#narrative punishment

[agentravensong]

thinking about how the extra area added on to a pacifist run of undertale, the true lab, is about alphys's past mistakes. how it ends with the story reaffirming that, despite the pain she's caused, the thing that matters is that she has now made the choice to do the right thing. she's still worthy of her friends' love.

thinking about how undertale doesn't expect the player to get a pacifist ending for the first time. how it's more likely than not that the player will kill toriel the first time they battle her, how lots of players don't initially figure out how to end undyne's fight without killing her, etc. what it expects — not even expects, really, but hopes — is that the player, if they care enough, will use their canonically acknowledged power over time to make up for those mistakes.

no matter how many neutral runs a player has done before committing to the pacifist run, the thing that matters to the characters, to the story, is that you've chosen, now, to do the right thing.

compared to alphys, the player honestly gets off lightly, in that you're the only one (other than flowey) who really remembers any harm you might have caused. and any direct guilting the game could have done about it is long past at this point. instead, as undertale often does, it makes its point via parallels: alphys caused harm, and she knows it. she has committed to being better. in doing so, she has unlocked for herself a better ending to her story. and she deserves it. she's forgiven.

those structural narrative parallels are all over undertale, if you know where to look. and that's one of the things that makes it so fuckin' good.

[acertifiedmoron]

one thing about asoiaf is that it frequently invites you to have sympathy for characters who've carried out varying degrees of morally repulsive acts (most apparent with pov characters such as theon, cersei, tyrion, and jaime but also sandor, joffrey, and even viserys). and most of these characters have received some equivalent of, what may look like 'narrative comeuppance' : theon flayed by ramsay, cersei made to perform her walk of atonement, tyrion sold as a slave, jaime losing his hand, joffrey's painful, drawn out death etc. except the scenes really aren't framed like that since the series doesn't seem to buy into that idea. all these incidents are not just deserts but moments of horrible injustice against these characters. and that's a little series thesis statement in itself, no neat category of monsters whose misdeeds can be addressed by a single moment of karmic justice but people like you and me who hurt others and have been hurt and continue on living. it's saying, here's this person who is capable of great cruelty influenced and motivated by their experiences with the world, but will you also hold understanding and sympathy in your heart for when the world is cruel to them in return? given what most fandom discourse looks like... the answer to that question is unfortunately a resounding no for a lot of readers.

[shallowrambles]

Cas really did fall into the arms of the first person to show him kindness after The Great Fall.

It was the only time he let himself be soft and vulnerable and genuinely enjoy scraps of affection with a mirrored soft smile and: “More of this, I hope.”

He let go of his angelic asceticism and let himself feel.

It was so cruel.

I mean it must really fuck with his head … how basking in affection leads to death or punishment … in one way or another.

….

[foursaints]

call me problematic but the death eaters will always be the more compelling characters to me specifically BECAUSE they exist in a narrative with such rigid black/white morality; because they are considered evil as fact; because they are punished as individuals for the way a system made them; because they are offered no avenues for redemption!

every glimpse of humanity & personhood from one of the cartoonishly-evil disposable background villains (bella’s petnames for her sister, peter’s friendship with james, barty’s skill as a teacher, the carrows’ love for each other, regulus’s note) automatically carries INFINITELY more weight than any dramatic gryffindorish act of heroism BECAUSE it comes shining out from a vacuum. lock me up!!! you should be feeling empathy for them!! do you see how humanity becomes more textured when applied to characters that we, as readers, are meant to disregard as monsters. should i call mary shelley

[thecraftgremlin]

Something I really really love about Dungeon Meshi is how little judgement the narrative has for any of its characters. Laios isn’t judged for his love of monsters and his difficulties relating to people, Marcille isn’t judged for her study and use of forbidden magic, Chilchuck isn’t judged for walking out on his family. Namari and Shuro aren’t judged for leaving the party after Falin is killed, Kabru isn’t judged for his distrust of Laios, and I could go on for basically every character. Even the demon, the big bad of the series, is at its core just another creature trying to survive the only way it can. And in a setting like western style high fantasy, where inborn moral alignments are practically treated as a requirement of the genre, it’s really refreshing to see a take on it where there are no truly evil people.

And I feel like it really helps reinforce one of the main themes of the series, that in the end all living things are part of an ecosystem and they’re all just doing their best to survive, you know?

