Except for the small fact that Louis doesn’t know that Harry is in love with him- that Harry’s always been in love with him. Fate, it would seem, is just getting started.

A story about growing up and growing together, and the impossible love that makes it all worthwhile.

• Paint the Sky with Stars (63k)

On 10 April 1912, Harry Styles boards the finest ship the world has ever seen. Still grieving the death of their mother, he and his sister are being sent to America to live with a callous uncle who cares more about his business connections than family. Harry prepares himself for a long, disappointing voyage alone in his stateroom. Louis Tomlinson has borrowed and saved, and finally has enough to purchase a Third Class ticket to America. With all of his belongings in a single ruck sack, he boards the Titanic filled with hope for a brighter future. Never one to sit still, he can’t resist exploring the massive ship, and soon goes sneaking into First Class in a stolen steward’s uniform. By a twist of fate, Louis finds himself in Harry’s stateroom, entranced by the most attractive man he’s ever laid eyes on. He keeps returning day after day, even if he doesn’t understand what it is about Harry that continues pulling him in. That’s all right; Louis has a week to figure it out, and Harry is plenty willing to help. Except they don’t have a week. They have four days. Because on 15 April, their entire world will be turned upside down.

Or, the historically accurate Titanic AU with a happy ending.

• Through Eerie Chaos (102k)

For as long as anyone can remember, Old Hillsbridge Manor has always been believed to be haunted. Everyone in the village agrees and keeps a respectful, fearful, distance. New in town after a bad breakup and an internship that led to disappointment rather than a permanent job, Harry Styles figures taking pictures of the decrepit building could be a great new creative project. Or at least a much-needed distraction while he searches for a job and crashes at his parents’ new house. No one warned him about the apparitions though; about the music, the laughter, the people who flicker and vanish when you call after them, the echoes of a past that should be long gone… Harry has never believed in spirits but even he can admit that there’s something weird going on. What starts as mere curiosity evolves into a full-blown investigation and soon enough, Harry finds himself making friends with an aristocrat from the 1920s and struggling with finding the best way to tell him that he’s dead.

The Ghost Hunter AU where Niall lives to prove ghosts are real, Zayn is a skeptical librarian and Harry gets caught up in a century-old mystery and catches feeling in the process.

[notdoingsohot]

SORRY THESE ARE JUST SO GOOOD “don’t act like you know what’s best for me after you came back out of nowhere!” for any pairing!!! <3

Do not apologize! I had so much fun with these. I hope you like this one too!!!! <3 I took some creative liberties, as one does, lol. Thank you so much for sending these!! I changed the prompt up a little, hope that’s okay! <33

The original prompt from this angsty prompt list!

Title: ???

Pairing: Sam x Bucky

Bucky’s phone lights up silently from its place on the kitchen counter. Bucky sees the brightness bloom behind his closed eyelids even with the hall light on. It’s dark enough, the middle of the night most likely. He’d be worried about Sam texting him so late if he didn’t do it every two days for the last however many weeks.

Of course Sam knew Bucky wasn’t sleeping. The man didn’t seem to care much that Bucky was still trying though.

He doesn’t get up and check the notification. He lays there stubbornly and refuses to open his eyes until the sun begins to peak in through the windows.

Then he checks it. Then he ignores it.

He doesn’t want to ignore it, which is exactly why he does. He doesn’t want to be alone, which is exactly why he is. 

And Sam is Sam.

He’s the last person who Bucky should be around right now. 

At first it was because going out to lunch with Sam felt like extra therapy, like a chore, like an interrogation, a job interview for something he was vastly underqualified for.

Now it’s because going out to lunch with Sam doesn’t feel like that at all.

Sam is…

Too much like Steve, but not enough like Steve for Bucky not to feel the way he does, if that makes any goddamn sense.

It doesn’t. Why would it? Nothing in Bucky’s life makes sense.

Bucky checks his list like he does too many times a day to really want to think about, sighs when it remains unchanged from the last time he looked, and starts his day.

Not that he does much with it.

He feels lazy and bored, stir crazy just like his shrink says he will, isolated like he is, just like Sam says too, but Bucky can’t bring himself to cross this next name off his list, and he can’t leave New York until he does. 

Sam texts Bucky twice more that day, which is unusual. Goes beyond the cursory check ins he’s been dealing Bucky for the last few months.

Bucky wonders if Sam might also be lonely, but then he shakes the thoughts away. Sam’s not lonely. He has his family in DC, he still has friends, a job, he visits Steve still.

Bucky doesn’t.

Bucky can’t even think about Steve without feeling like the air is gone from his lungs all of a sudden. Like the big blond punched him right in the chest, and really he might as well have for all Bucky saw it coming.

He’d wonder if Sam felt the same way, but Bucky actually knows that it’s true. It’s the one thing they managed to talk about that touched on feelings and that didn’t make Bucky shut down completely.

Mostly because Sam did the talking.

Bucky hates how good it feels to know he’s not alone in that. Hates how glad he is that Sam suffers with him. It’s why he stays away from Sam now.

Sam is good, the personification of America good, even according to Steve. Sam’s bright too, he smiles and it’s real and it’s contagious and that has nothing to do with Bucky’s feelings and everything to do with Sam being one of those people who light up the room. Sam is a hero. He’d be a hero even without the wings, even without the military. Sam would find a way to be a hero in any world, in any reality. He’d be a doctor or something. Save babies. He’s that kind of good.

He’s good and he cares which is why Bucky needs to stay away from him. He’s smart too. Too goddamn smart for his own good, really. One of these days he’s going to get in too deep trying to help Bucky out of this hole he’s been tossed in and they’re both going to be stuck.

Bucky’s head isn’t a safe place for anyone, fuck, not even his therapist deserves to have to listen to the things in Bucky’s head, and Sam? Sam likes to try his goddamn best to get into Bucky’s head and he just cannot let that happen.

Sam likes to show up unannounced at Bucky’s door, too.

“You weren’t answering my texts,” he says.

“I never answer your texts,” Bucky replies, not moving to let Sam inside, but the other man shoulders past him anyway. Bucky rolls his eyes and lets the door shut behind them.

Sam smirks, “But you read them,” he says.

Bucky shrugs, “Yeah, I guess. Make sure you’re not dying somewhere,” he says, going to the kitchen.

Sam’s eyes don’t linger on the neat pile of blankets in the corner of the room.

“You think I’d text you if I was dying?” Sam asks, and Bucky can tell he’s joking. Sam is a jovial person. He’s… playful. Bucky likes that about Sam, most of the time.

Bucky is not a playful person.

“No”.

“I’m not really looking for a sidekick,” Sam says.

Bucky rolls his eyes where Sam can’t see him, “Sure,” he says, getting a beer from the fridge and sliding it across the counter to him.

He tries not to think about why he keeps it on hand when he can’t get drunk. Hopes to god Sam doesn’t think too hard about it.

Sam has the audacity to look surprised, and then confused, and then says nothing but a nod of thanks. Bucky can’t tell if it’s a good thing or not, that Sam doesn’t know how much Bucky fucking thinks about him, all the damn time.

“Why are you here?” Bucky asks curtly.

Sam makes that smile that always comes with bad news, “Steve wants to see you,” he says.

Bucky can’t suppress the groan and eye roll then.

“Is this supposed to be an intervention then?” he spits out.

Sam shakes his head though, looking earnest but not surprised by Bucky’s tone, “No, I’m just the messenger. Steve can’t… can’t make the drive,” he says, and he’s frowning, looking sad and that makes something in Bucky’s chest tighten painfully.

Steve can’t make the four hour drive to New York from DC and Bucky feels gutted at the thought of Steve now all over again.

He wants to say something about it, about Steve, and it’s nothing good, but Sam already looks broken by it, so he just fucking nods and goes to pack his shit.

“Well that was easy,” Sam says with a little huff of laughter that doesn’t sound anything like Sam.

He wants to say it was Sam’s broken hearted expression, or that he’s only going so he can reel Steve out for making Sam look like that, but he says nothing instead.

They rock-paper-scissors on who drives, and when Sam wins with paper, he doesn’t have to cover Bucky’s hand with his own, but he does, and it really shows Bucky just how bad this school-boy crush has gotten that his heart flutters in his chest at the contact. 

“How is he?” Bucky asks when they’re an hour out from Steve’s place.

Sam looks at him out of the corner of his eye, “Worried about you,” he answers.

“That’s not what I meant,” Bucky retorts.

Sam’s face loses some of its brightness, “I know,” he says softly.

Bucky closes his eyes to the rush of anger he feels. On Sam’s behalf… but also on his own.

He doesn’t mean to fight with Steve no matter what he’s feeling, no matter whose behalf. He doesn’t really hold this against Steve, it just… hurts. It’s the weirdest kind of grief, so opposite to the grief he feels for the loved ones whose lives and deaths he missed. He’s grieving Steve even as he’s looking at him, even as he’s hugging him, gentle, so gentle because he’s frail now, again, and it’s all these parallels and it’s nothing he can be prepared for so he should just stop trying.

Sam honest to god, waits in the car, rather than face this.

Bucky’s glad for it, even if it means he has to deal with Steve alone.

“You can’t be alone forever, Buck,” Steve says and he doesn’t even sound like Steve, except that he does.

Bucky rolls his eyes at Steve, “What do you expect me to do, Steve?” he asks.

“You shouldn’t be ignoring Sam, you two need each other,” Steve replies.

It’s probably the mention of Sam, but Bucky finds himself snapping at Steve then, “Don’t act like you know what’s best for me after you just left out of nowhere”. He feels something like indignation rise and fall, then taking a deep breath, “Sorry, I just…” he apologizes softer, “I don’t want to hear it, Steve,” he says.

It was just... how dare Steve try and tell Bucky who, or what he needs in his life after he left like he did? Left both Bucky and Sam in the wake of the end of the world to just figure it out alone. Bucky might be isolating himself from people, but fuck if Steve didn’t do it first.

He abruptly realises how childish that line of thought is and lets the anger dissipate, for the time being.

Steve is quiet for too long. Long enough Bucky gets suspicious because Steve so rarely thinks before he acts, before he speaks. Not when he knows he’s right, like he is now.

“If not because it’s what you need, then because it’s what he needs, Buck,” Steve says, “Please”.

Bucky shakes his head, feeling a lump form in his throat, “I’m not…” he tried, “I’m the last person he needs hanging around,” he says.

“Seems like he might want you though,” Steve says easily, and Bucky looks up sharply, too sharply.

Steve inclines his head in silent question, then smirks.

“No,” Bucky says, “No, get that out of your head right now, Rogers,” Bucky says seriously, “I don’t-- it’s not like that,” he denies, too loud, too fast.

Steve has that knowing look in his eye still when he agrees to drop it. When he tells Bucky to scram. When he sees Sam waiting outside for Bucky and they exchange a friendly wave.

Bucky doesn’t even feel bad when he hopes Steve’s degrading mind forgets that entire interaction. Well, he feels only a little bad.

“How’d it go?” Sam asks.

Bucky shrugs, “He said you missed me,” he replies, goading.

Sam looks at him for a moment before he starts the car, “You know,” he says, “I couldn’t actually tell if you were lying that time”.

Bucky’s heart does that stupid flutter again. 

“Can you usually?”

“Every time, Barnes,” Sam answers, smirking.

Bucky glances at Sam out of the corner of his eye. “Good to know,” he says. He’ll need to get better at it if he’s going to be hanging around now.

[paintedlight]

Supernatural Season 15 & Sufjan Stevens' “The Ascension”

Teaser: there’s a song on this album called "Die Happy” where the lyrics are just “I want to die happy” for 5 minutes and 45 seconds. yeah. yeah.

Disclaimer: yes it’s all a stretch and I’m overthinking it but also… am I? (yes) 

long post time! know that reading ahead may hurt you and yes it does get worse the further down the track list you get 💕 have fun kids

So just to start off, I think it’s funny that something Sufjan’s discography & Supernatural have in common is the 15+ years of the internet arguing if it’s gay or not, and the answer ending up being yes. PLUS there’s the obvious connection of American mythos + mythology + calvinist themes (I am hissing) + religious trauma prevalent in both. 

If you’re a fan of both like I am, it’s easy to connect them— notable connections being songs like “John My Beloved” and “The Owl and the Tanager” or even “John Wayne Gacy Jr.”, but I’m going to focus on Sufjan's 2020 album, “The Ascension” since even the arc itself seems so connected to season 15 of Supernatural, specifically. 

At least in my head it does <3 enjoy 

MAKE ME AN OFFER I CANNOT REFUSE

When interviewed about the meaning of this track, Sufjan explains that this song is about asking God, “what do you have to say for humanity?” That it’s about desperation, creation, and devastation. It’s about frustration with divinity. Also the vibes are 10/10. Need I say more 

RUN AWAY WITH ME

This song is beautiful, it makes me want to sit in some grass and stare at the sky. 

Some lines that make me Dean/Cas crazy are the two lines in verse 1 and verse 2 that mirror each other by being in the same place melodically:

Verse 1: they will terrorize us / with new confusion / with the fear of life that seeks to bring despair within

Verse 2: I will bring you life / a new communion / with a paradise that brings the truth to light within

Yeahhh so the words “Despair” and “The Truth” were mirrored in this song yes it was coincidental yes I’m clinging to it. It fascinates me 

But this song is about begging someone to stay with you.

sweet falling remedy / come run away with me / you’re all I ever need

VIDEO GAME

My first thought when I heard this song was about how it was such a song for enneagram 4s. If you don’t know what that means, I think Dean is a 4 and wrote a post about it here. 

AND @trapperjohnmcintyre also made the connection between these lyrics and Dean in this post, and honestly I don’t need to say much more than that??

The song is about feeling paranoid and angry that God is controlling your every move and you can’t escape it (aka hating the doctrine of predestination). Of course it’s also about not wanting to follow societal scripts. 

You just want to have an easier life instead of the weight of good and evil resting on your back!!!

I don’t want to put the devil on a pedestal / I don’t want put the saints in chains / I just want to make my life a little easier / I don’t want to play your video game

Also these painful lines, as a treat: 

I don’t want to love you if you don’t receive it / I don’t want to save the world that way

Oh, I almost forgot, also. At the end, the narrator gives up. He’s like well I guess I can’t escape. Gotta follow the procedure. Gotta be a puppet.

I don’t want it to go down that way / but in a way you gotta follow the procedure / so go ahead and play your video game

  LAMENTATIONS

I don’t have much to say about this one but this line always makes my heart ache idk:

I was only thinking of human kindness

TELL ME YOU LOVE ME

Here we gooooooo. Y’all aren’t ready.

Thesis: Tell me you love me despite the primordial darkness about to overtake me. And even if you don’t, I’m going to love you. 

15x18 Despair anyone?? 

I want to just paste the whole song but, here—

DIE HAPPY

Yep, "Die Happy" immediately follows "Tell Me You Love Me." Yes, the lyrics are just “I want to die happy” over and over for almost 6 minutes. 

First of all, the repetition mirrors the end of the song Fourth of July, from Sufjan’s previous album Carrie & Lowell, where Sufjan sings “we’re all gonna die” over and over.

Parallels, baby.

But I noticed something else about this recently though— in Die Happy, if you are listening to it in your headphones, there’s this weird sound that sounds like a wasp flying around your head (it made me uncomfortable which is why I noticed it, haha). After I felt unnerved for a moment, I had a realization— that this could be referencing one of Sufjan’s most beloved songs, “The Predatory Wasp of the Palisades Is Out To Get Us!!” (yes that’s a real song title lol)

The Predatory Wasp is about how Sufjan fell in love with his best friend at the Bible Camp he went to as a teenager. The wasp is a metaphor for internalized homophobia and also his love and how he fears his love will hurt the boy he’s in love with. 

So, Die Happy references an iconic song from Illinois (2005) with these notable lines:

Tl;dr: 

I want to die happy vs. I can’t explain the state that I’m in / the state of my heart / he was my best friend

Here’s an Despair photoset with Predatory Wasp lyrics via @toneelspeelster. 

ATIVAN

So your best friend has just died happy by being in love with you. You feel like the primordial darkness is on YOU now:

I woke up in stereo—I spent the day in vertigo / I could not get the spirit off my back

You’re once again tossed in the waves of thinking that God is fucking with you. But either way you just want to be tranquilized at this point. 

Is it all for something? Is it all part of a plan / tranquilize me, sanitize me, Ativan

Is it all for nothing? Is it all part of a plan? / make my death wish, mind my business / do the best I can with what I am

Ativan asks, was the true leading woman all this time… substance abuse?? 

Ativan / my leading woman

Long story short, you’re drunk on communion wine, asking the shadows to come back.

fill me with the blood of Jesus / clean my plate 'til he receives us / separate the colors from the black / ... / tell the shadows near us to come back

 URSA MAJOR & LANDSLIDE

Not a lot to say about this (even though I love these songs) so I’m gonna skip mostly, but the narrator has decided he wants to love you, he can’t help it <3 

GILGAMESH

Oh boy. 

I mean you kinda know what’s coming because of the title. The Epic of Gilgamesh is the world’s oldest piece of epic world literature, and Gilgamesh was “the first hero of human history.” 