[suzukiblu]

Please, cuddling, and TimKon?

. . . I am sorry but also I am NOT sorry for what I have done with this reply, but hey, why don't we all enjoy this one being the only prompt fill from this meme that got a read-more cut??

“Please,” Kon tries, trying not to look–he doesn’t know, weird and needy and like an embarrassment, or whatever. It feels like such a stupid thing to ask for. He knows Tim’s not really a hugger or a touchy-feely guy or whatever and that he likes having his own space and basically always hops out of bed right after sex to go write down all the shit his post-nut clarity made him think of, and the idea of, like, just staying still and actually cuddling or whatever is probably basically literal torture to him, assuming it’s ever even occurred to him at all, just . . . 

Just he’d kind of like to sometimes, maybe? Like–not regularly or whatever, he’s not trying to drive Tim nuts or cut into either his worktime or downtime here, just . . .

Just he’d like to do it sometimes, that’s all. 

Tim’s not the tactile type. Tim isn’t even the eye contact type, unless he’s lying to somebody or at work or just faking it for Robin-mode or whatever. Kon gets that. He’s been, like–careful about that. Not trying to take up too much space or ask for too much attention or mind when Tim doesn’t even look up at him when he– 

He’s been careful about it. 

But he is . . . well. The tactile type. Like . . . kind of, anyway. 

Like–it’s kinda unavoidable, honestly. 

“Oh,” Tim says, blinking at him in just enough bemusement to make him feel even more self-conscious about bringing this shit up to begin with, and Kon tries to keep his expression casual and noncommittal and–and just normal about this. Because he is totally normal about this. He is so normal about this. He is.

He’s also normal about the fact that when he asked Tim if he could talk to him about something, Tim didn’t even put down his tablet. Didn’t even put it to sleep, or actually even look up from it until . . . 

Kon’s normal about that. About all of this. 

(and he definitely never feels kind of weird or a little bit abandoned because Tim can’t EVER just bring his stupid laptop back to bed or at least work on whatever he’s thinking about IN the bedroom at the untouched desk he's got set up in there or even just, like . . . stick around and hang out on the couch with him, or anything like that. he definitely totally ENTIRELY doesn’t ever just feel like a casual fuckbuddy or an easy hookup or a gala-night accessory or just the most immediately convenient option and not actually–not actually any kind of a–not actually something that– 

he doesn’t. 

definitely.)

“Uh,” Kon says, and backpedals awkwardly, because clearly this conversation is not going the way he’d wanted it to and Tim just looks so surprised by it all, like–like it never even occurred to him or something, that maybe . . . that maybe Kon would want anything like that, or like he literally just hasn’t noticed how hard Kon’s been trying to be normal about it, or . . . 

It doesn’t feel very good, the idea he’s been trying so hard to respect Tim’s space and preferences and comfort levels and Tim hasn’t even noticed that he was doing anything at all. 

Especially because Tim usually notices just about everything. 

Maybe Tim’s just never thinking about it. Maybe he gets out of bed so quick because he’s spent the whole time in it thinking about other shit and just putting up with–just– 

“Kon,” Tim says, his voice going a little tight, and Kon just tries not to wince. He didn’t mention any of the complicated stuff he’s been trying not to feel, he just asked if Tim could–if Tim would– 

He didn’t even mention any of the complicated stuff, so it’s, like–not a great sign that Tim’s looking at him like that right now, like he’s said something really serious or upsetting or . . . 

He really shouldn’t have said anything, yeah. 

“Sorry,” he tries stiffly, glancing away and wrapping his hand around his own wrist and digging his fingers into the inside of it. It’s–tactile. Just . . . something tactile. “I know you don’t–sorry. Uh. Just forget it.” 

“Fuck,” Tim mutters for some reason, and Kon feels like such an idiot for saying anything at all, and a worse one for apparently doing it in a way that’s got Tim making that face at him. That face is Robin’s “my utility belt is empty, comms are fried, and the mission just went to shit” face. 

He really fucked this up. It was fine. Everything was fine, and now he’s wrecked it and Tim’s about to say it’s not even that serious, it’s not like it’s even–not like they’re even–and that Kon’s clearly gotten the wrong idea and they should just–just– 

“How long have you felt this way?” Tim asks very, very carefully, like the question’s something fragile, and Kon thinks from literally the first fucking time you left me alone in bed all night so you could go recalibrate some stupid useless specialty sensor that wasn’t even part of your primary gear, like, a WEEK into us sleeping together and says, “I dunno. It’s not–I told you. Forget it. It’s not a big deal.” 

He’s being weird about this. He’s being an asshole about this, actually, because being prepared for literally every single possible contingency ever is the Bats’ whole thing and he got into this knowing Tim wasn’t the touchy-feely type or all that expressive and emotive about–about his feelings, or whatever, and–and it’s not like he even–not like he– 

(he just wants a fucking HUG he didn't have to FUCK him for every now and then, or for Tim to at least exist in the same space as him for longer than the time it takes for the next email from Oracle to come in or next alert from Batman to go off or next self-assigned project to finish processing or–

but that’s not something Tim does, and Kon knew that going in, so–so it’s his own stupid fault if he feels SMALL sometimes, when . . . when there’s always something else, always another problem to solve or place to be or thing to think about, always . . . always something more important than just . . . staying, just for a little bit, and just BEING with–with him. just him. not the team, or either of their families, or . . .)

He knew all this going in, Kon reminds himself. He knew it. If he were this bad at being with literally anyone else, he’d just–he’d just– 

But something about it being Tim means he just . . . can’t. 

Tim’s jaw tightens, and he finally sets down his stupid tablet. 

Only now, though, Kon thinks bitterly, and digs his fingers a little deeper into the inside of his wrist. 

“Kon,” Tim says again, says too carefully again. Like something’s fragile, again. “I–” 

“I said forget it, for fuck’s sake!” Kon snaps too hotly, and maybe hates himself for both doing it and for the stricken look that doing it puts on Tim’s face, and also maybe cheats a bit by super-speeding straight out the balcony door into the night air and not taking his cell or his communicator with him. Or–definitely does, in fact. Definitely that’s cheating. He knows it is. 

He just really can’t stand to hear Tim tell him how he’s fucked up this time right now, though. He just–he tried so fucking hard not to fuck up this time. 

He really, really tried. 

He should’ve known it wouldn’t work, but . . . but he really did try.

[barrel-crow-n]

I think the saddest thing about Alina is that she was villianised when she was just trying to be whole. She didn't want the power of the stag and it was forced upon her (although she did also gain it anyway for granting mercy). Then, again, she took the whip's life because it was going to die anyway due to the Darkling. This caused her to feel unbalanced because she didn't have the last piece of the matching set. And this is treated as greed! as a horrible thing and a sign that she's going power hungry when in reality she just feels unbalanced. It makes sense that she wants a matching set! It's like an impulse she can't ignore, to make herself whole.

[robby-bobby-tommy]

‼️SPOILERS FOR ACE ATTORNEY INVESTIGATIONS (1 AND 2) AND THE GREAT ACE ATTORNEY‼️

Plus Kazuma, Phoenix ect

Add characters that you think would fit the category

(Btw I'm not justifying their actions, but man do I feel bad for them. After one point their lives became a freaking greek tragedy)

[transmascutena]

the poor little meow meow-ifictation of saionji in this fandom has got to stop i can't take it any more

[sammygender]

its so so insane how dean has like. the huge fanbase he does. he is AWFUL!!!! i love him truly but im known for loving awful characters in fandoms im used to characters who act like him being viciously hated!!! and the only explanation i can think of is that hes played by jensen ackles (aka pretty white man). theres the fact that the narrative favours dean a lot when hes not actually right (a la s4) but thats not just it because dean is pretty clear-cut presesnted as getting morally greyer to the point of antihero territory in like s9 (where im at) at least. and Yet. he is unproblematic ally king to all??? supportive brother of the century??? Girl what???? do you know who dean winchester is? he is a controlling possessive clingy manipulative aggressive unstable thirty five year old who cant grow past his own damage and never really will because the narrative is perpetuated by the cycles he keeps perpetuating

[everyones-least-favorite-bard]

on the subject of yjh transgenderism: if i said something about yjh sort of having to be a man for the purposes of wos being what kdj could latch onto to survive because the most significant woman in kdjs life was also (to him at this point) a point of focused, projected self-loathing, but the most significant man was so singularly awful that he had functionally blacked him out and so yjh could step into that place of pseudo freudian Important Male Role Model without much trouble and so yjh was essentially performing masculinity for the sake of kdj and SO. a yjh at the end of orv/wos/scenarios/epilogues/whatever should (from a thematic standpoint) at the very least explore gender as it applies to them personally vs what hsy and kdj needed at a given time what then. what then