In the world’s oldest story, The Epic of Gilgamesh, Gilgamesh and Enkidu are “very close friends” (their relationship is very homoerotic and this is barely disputed). Gilgamesh calls Enkidu his brother, and they are mutually selfless towards each other but when Enkidu dies, indirectly because of Gilgamesh, Gilgamesh has a breakdown and mourns him like that of a spouse and then has to come to terms with his own mortality. 

The meta level of this is so obvious I’m not even going to go into it. Anyways… here are lyrics that make me want to scream! 

the repetition of “my heart”... the concept of singing a eulogy.... saying your heart is chained to Your Angel............ it hurts

DEATH STAR

Star Wars reference my beloved. Like many of these songs this has Fuck You God energy.

what you call the human race / expedite the judgement day / it’s your own damn head on that plate

vandalize what you create / ... / witness me resist your fate / it’s your own damn head on that plate

 GOODBYE TO ALL THAT

This song is a bop honestly 

When the lyrics were released a bunch of Sufjan fans contrasted Goodbye To All That’s here I am alone in my car / hopelessly infatuted / and I’m driving to wherever you are to Sufjan & Moses Sumney’s song, “Make Out in My Car”.

Yeah, I know, we’re all thinking of this:

Make Out in My Car is basically where Moses gave Sufjan a horny car guy chorus and told him to write the verses, and Sufjan proceeded to write the most liturgical shit ever (and we love him for it). ANYWAYS… Goodbye To All That also reminds me of Dean’s depression and the weirdness that started in 15x19 and goes into 15x20. For some reason he makes it seem more upbeat and happy than it is...

Despite this song being a bop, the lyrics are depressing. He’s alone in his car. He’s hopeless. He realizes it’s too late to have died a young man. 

He’s going to try to move on, even though nothing is left of him, he’s begging someone to turn around and show me his shadow.

He also references substance abuse again—

love me / and leave me / intoxicated

  SUGAR

The music video? Iconic. The mom of a family is making a pie, or she’s trying to. She ends up rubbing the filling all over her face, crushing the fruits, the oven catches on fire. 

But she does it! She makes the pie. 

Meanwhile the other family members are in their rooms, overindulging in sugar in all its forms. And then as she and her family eat around a dining table, occassionally being seemingly marrioetted by some unseen force, she looks angrily over her family, they all seem to kind of lose it, then the house starts to come apart until the chandelier falls on the dinner table. 

It’s the making pie + overindulgence in sugar + marionetted family metaphors for me ❤️ 

Ultimately, the song is about begging for affection, being desperate for domesticity, but you feel doomed, you feel like your defeat is predestined, that you can’t escape it.

You just don’t want to be heartbroken & you don’t want to be angry anymore!!!!

  THE ASCENSION

So you may be asking… does this guy get the domesticity he’s longing for?? Does he get his love back?? 

No. He dies. :/

The Ascension begins with just that. He’s dying.

THEN Sufjan decides to rhyme “confess” with “confess”, in two lines that mean almost opposite things:

When I am dead / and the light leaves my breast / nothing to be told / nothing to confess / let the record show / what I couldn’t quite confess

So does this guy have something to confess or not??? 👀

Moving on… 

He goes back to thinking about how his life was predestined all along, and now after all that, he’s dying. So he thinks about all the times he was kind of like this Mythological Icon. That he always had to be the one to show what was right, to lead by example. That that had been his entire identity. 

And he realizes he needs to answer for himself. 

Then he is frightened— realizing he was always asking what everything meant, what it all was for, but that all along he was just angry and depressed.

But even though he feels a like he should have just resigned himself to meaninglessness, that he only thought he could change the world for the better… it strengthened him to know the truth.

And even through the absolute shit of it all, and even though God & others did things from a place of so-called holiness and hopelessness...

He did everything out of love ❤️

So then he dies 🙃

AMERICA

So, as the end of The Ascension asked, what now? 

The album ends on this long track, which Sufjan describes as a protest against all that America has been and has become. 

It’s a protest against capitalism, of destroying humanity for the sake of some cold machinery. 

I have worshipped / I believed / I have broke your bread / for a splendor of machinery

And in true Sufjan fashion, he makes this song about protesting somehow both horny and religious, god bless

I have loved you / like a dream / I have kissed your lips / like a Judas in heat

I have worshipped / I have cried / I have put my hands in the wounds on your side / I have tasted of your blood / I have choked on the waters / I abated the flood / I am broken / I am beat / but I will find my way / like a Judas in heat

I am fortune / I am free / I’m like a fever of light / in the land of opportunity / don’t do to me / what you did to America / don’t do to me / what you do to yourself

  to finish out, here’s a DeanCas post by @eggcessive with lyrics from America ❤️ I HOPE YOU ENJOYED MY WEBWEAVING :)

[stuckinapatriarchalbullshitland]

Lauren’s Attunement/// The Catharsis of the Dark Diary (Long ass post)

Ah ... I really don't know how much I could say about this Attunement that I decided to separate into two parts and notice that I am going to deviate a bit from my original intention to make some clear points because there is a lot to get out of what Lauren has said. With that in mind I hope it is not too confusing to read.

First part: Cancellation Culture

I think our moonchild has been perfectly clear on this point. "We are living in a very sick world" "In a world in great need of healing and that will not do so through the culture of cancellation." Cancellation culture sucks, folks. A twisted idea of ​​exposing things from the past of people who have not been good and that people have become accustomed to criticizing as if all those who criticize were a mirror of virtue and perfection when nobody is perfect and Lauren also mentions that in your Attunement. Lauren also mentions that we cannot hold people accountable for their mistakes because it is the most important part of the process. And it is a truth like a cathedral. People who make mistakes need to take responsibility for their actions so that they don't make them again. It is necessary to learn from it and improve as people and heal. In the part where Lauren mentions that she would never publicly embarrass the people she loves, she reminded me of Camila. I did not want to mention Camila in this because we know that Lauren has also been humiliated but if we talk about the cancellation culture that part goes to Camila. Camila has been a victim of the culture of cancellation long before leaving the band and they have made Twitter threads, blaming her with a racist past for which she has apologized many times but still drag her to hell, no matter what. Camila has haters who love to fuck her and Lauren knows it too. She has known it forever and a clear example is (I'm not going to put a screenshot because it would distract me) the tweet where someone calls Camila ugly and Lauren responds to that hater saying: "Hello, can you show me a picture of you? " It is these details that make us understand that everything she sees on the internet in relation to her and her loved ones affects her a lot and what she says when she talks about the online world where we are all the time, is bullshit. She says that it's not that you can't do what makes you beautiful, that she's fine with it, but also the people who are watching don't know that shit is fake and that people aren't happy with who they are. "That when they look in the mirror they don't love themselves." And I think she hit the spot there too, folks. She has perfectly outlined a hater's profile. The lack of love of those people who have found an escape route to their frustrations, to what is wrong with their lives, that makes them what they are. Because as she says, we live in a screwed up world, it's true but the point is, how the hell have we got to this point? How do we get to this point where the human being has lost humanity and has become shadows of hatred and rejection that lives by making Twitter threads and canceling people to feel better about themselves? And then Lauren talks about Trump. She mentions Trump as a symptom of lack of love. And again she is not wrong. Donald Trump's life was never very happy. With an authoritarian father who always preferred his eldest son to follow the legacy of his family and perpetuate the name of it, when this son did not want that pressure, the father banished the eldest son and all the shit fell on Trump. The only other male in the family. Trump is that man's mirror. From that egomaniac, controlling, arrogant, undoubtedly macho and racist father because he has really shown it. Trump lives on appearances. To demonstrate something that is not and to hide its shortcomings in a marked narcissism.

Another thing that strikes me about what she has said and another truth is also that we no longer love each other because we do not know where we are standing. And that is also true, we do not know who we are because others dictate who we are. They dictate what to say, what to eat, what music to listen to, what television series to watch until we become cattle. We have lost our ability as individual beings to fit the mold of livestock just to give us the feeling of feeling connected, as if we were part of something. Part of a whole that is still controlled. From this part Lauren begins to talk about what she has written in her diary so I will continue with the second part, but to close this one, I can only say that many of the things she mentions are a reflection of what we are doing living, of what we are suffering and our own fragility as a human species.

Second part: Black Diary and Amy's Shadow

I think we have a concept of great artists as broken human beings, wrapped in dramas and additions that actually "help" perfectly in their art. Where, the more chaos there is in their lives, the more geniuses they become. And I think Amy can be an example of that. And talking about her, because I'm going to start by talking about her and then I'm going to express my thoughts about Lauren. I remember responding to an ask yesterday saying that I was terrified when Lauren said she felt identified with her because their lives were a kind of parallel. And then I thought better of it and realized that yes, both lives have that parallel but with a difference, Lauren has what Amy never had. An emotional support network. Good friends. Amy's life was marked by rejection, mockery, the circus that was her life where her art was in the background and her voice was shattered to make way for the addicted, alcoholic Amy, where her greatest achievement was to climb to a drugged and drunk stage, with glasses of wine that she drank live and her show was to demonstrate her weakness so that others made fun of her. Her parents perpetuated that shit because it gave them money, and as long as she made money, at the cost of her own physical and mental health, nothing else mattered. Being an artist is not only knowing how to sing, dance, write, paint and be good at all kinds of artistic expression, but it is much more than that. Being an artist is breaking yourself into pieces and giving them to your fans to do with those pieces what they want. It is giving more than what nobody will give you in return. And Amy got broken. They broke her into thousands of pieces and they all jumped like vultures wanting a piece of her until she ceased to exist because they never gave her a chance to rebuild herself. They never gave her a chance to learn to love herself to be able to heal because they didn't want a healthy Amy because that didn't sell. They were only served by her pain because she filled their bank accounts, those of her friends, those of her managers, those of the entertainment tabloids. Those of her boyfriends. The ones from her own fucking parents. And so far we can draw parallels with Lauren. It is possible that our moonchild has had or is having her problems with her mother, or with her record label, or with whatever she is having problems and is dealing with right now, but at least she does not have a family that just supports her and is there for the money she may or may not earn. And yes, she mentioned many fears at first before reading the newspaper, but at least she has had a chance to regroup when she needs to. Lauren has the ability to heal herself, her own will thanks to her own strength. Because even if you are afraid of breaking or feeling pain, you have to feel it. You have to hit rock bottom to learn how to get out of there. You have to go to the extreme of falling enough to know that your own will, your own inner strength is so great that it helps you to rise not only once, but a thousand times if necessary. And she has that ability. I believe and have always said it, you already know it. That the real problem, or part of it, is not Lauren's fragility because that is bullshit. Lauren is a strong girl but at the same time she has this angel, this kind of kindness that really does not go well in an environment as rotten and toxic as the industry. Lauren Jauregui does not fit molds. She cannot follow rules if she considers that they are not fair and that people in the industry do not like because they lose their ability to manipulate it. There is a reason that her song Toy has disappeared, folks. Lauren is still an artist and of course she too falls into the concept of what it means to be an artist, breaking herself into pieces and giving those pieces to us who are her fans. And since we have a piece of it, perhaps we create ourselves with the right to demand more from her because we are not satisfied with what she gives us and we criticize her for it. The worst fans are capable of fucking her and haters are able to write Twitter threads exposing what they hate about her.

That would scare anyone, folks. Even if you are not an artist. There is a Lauren Gif that I posted on the blog as part of a set of images related to Camren. In that gif Lauren looks at the audience with such a raw expression on her face saying something like: "You who are there screaming like crazy, with your perfect lives while I am being pressured to the point of breaking and you just want more" (I put the only screenshot because I don't have the GiF image at hand)

This GiF is something that always caught my attention and since I have known Lauren she knew that there was something else with her. I met her as the bad girl, the bitch one. That image that appeared to conform to Tyren. And then her smile disappeared. I remember when I joined the fandom where one of my first posts about PR circuses was to ask myself: Why do girls look so fucked up? Why is Lauren so sad or why has her smile disappeared? And then there were those weird videos where she seemed like "haunted", like outside of herself and that agreed with the time that she had to stunt for Tyren and always seemed to be the same dynamic with her. And then it was not only me who realized that Lauren was not well, but also other mutuals and we kept repeating the same thing to the bastards on her team: "Lauren is not well, please take care of her " That was something that we repeated a thousand times with Lauren and then also with Camila because it always caught my attention that the two of them were equally fucked at the same time. Before I knew that Lauren had her problems with her family, I also noticed that separation. I think I received a bit of shit after expressing my thoughts but in the end, I was never wrong because Lauren herself has expressed it and I think if I had been in the fandom long before 2018 I would have noticed it too. This has been a very emotional Attunement on Lauren's part and I told her in a tweet, as her fan has been a privilege to have witnessed that. It is a privilege to be a fan of a girl with a huge heart who has flaws that make her more human than other people and who has grown enough to know that she can continue to do so. With this post I have tried to be respectful and say that, although I do not know her, we connect in a special way because we have almost the same way of thinking in many aspects (although I do not agree in many others) and I think that still does most important to me. About the newspaper. It reminded me of the lost diary topic, but apparently she has more than one. Who knows. I remember my period of having diaries in my teens and I appreciate that because it made me realize that writing would be an important part of my life. If there is one way I am good at expressing myself it is writing, and no, not in English so I apologize for the mistakes. There is one last detail of Lauren's Attunement that goes a bit more on the personal side. When she says: "To be a real one, is to be an emotional one". I have always had a conflict with being emotional. Starting with my zodiac sign (yes, I know it's a bit silly to believe in that but it amuses me). As a Pisces, I am an emotional being. As a physically disabled person I have my limitations and although these limitations do not define me, I have always had a fierce fight with my vulnerable side. I hate depending on others, physically and emotionally. I also hate getting sick and others having to take care of me when I'm unable to do it on my own, that's why I don't get along with my emotional side. Excessively emotional and I prefer to be more cerebral in many aspects (I think you have noticed that my favorite word this year has been brainless people, right) and dependency is something that I can't stand on myself. That they depend on me does not matter, I am always for those who need me but being dependent is something I tend to avoid like pests. Relying on others to do things for you, depending on the affection of other people ... my family (except my mother) was never very affectionate to say, it was not impulsively hugging you or public displays of affection and I learned to be the same . But I also learned to give what others did not give me. And it cost me. That of leaving the mold of a family that is there and that sometimes worries but that others can leave you and not know what you are doing on any given day. A family that demands expectations. At least some of my uncles. I think that in that part I feel identified with Lauren and it is curious because I am adopted but she is not. And still I feel identified with Lauren and at the same time with Camila and the relationship that she has with her mother, which is almost an exact copy of the relationship that I had with my mother throughout my childhood and adolescence. I guess that's why I follow them both, apart from because I love the music of both. The last detail and I already stop talking about me because this post is about Lauren. What she talks about the industry, the molds, how female artists within the industry are treated. That was also an important aspect because here we are, always complaining about the fact that female artists are undervalued and punished twice as much as a male artist because the music industry is misogynous and macho. That's true.

Society tends to forgive the mistakes of male artists who sometimes do more reprehensible things than female artists and all the mistakes of those female artists (Leigh-Ann of LM throwing shade at Camila) come to light more times and they are more hated. That is a part of the industry that I have always hated and that makes me sad at the same time because it always affects our girls. And I don't know what else I have left to say that I haven't already said, I hope I wasn't too confused with my ideas but it was something I had to write about and I've taken my time to do that. I don't know if Lauren is ever going to read this, but I wanted to thank her. Thanks moonchild. Thank you for giving us that piece of you that makes you vulnerable so that we know it. Thank you for being yourself, for teaching us that we can heal and continue to grow. Thank you for that beautiful mind of yours that has so much to express and deliver to this screwed up world. Don't stop being real, mija. Don't let that light you have go out. I love you so much moonchild ...

sorry for the long reading, folks but it was something I needed to said.

[aspoonofsugar]

Shipping aside, can you analyze Zuko and Katara's relationship, as well as Zuko and Azula's vs Katara and Sokka's

Hello anon!

When it comes to Katara and Zuko’s dynamic, I would start from this scene:

This scene is where they interact for the first time not as enemies, but as people. It is meaningful that the first thing they share is about their respective mothers.

Ursa and Kya are two fundamental figures in their kids’ lives. In particular, when it comes to Katara and Zuko, they are linked to sides of them they usually hide.

On one hand Ursa is linked to a kind and empathetic side Zuko has, but does not initially show.

For Zuko (and also for Azula, but in a more complicated way) Ursa symbolizes unconditional love. Ursa is the parent who has always shown Zuko kindness and appreciation no matter what he accomplished.

Ursa being linked to a more positive side of Zuko is made clear also here:

Iroh: “You have more than one great-grandfather, Prince Zuko. Sozin was your father's grandfather. Your mother's grandfather was Avatar Roku”.  

Ozai is Sozin’s descendant, while Ursa is Roku’s. Zuko is the descendant of both and must reconcile these two sides of himself.

In short, Ursa embodies a more positive side of Zuko. This is why the flashback about her is one we have when Zuko is travelling alone and is already starting to change and to show more and more of these positive traits.

When it comes to Katara, the violent death of her mother is instead linked to a ruthless unforgiving side she rarely shows:

Katara: “It's not the same! Jet attacked the innocent. This man, he's a monster.”

Katara is usually compassionate and empathetic. As Sokka says:

Sokka: “ Nah, she doesn't hate you. Katara doesn't hate anyone.”