[ironmansbay]

“aegon’s mini-speech to larys listing his new ailments and insecurities was designed to humiliate his character” is easily the funniest breed of finale hate so far. “The guy who gets traumatically castrated as a result of an already extremely traumatic disabling event in every version of this story should never bring it up bc I, the viewer, consider that an insurmountable embarrassment for him and inherently undignified. I’m saying this for disability rights reasons btw.”

[five-flavor-soup]

This is technically in response/as an addition to a post on the supposed ‘double standard’ in the fandom between Zuko and Jet as Katara’s love interests, but it’s been so long since it was posted and I figured the OP would be entirely uninterested in my word vomit, especially after like one and half years—so, separate post. I added a link for those interested. There's a cut because this got quite long lmao.

In short, the post supposes the argument that though Jet would’ve made Katara kill people (something Zuko very much Did Not Do, no matter what you think about The Southern Raiders), he cleaned up his act after this. Zuko, on the other hand, did lots of Really Bad Things to Katara & Co. with far more frequency than Jet did and got redeemed after a multitude of episodes doing Various Things Moste Evile. To then slap Jet with The Toxic Ex-label and see Zuko as the ‘healthier’ and ‘better’ option creates a Double Standard(™) within the fandom, which is supposedly bad and not an arguably incorrect reading. 

But the differences in fandom perception between Jet and Zuko as Love Interests for Katara (one of which canonically, and the other potentially and apparently talked about in the writer’s room) are easily explained, as can the Supposed Double Standard—just by thinking about it from Katara’s viewpoint, or even the audience’s. Because, well, the worst things Jet ‘almost’ ended up doing didn’t happen because of outside interference only. 

That’s the important bit here. He 100% would’ve drowned an entire village just to get rid of a handful of Fire Nation soldiers, had Sokka not managed to evacuate everybody. He 100% would’ve grievously injured two people who, as far as Jet and everybody else were aware, were refugees who might not even be firebenders — considering nobody else saw Iroh heat up his tea, he could’ve been wrong — in an attempt to prove his own hunch. Had the guards not been there, had Zuko not been able to fight back with swords, Jet would’ve genuinely attempted to wound them for as much as a puff of smoke. And Jet consistently involves bystanders (innocent or not) in his desperate quest to harm and defeat the Fire Nation: the Gaang (and particularly Katara, through explicitly manipulative means) and the villagers in Jet; Zuko, Iroh, and the people in the teashop in City of Walls and Secrets. Additionally, we don’t see more violence from him because he’s not a main character like Zuko is—though it’s implied that Jet beats up villagers who are supposedly in cahoots with the Fire Nation often, only agreeing to turn over a new leaf when he, Smellerbee, and Longshot decide to move to Ba Sing Se. 

Zuko explicitly and frequently doesn’t harm people: that, or it isn’t important to the plot. He doesn’t burn down the village on Kyoshi, he literally only manages to lightly singe it. He threatens people with violence frequently but never actually goes in for the kill. I’d argue that the most explicitly violent thing he does in Book 1 is breaking Aang out of the Pouhai Stronghold—for his own ends obviously, but if it’s spelled like treason and sounds like treason, it’s probably treason. When he thinks of robbing the pregnant couple while he’s on the run, he stops himself of his own volition; when he considers using Appa to catch Aang (this was a point made against Zuko in the post), he’s unaware of what Appa’s been through prior to that point and sees him as no more than an animal used for travel, much like the ostrich horse he stole earlier in the season. 

Zuko’s schtick throughout Book 1 and 2 is that he doesn’t want to think of the consequences of his actions. His plans are never fully complete. He doesn’t think of how he’s going to get a chained, notoriously slippery little eel of an Avatar to the Fire Nation, and he doesn’t think about what would happen to twelve-year-old Aang after they got there—which is horrible of him, but it also shows an odd, ignorant kind of innocence that you’d associate with a kid who’s got a hard time telling right from wrong. Like, I love Zuko dearly, adore him even, but kiddo doesn’t think ahead until the Book 2 finale and even that’s debatable. He’ll eventually start thinking ahead a little bit but for the most part, he doesn’t. Not saying that takes away responsibility, because it absolutely doesn’t, but it is telling of Zuko’s character: he’s an ‘act first, think later’-kind of guy, all ‘fuck around; find out; maybe success’. His sole goal throughout Book 1 and 2 is going home, without even thinking on how to get there beyond like, Avatar in my custody => back in Fire Nation with Avatar => dad loves me again. And he says that his only intention is to go home too, in Ep 2 of Book 1:

Aang: If I go with you, [He holds his staff in front of him as an offer, making sure Zuko understands that he does not wish to continue fighting.] will you promise to leave everyone alone? [The camera cuts to a side-view of the area, Zuko's men still surrounding him, spears poised. After a brief moment of hesitation, Zuko erects himself and nods in agreement. Aang is apprehended by Zuko's men, who take his staff . . . ] Zuko: [Boarding the ship up the walkway. Determined.] Head a course for the Fire Nation. I'm going home.

(Added emphasis for my point)

Zuko is not the Big Bad. He’s not The Largest Threat. He never is. In Book 1 it’s Zhao, in Book 2 it’s Azula, and in Book 3 it’s Ozai. Zuko is a consistent threat, yes, but not a particularly large one no matter how good of a fighter he is. Because he’s presented to us as a disastrously hurt and traumatised little brat who we, the audience, are supposed to feel sorry for, and slowly grow fond of. Because we learn in The Storm that the notion of “caring for others is weak” has literally been branded into him. Because he keeps getting back up to fight, but consistently holds back. We are shown that he knows, on some level, that what he’s doing is wrong: the text suggests that Zuko is actively suppressing his morals. And by the time Zuko hires an assassin to ensure the Avatar is dead, we know that Zuko is incredibly unhappy with his choice(s) and is desperate to be safe; that he’s uncomfortable but wants to be comfortable; that he’s incorrect about the source of his fear while he’s back in the palace. The audience is shown this explicitly. 

By contrast, we’re shown that Jet is fully aware that those villagers will die. He’s fully aware that, if he manages to prove the two refugees are firebenders, they’ll be arrested and probably mutilated (if the hand-crushing is any indication). I love Jet and his character, but he’s supposed to be the example of poisoning yourself with your hatred, anger, and hurt. He’s revenge that goes too far, because he doesn’t allow himself closure. He knows the consequences and isn’t shown to care for them, as long as his goal is furthered.

And there is the small, but significant, difference between the two characters: Zuko initially just wants to capture the Avatar, is purposefully remaining unaware of what will happen when he does so, and is clearly shown to change, while Jet just wants to punish firebenders and is very aware of what will be necessary for him to do so, with a handful of lines of how he ‘stopped being like that’. And honestly, Jet is far more mature than Zuko is for quite some time, regarding the violence of war—basically as mature as Zuko eventually becomes at the tail-end of his redemption arc. But Zuko’s maturity is at that point healthier, because he doesn’t want to genuinely do harm. 

In regards to their separate relationships with Katara, there’s these fantastic points that @sokkastyles made in reply to the post:

The fact that Zuko actually did change and Katara actually forgave him makes ALL the difference. [ . . . ] The thing about Jet is how manipulative he was with Katara. He not only almost made her kill innocents, but he lied to her about the man he attacked having a knife when he was called out, so that Katara would see her as righteous. Someone who is willing to lie in order to make themselves seem good and someone who says they are going to change but then does the same things doesn’t have a good track record, and that’s a more troubling relationship dynamic than someone who acts as an upfront enemy but then sincerely changes.

And: 

I do think it makes sense to focus on manipulation being worse than being a cartoon villain when we're talking about personal relationships. I think many people can relate to having someone like Jet in their lives who seems nice but who lies and manipulates to justify their own bad behavior despite repeatedly claiming that they will change. Not that many people will experience being tied to a tree by someone who wants you to tell them where the Avatar is, and it is completely reasonable for people to be more forgivable of things Zuko did as a villain than things Jet did to Katara when he claimed to be a friend.

I actually don’t have anything to add to this, lol. It’s succinct and well-worded.