However, when it comes to her mother’s murderer, she shows cruelty. What is more, at the root of both Katara and Zuko’s traumas reguarding their mothers there is the fact that they grow up without knowing what really happened to them.

All in all, they stay confused and without closure to the point that years later what happened to their mothers is still haunting them. What makes their parallel even stronger is that both Kya and Ursa died/disappeared to protect their children. However, the reasons why their children risked death are different.

On one hand Zuko risks to die because Ozai does not value him. In particular, Ozai sees him and his bending as weak. On the other hand Katara risks to die because she is a bender, so she might be strong enough to pose a danger for the Fire Nation.

Both children are threathened by the Fire Nation, but for opposite reasons. Zuko is targeted because of his “weakness”, while Katara for her strength and potential. This ties to the different social role they are asked to fulfill by their respective communities. On one hand Zuko is asked to be a prince and so to exhibits traits like ruthlessness and strength. On the other hand Katara’s culture (well, the culture of the North Water Tribe, at least) asks her to be a woman and not to fight.

Both Katara and Zuko exhibits traits they should not have. Katara is powerful and has taught herself how to fight, while Zuko is compassionate and does not want soldiers to be cruelly sacrificed. They end up in trouble because of this and enter into a conflict with parts of their culture just to be themselves. At the same time, theirs is also a story of getting to know their respective cultures better and this can happen also through getting to know other cultures as well.

This is made clear by how their respective bending progresses throughout their journeys.

On one hand Katara leaves a homecountry which was almost completely destroyed by the war. Many aspects of her culture, especially the ones related to her bending, went missing and her main objective at the beginning of the series is to learn more about them. Throughout her journey she succeeds. As a matter of fact in each season she discovers more and more about waterbending. In the first book she discovers its healing properties and learns a Northern style. In the second book, she discovers the swamp style of water-bending. Finally in the last book she is trained by a Southern bender and learns blood-bending. In short, throughout her journey Katara discovers her roots and accepts both positive and negative things about them.

On the other hand Zuko’s bending develops as he learns more from other cultures:

And, thanks to in his attempt to teach fire-bending to Aang, he connects with a style of fire-bending often forgotten:

In short, Zuko is enriched by other cultures and it is through them that he also discovers more about his own.

It is also interesting that what we discover about each bending each season parallels Zuko and Katara in some way.

On one hand Zuko starts the story as an antagonist and what people say about firebending in season one is mostly negative:

Even a firebending master recognizes how dangerous his bending is. This is what is said about waterbending instead:

Waterbending has healing qualities. Water can heal, whereas fire can only hurt. This is a good power for a character like Katara to have. As a matter of fact she is an extremely nurturing character to the point that she often acts as a mother figure even for characters who are her peers:

Sokka: “I'm gonna tell you something crazy. I never told anyone this before, but honestly? I'm not sure I can remember what my mother looked like. It really seems like my whole life, Katara's been the one looking out for me. She's always been the one that's there. And now, when I try to remember my mom, Katara's is the only face I can picture.”

However, in season three we are shown that firebending can also embody a positive philosophy:

Aang: “All this time, I thought firebending was destruction. Since I hurt Katara, I've been too afraid and hesitant. But now I know what it really is ... it's energy, and life.”

Zuko: “Yeah. It's like the Sun, [He curls his hand into a fist.] but inside of you. Do you guys realize this?”

Fire is linked to the sun and can represent life itself. After all, where would humans be without fire?

At the same time, we are shown how waterbending can be extremely dangerous:

These revelations about firebending and waterbending fit with what we discover about Zuko and Katara themselves, as stated above. Zuko can be helpful and kind, while Katara can be resentful and feel deep hatred.

In short, both characters have negative and positive traits. However, they manage not to lose themselves and to find an equilibrium and this is also because of their loved ones.

This is also true for their respective cultures. All in all, all cultures have positive and negative traits and this is why it is important to acquire different points of view. This is the main theme of ATLA after all. It is not by chance that the Avatar gets to bend all elements. It is because only through knowing all kinds of people he can help maintain harmony.

Another interesting similarity between Zuko and Katara is that they foil the other’s sibling.

On one hand Zuko and Sokka are both boys who are struggling to live up to others’ expectations. Both have a father figure they wish to make proud. However, they feel they are failing.

In Zuko’s case, Ozai being proud of him is something which will never happen. This is because Ozai will never accept Zuko as a person and will fail to see his positive traits. This is why in the end Zuko realizes Ozai’s praise is not worth it. He realizes that there is already a person who is proud of him and who loves him despite it all aka Iroh.

When it comes to Sokka, Hakoda is already proud of him, but Sokka feels he is not enough if compared to his father. This is because what he mostly sees of his father is his strength as a warrior. Sokka is an average person when it comes to physical strength and battle prowess. He acquires more experience as the series progresses, but he mostly uses his intelligence and skill to solve situations. What is more, he is a normal person in a cast of people with magical power. However, Sokka slowly discovers that he can be like his father (a leader and an example) just by being himself. His strength lies in him seeing things outside the box and he does not need to lose his goofy side to be useful. At the same time, he progressively loses his toxic masculinity (just like Zuko). He starts to respect women more and learns from them, for example.

On the other hand Katara and Azula are similar in how they are both affected by their mothers’ disappearances. This despite the fact that they hide their hurt well enough. As a matter of fact it is clear pretty soon that Sokka and Zuko want to be appreciated by their fathers, but the level of pain and unsolved issues Katara and Azula have for their mothers’ disappearances is something which comes up much later.

This is because both Katara and Azula are asked by their societies to fulfills different roles. Katara is asked to become the woman of the family and she ends up mothering her older brother. Azula is instead asked to be a princess and a military leader. This makes so that they repress their issues until they come up in ugly ways:

It is interesting that the moments they are at their most powerful when it comes to their bendings are also the moments where they are the most unstable psychologically wise.

That said, Katara still manages to process her feeling of grief and to find closure. It is also important that she expresses her feelings of resentment towards her brother to an extent:

Sokka: “Katara, she was my mother, too, but I think Aang might be right.”

Katara: “Then you didn't love her the way I did!”

Because of this, she is ultimately able to move on.

However, when Azula has the chance to address her feelings for her mother, she refuses to do so, as I explained here:

Azula: I don’t have sob stories like all of you. I could sit here and complain how our mom like Zuko more than me. But I don’t really care. My own mother… thought I was a monster… She was right of course, but it still hurt.

In conclusion, Katara and Zuko are pretty strong foils and they represent two sides of the conflict and two different cultures, which initially despise each other. This is pretty much made clear by them being linked with water and fire respectively. This is why their story is a story of reconciliation and forgiveness and this is made clear when one compares their respective roles in each season finale.

In the first season finale they fight each other. This is the first time they are on equal footing because Katara finally got the chance to be trained. The focus is mostly on their competitiveness and conflict.

In the second season finale, they discover they are more similar than what they think. They have similar traumas and are in similar situations. However, even if Katara is ready to give Zuko a chance, Zuko betrays her and a reconciliation does not happen.

Finally, in the third season finale, they are shown fighting together against Azula, who is a foil of both. They save each other’s lives and help to end the war.

These are my main thoughts on these two characters and their foiling.

Thank you for the ask!

[canonicallysoulmates]

Hey! You can feel free to ignore this since it is a big ask but. As someone who dropped off the show by s8 and doesn’t really care about following the big plot points, can you recommend to me all the good Sam & Dean episodes that have happened since? (Not just angst or drama even, even just episodes with funny little moments or details?) I am like, solely here for these two being codependent and soulmates and not much else. <3 (Sidenote: thank you for your tagging system!)

Hi! Sorry it’s taken me so long to reply to this; as you yourself said this was a big ask, lots of episodes to go through and remember but hopefully you’re still interested in my answer. 

Now the following are not every episode where there’s a brother moment for example the s8 premiere had a great brother hug where the boys reunite, episode 3 of that same season drew parallels between the boys and a couple, if I remember correctly,  but those episodes are not included on the list because I didn’t just wanna recommend every single epi that had a brother scene just because it had a brother scene. I took into consideration if it had moments, what they were, enjoyability of the episode and if the moment or moments were big enough to make a bad episode worth recommending, I don’t wanna recommend something to you without thought and have you spend an hour of your life just to see and enjoy a flash in the pan moment you can enjoy just as much or more through gifs and clips. 

In complete transparency I will also add that I did this mostly from memory so there is the chance that an episode with good moments slipped through the cracks and for that I apologize. 

I don’t know at what point of s8 you stopped watching or if you stopped before the season so I am starting this with s8. 

Season 8

Episode 4: Bitten. This epi doesn’t have a ton of moments or even a big one but it does have two students saying Sam and Dean give off workplace-romance vibes, and I’m a sucker for the boys being compared to or thought of as a couple.  

Episode 10: Torn and Frayed. Not gonna lie, not the biggest fan of this episode, but it does have the brothers choosing each other over Benny and Amelia so….

Episode 11: LARP and the Real Girl. I said it before in another post that to me this is the turning point of the season for the better, and it has the boys having fun. 

Episode 12: As Time Goes By. I wouldn’t call this one a Sam and Dean episode as in SamandDean packed with brother moments but we and the boys get to learn more about their legacy as Winchesters so if that’s something you’re interested in...

Episode 14: Trial and Error. This one has emotional brother moments with Dean wanting Sam to be safe and have a normal life and Sam asking Dean to believe in him, and praising him. 

Episode 17: Goodbye Stranger. To be honest, I don’t remember if this epi has other brother moments but I am solely recommending it because this is the one where Dean learns the trials are making Sam sick and at the end there’s a scene where he tells Sam to let him help carry the burden. 

Episode 19: Taxi driver. Great epi filled with protective!Dean, he kills Benny to save Sam, a beautiful brother hug. 

Episode 20: Pac man fever. They argue like a married couple and Dean’s fear is shown to be losing Sam. 

Episode 21: The Great Escapist. Pretty much the whole episode has little moments of Dean taking care of Sam. 

Episode 23: Sacrifice. “Don’t you dare think that there is anything past or present that I would put in front of you!” This is the ‘if you watch nothing else from this season’ episode to watch. If you watch nothing else from the s8 sections of recommendations, watch this one, it has one of the best, most emotional Sam and Dean moments in the show’s history.

Season 9

Episode 1: I think I’m Gonna Like It Here. “I made you a promise in that church. You and me, come whatever.” “There ain’t no me if there ain’t no you.” I live for the codependency and for these two going to extremes to save the other including tricking into letting an angel possess the other’s body, and I refuse to apologize for it. 

Episode 5: Dog Dean Afternoon. Okay, I’ll admit this one definitely falls more under the fun episode type but it does have Dean being all worried about Sam, clutching to him and threatening to lick his face if he doesn’t wake up. 

Episode 7: Bad Boys. We learn more about young!Dean and see him choosing Sam over having a normal life.

Episode 15: #THINMAN. This one is an angsty one and not just because it’s the last time we see the Ghostfacers, this takes place after everything goes to shit in the boys relationship with Sam finding out about Dean’s betrayal and it contains parallels to what Ed and Harry are going through in their relationship, a protective worried Sam over Dean possibly being killed (which let me tell you is delicious to witness after all the angst and Sam acting like he doesn’t care about Dean anymore), and a bittersweet moment of the boys reminiscing about their past.

Episode 16: Blade Runners. This one is being recommended because it has some protective!Dean and because Sam being Dean’s Colette bringing him out of his MOC induced rage. 

Episode 23: Do You Believe in Miracles?. The “I’m proud of us” moment, need I say more.

Season 10

Episode 1: Black.

Episode 2: Reinbach.

Episode 3: Soul Survivor. These three episodes are all being recommended for the exact same reason they have demon!Dean, and Sam going crazy trying to save him/find him. Plus, Soul Survivor has demon!Dean following Sam around the bunker. 

Episode 4: Paper Moon. It has a flashback showing us just how far Sam was willing to go to get Dean back plus some emotional conversations between the boys. 

Episode 5: Fan Fiction. I know people who like this episode. I know people who hate this episode. Personally, I think it has its good parts, it has some brother moments and some nods to wincest.

Episode 12: About A Boy. This one also falls more into the category of fun episode with Dean being turned into a teen, but it also has some good brother moments. 

Episode 14: The Executioner’s Song. The fight scene between Dean and Cain was amazing and it has Dean collapsing into Sam’s arms. 

Episode 18: Book of the Damned. Love this episode, this epi is probs the best example as to what I enjoyed the most about s10; usually we see Dean being codependent and going to extremes to save Sam but during this season we see the opposite and this episode really highlights that with Sam telling Dean he can’t lose him, telling Charlie he understands hunting is his life but he can’t do it without his brother, going behind Dean’s back and seeking help from Rowena to try and save him.

Episode 19: The Werther Project. More Sam being desperate to save Dean, protective!Dean, and Dean saying he and Sam are stronger together than apart. 

Episode 23: Brother’s Keeper. Sam and Dean literally choose each other over the world and Dean kills Death over Sam. 

Season 11

Episode 4: Baby. One of the best episodes, just our boys, the open road and all told from Baby’s POV. A must watch in my book. 

Episode 8: Just My Imagination. The last flashback episode we ever got -  *hits 15.16 with a shovel* like I said last flashback episode we got; it’s fun, has good Sam and Dean moments, we learn more young!Sam, Sam gets some love and praise, the boys wore cozy sweaters, good epi. 

Episode 10: The Devil in the Details. It has protective!Dean and Lucifer point out to Sam that he and Dean have chosen each other time and time again because they can’t stand to lose one another. What can I say, I like when the codependency is brought up. 

Episode 11: Into the Mystic. Here’s the thing with this episode, I have become sort of embittered towards it due this being the introduction of a character with whom there is an attempted romance in s15 which I heavily dislike but I can’t deny that before that I really did like it, it has some good brother moments and it has Dean telling Sam he forgave him for not looking for him in Purgatory which is major. 

Episode 15: Beyond the Mat. Another epi on the fun list, mostly being recommended because it has the boys having fun and that’s something we rarely get to see. 

Episode 16: Safe House. Protective!Worried about Dean!Sam!

Episode 17: Red Meat. What can I say about this iconic episode? It's one of the best episodes in the series, absolutely soul crushing, codependency times 1,000. Have tissues with you when you watch it because you will sob your heart out. They turned Sam and Dean into Romeo and Juliet but better. 

Episode 20: Don’t Call Me Shurley. Regardless of what a certain showrunner ended up doing to the character I do still love this episode and it has some great Sam and Dean content with Dean preferring to possibly die with Sam, telling him he’d never leave him and the return of the Samulet. 

Episode 23: Alpha and Omega. Emotional brother hug, Dean saying he and Sam need each other.

Season 12

Episode 5: The One You’ve Been Waiting For. I’m gonna be honest, I don’t remember much of this episode other than I enjoyed it and that it had some fun moments between the boys. 

Episode 9: First Blood. I’m truly only recommending this because it had,  Badass!Winchesters.

Episode 10: Lilly Sunder Has Some Regrets. Funny thing about this episode was it was supposed to be all about C but it ended up being enjoyable and filled with little Sam and Dean moments including some protective!Sam. 

Episode 11: Regarding Dean. Jensen’s acting in this episode is next level, and it is filled with little brother moments. 

Episode 18: The Memory Remains. The only reason I am recommending this one is because it’s the one where the boys carve their initials on the table which was a major moment. 

Season 13

Episode 8: The Scorpion and the Frog. Another fun episode that’s filled with little Sam and Dean moments. 

Episode 11: Breakdown. For so long I talked about Dean being Sam’s knight in shining armor it’d be wrong for me to not bring up the episode where it happened. Also, Dean tells Sam he’s there for him. 

Episode 12: Various and Sundry Villains. It had some fun brother moments. 

Season 14

Episode 4: Mint Condition. Fun Hallooween episode with fun,  little moments. Absolutely loved this one. 

Episode 11: Damaged Goods. This isn’t really a Sam and Dean episode, or at least I don’t consider it one but the ending scene between the brothers where Dean tells Sam he’s the only one that could have changed his mind about throwing himself into the box was beautiful. 

Episode 12: Prophet and the Loss. The brother hug to end all brother hugs. Absolutely amazing episode, packed with brother moments including what’s probably the best brother hug, will sing its praises till I die and then I’ll continue singing them in the afterlife. 

Episode 13: Lebanon. The 300th episode. It has some moments between the boys as well as some touching scenes of the boys with their dad. 

Season 15

Episode 4: Atomic Monsters. Is this partially on the recommended pile because Jensen directed it? Yes but nonetheless it’s a pretty good epi that while not super packed with brother moments does have them. (Also, this is the last season and I’m sad to report we are scraping the bottom of the barrel trying to find Sam and Dean content in this dessert.)

Episode 11: The Gamblers. Good brother moments and the boys get called heroes which I love. 

Episode 13: Destiny’s Child. The sole reason I am recommending this episode is for AU!Sam and Dean, they are the funnest thing this show has done in a while. 

Episode 14: Last Holiday. While this doesn’t really have Sam and Dean moments with the exception of Sam telling Dean he should have called him to let him know he was in trouble, it does have the boys being taken care of and getting to have some fun and that’s something we so rarely get to see that I am including it. 

Like I said, this is not a definitive list of every single episode that has Sam and Dean moments there’s episodes like the most recent one, 15.17, that had a beautiful moment between the brothers but I didn’t list the epi here cause I don’t think it’s necessary to watch the whole episode for it when it can be seen and enjoyed just as much by watching it through a clip. Which while I don’t recommend the whole ep I do highly recommend looking up the end and seeing the brother moment; point is, similar to 8.01 or 15.17 there were other episodes that had moments that weren’t included due to seeing the whole epi not being necessary to enjoy the moment.

[goblinconceivable]

oh ffs, i have feels but also head exploded

So basically someone liked a story I wrote a million years ago and mostly forgotten about, and when that happens I often reread the thing.  (I can’t be the only one who does that...)  Can’t say I’ve thought about Alex/Izzie since I wrote it, couldn’t even tell you when I stopped watching the show, though I think it was before her cancer.

Anyway I infected myself with feels for them again.  And I dig the style I was using, 1+1 started a third chapter for funsies and should have stopped there.  Because I did some reading and watched some clips and it’s all too much and when that happens I meta.

Usual mishmash, structure desired but no work put into achieving it.  Classic brain dump.

Okay, fundamentals first.  I am for now ignoring how Izzie/KH left the show.  Because they had to exit her somehow and I’m sure Shonda was pissed at her, (or was leaving the door open for her return but I doubt it.)  Haven’t seen it, if I needed to I could work it into my conception of their whole arc, but since I’m more critically hung up before that point, not worrying about it.

What’s got me messed up is that RIGHT AFTER Izzie promised to not go crazy, she... went crazy.  Like, WTF was that about?  I get that GA is all about the soapy drama, that is why I stopped watching.  First couple seasons: brilliant.  Downhill from there.  But two things:

1) We never get to see these two happily together.  One hot second and bam.***  Every.  Time.  Shonda allowed it for Meredith and Derek, but in my brain other couples got it for periods of time at the least.  But these two, nope.  And know what?  THAT WOULD HAVE BEEN FASCINATING TO WATCH.  I could delve into this and might swing back around but trying to hit highlights.

2) It set them on two different storylines instead of one.  And Izzie got the short stick.  Yes I can see how it works on paper, but not on screen.  There are limits to the visual medium and limits to how much screen time they were given, which pretty much destroy the ability to nuance something this complex.  

a) Izzie’s in her own world dealing with a ghost and is basically in two relationships at once (mental note to look for parallels with Alex’s exit and Jo v Izzie.)  Except one’s a dream and the other is a reality that is still developing, yet she can’t give attention to.  She has to fight every time to be there for Alex in the real world, and we don’t really get to explore her struggle.  It often just looks like distraction and distance and him being second right after she firmly laid out that she cares about him.

b) Alex is in a relationship and is super happy and excited and wants the perfection he’s dreamed about to be real so much he’s overlooking everything that’s off.  In his own little dream world I guess, but like, the whole thing skews into this being the story of Alex while Izzie is wandering in circles somewhere over in that direction, all serving the purpose of advancing exploration and development of Alex’s character.  When did KH ask to be let out?  If it was after this point, Shonda svcks.  I mean, it is cool to watch him really blossom, but since he’s doing it under his own steam I’m left with a bad taste in my mouth.  Because he’s not really in a real relationship.  I want to see him get that, I want to see it for real.

***What IS interesting, I’ll admit, is that when they’re not together, they’re beautiful.  Which is most of the time, so they gave me that.  I’m a massive fan of the bittersweet, the star crossed, the never-quite-on-the-same-page, the nuance, the “it’s a deeper connection, a deeper love than just romance.”  Thank gosh, it is time for excited thoughts.  Because there is a strong friendship and mutual reliance and helping each other grow, pushing and giving hard truths and encouragement, and yes romance is woven through this but not the genesis and used more in terms of nudging everything along the path.

I love that Alex basically imprints on Izzie.  I love that he loves her the whole time.  But he’s willing to step back.  He may get jealous and resentful and petty and scared and mean.  But those are natural human emotions, Izzie gets them too, and they’re fundamental to his character and through those things he learns and grows.  Izzie doesn’t make him.  She entices him.  Yeah, often directs him, especially at first.  But at some point he’s growing on his own, in fits and starts, in reaction to his own emotions.

For example, when Izzie tells him she slept with George, he gets pissed, but also admits why pretty readily.  And he tells her the truth, remarkably straightforwards.  He reaches out to her a lot.  And she turns him aside a lot.  And he keeps loving.  Even if romance is off the table.  He runs after her a lot.  Sits next to her when she’s upset a lot.  Is understanding a lot.  He’s different with her, and look I’m a fangirl, it’s a trope, I swallow bait line and hook.  Which should be bait hook and line if my vague understanding of fishing is correct.  I fished once, with safety implements, and still cried even as they removed the fish and popped it back into the water.  (Okay I just reread to sort out where I’d gotten too and it’s hook line and sinker.  Statistically someone will probably read this someday, you have my full permission to laugh at me.  Anyway...)

The quintessential moment, the revved to 100, of course being when Izzie is clinging to a dead Denny.  They’re all standing around.  No one even looks surprised with jilted Alex talks to her.  In a really caring way.  And this is still fairly early on, wasn’t watching anything but their scenes but this had to be rare sight eh?  (Mebbe?)  And then he picks her up and sits down holding her and she clings and cries and like symbolism and could essay that but not going to right now because the broad relevant stroke is that Alex loves Izzie selflessly.  And this is the pinpoint core of why I can buy his ending, because he can’t NOT love Izzie.  I don’t think he even wants to stop.  Though he can set it down in his heart and let her go and doesn’t pine.  But he never stops loving her and it’s so many kinds of love imperfectly yet perfecly forged.

Forged.  But also born.  Stars uncrossed.  I have emotions without words and if I try I’ll never get out of it to move on, so moving on.

(Oh, George telling Alex to talk to Izzie because she won’t talk to him about whatever it was.  Isn’t is crazy that Izzie’s emotional squishy bestie goes to the emotionally stunted bad boy to help her because...  it’s an understanding of the two-way Izzie/Alex bond, but also this crazy trust that Alex will show up.)

I love that Izzie isn’t blind to his faults, truly doesn’t like his faults, but has eternal faith for who he is and can be.  She always saw him as someone with walls, once she stumbled on a lose stone and got a glimpse inside.  She knows.  She doesn’t always understand, but she knows.

Slight divergence from that line of thought, but its a great moment when they get together and he’s fairly transparently trying to make sure they’re in a committed relationship by dangling other women in front of her, and she’s a little ticked that he seems to be taking it rudely casually.  Probably a bit of insecurity, but I’d say more that she has a long history of not reading him from the perspective of him loving her.  Ie, 100% not recognizing that telling him about sleeping with George would hurt him.  And doesn’t get it until he comes in and he’s dropped the swagger and it’s a “I know I’m doing something wrong and I don’t know how to do it right so help me” thing.  

(Random memories of Sloan/Don from The Newsroom when she’s crying on the floor and Don comes in a sits next to her.  I wuvs them too.)

I love that she openly leans on him, when he offers support she takes it.  She doesn’t ask why, she accepts it and leans into it and is open to it because she trusts him because she knows him.  The bits where she hates him tend to fall out of romantic issues, but when that’s removed from the equation they’re in sync.  And the thing is, just as caring is fundamental to Alex’s nature, trust is fundamental to Izzie’s.  And those two things weave into each other.  Kinda like rats and the food button.  When Alex reaches out Izzie she honestly accepts it, a “reward.”  So he’s comfortable doing it again, and again.  And when she does rebuff him he’s seen rewards come out enough that he doesn’t just scatter.  And when Izzie trusts him, he rewards her with gentleness and care.  She has the rougher time of it overall, because Alex is more screwed up emotionally, and breaks her trust more often than she rebuffs him, but that’s where Alex’s constant love comes in.  But I cannot recall enough critical moments to have a cohesive proof, so I could be a little off base.

In my head Alex has always loved Izzie more than Izzie loves him, but I think my memory was unfair.  There is a real constancy to Izzie’s affection, though I don’t think she imprinted on Alex as he did on her.  She’s a different person, loves differently, has different issues.  But my longstanding impression is mostly because of Denny.  Who she truly did love, though the qualities of that love deserve exploration which I will not at this time attempt. And Denny loved her.   The whole “side loves along the way” being a trope.  Though usually “it ended in death/deathlike state” is given to the man and so THANK YOU SHONDA.  Thinking of classics like Jane Eyre and Rebecca though I think both were actually crazypants first wives.  And I do think female character’s side guys have a  habit of dying, but it tends to feel more like a plot point to shut the door on continued love, whereas Denny remains a part of Izzie’s life. 

 At any rate, despite superficial similarities, Alex doesn’t hit the trope because his crazypants relationship wasn’t ever really about the woman:  yep Alex got Rebecca, and Rebecca was crazypants, and it was a plot point to get him to the crying.  Rebecca wasn’t love. It was never love.  BUT

She DID, in every way, highlight what needed to be highlighted.  1) That he desperately wants a family.  2) that caring for someone, not just about them, is fundamental to him, (and ties neatly into him caring for Izzie all those sitting on the floor conversations.) and c) it’s not entirely healthy.  Which is ALSO why thrusting his new happy relationship with Izzie into caregiver role is insensitive and undermines the relationship because it only makes sense if we got to see them both happy in the relationship first.  And then we can see the quality of his caregiving change.  But we didn’t.  So bugger it.

I do LOVE how they let almost the whole next season play out he fallout of all that.  Something taken slowly!  We got to explore it.  Did feel a bit drawn out tbh.  But it just emphasizes the weight of it, I guess.  Especially as it was a subplot amongst 100 others.  This was their development for the season.  Which was mostly Alex.  But Izzie’s reactions revealed some things about her as well.  Majorly dancing around laying it out for a close look and I don’t know why.

Favourite moment?  Maybe Izzie putting her hand on Alex’s chest when he’s freaking out and telling him to stop, he doesn’t need to say any more.  Because he’s trying to convince her of something, and she understands.  And the trying to convince is shredding him, and she knows that.  It’s a very loving and accepting “stop.”  She’d already taken charge of the situation, for the good of the patient.  She’d already taken charge because she knew Alex couldn’t handle it, he was too deep in something to see clearly.  And she’s still in charge.  She doesn’t break down and cry for him, or try to comfort him, he’s been thrown back into childhood and PTSD might literally be at play and what he needs, and she understands, is someone he can trust, who’s calm and gentle but strong and solid, to say it’s okay.  It’s going to be okay.  You don’t have to carry this on your own.  We have it now.  Because when we’re little and in over our heads what we want and what we need is an adult to take the burden.  And still the physical contact is comforting, her tone of voice reassuring.  She creates a space where he can feel safe and heard.

Ugh, rewatching, and we’re watching him literally devolve.  Stages of grief ya’ll.  He’s using every tactic to try and get what he thinks he needs: being able to take care of Rebecca.  He’s in denial that anything is wrong.  He gets angry when Izzie grabs him, to the point of threatening to hit her (though it’s fighting words and not real threat, and Izzie totally knows that.)  He dives into bargaining.  She’ll be okay if he can take care of her.  He can do it.  He tries to convince her it’s true.

By the time he gets home it’s depression.  Not just Rebecca, but about his mom.  And Izzie approaches him differently.  In the hospital it was immediate and she was “in charge,” and needed to be in all facets, but at home, with the situation taken care of, she’s a friend.  An equal.  Which is what he needs right now.  His sticking point later is the crying, so I kinda wonder how he’d react just to having told her about taking care of his mom as a kid.  Right at the start he told that kid about his dad, (dad beating up his mom and him beating up his dad) while Izzie was within listening distance and didn’t seem fussed.  But it’s ultimately a story about him being manly and protecting his mom physically.  Which would be why it’s several seasons in before this crops up - waaay more intimate information.  Probably all lumped into one, with the crying as shorthand.  And mostly that his past is a fact, it’s his emotions he wants to keep private and deny.

He clearly did try to drown his emotions with sex.  I’m not sure it would have worked with a random girl because he’s way too close to crying to do much of anything.  And obviously doesn’t work with Izzie because sex is apparently emotional intimacy and I guess comfort for men moreso than women, but it plays out as a desperate attempt to get comfort in a safer way.  Bargaining again, I suppose.  “Have sex and will be fine tomorrow.”  But, as noted, he doesn’t get that far because it’s too heavy and he rather quickly is just sobbing.

Which is a lovely parallel to holding Izzie while she cried on him after Denny died.  Though Izzie had no qualms and no massive emotional recoil because emotions and vulnerability are normalized for females Izzie is a particularly emotional person.  And an inverse of all the times Izzie is an emotional wreck and Alex sits down besides her and offers her support and understanding.

Could also argue that Izzie just saying “I’m sorry... About Rebecca.  And your mom” - it’s an emotionally intimate moment.  Of understanding.  She’s acknowledging the two situations, and isn’t trying to do anything about them, explain or push or anything else.  Just make him feel understood and not alone and sex is the way he can respond to that.  How to process that in a way that feels manly to him?  Also notably Izzie does seem to be going with it, and it’s aborted because he starts sobbing.  And is still saying “Please” which is amazing, because he totally was never asking Izzie to just sleep with him.  He wants to make it stop - the pain, emotions, probably reliving memories.  But also... stages of grief.  He needs to feel it, so he can accept it.  He really just needs to cry, and grieve, and not be alone.

And it’s like... this is where their love story feels epic because it would look so different if they didn’t have all the levels and layers of love.  Take out the romantic/sexual aspect.  Take out the friendship.  The trust.  The family.  Take out anything and this can’t play out.

Who didn’t love moments like Alex explaining to Bernedette Peters that men sometimes need to protect their manliness in the eyes of the woman they love.  And they’ll do shit things to protect that manliness, but it’s because they care.  Which is obviously idiotic and while romantic on screen is very much not so in real life, but this is fiction so hey ho.  It’s such a wonderful foil.  Because the situation here was not that Alex took his pain elsewhere to protect Izzie’s opinion, but that Alex completely and for a long time shut Izzie out to protect his manliness, which is entirely counterproductive but the only option he could see.  He minimizes his experience as a “bad night.”  (I mean, if you remove all the adjectives, he’s not wrong.) He’s protecting his own sense of manliness to himself.  He doesn’t like feeling that vulnerable.  He let Izzie get too close.  He’s afraid.  It’s all a tangle.  And it pays off when they come back together and he’s willing to be more vulnerable, almost, and then enthusiastically, happy to be.

*But it does reference when he slept with Olivia when he failed his boards.  So yeah, he’s done it literally too.

Backing up a step to revisit season 5.  And actually they start out close.  They’re all out in the cold waiting to greet patients and Alex grabs a blanket for her.  He’s not irritated that Izzie keeps asking how he’s doing, just obviously in a bit of personal denial.  And they’re totally messing around and lighthearted and look at each other with their heads really close and it begs some questions about the interim, though I guess they just haven’t talked about it deeper than “are you okay.”  And per the Izzie/Meredith convo I guess they didn’t continue having sex (probably didn’t have sex that night either).  Though the way Izzie looks at him as he leaves, she’s totally concerned that he’s not dealing with it.

Ah yes, forgot - so they just kept his breakdown unremarked upon, the superficial checking in is situational because Rebecca is a fact.  They don’t talk about it, it’s fine.  Pretending it did not happen.  But it’s as soon as Alex thinks Izzie told Meredith about it that it goes pear shaped.  It’s funny that his issue is the crying and he’s the one that told Meredith, but thematically Izzie saying “he’s opening up to me” is sorta the same.  Also awww that even as she labels them friends, there’s this little glow inside her that they got closer.  Emotional intimacy, what’s life without it eh?

So also 100% it’s high on Alex’s mind.  That he did it, and so too that Izzie could betray him and tell others.  Their relationship is so beautifully fragile in that short interim.  It’s this little bubble where he’s okay that he was vulnerable with Izzie because she accepted it and isn’t making a big deal about it.  And he does feel super close to her.  But he can’t take anyone else seeing him in a non-manly light.  For himself, and it works in terms of Izzie too if it’s an inside/outside situation.  I’m a bit stuck and going in circles.  If Izzie tells, then Izzie isn’t taking it seriously?  Doesn’t understand him?  I don’t think he’s even angry at her, if he looks weak to others then she’ll come to see him as weak?  Halp, stuck.

Also so, I’ve seen it remarked upon that Izzie tends to forgive Alex when she maybe shouldn’t.  But part of forgiveness can come from understanding the other person.  Doesn’t have to be, especially for little stuff.  But for big stuff?

Oh, and so weird but kinda cool that right after that rather self-aware conversation with Peters, he specifically lets Izzy see him with another woman.  Were those scenes meant to be inverted?  Or is he going into this eyes wide open?  Trying to prove something?  He’s hurting her though, is it intentional?  Because cheating, by nature, is secretive, your person doesn’t know so you’re not hurting them directly, though of course when they find out it blows up.  But the intention to wound is not there, it’s an escape.  Proving that he’s really fine and back to his old self?  They are not sleeping together so this isn’t cheating.