Lastly, in addition the relatability and the relationships being different (the manipulative, emotionally hurt, and self-proclaimed anti-hero versus the initially childish, explicitly confused and desperate cartoon villain, plus the girl they hurt horribly), there’s also the problem of Jet not being a main character. Jet is a relatively well-written side character, whilst Zuko is very quickly established as a main-ish character with his own POV (as the writers decided during the conceptualisation that he’d be joining Team Avatar eventually). Zuko’s troubling, self-destructive nature that has been forced upon him and his Tragic Childhood is shown in high definition. The audience is supposed to eventually be okay with Zuko and hopefully like him, slowly adding puzzle pieces to complete the picture of a horrific earlier youth and treatment by nearly everybody he knows except Iroh. Something like this isn’t necessary with Jet, not just because he was already incredibly likeable and understandable from his introduction and onwards, but also because he’s neither a villain nor a main character. 

There’s multiple reasons as to why Zuko is often seen as the ‘better’ option, just like there are multiple reasons why Jet and Zuko are compared so frequently—they’re both traumatised teenage boys who ‘rebel’ to get some semblance of control back, but we see Zuko change into a kid anyone would be a little bit proud and fond of and that doesn’t happen with Jet. Double standard or not, Zuko and Jet are different characters who the writers also treated very differently, on purpose. It makes sense to me that the audience would think Zutara is the ‘less bad’ or far better option. We know far more about Zuko than we know about Jet; and Jet’s redemption arc, if we can even call it that, halts permanently when Zuko’s is reaching the height it for him to go into a freefall, ultimately culminating in a genuine redemption. We, the audience, know this. So does Katara.

[houseswife]

find it sooo funny that foreman is cuddy now and chase is house because although cuddy was an enabler she at least had some semblance of what you’re meant to do as a doctor. so she could hold up the facade a tiny bit. chase is gonna walk in like “I need approval to amputate this guy’s perfectly working legs and then re-attach them using dental floss. without anaesthesia btw. and we’re gonna hypnotise his medical proxy to get consent. we think he has a mild mint allergy and I need the answer” and foreman isn’t even gonna look up from his paperwork before responding “k lol”

[cherboxishere]

#tritober Day 11: Smoke

Eyes don’t lie right vash?

Sometimes I think about Trimax Vash smoking after Ww passing just to remember how he tasted like

And I want to commit several felonies and cry

[ride-thedragon]

Nettles as the Cannibal's rider.

This is a sentiment I keep seeing a lot, and while I won't speak on the leaks more than I have, this idea is a bit interesting to me..

The Cannibal as a dragon is a wild dragon, meaning it has little hunan interaction and loves on its own. Its diet is both people and dragon eggs/hatchlings. It's meant to be a direct symbol of the carnivorous act of war among the Targaryens. It's one of the oldest draogns alive, one of the biggest as well. It marks the internal conflict of house Targaryens, nothing but a dragon can end itself so well. Its cave is littered with the bones of humans and hatchlings alike.

I'm a firm believer in dragons reflecting their riders. Nettles is one of the most obvious cases. She's a sheep stealing brown skinny girl on her sheepstealing brown skinny dragon. They're bond is also unique among any other riders we know.

It's more akin to the power and status a girl would gain from a marriage to a Targaryen. Power, protection, wealth, and honour. It's a blood sealed relationship similar to marriages in Westeros with the maidenhead idea as well as the blood drawn in Valyrian ceremonies.

So to change her narrative and giving her the Cannibal as her dragon does change the narrative of her character quite a bit.

If her dragon is the idea of Targaryen in fighting, she becomes the symbol of the war. A personification of the conflict. On one hand, because the Cannibal has his own plot with Sunfyre (rip my beloved grey ghost) and a symbolic departure after Corlys passes, Nettles can be kept in the narrative longer but she can also cause way more conflict. Like have her not being a dragonseed be an actual dividing line between people, have her be a conflict between Jace and Rhaenyra, Baela and Jace, Daemon and Rhaenyra and so on.

That dragon is chaos, let's see her devour the house from within.

Also, this adds to another point of how Nettles claims this dragon: Is she feeding kids or stealing eggs? Or is she waiting until after it eats other dragonseeds to get closer?

While I don't think it will happen, I do plan on watching the show before making any theories or coming to any conclusions on arcs for my favourite characters, it's an interesting idea.

Rhaena on Sheepstealer likewise causes a similar issue, but I'll wait for the show (maybe) to voice that thought.