And even after that Izzy just shrugged it off.  Popped in to tell him they maybe are getting kicked out, tries to get an apartment with him.  She’s holding on to their closeness and friendship, despite him being prickly.  And then... he smacks her or whatever they were doing which is back to flirty, and not meaningful but notably guides her out of the elevator before him.  Though her barb about STD did hit him.   Maybe he was trying to figure out how to stop being rude at her, and her continued friendliness was bufffer space until he could?  He does say hello at the end, but who was she talking to about having no one?

It does bring up an interesting insight.  It is true bout not something I thought about, that Izzie could be lonely, and actually does get as much out of their relationship as Alex ever did.  They are incredibly close.  And I think George might be married at this point, and thus no longer her “person”?

And then into the cryptic speak about them, while the father/son organ musical chair thing was happening.  He’s looking over his shoulder at her, glances up, unspoken words yadda yadda.  Follows her out into the hall when she leaves.  The freeze out is shorter than I remember, but look, they kinda always keep communicating because freeze outs do not feel right.  And I’ve moved to a blow by blow but Alex is trying to talk profession, and Izzie doublespeaks the “emotionally stunted” and he physically recoils and stutters like “yeah but no, that’s not what we’re talking about” and yet is now there and talking about them too.  “Okay, ... I”m trying to be-  I am, but this” WHAT is he trying to be/is???  Trying to not be emotionally stunted.  Is emotionally stunted (or doubling down on trying?)

This is just such a beautiful conversation.  Because Izzie IS emotional and caring but she has a mean backhand.  Pettiness, ultimatum, she can smack back as hard as anyone smacks her.  And she’s coming from a totally reasonable place, because he’s going hot and cold on her.  And you can see that it affects him, and that falls out from that same pattern where he’s trying to tell her somehing and she’s not putting in a ton of effort to figure out what he’s saying, but is focused on her own needs and thoughts.  ‘Cuz she’s hearing something like “give it up, you’re not going to get what you want out of me.”  And he’s trying to say “I’m afraid I can’t be what you need, because I svck, please don’t make me try and fail.”

And they’re convo through parallels continues, Izzie calls Alex broken and is like “okay I do it your way my caring for you is pointless and it’s all fine.”   Dad calls for son while kinda dying.  I know they claimed different thought process but didn’t Alex call for Izzie when he was shot?  And the payout from the series of exchanges: Alex is yelling at his standin to just step up and show he cares.  With a hefty does of potential regret.  It’s a 180, hoping that the kid does love his day, as well as getting emotionally invested.  His relationship with his father isn’t mentioned, not sure if it’s meant to play into this, because he has previously acknowledged that he regrets losing his father completely.

(But then 10 seconds later she’s going to go crazy and by avoiding treatment it’s kinda like trying to kill herself and just... poor taste writers, poor taste.)

Cue a moment where Izzie knows what he’s trying to say and rewards it.

Enter Izzie being a little obtuse, I know I covered this but ending my personal cannon with them getting together - Alex literally says “are we going steady.”  He’s literally saying “you tell me yes or no, and I will do that.”  Of course he’s trying to say “I don’t know if you’re serious and I want to be please clarify and reassure” but one of those literal ones should have been enough.  But then Izzie does always push him, not always intentionally, to be a little more direct, a little more vulnerable, trust her a little more.  And the result is sooooo adorable!

And brings to mind when Izzie was trying to ask him out for the first time.  And it went a tiny bit screwy and Alex flips it and asks her out.

There’s just so much awesome.  *sobs*  And there’s probably awesome in the cancer storyline too but I do not feel I can trust it and also it’s going to run full into Izzie being lame and leaving and all character development out the window?  And I DO NOT want to see her trying to come back and Alex saying No.  Because what will I see in the middle that gets them there?  They always say yes.  Eventually.  And season 16 when JC is leaving the show is a bit on the long side, even if I ignore the details of the intervening years.

Throwing everything at the wall and maybe I’ll be done with dumping or can at least refine things.  It’s the little speech I’ve only read and don’t want to hear bcause not sure how he did his line-read, but when he describes how he imagines Izzie’s life.  In how much detail, how much he wants for her, what he knows she’s capable of building.  He’s saying it to Jo and I’m uncomfortable with the idea he loves her, even if the letter to her does leak a “love you, in love with Izzie,” and I’m fine with Izzie loving Denny and don’t find it a problem Jo is still alive because I don’t see Alex going back but the thing where if he looks her in the eye he won’t return to Izzie and the kids is upsetting.  And it’s just the kids and insta-family which is enticing.  I mean, he’s not going to tell wife he’s leaving that he’s always loved his ex in a different way or anything.  But he’s also not lying.  He does mention to Meredith that he can’t go back to Seattle.  He’d stay with Jo then out of...  ?  Halp.  The best I got is he’s currently in a dream and if he goes back to his life, where he was happy, then he’ll lose the dream and it will disappear on him?

Slightly nicer is the elsewhere expressed (Meredith) idea that he’d set Izzie as unreachable.  Thus, in line with what he told Jo, he didn’t want to contact her because he didn’t want to make it worse for himself, and his happiness comparison was completely excluding himself from the possibility of being part of Izzie’s life.  It’s all happiness of them individually, not together.  But yes, he always wanted to reach out, wanted to hear her voice and he never had an excuse?  No excuse but curiousity, and that wasn’t enough to take a chance, but this was an excuse and he took it.  

And the idea that he knows the right thing is to stay in Seattle, and being with Izzie and the kids is crazy, but it’s what makes him happiest, where he belongs.  Meredith’s letter read first, so in that light, he’s overexplaining to Jo.  Also exposition.  References that conversation about his mental picture of Izzie, which I think was in the context of Jo questioning his feelings for Izzie.  It scared him because...  ?  He focuses on the kids.  It’s a little at odds with doing this for him, and a little suddenly ignoring the fact that he’s In Love with Izzie and I guess his mental image for Izzie was also his dream life and he gave it to her.  Though where he thought her kids came from is possibly an oversight.  Adoption?

Because it makes it sound like he’s torn between new and old love but the old love has is kids and wins.  It’s a free pass to perfection.  But he imagined a “whole life” for her, which is a massive investment opf time and emotional energy on someone he hasn’t seen in forever.  I mean thinking well for an ex is al well and good but this sounds a bit beyond that, where she’s not a part of his life but a part of HIS life, believing she’s okay makes everything okay.

I am also willing to take up arms and claim that “I can’t look you in the eye because I wouldt be able to walk away...” doesn’t mean walk away from Jo, but walk away from Izzie.  But that’s kinda tenuous.  It just... it sounds like if he sees Jo he won’t be able to leave her, which puts her above Izzie (and even the kids, though he can still be in their lives) and that contradicts other statements, or at least their implications .

Though fair point that there’s a metric of who you’ll give up everything for.  Izzie would for Denny.  In a sense, I hear Meredith got her back in the Seattle hospital and she declined out of respect for Alex’s feelings.  So in a way she gave up her life for Alex.  And never reached out to him but did respond when he did.  She picked up the phone.  Maybe not knowing who it was, or they all kept their own phones.  And Alex gave it all up for Izzie+kids.  I want to know he’d give it all up for Izzie alone, and the life they could have had.

Or is it that he wouldn’t be able to leave Jo because, as noted to Meredith, it’s the right thing to stay in Seattle.  And he’s become a man who does the right thing.  And sometimes the right thing isn’t what we truly want, and to get that we have to be selfish.  He one perfect thing is in Kansas.  And it’s the family.  It’s a family with Izzie.  And his kids.  It’s the whole package.  If it wasn’t Izzie, the kids wouldn’t be enough?  Also indicates that even with Jo was not exactly where he should be.

I’m also going with “some clues in various directions to satisfy various viewers but really offending most of them because this is all 10 years ago and people are newer viewers or forgot or hated Izzie when she left etc.”  But preponderance of evidence leans in favour of this choosing what makes him happiest over what makes him happy.  

ETA: he has a life for Izzie in his head because if she’s not happy, he can’t leave her where she is.  He sees her as an optimist, the opposite of him and good things happen when you lean in that direction.  He imagines her somewhere woody because that’s where they lived when they were married.

ETA2: Izzie didn’t notice Alex wanted to be exclusive.  Because Izzie sees the good in him, but she doesn’t try to justify or explain things.  She takes him at face value (mostly, she knows superficial crabbiness is just an unpleasant personality trait.)  Until/unless she has very good evidence to he contrary.  And THAT is why he has to take an active role and go to her.  He does have to work for the relationship.

(Briefly skipped to a scene in season 6 (avoiding that season) and he actually says “I can’t be your nurse” which is so much character growth.  Because I was afraid he’d gone full out into caregiver mode, which is not healthy for either of them.  He’s protecting himself, but also pushing her to face up.)

CODAS

Watched Alex calling for/hallucinating Izzie when shot.  Maybe it’s a Miranda thing?  After freaking out right after she died, about how he can’t live without her, his breakup speech was essentially about how he realized he could survive without her.  He doesn’t need her like that.  And he was really hurt by the really shitty thing she did, leaving him. Thus valid conclusion that they should part ways and he’s not caught in the love/hate.  But at some point after that, per hallucination conversation, he really wants her to...  come back for him.  To love him enough to not be able to stay away and come back for him it’s funny because the best way for her to love him was the respect his wishes and not come back.  I mean she doesn’t even say anything after he asks that.  

Interesting point “we married...”  It’s a promise.  He starts with “I’m sorry.”  His breakup speech to her - rehearsed?  He’s speaking from love and hate all blended and I think he’s a lot more honest and self aware, and he’s almost always been honest with Izzie.  So his dying speech was also fear based?  He’s scared, he’s in shock, like, physical shock.  To when is his mind taking him?  It’s natural to have regrets after a painful but necessary breakup.  It’s been months but that’s still recent enough.  So on the whole, inconclusive except yeah, he isn’t over her, but he admits during their breakup that he loves her “so much.”

Also love his “frozen together in time... and now we’re not.”  They’ve both grown and changed, and so has their relationship, but there connection hasn’t.  That hasn’t changed.  

So back to his Izzie speech, which is meaningful intentionally as in 300th episode, where years later he was wondering still about her, enough to create a good life for her.  A happy, rich and full life.  He imagines it clearly and deeply enough to add smell to it.  Smell is heavily linked to memory and emotion.

As happy as he is with Jo.  Maybe it’s contentment?  Something missing for each of them but not something he consciously knows?  Meh.  Back to frozen.  He has an image, a full rich image of her and her life.  It’s immersive but static, a snapshot.  And the him who looks at that snapshot is the same him over time.  

Letter to Meredith.  “It’s about me.”  Which is sorta back to breakup speech.  It was about him, ending the relationship.  He didn’t deserve to be left.  And this is about him, not leaving Izzie+kids.  There’s movement and beauty in this.

Meredith/Alex talking true love.  So I’m torn.  Jo refused his proposal, and the question is if you only get one true love.  Did he think Jo was a true love, and if she refuses him it’s not?  Or is he hoping that true love happens after they’re married?  Given the constancy of his love for Izzie, from fairly early on, even if he didn’t call it that at the time I’m pretty sure it’s indisputedly much earlier than marriage, and she turned him down all the time, which would forestall true love worse, right?  Can’t say as I’m not watching any Jo/Alex, cannot will not no need don’t gotta.

[cdyssey]

Q&A

Summary: During bath time one night, Lyra has questions for Mrs. Coulter.

A/N: Lyra and Mrs. Coulter are stuck in my brain rn, so have another drabble.;w;

AO3 Link

—

The bathroom is strewn with gentle, golden light by the anbaric strips embedded in the ceiling. Marisa notices that Lyra is fascinated by them in the same way she was fascinated with the mechanics of the elevator lift and the automatic coffee brewer and the air conditioning units, staring at each of these entities with wide discs for eyes.

Because Jordan College had never had such amenities, much preferring to spend its discretionary funds backing fools like Asriel and all his high and mighty plans.

She curses that man for a lot of things.

His presumption.

His recklessness.

His effortless success in a world that has always demanded far more from her.

(They both conceived Lyra, but by God, Marisa was the one society deemed the promiscuous disgrace, the failure of a wife, the failure of a mother.)

But sometimes, she despises him for sending Lyra to Jordan most of all.

The child’s never had a bed that doesn’t creak before, much less silk pajamas imported from Paris.

(And she knows for a fact that the sweaters Lord Asriel prefers, the cashmere ones with the intricate threading, are not simple wares he’s traded with sherpas in the North.)

(Damn him sideways, and God, forgive her for doing it. She absolutely doesn’t mean to mean it.)

As the clawfoot tub begins to drink its fill, Lyra sits upon the very edge of it, gowned in one of Marisa’s old shirts, kicking her feet against the porcelain as Pan experimentally wades in the water—a tiny, black duckling testing his own buoyancy.

Marisa leans back in her chair, half-skimming the pages of the book she’s reading, when in all reality she’s paying attention to the monkey, who’s paying attention to Lyra. 

He’s always paying attention to Lyra these days.

“Mrs. Coulter?”

“Yes, Lyra?” She immediately splays the book she isn’t reading facedown on her lap. It’s boring anyway—a theoretical treatment of ethics.

“How do anbaric lights work?” The girl asks, her dark eyes flicking upwards to the ceiling again, tracing those amber dusted lines, parallel to each other, symmetrical, and kind of miraculous now that Marisa really thinks about them, surveying them through a child’s eyes.

“Well,” Marisa returns patiently, adopting the same didactic voice of a Scholar, “there are tiny wires running through the strips, and when connected to a source of anbar, the wires emit energy that manifests itself as light.”

Lyra pauses, takes a second to absorb this new information, and just as quickly nods, her dark eyes bright with understanding.

She’s so clever, smart, and intuitive.

Goodness, it makes Marisa proud.

(And it singularly terrifies her, too, that this child’s resemblance to her goes so much further than looks. What if Lyra looks in the mirror one day and puts all the blatant puzzle pieces together, sizing them up, adjoining them? What if she hates Marisa for keeping such a secret? More pressingly still, what if she loves her nonetheless and even still? What if she calls her Mother? Marisa was Mother for only a few short months some twelve years ago, and then, if she was to be anything in the world, if she was to claw and scratch and claim the barest inch of respect from others that she rightfully deserved, then she couldn’t be Mother. She had to be Mrs. Coulter, whatever that entailed: cold seduction, cleverness, passion, intelligence, breathtaking and necessary cruelty.)

“Mrs. Coulter?” Lyra’s voice raises itself into a question again, and Marisa comes back to herself with a frown.

“Yes, Lyra?”

“Ee’nt it kinda crazy to use all this hot water every night?” The tub is now about waist deep, and Pan is an otter, taking laps from end to end as though he can’t get enough of the sensation. “Doesn’t it ever run out?”

Marisa’s heart simply cleaves itself in two.

On the other side of the tub, behind Lyra’s back, the monkey’s tail droops.

She damns Asriel again.

Just for good measure.

“No,” she says softly, shaking her head. “I pay good money in order to ensure that that never happens...”

A pause.

Marisa dares to ask the question she thinks she already knows the answer to.

“... did it ever run out for you? At Jordan, I mean?”

“All the time,” Lyra shrugs immediately, like it’s not that big of a deal. “Especially in the winter when the pipes’d freeze. But my friend Roger, he’d bring me a cuppa hot chocolate to warm me up on those kinda nights, so it wasn’t all too bad.”

The monkey’s face twists itself into a snarl as Marisa plasters on what she knows is a commiserating smile.

She’s angry at Asriel, of course.

And at Jordan College.

At all those useless Scholars.

And a little irritated at the girl, too—even if she doesn’t want to admit it—for bringing up Roger again. Goodness, it’s been two weeks, and that’s all she cares about: Roger. Won’t she move past a useless, little kitchen nobody already?

“Lyra,” Marisa says seriously, raising her voice over the sibilance of the water. “You’ll never run out of hot water while you’re here with me. I can assure you that.”

And just as before, it only takes a second for realization to scrawl itself all over Lyra’s sharply drawn features.

She inhales deeply and nods, a gentle smile crooking one side of her mouth.

“Thank you, Mrs. Coulter.”

“It’s my genuine pleasure...”

The monkey’s fierce expression resolves itself, and he returns to grooming his fur.

When the tub is about halfway full, Marisa pours in some epsom salt and bubble bath, the fragrant perfumes wreathing the air like incense, and Lyra watches her delightedly. Before coming here, she’d never had a bubble bath before, and last night, they’d had so much fun together, making sudsy beards on their faces.

When the tub is truly full, nearly at the brim, sloshing, she flicks the faucet off, and gives Pantalaimon the meaningful nod he knows well by now. With a graceful leap into the air, he metamorphoses from otter to finch in an instant, beating his damp wings until he lands on the floor, head turned away.

Lyra extricates herself from the shirt that’s much too big for her and clambers into the tub, sighing blissfully as the warm water envelops her in its embrace.

“Perfect temperature?” Marisa asks, fond, warm, amused.

“Pitch,” the girl grins as she leans backwards to wet her dark hair.

“Good.”

And Marisa, as she’s done for nearly sixteen straight nights now, can only soak her all in during these quiet moments, simply staring at her daughter when she thinks it’s permissible to look (which is only when Lyra is looking away).

She’s simply making up for lost time, all those four thousand missing nights.

Studying the architecture of her face.

Learning the composition of her heart.

Like she’s a scholastic project that the woman desperately doesn’t want to fail.

(Again.)

“Mrs. Coulter?” Lyra asks after awhile, and there’s a hesitant note in her voice this time, reluctant, unsure, that makes Marisa pause in the middle of gingerly threading conditioner through the child’s hair.

“Yes, Lyra?”

“D’you think we’ll go look for Roger soon? He ee’nt never had a bath like this neither, and I’m... I’m sure he’d like it.”

Oh, how the monkey balks, glaring upwards with baleful, black eyes.

And how Marisa so tenderly, so perfectly smiles, skimming her wet knuckles along the side of Lyra’s damp temple.

“Soon,” she promises between her teeth. “My sources says that they may have a good lead… I’ll talk to them later this week. Does that sound reasonable to you?”

Lyra nods once.

Trusting.

Reassured.

Eyes rich with understanding.

“I reckon so...”

(But because his head is turned away from them, what Mrs. Coulter doesn’t see is that Pantalaimon’s expression remain sad, ancient with worry.)

[trombonesinspace]

Typhoid Mary: feminist femme fatale?

“Season 4 was going to be Typhoid Mary, Alice Eve [who played the role in Iron Fist], we were doing a kind of...I had a much different version of her than what Raven [Metzner] had done in Iron Fist. I was kind of rebooting what she was going to be like, and we were going to do a, you know, kind of a warped love story/murder mystery kind of femme fatale, but kind of a modern-day, feminist version of it, as opposed to kind of the older, sexist kind of femme fatale archetype.”

-Erik Oleson, in conversation with Steven DeKnight, SaveDaredevilCon 

As I said yesterday, I have some thoughts about this! If you want some opinions nobody asked for, about a storyline that may never come to pass, you’ve come to the right place! Let’s dive in.

A femme fatale is a character type with quite a history, that can take various forms. She is always an attractive woman who brings ruin to the man who gets involved with her. But sometimes she is deliberately manipulative, while sometimes she is more a victim of circumstances. She may be evil, or she may be sympathetic/tragic. But whatever her moral alignment, she has two defining traits: sexual allure, and some form of negative consequences for the hero as a result of his involvement with her.

A woman who schemes against the hero, and succeeds in harming him, but without using feminine wiles? Not a femme fatale. The Marvel TV universe has featured several examples on different shows: Madame Gao, Mariah Dillard, Alexandra. And, ironically, the version of Typhoid Mary who appeared in Iron Fist. (We’ll get there.)

A sexy woman who tries to manipulate/damage the hero, but fails? Also not a femme fatale. I wish I could give some examples, but sadly I can’t think of any, in dramas at least. Our current media culture loves a sexy manipulator, no writer ever seems to introduce one into a dramatic story without making her succeed in her schemes, to some extent at least.

Which is unfortunate, from my perspective, because I loathe sexy manipulators. It’s a character type I really dislike, whenever I encounter her. As soon as she shows up, I know the hero is going to fall for her bullshit like a chump, and I’m going to end up respecting him less as a result. I could try to unpack my feelings about this a bit more, but that would probably make a post all on its own, so for now I’ll leave it at that.

This doesn’t mean I hate all femmes fatales—it really depends on her motivation and her behavior. If she isn’t trying to harm the hero, and it happens due to circumstances, then I might like the character, but the story becomes a tragedy. Which is not necessarily bad. Just, you know. Tragic.

Anyway! Let’s talk about Typhoid Mary.

Mary Walker is a woman with Dissociative Identity Disorder (multiple personalities), and high-level combat skills. In the comics, she is also a mutant with mental powers. She appeared in the Daredevil comics starting in 1988.

In this original version, her personality fragmented due to childhood abuse, leading her to vow as an adult that no man would ever hurt her again. Her personalities are: Mary, who is timid and gentle; Typhoid, who is adventurous, lusty, and violent; and Bloody Mary, who is even more violent, sadistic, and hates all men.

Mary becomes romantically involved with Matt Murdock, who is cheating on his girlfriend, Karen Page, to be with her. At the same time, Typhoid is trying to ruin him, having been hired to do so by the Kingpin. Matt can’t tell they’re the same woman, because when she switches personalities all her bio signs change (voice, scent, heartbeat, etc) so much that he can’t recognize her. (Uh, sure.) She may also be using some of her mutant powers to confuse his senses. I haven’t read the comics, I’m relying here on what I could learn from the internet.

Eventually Typhoid drops him off a bridge, but then Mary finds him and gets him to a hospital, saving him. Karen is with him when he wakes up, but he breaks her heart by calling out for Mary.

This storyline...does not thrill me. As I said, I haven’t read it, but comics writing about mental illness is generally neither nuanced nor accurate, and comics writing about women circa 1988 is also not great, by today’s standards. And comics Matt’s disastrous love life is legendary—cheating on your girlfriend is bad, Matt! Don’t do it! 

I have, however, watched season 2 of Iron Fist, where we get a different version. This Mary Walker is a US army veteran, special ops, who was captured by the Sokovian military. Her personality fragmented due to the brutal abuse she received from her captors for nearly two years, until she finally escaped. She got a medical discharge from the army after being diagnosed with Dissociative Identity Disorder.

Her personalities are: Mary, who is innocent and naive; and Walker, who is a ruthless, coolly efficient mercenary-for-hire. The existence of a third, ultraviolent personality, previously unknown to either Mary or Walker, is revealed near the end of the season. 

Mary meets and befriends Danny Rand, while Walker is hired by his enemies to stalk him, and eventually capture him so they can steal his Iron Fist powers from him. She later changes sides, getting hired to bring down Davos, the season’s main villain, by Joy Meachum, his former ally.

There are clear parallels to the Daredevil comics storyline, albeit in less extreme form—Mary befriends the hero, but isn’t romantically involved with him; her more violent personality works against him and fights him, but doesn’t try to destroy him. 

I enjoyed this version of the character more than I expected to, for a couple of reasons. For one, she is never the out of control, “crazy” stereotype of a person with mental illness. Both Mary and Walker are more-or-less functional adults, managing to live a strange hybrid life, aware of each other’s existence even though they don’t share memories.

But what I especially like is that she isn’t sexualized, at all. It’s incredibly rare, in my experience, to see a young, female antagonist opposing a male hero, and not have her be sexy. Older women are exempt from this obligation (see my list of examples above), but the young ones always vamp it up, and I am so tired of it. I am not opposed to sexy women, but I am very opposed to the requirement that all women must be sexy. (Unless they’re old.) Male antagonists aren’t required to be alluring, so why should women be? (Yes, I know why. I just don’t like it.)

There’s also a lot of potential YIKES in sexualizing a woman with a severe mental illness, which was caused by (among other things) repeated sexual violence. Could it be done in a way that isn’t super problematic? It’s possible, sure. Am I assuming that most television writers would give the subject the respect it deserves? NOPE! 

I’m really glad they chose to just not go there. Walker is extremely good at what she does, takes no shit from anyone, and (almost) never gets riled up. After everything she’s been through, nothing in her present life has the power to faze her, and none of the men around her have the power to intimidate her. It’s pretty great!

She isn’t the least bit coy or seductive, and, equally refreshing, none of the men try to sexualize her or hit on her. Everyone Walker talks to knows she is a highly skilled professional, and they treat her accordingly. Or, when someone does disrespect her, it’s never gendered as far as I can remember, and it stops as soon as she calmly states what she’s going to do to him if it doesn’t.

As for Mary, although she has a more feminine appearance than Walker (hair down and loose, makeup), she is also not sexualized. Her friendship with Danny, who is in an established relationship with Colleen Wing, is platonic, and no one else tries to hit on her that I remember.

So this is the version of Typhoid Mary that Erik Oleson was going to reboot, into a femme fatale. Only, you know. A feminist one. 

I...have some questions. What does that even mean? What does feminism mean to Erik Oleson? Let’s be real, the idea of a woman becoming an ultraviolent, sadistic man-hater as a result of sexual trauma would have been seen as feminist in some circles, back in 1988 when that version was written. So what, exactly, did he have in mind?

As I said before, sexual allure is a necessary component of a femme fatale. So she was definitely gonna be sexy. And you know now how I feel about sexy female antagonists. As for the “warped love story” part...Matt wouldn’t be cheating on Karen, since they aren’t together (please, for the love of mercy, don’t have them get together right before he meets Mary, we did that once and I do NOT want to see it again), but I am still not a fan of Matt/Mary as a couple.

Her Dissociative Identity Disorder raises some serious issues around consent, and even if the show chose to ignore that, there’s still the issue of past sexual trauma. Unless Oleson’s reworking of the character was going to include a completely different back story, a Matt/Mary relationship would mean Matt unknowingly having sex with a woman who has suffered brutal sexual abuse in her past. Not to mention, having sex with her that only one part of her personality actually wants.

Is it possible for someone with Mary’s past trauma and present mental illness to have a positive sexual relationship? In reality, of course! In the hands of writers with only a layman’s knowledge of psychology, on a show that loves to torment its hero, I wouldn’t bet on it. How do you suppose our poster boy for Catholic guilt would react when he inevitably finds out the truth?

Plus, aside from any issues around Mary herself, Matt starting a relationship with anyone other than the handful of people who already know his secret identity, means a whole new round of Matt lying to someone he cares about. Does anyone really want to see that? I know I don’t. Sure, maybe he’d tell her eventually, but how long would they have to date before he decided to trust her with the truth?

I’m not opposed to the Mary Walker from Iron Fist appearing in Daredevil, if the writers could come up with a new story for her (i.e, don’t just have her repeat all the same plot beats with Matt that she already did with Danny). But bringing her in as a femme fatale really doesn’t sit well with me. We’ve already seen Matt in an ultimately destructive relationship with a sexy, violent, morally grey woman. I really don’t want to watch Round 2: now with multiple personalities!

Of course, maybe we never will. The quote at the beginning of this post is from just a couple of weeks ago (July 25 2020), so Erik Oleson still seems to think it’s a fine idea. But obviously we don’t know yet if there will ever be a season 4, or who the show runner will be if there is. He may never get to make the story he was planning.

So yes, I realize I’m merely speculating about a completely theoretical story that may never happen. But I wanted to write this anyway. I had a strong “ugh, no” reaction to the idea of a feminist femme fatale Typhoid Mary, and I wanted to go deeper and pick apart my reasons for not liking the idea.

To the three of you who have read this all the way through to the end (this post is nearly 2000 words, yikes), thank you for indulging me! These are, as always, my own opinions, and YMMV. 

[incarnateirony]

i think there’s a distinction that needs to be made. i think those with power over dabb & co are the ones who are exuding more habits of queerbaiting, while dabb and co aren’t. and because those execs are more or less invisible, the blame/fault is put on dabb as he’s the perceived figurehead of everything in the show when he’s not. anything he may want to put in the show can be easily vetoed by a higher exec so

Okay so I said I wouldn’t touch related issues facing wanky-side, but while this runs the line this is such a genuine, and valid thought process it feels worth addressing.

So in short: Yes. But no. But yes. But no. But we’ll see.

What do I mean by that? I’m going to put this behind a cut. But first of all I want to thank this Nonnie for at least trying to critically think about where the problems lead to. This is FAR BETTER CRITICAL THINKING than I see in this discussion most of the time and this. More like this. Nuance, discussion, idea trade, history. Let’s do it.

Okay, so.

How can it be yes no yes no maybe eenie meenie miney mo?

Because it really depends on what part of this 15 year legacy show we’re talking about.

What I’m about to say isn’t going to be popular, but I’ve said it before, I just can’t find the ancient ass post discussing it.

We’re going to rewind. Like, a fucking lot. A lot, a lot. This is going to be a history ride, and you’re probably going to wonder how it connects to the conversation at first, but bear with me.

Ignoring any personal frustrations I have with the casting of season 4 – frankly a chapter of this FUCKING show that haunts me somewhere in the ballpark of, “If my friend wasn’t dismissed as not white enough and got the role, would we have Misha, Destiel, any of this, would the show be on, would she have been chased off as the other actresses?” – and frankly these are the things people don’t even fucking *think* about.

TLDR a bajillion years ago CW made a casting call and we got this super cute character named Anna that Dean was slated to bend over in two seconds flat, as old canon used to be before modernly growing. The actress expressed discomfort, and frankly went over with the audience about as well as wet cardboard. And like, while I agree that a lot of women were hated for misogynistic reasons in this show, she really was about as interesting as a plank of plywood to me once she got past her first performance or two.

At the same time, this handsome bastard named Misha Collins auditioned for a bit role originally intended for 3 episodes and quickly extended to 6. But, identified as lightning in a bottle and with on-fire chemistry, while Anna waffled for *several* reasons, summarily, their story ends swapped. That’s… not like *exactly* what happened but it’s *basically* what happened. Anna became the herald and contagonist instead of Cas, and Cas quite frankly took on the role of the goddess.

With Lisa already entered before Anna, there’s no evidence whatsoever she was intended as endgame. Story flip. Thank you for everything last night on earth fall by angel banishing almost like this was foreshadowed woohoo! But… don’t lend towards a relationship. No point. Given, they made a few jokes on set at that point, but it wasn’t really an idea *they thought anyone took seriously*. 

Coming from a phase where most of the leads were introduced to “slash fandom” by Wincest, which they literally used to torture and prank each other, the idea of this being anything serious really wasn’t on their radar. The one I remember most was Misha choosing to sit on Dean’s side of the bed as Cas in the famous “What were you dreaming about?” and Sgriccia being like “that’s kinda gay” “nah keep it”

I mean, is that… queerbait at that point? I don’t think it’s fair to really call it that. They respectfully tried to scrub out the leading romantic edges from what would have been Anna’s story, but ultimately, the human psyche kind of recognizes 8000 years of storytelling history subconsciously when using the Hero’s Journey narrative, so it was resonant. Nobody was crazy for seeing it. That didn’t mean it was right, that didn’t mean it’s what they were consciously leading anyone for.

Hell, Jensen didn’t even know what the fuck Destiel WAS until season 7 (”Deathstiel?”) due to the way cons, circuits, and fansites kept the conversation force-muted at that point. Anything they had floated somewhere in the area of “hah that is kinda gay I guess”, and even that there’s no evidence of being frequent.

Kripke left, the show petered, social media was new, and summarily, Sera Gamble was a dumbass and listened to the wrong crowd that seemed super big back when big accounts were a whole 10K followers and you had 50 asshats screaming as a coordinated group about Ruining The Show™. Ratings tanked, somewhere between Misha being fired and the show turning into a parody of itself with dick jokes that made it seem like Gamble was trying to target 11 year old boys for her audience, and like, that’s it, that was the season. 

Until that nosedive spiral essentially turned into a shorthand apology reversal, a panicked and roughly written script that was *SO GAY* that *EVEN MISHA FUCKING COLLINS* couldn’t seriously choke out the dialogue. It was cheap, it was out of character, and as Jensen put it, the dialogue might as well have had him petting and sobbing into Castiel’s coat while essentially being like I SLEEP WITH YOUR COAT EVERY NIGHT TO REMEMBER YOUR SCENT UWU and shit that just LITERALLY vaulted from alien fascinated staring into desperate teenage gay drama in the body of a 30 year old man.

So yeah. Did I consider it reasonable to change that? Fuck yes I did. 

Was what Sera Gamble did queerbait? Yes, actually. And she did it again in the Magicians. You see, Gamble had fucked over an audience, and then tried to exploit that audience in reverse when she realized she fucked over the *wrong* audience, but had zero intent of fulfillment.

And then magically, Sera Gamble didn’t fucking work there anymore after a whole like, year and a half as showrunner.

Now, at the same time, Dawn Ostroff was leaving the CW. Jensen’s had some pretty fierce words about Dawn Ostroff not understanding the show and how to manage it, but whatever. Bye, Dawn. Hello… MARK FUCKING PEDOWITZ. But at the same time, WELCOME BACK CARVER and most of all HOWDY DO NETFLIX, so nice to make a guaranteed deal with you (that ended as of this year due to a CBS merchandising meltdown).

When Carver came back, he said a lot of things. He… very tactfully called Gamble’s era trash by phasing it like “:) Watching the show :) since I left :) I realized :) a lot of our mythology :) has been difficult to follow :) so I went :) back to basics :) please help”, and others, like mentioning he had a three year plan on his desk. So 3. Season 8, 9, 10. He had notes for his S10 finale in mind and everything! Great stuff.

Now the fandom, at this point, generally didn’t pay attention to the network or production. In fact, the actor worship around here is some other kind of wild and I don’t know how after 15 years people haven’t figured out that it isn’t how to go about paying attention. Either way – plot switches, showrunner switches, author switches, and NETWORK LEADERSHIP SWITCHES. 

Now, this little part here is speculation – but I am 99% sure that when Carver was pulling SPN out of the cancellation toilet, he had bigger things to inform the new execs about than “btw I might make it gay.” Like “Hey, since CW just got its netflix deal, if you give us another year we can import fresh demographic while bringing back Collins’ old fanbase by setting him back as a regular.” SURE, SOUND GREAT, MAKE MONEY, THX.

Cool. Cool. Make sense so far, you still with me?

Because at this point, S8 into early S9, fandom had gotten itself into all kinds of a stir. It was about to go canon, rite nao, said a bunch of bloggers, who at that point WERE pretty much chasing wallpapers and Tshirts and making the most bizarre uncorroborated parallel interpretations like “IF U PARALLEL IT TO MOBY DICK-” WHAT WHY WHERE– ??? BUT cAS = fISH

Okay, my fucking annoyance at what counted as lit crit in those days aside, we’ll get back on track. Everybody started vibrating for this shit because, you know what, S8 did resonate pretty strong, almost like authors were toying with ideas. I’m not gonna get into stuff about Robbie, I THINK fandom knows the statements he’s made and I don’t just mean the whole Destiel being canon tweet both antis and bitters descended on him to eviscerate him about. About what? Calling it queerbait!

So here we go, the great advent. About a year after a dramatic network shift, a CW exec was like :))))))))) I’D LIKE TO LEARN ABOUT THIS FANDOM THAT IS SUDDENLY MAKING ME MONEY!! WHAT SHOULD I DO??? TO TWITTER! HASHTAG TALK TO THEM!

[logs in]

Beep boop. “Destiel?”  “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” “Destiel?” the FUCK is a Destiel? Wait what no I don’t know what you’re talking about representation isn’t our intention with these characters. “QUEERBAIT”  “QUEERBAIT” “QUEERBAIT” “QUEERBAIT” “QUEERBAIT” “QUEERBAIT” “QUEERBAIT” “QUEERBAIT” “QUEERBAIT” “QUEERBAIT” “QUEERBAIT”

And then the network exec got so slammed he deleted twitter entirely and everybody popped confetti and felt accomplished and did NOT realize how fucking BAD that was. And frankly, anyone that did kinda didn’t want to admit it, because taking responsibility for that tire fire was… not… attractive. In fact, several folks are still around to this day, bitter blogging or making weirdass meta or accusing other people of wallpapers and Tshirts because that’s what they did so *YAY, PROJECTION!*

My own frustrated bitterness aside, I’m going to place some questions down, and not so much answer them as, now that the reader has really taken history in, let them decide:

At this point… is this queerbait?

Because this is when the queerbait yelling began. It’s when every fan with even a moderate platform or site blasted it out there. 

It’s when the fandom made DeanCas a big problem.

And it’s also literally the same time Carver left his very first recorded, known direction with a romantic tilt, “The note I got from Jeremy Carver was to play it like a jilted lover, so that’s what we played there,” on LGBT author Bobo berens’ very first episode. Everyone runs circles around that modernly, or goes “SEE??? QUEERBAIT!” without realizing what the FUCK just happened here.

So, SPN went from cancel rating line to their most successful show between 7 and 9. Suddenly corporate sees their successful product *ON FUCKING FIRE* so do you know what happens?

Fuck it this IS one line I’ll break: Corporate panicked. They changed their press packets. If you noticed a bunch of media-adjacent people and their friends suddenly get bitter as FUCK in season 10 after still surviving the S9 mess, here’s fucking why. Because now that everybody spent the last YEAR trying to burn down the product yelling about shit that corporate had been literally blindsided by, they added temporarily a new section to the packet that included sexuality. They were, at that moment, suddenly listed collectively as heterosexual men. SEE, WE AREN’T QUEERBAITING IF WE TELL YOU THEY’RE STRAIGHT *will smith pose*

Congrats fandom, you have now officially made Destiel A Huge Problem™ to the corporate behemoth behind the shiny pictures. The iron curtain dropped. This is what you could call “Protect the Product Mode” if you will. 

Now again, at this point: Is it queerbait?

Because at this point, S9-10 was rolling out. We all know it, Cain, Collette, *gestures off into infinity* But let’s fall back to Carver’s statement. 3 years. 8, 9, 10. You know what else happened season 10?

A bunch of shit, including shit Carver *wrote himself for the season 10 finale* got filmed, then cut. Coincidentally, it was all very gay shit. Things that pulled forward the Crowley/Abaddon Cas/Colette Sam/Abel parallels, arguing over who was who’s boyfriend, Rowena mentioning about them both being shattered at the Altar of Winchester (15.3 is calling), the secret admirer dream, I could go on. I mean, this shit literally would have shifted the entire storytelling arc to full-frontal taking that  parallel and addressing it right up in your face. First you’ll kill your mistress but you’ll get it done, and then you’ll kill your wife. He’s your boyfriend no he’s YOUR boyfriend. You’ve BOTH been shattered at the Altar of Winchester. Really, this is what you dream about? Your secret admirer Cas?

K? K. K?

Is it queerbait for Carver to have entered with a plan? Is it queerbait for Carver to have been interrupted on that plan despite attempting to pursue it? And is it queerbait for the network to still lock down on that plan so close after the event?

You see why this conversation gets increasingly complex.

S11 rolled around, Carver was half in half out, Dabb was stepping in, big gay heart songs, take what you will out of that entire mess, and by S12 Dabb entirely took over and we started entering the era we are in today.

So let’s address where we’re at today. 

Now :) I can’t say anything for sure :) because anybody that’s been to or worked on marketing stuff definitely has an NDA :) but let’s play for a minute. Let’s say with the stone wall up, a set of creators still wanted to actually *go somewhere* with this story. 

“But!” remembered the network, “Remember the tire fire?! And all the people that hated the gay?! What about our profit?!”

“No,” a creator might say, “Tides have changed.”

“We’ll see,” a network might say, “Take it to market testing.” At which point, one would enter a few years of polling how the general audience reacts to this.

Now, if they were seeing promising numbers, they might be given a bit of rope. Why, let’s … just pretend. Totally. Totally pretending. That Dabb pitched this idea to take up Carver’s mantle. Let’s say that started S12ish when he took over. Let’s say they ran through hiatus. And then… authors might be given a little bit of a line. “Looks good, but we’re not sure,” said a network quite fond of its split conservative/liberal demographic, “Try it out a bit and see how it goes.”

And so an author room that would be full of LGBT creators fed out good faith groundwork. They might even be like YALL ITS NEVER TOO LAAAAAATE TO START ALL OVER AGAIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIN and just throw their whole boy howdy cowboy into that shit and get great ratings.

What if even if the results came back positive leaning, the network ho’ed and hummed and stayed noncommital? Might the creators scale it back while still writing it lowkey just in case they got flashed a greenlight? I know I sure would, woudn’t you?! Or I guess would you prefer we drop the whole thing cold and stop writing anything vaguely in the direction?

Difficult question, in reality, isn’t it?

So in this TOTALLY HYPOTHETICAL SITUATION, this leaves the authors holding the bag, waiting for a sign, and being held with limitations. And just in case anybody thinks “BUT AUTHORS CAN DO WHATEVER THEY WANT!! AND!! OTHER SHOWS!!!”

K have we come down to reality yet? So, sure kids, try the gay, we’re interested, but you can’t like, go Full Gay Frontal with it. You gotta imply the gay. Wouldn’t want to offend conservative america! Besides! We’re totally exploiting marketing making this LGBT content for you over here! *jingles a carrot on a stick* LOOK AT HOW MUCH WE’RE FLEECING ADVERTISING PROMOTING ALL THIS GAY STUFF FOR YOU AREN’T THE RAINBOWS GREAT?

Some creator of limited LGBT content: How’s the marketing looking?

Some network: EH! We’ll see!

Some creator of limited LGBT content: K guys we’ll scale it back to not upset them but don’t drop it.maybe we can have them hold hands at the end or if we’re lucky maybe they’ll say we can do the whole thing

Some LGBT creators: K

Making sense still? STILL WITH ME?

So at this point… is this queerbait, or is this business?

Put aside the emotional reaction. Realize this really only hit scale in S9, hit front line S10, and hit potential corporate discussion in this TOTALLY theoretic universe around S11-12. We’re talking 3-4 years. Not 10. And we’re talking only a few of it really being tested.

So again I ask, history minded: Is this queerbait, or is this business?

That’s where the nuance and complication comes in, and let it be said I am in no way defending the CW. I fucking hate the network. They have literally personally screwed over real friends of mine and I hope they choke on a whole bag of dicks with their bullshit, but honestly, the shit I have seen and heard would make people stick their heads in the sand like scared and ashamed ostriches for every time they trumpet “BUT OTHER SHOWS” – you don’t know what’s going on in those shows. You don’t know how they’re getting hardballed on budget decisions, you don’t know what that show’s marketed demographic is about, you don’t know what they demand cast how, you literally don’t have a fucking idea unless you’re up in that disaster zone.

And even IF you’re in that disaster zone, unless you’re truly in the upper echelon, you only know so much.

Now let’s pretend, again, totally metaphorically, and absolutely not inspired by a real person at all, that someone worked with the crew for a while and, because they saw support inside creeping upward siiiiince mmmm gosh we’ll say season 12 since that’s our advent and totally not when anybody specific started working there and telling fandom ladder fans what they thought they saw going on, only to get sad and bitter and angry and eventually leave, and all those friends, still abiding old bitterness from S9~, now get angrier because of somebody else’s burnout on their ITK level and perspective, even if that was *probably* aggravated by other work stress conditions as well, but hey! WHO KNOWS!?!?! :)))) What a weird hypothetical though and I’m getting weirdly super specific on it aren’t I so LET’S MOVE ON.

We’re in S12-13 discussion category now.

So my question is, from this perspective… when do you call queerbait? When not swept up in misguided hysteria… at what point do you say “Yeah, you know what, yup, that’s all queerbait”?

So we’re gonna take a bit of a break here for a second and really process all of that hypothetical world, where a creator pitched going for it, and got it put into market testing, and was given enough rope to hang themselves on if the network changed its mind.

After only a few years of conscious thought on it… do you even think the network is truly consciously misguiding specifically those fans, or do they see it as giving the fans something they want while testing the idea of possibly truly giving it to them?

Because here’s what fandom misses – the corporate perspective. And again, I’m utterly not fucking justifying the CW as a whole, but people look at this from the angle of fans, and then argue what they think is representative dialogue from the angle of fans, often while missing all of this history. All that history up till S9? That’s all very real.  But looking at history in perspective… who are you going to blame for that? Is it fair to hold S4-9 to that five year stretch of queerbait when that was… pretty much fandom manufactured from blissful ignorance to begin with? I mean if you want to go yell at Sera Gamble Specifically okay (please don’t) but beyond that like– that shit? Is that anybody’s fault? Do you blame a company for actually shutting DOWN the talk of it on a press angle? Can we call that and S10 queerbait then? Was Carver’s attempt at writing through it queerbait? Was trying to continue the story in S11 after theoretic shutdown queerbait? These are all genuine questions that are not asked enough. Most people don’t even realize they need to be asked.

So back to Totally Theoretic Land, where S12ish market testing would have been going on to see if people really thought it was Gay N Shit. Like a lot of people in an overwhelming majority after the amount of apprehension the straight old dude running the network has ever since the goddamn tornado of horse shit that happened like a year after he took over. Probably not the fondest fucking memory for him either. Probably also why he dismissively called most of that demographic “casual fans”, because in Smug White Guy Brain, “tru” fans would have all known, I guess, exactly the shit I’m telling you in history backtrack so, look at the silly girls wanting the gay shit :) Ahhhh girlllllls

Okay so, my impression of douchebags aside, let’s give it 12-13 hiatus to give the first test rope lead and 13-14 hiatus for the next, only to have at best noncommital and uncertain numbers and authors, theoretically, cautiously pulling back while writing it as generally established and implicit, as if it might, I don’t know, go from BIG GAY DRAMA to DEADASS DOMESTIC all of a sudden despite ITS NEVER TOO LATE TO START ALL OVER AGAIIIIIIIIIIIIIIIIIIN cuz get it, they started over, after he came in his room and played him. *elbows* You all get it right?

K. So maybe numbers changed. Maybe they don’t. Maybe I’m not comfortable talking in this hypothetical, maybe I don’t have access to this hypothetical AU’s current marketing data as of this year, I just don’t know! We don’t know where those cards fell.

But if, at this point, after 2-3 years of market testing, and leading authors on, and giving them enough rope to hang themselves with to get themselves accused of queerbait just for trying to lay good faith groundwork for a cohesive narrative, because fans don’t care that 2 open closet LGBT authors are on deck or that there’s totally theoretically probably and in no way fingering anyone at least one closeted author on deck, or at least publicly so, their coworkers would probably know. But I mean. That’s just. :) statistics. Right?

K whatever moving on. If at this point they’ve been boggley bounced around… you know, I gotta say. At this point… I might actually call queerbait if the network stonewalls it. At this point, they’ve had a few years to really get their shit together, and if they’ve just used it to play yo yo with LGBT creators trying to make content then yeah, go suck a whole bag of dicks.

The problem being with the lack of nuance in this conversation, you’re right, Dabb and co would catch it rather than the guilty party, which is why I HATE faux activism culture. If you’re going to be an activist pay the fuck attention to what you’re being an activist in, don’t bite the hand that’s feeding you just because it was a PBJ and not filet mignon, go after the bastard 1%’er that’s eating all the goddamn filet mignon. But nobody will. It never works like that. And then everybody wonders why this continues – be it in this show, or on other networks.

But hey. Maybe this theoretic network got enough material to change their mind. Maybe another executive got promoted that might help one of the other creators argue it to corporate with their new shiny title. Maybe they can convince someone. Convince them of what and to what level, who knows. Maybe just continue telling the established story, give them a divorce, mention marriage, divorce, dead wives, breakups every 0.2 seconds while they go through a classically framed dark point in the romance everybody with brains and eyes understands because, again, historic storytelling we literally all recognize, but pretend we don’t when stomping about personal representation lines? Or hey! Maybe it’ll go further. (Don’t hold your breath.) Throw in some other shit that even a straight guy would look at and be like “two dicks one chick that shit’s gay bro” because WE LITERALLY ALL FUCKING KNOW WHAT IT MEANS EVEN IF IT’S IMPLIED BECAUSE THE NETWORK IS A BUNCH OF PUSSIES.

…*stops, breathes*

If you can’t tell this is a very long term topic of frustration to me, because nobody, absolutely nobody, wants to introspect and think, you know, maybe it wasn’t queerbait back then, maybe we SHOULDN’T have set a corporate exec on fire about it, that might have been fucking bad.

There are other ways to be an activist than to scream queerbait into the void at whoever is unfortunate enough to cross your paths. One of the best examples I can remember is Exorcising Emily collecting demographics on fandom, and testimonials from LGBT fans about resonating with the content – no fanfic, no fanart, no attacks – and sent copies of this to several powerful creative names.

Now… if with this history… if, from season 9 to 12… one of those names became a creator. If, by some FLUKE of imagination… he still had that book around… and even gave it to his freshly joined new employees like 2 weeks after they started working there–

oh wait and i oop

The mentions would be much as you expect, antis screaming and demanding her job (QUICK, somebody tell Andrew Dabb that she’s READING ANDREW DABB’S OWN BOOKS THAT HE CHOSE TO KEEP AROUND FOR THREE YEARS).

Has Dabb’s era seemed… more plugged in? More resonant? Better and stronger in its storytelling? More hooked into fandom? 

See, that’s what well thought activism can do. Well thought activism can structure an entire movement. Poorly thought rioting thinking itself as activism can cause the literal opposite effect of what it wanted. That is how these things contrast each other. And that is something fandom needs to DEEPLY consider. 

…but is it queerbait for him to try to continue the story? Even if, say, we drop the marketing talk, because TOTALLY nobody can ACTUALLY know because AGAIN anyone that DOES would have an NDA so we DEFINITELY can’t say anybody knows anything for sure, because anyone that said jack shit would probably get sued so hard their descendents down in whatever homo superior evolution 1000 years into the future would feel it, so you know. We’ll put aside this totes theoretical shit and ask

…If he just was told no– would you prefer to just drop the storyline entirely at this point?

Again. Genuine question. And difficult. And something poorly thought queerbait screaming can actually cause, too. 

So here we are in the land of the final season. Whether you consider it network queerbait or not – again, they can choke on the whole bag of dicks at a network level for all I care for ANY number of reasons, even well beyond the domain of Supernatural, and may all their bacon burn from here into the next life – it’s a lot more complicated than fandom has ever let it on to be, because letting it on to be what it really is, in full perspective, also demands a lot of introspection and acceptance, and we all know nobody in this fandom can ever make a mistake ever and they’re all fucking perfect darlings.

It’s a complicated answer to a simple idea… and unfortunately I don’t think this fandom will ever really sit here. They’ll yell “VICTIM BLAMING” because it’s buzzy, they’ll yell “HIDING YOUR GAYS” which I mean, yeah, but let’s talk about what led us here. They’ll yell a lot of things. But they will rarely quietly think, and study, and hone down to what’s going on in the world out there beyond what they have, at this point, become obsessively hotlocked on. 

Supernatural, as of 15.7, has already taken several steps further than it ever is before. No, that’s not a signal of me saying [Your Personal Goalpost] is going to happen. But it’s a sign that if they have a line, they’re testing it with every strength they have.

Going back onto the Fateful Advent: Cain. The mentor– who was never going to stop; I can’t stop samuel; he was never going to stop; I will never stop; Rowena, the mentor, never going to stop, shattered, at the altar of Winchester. Long ago, when Cas was human, Dean sealed him away, and now, he’s doing the same to him. So Shirt Of Bad Decisions Deanmon basically karaokes with his friend like the Crowley days, REPEATING the Crowley dialogue but infinitely harder to dodge, as if some sort of calculated method of cat’s cradle of How To Write The Gay was discussed. Man, whoever wrote that kind of shit would probably even publicly thank whatever big gay mastermind helped them map out THAT level of stuff. Wouldn’t it be funny if most of that shit had been written by a gay dude that’s still around and it’s still popping back up in the show louder and harder to dodge than before? That’d be fuckin’ wild, man. Oh, fucking WAIT.

And this is why I hate the way shipping culture thinks it’s doing activism. Most of the time it’s cosplaying as an activist and at this point it’s become more of a furry convention than it has any kind of organized rights movement. Nobody’s out here fighting for the rights of these LGBT authors this year, nobody’s helping them get a voice, and in fact, often scream at them or bury what voice they’ve had as not enough.

And I want to fix it.

Desperately.

And frankly, I don’t know how anymore.

But what we’re not talking about is some 3-5 year show that came in early and started intentionally fucking at you. We’re looking at happy coincidences, so let’s check with our gay king, the father of Wayward that everybody coincidentally accepted as canon with far less because of a (meaningful) third party line DeanCas had elsewhere but hey it didn’t have antis so suddenly it counts; let’s check with him about that.

That’s my king. That’s my king that wrote the first recorded episode to be intentionally directed as jilted lovers. My king that gav eus Colette. My king that gave us the mixtape. My king that gave us the PR framed breakup. My king that gave us Cas leaving Dean. That’s my King. That’s my gay king who has been fighting his ass off, only to be hung out to dry by a fandom that doesn’t even care to look where or how to scream, or maybe consider that perhaps screaming isn’t the option.

Is he yours yet? Have I broken through to a single soul on this?

That’s my king who wrote about the necessary evils in 2003, before the youngest in this fandom were born and while many were still in diapers or kindergarten; about the unfortunate necessary evils that he loathes and acknowledges about moderate queer content gaining exponential amounts of platform compared to whatever is considered hardline aggressive at the time, about how that incrementalization is what helped our media landscape evolve to this day.

And he isn’t wrong.

And he’s getting roasted for doing just that.

And I really wish I could just psychically make everyone fucking stop.

But I will say one thing.

“It’s network queerbait!” I mean

Yeah

That

Because… realistically? like 99% of modern queer content is queerbait, even stuff with canon queer content.

ESPECIALLY on the CW.

If you’ve noticed CW panicking the last year and trying to slap rainbows and DARE TO DEFY on everything, it’s because their entire fucking ecosystem just got fucked over by CBS wanting 100% merchandising profit like it already took 100% digital profit and Netflix was basically like “miss us with your bullshit” and broke the CW contract which was *HOW PEDOWITZ BANKROLLED MOST OF HIS NETWORK*. Now? Now CW has to carve a niche. So LOOK AT ALL THE FUCKING PRIDE COLORS ON– OUR– STRAIGHT–CHARACTERS??? BUT WE HAVE GAY ONES LIKE LEGENDS OF TOMORROW AND *flips notes* THAT SIDE CHARACTER LESBIAN ON SPN. 

*gets a whisper* What they killed her? Shit. Maybe bring her back. AND THERE’S THIS PERSON OVER ON JANE THE VIRGIN oh that just got cancelled uhhh VAMPIRE DI-wait fuck. Well we’ll just make one of the chicks in this shitty charmed reboot CBS just forced down our throat and killed Wayward over, that’ll fix it *jazz hands*

TV is a business. Businesses make money. The entire LGBT battle is basically us industriously proving we can make money. It’s about rights and visibility on our end, but on their end it is *always* about money and I really don’t think anybody really groks what that really means. 

So “it’s the network! Queerbait!” 

…yeahhhhh.

…welcome to working in television. Now you just have to sit and think about how many other times this has completely missed your radar.

The network will never get a shit about you, they give a shit about your money, and that’s just the reality of capitalist america whether we like it or not. When it’s 2143 and bernie sanders’ floating head in a jar is president and andrew yang’s base income shit is in effect and we’re all a socialist country and the world has figured out how to run high cost businesses like TV on the power of unicorn farts, they might actually give a shit. But they don’t. There may be a few advocates WITHIN the company that do, but as a whole body, the network will never give a shit. They don’t care if you’re black, white, straight, gay, disabled, male, female, beyond what, explicitly, that totals to in dollar signs depending how they feed you, when and where. 

So it’s not like... *just* a queer rights issue, it’s an “Anything Trump’s America may consider offensive on their television” issue. It’s businesses weighing who they think pays their bills while making it and beyond that who they think is the safest investment to make the most money.

As a side note: Personally, I’d consider it dumb as fuck to not do it. SPN will taper within a few years down to just trekkie-esque addicts unless they find a way to get a new burst of viewership and boy howdie do I hope so, but how much Pedowitz overvalues the conservative US demographic, or certain international markets, I don’t know. I’m not in his head and I don’t have this year’s marketing numbers beyond basic live, +3 and +7 ratings, and digital calls. And just general nielsen released demo. But how he’s added that all up? Can’t say. And I sure ain’t gonna bank on him not being a dumbass, when he’s famous for it, so don’t go get your hopes up either.

[mothbug]

maggie i’ve been trying to suss out the plot of ur bug lesbians for so long please tell me abt them. somehow it got into my head that they were?? like jaeger pilots? please confirm or deny

i can’t do a read more on mobile so i’m sorry in advance (coming back here after i’ve written this: it makes no sense. it’s all rambling. sorry. and i just put things everywhere randomly so this won’t even be typed chronologically)

yeah there’s giant fun robots! most of them are normal and fine but like a few of them are very fucked up

so there’s four pov characters and at the start of the story three of them are on the same ship and the fourth is the target they’re chasing? only one of them knows they even HAVE a target and is trying her best to stall because she and the target were roommates in fucked up robot catholic school. the other two are playing crazy 8s and being romantic and also terrified all the time but also doing a lot of theorizing about things because they know SOMETHING is up they just don’t know what’s going on. Bc you know. their commander won’t give them any information. and also avoids them because she hates narrative parallelism

also the one stalling is also having her blood drunk by her giant robot. and maybe being mildly possessed by it? so it’s maybe The most fucked up robot. it’s also a giant dog and a good boy. and an heirloom of a fucked up family. which may explain some stuff but honestly i think nisa’s mom was just a bitch and it didn’t have anything to do with the robot she’s just like that.

and she’s stalling bc she Knows she won’t turn perovskia in she knows she wouldn’t let her get hurt she Knows it’ll change her life forever if she finds her and she’s just not ready to face that. but yknow she has to so it was all just very silly of her but when something will change your life dramatically it’s terrifying even if you know that things currently Suck.

somewhere in here Arkansas’s family is threatened and it’s. upsetting. and i’m not sure what direction to go in with it but it will be important because her family means a Lot to her. she has two very good kind dads and a little sister named Tinsel. basically she has the only functional biological family out of all the characters and they make me :’) I also think they eventually meet Idabel and ADORE her and since she grew up without parents it’s just a very strange and emotional experience and. h. they r Wives. and the Trust family is all very sweet and kind even if Arkansas struggles a lot w gifted kid syndrome like i think her dads did their best even if they fucked up sometimes yknow. idabel goes fucking wild at the arcade like legitimately bloodthirsty and arkansas is just like i love my furious and powerful wife

anyway there’s some (a lot of) homoerotic space fighting (which perovskia usually wins BECAUSE she remembers when she and nisa used to spar and can predict what she’ll do. nisa ALSO remembers this bc. ofc she does. but perovskia had to learn how to adapt after Events bc her physical health changed a lot and she had to learn to be more careful about overexerting herself and also now knows how to swordfight. and moves more fluidly and confidently. so what nisa expects to happen often doesn’t bc perovskia’s fighting style has changed so much while nisa hasn’t really bothered to refine hers. anyway) perovskia (the gay little target that does a gay little crime and makes fun of you to piss you off) is like hey. what if you all committed treason it’s really fun and sexy. and then her adoptive mechanic mom gives everyone spinal surgery so their bodies don’t shut down and they won’t die :) that’s a thing by the way i won’t elaborate bc uhh :( but it is why perovskia has all the. nerve damage and chronic pain. i can elaborate on the actual Pre-story perovskia stuff later bc i think about it A Lot and it has a lot of bearing on her character but it’s also. before all this. but anyway if she hadn’t been bleeding out on Slice’s front lawn specifically she Would be dead. and there’s some fun narrative foil character shifts that happen four years before the main storyline but i will not say bc i’m tired

after this is Vague in my mind but a lot of it is Perovskia and Nisa reconnecting and just. talking. but being weird and repressed and deflective about anything Meaningful. And I have written a Lot about this so there’s more than I can condense but it’s very fucking good and. Idk. it’s a big shift in the narrative at this point and they’re just Agonizing about their dumb little feelings and it’s good. and P doing some work to make their giant fucking spaceship more stealthy. and Idabel and Arkansas being really cute and also going THROUGH it because i mean. a lot is happening. And it’s nothing either of them ever expected to happen but they’re like. hopeful for the future or whatever don’t look at me. It’s just like. put all of these characters on a spaceship in the middle of nowhere in transit and they all Have to have conversations even if they don’t want to because it’s HARD. nisa is forced by slice to learn how to make pancakes

Slice makes stew. They’re good at stew and contraptions and having a mild new england accent somehow. also canonically back in the scrapyard they would make things like the knife wielding tentacle constantly and perovskia would just stumble upon them. slice changed the live laugh love sign to say die cry hate because perovskia made fun of it. they r her mom.

so now they do some fun fun robberies and various crimes and it’s so sexy and i don’t think N and P are like. fully caught up at this point or know where they stand, so there’s a lot of very fun banter and having to work together despite really being afraid but also yearning to get to know each other again and just connect with one another honestly and openly after four fuckin years apart. because they’re both so different now but also very much the same. horse staring out into sea MAN. the thing is there’s no direct like. reason for them to avoid each other (at first P was shocked and overwhelmed and felt a little bit betrayed when she found out who was chasing her until she found out WHY. oh i forgot to mention Nisa BEGGED to be assigned commander for this mission bc she knew anyone else wouldn’t hesitate to get Perovskia killed. Forgot to mention that it’s IMPORTANT she fucking loves her so much god DAMMIT) but it’s just. tense and there’s a lot happening and it’s just. Ghhhdhbnm and ofc I and A have picked up on it since P showed up but it’s like. ok so what is Happening here. OH AND ONCE THEY START WORKING THINGS OUT IDABEL DOES START BEHAVING LIKE NISA’S SHITTY LITTLE SIBLING AND ACTING FUCKING DISGUSTED BY THEM ITS VERY FUNNY. they’re like perovskia you’re pretty cool what’s up with this. nisa sucks and also is a bitch. and perovskia says SHE CAN GET IT. and idabel says GET WHAT? BANNED FROM OLIVE GARDEN? and perovskia fans herself and is like yeah~ and idabel was just joking around but now is debating between mercilessly making fun of her and hitting her with a cricket bat. but god when P and N just get to hold each other in silence and security and just be. it’s . they. god. fuck. man.

oh i know this is a space story but perovskia just straight up has a sword (and some knives and maybe a gun idk) don’t ask me why idk but it’s very lesbian of her and she does gay little flourishes and is just. very annoying and i like her a lot. she’s very dramatic like her alias was madame revenant when she was living in the scrapyard and just doing some petty crimes like. she embroidered that jacket herself nobody calls her that she’s just a goofball. also warrior cats exist and she makes warrior cat fan animations. that just has to be true so warriors has been preserved for centuries. also she was presumed dead for a while uhh don’t think abt it too much but she likes that aesthetic.

Idabel takes the best to this new life of crime they are fucking FOR it she gets a FLAMETHROWER and Arkansas is like. wrow honestly my favorite thing abt them is that they’re both fucking INCREDIBLE pilots. like they know what they’re doing. and nisa is really really bad at it btw she cannot pilot a mech well. but this block of text isn’t about her i’m talking about THEM. Their chemistry is so good they r just. 🥺. and they both become Fast friends with perovskia because she’s just pretty likeable?? and ofc nisa’s jealous bc a) you guys don’t even like me :( but also b) that’s MY friend. it’s very funny. honey of course they didn’t like you you were being very unpleasant to be around. but arkansas does rlly wanna be friends with her and she and idabel have so much sibling energy it’s insane. i think they’d abel and cain each other for a scooby snack but also kill for each other. because they’re tiny girls who will growl at you solidarity and also probably hang out and just destroy things with bats sometimes. they all become closer and get a rlly sweet found family dynamic it just takes a While. oh also idabel is basically the chosen one and can set things on fire with her hands but it’s barely touched on because i think that’s a really funny thing to just ignore. but i also think it does become important because it’s largely fueled by anger and emotion and. h. i think idabel has a lot of feelings ok. Arkansas and Perovskia bond over having fucking anxiety disorders and have caprisun drinking competitions. i think it’s just like. these people all have similar trauma and need people to lean on when things are hard so they stick with each other once they have the option to split apart because by then they’re friends and work well together and Care. auto tuned baby crying mp3.

Alia and Agent Variety show up somewhere around here? They’re Slice’s very cool wives and Alia has a Vechicle Collection and own fucking stupid race cars and stuff and I love her. perovskia is afraid of being in vechiles so she has to take a fucking benadryl every time they have to make a getaway. Variety isn’t actually an Agent anymore and I also love HER because she’s very fucking good. they started out as just contacts slice had but it turns out they’re all in love <3 alia is also actually a sports car racer like. unprofessionally. illegally. which is just very cool of them.

Also i don’t think it has. a very BIG end, yknow? it’s like, they’re doing very good things and are up against a lot, and I don’t think they like.. singlehandedly take down the government or anything because they’re only a few people. but i think they get a happy ending and get to grow old while making positive changes to the world around them. like i don’t think they’ll be able to solve everything but they’re sure as hell gonna do what they can. But idk maybe they actually do get like. some good shit done. but again they’re not. an army. they’re a bunch of 20-somethings and their rube-goldberg-machine-creating chaperone. but i think they should get a fun climactic moment so i guess this is all to say i don’t. have an ending planned. but there should probably be one at some point.

OH AND the giant evil blood sucking dog vineyard vines robot Definitely almost kills Nisa (or at least fully destroys her in some way) and. it’s very narrowly avoided and she’s very very weak for a while because it took a lot out of her. also the dog robot does make grape vines grow and uhhhh any grapes that show up are 100% full of the pilot’s siphoned blood. also i think there’s still some remnants of that bitch in nisa’s mind afterwards bc an old mechanical god is hard to get rid of. but it’s mostly ok.

Also the bug people are just. a thing. like every person in the most recent generation in this specific society are at least a little bit genetically experimented on because. it sucks there. and i think if your parents bribe the government you can be a little Less fucked up but yknow. everyone’s a little weird. this was an excuse to put bug ppl in here they’re just the folks who were probably the most fucked with and i have many bug people here because i think bugs are cool and i want them to look like weird little bugs. This was all also an excuse to give the main characters fangs bc i’m gay. i don’t think randomly fucking with your genetics will make you a bug in real life so do not try this at home or at all PSA

SPEAKING of the society ok it’s very much obsessed with earth nostalgia and stuff and very yknow. basic cyperpunk shitty capitalism you know the drill you’ve seen space operas whatever but it’s also weirdly oligarchical? and like? it’s weird and bad and kind of a corporatocracy?? and. fuck. idk man they’re a fucked up space catgirl greeble-y amazon with catholic imagery. The Academy is also a thing but. idk how to describe it more than i already have it’s just kinda shitty boarding school. And after a certain point ppl can get sent on like. missions and stuff? in their fucking robots? but again i’m not sure what For. an option could be that there’s nearby Shit and nobody can tell if it’s safe because space is weird? also it’s only about 3200 so i’d say like. whole societies out in space is a relatively new thing and there’s some weird shit going on. so they sometimes send teenagers out in robots to see what’s up and that ends SUPER well for EVERYONE. hmm something SHOULD be going on actually there should be some weird eldritch space stuff. it should be connected to the more fucked up robots. it should also be Core’s fault somehow because uhhh capitalism and lack of foresight? anyway here’s women kissing i don’t know things. WAIT FUCK I FORGOT TO MENTION HOW SHADY SOME OF THE STUFF GOING ON IS LIKE THE DEATHS OF THE CREW PEROVSKIA WAS ON UHHH JUST TRUST ME DUDE like they are NOT afraid to get kids killed which was IMPLIED but also like it goes a little deeper than that and uhh i don’t know exactly what’s happening. but i’m sure it’ll all fall into place eventually. basically it’s very fatt shitty faction vibes idk how else to describe it. man it‘s like. just. there’s stuff happening they have goals and ideals and there’s probably more to it than i know so far bc stuff happens but i don’t KNOW what i’m tired and have been typing this for a year i don’t want to talk abt the bad capitalists i want to talk about tenderness and girls but unfortunately the ways in which the girls are tender are deeply informed by the environment they grew up in so i do have to think about it even if they all deserved better.

i think they all get a cat or a dog or something eventually. like they all deserve it. i think the final home they build together is actually pretty reminiscent of the scrapyard house. i think they get to live there for the rest of their lives and. just build something small and wonderful for themselves :’)

also i forgot to put men in the story they exist i just forgot about them. there’s nisa’s one ex i already forgot his name but he’s mentioned i think.