#oh fuck ten years

[batfr1es]

i like to imagine the boys all try to look out for damian by trying to not let him have the same inner turmoil and trauma they have.

like:

dick had a huge responsibility placed on him as robin, even though he asked for it, those shoes were much too big for a child. it’s made him build a need to help everyone- and sacrifice his own needs in turn. he tries to make sure damian doesn’t feel the same need as well. learn that you shouldn’t set yourself on fire to keep another warm. yet dick burns to make sure damian doesn’t have to.

jason is an angry person. he knows this, but it’s not like he was ever taught how to analyze and address his anger effectively- when willis was angry, he hit. when jason is angry, he hits. and bruce never taught him the tools to grow emotionally- he made jason feel like a villain as soon as his violent tendencies showed. he tries to make sure damian doesn’t also feel like he’s inherently bad and unable of change- even if jason doesn’t believe the same for himself.

tim has had to seek out almost every bit of love he gets by proving himself useful- from his parents and failing, from bruce by shoving himself in the role of robin, from the other family members by proving he’s capable, even getting friends because he went out to build his own hero team. hell, as soon as Dick didn’t need him as robin, he was pushed out . he tries to make sure damian doesn’t also feel like if he didn’t seek out attention no one would care about him. he doesn’t think Damian really needs to be reminded, though. he tries not to let that fact sting too much.

growing up the way he did, duke couldn’t let many know of his passion for writing and making poetry- the narrows isn’t a place where you can just show that like dumb softie interests like that. who cares about the way the light of sky before the sunrise gently lights up his room when there’s violence everywhere around him. he tries to make sure damian never feels embarrassed about his art, even if it isn’t a tough guy interest to have (which it totally is, cause there they’re badasses so automatically all their interests are badass too)

[lorephobic]

have i talked before about how crazy it drives me that in old bdubs videos he would super abashedly talk about his love for making things pretty? because. it drives me crazy.

at the beginning of mc4 when everyone was clearing out spawn so it was a lifeless flat plot of land to build on and bdubs took it personally and added grass and foliage once everything was built to make the whole landscape more lively and cohesive. and how hed get made fun of for thinking about little shit like that.

also when he got asked what hed be doing if he wasnt doing mc and he mentioned music (i think) and basically was super embarrassed to be like “i know its not very manly, but im super into artsy fartsy stuff”. as if that is a bad thing.

anyway im getting so emo thinking about how in hermitcraft, everyone knows and admires bdubs skill as a builder and its not ever something thats made fun of anymore. thinking about how bdubs never talks down about his own abilities anymore and instead of feeling weird about being a dude whose into artsy fartsy stuff, hes really embraced his career as a creator of beautiful things.

[avi-on-jumblr]

listen. listen. i don’t believe in DNIs. i don’t believe in them. but.

DNI IF YOU DIDN’T LIKE YENTL.

[one-flower-one-sword]

well I know what you want from me you want someone to be your reflection, your bitter deception setting you free won't you come and dance in the dark with me? show me what you are, I am desperate to know nobody better than the perfect enemy and I know what you want from me you want the same as me my redemption, eternal ascension setting me free

for @bladesmercy's fic The Fear of Falling Stars

[feydfuckernation]

PJO Fancast (6/?) → Iñaki Godoy as Leo Valdez

Leo looked like a Latino Santa's elf, with curly black hair, pointy ears, a cheerful, babyish face, and a mischievous smile that told you right away this guy should not be trusted around matches or sharp objects. His long, nimble fingers wouldn't stop moving—drumming on the seat, sweeping his hair behind his ears, fiddling with the buttons of his army fatigue jacket. Either the kid was naturally hyper or he was hopped up on enough sugar and caffeine to give a heart attack to a water buffalo. "Anyway," Leo said, "I hope you've got your worksheet, 'cause I used mine for spit wads days ago. Why are you looking at me like that? Somebody draw on my face again?"

[hatsunevitu]

i bet kyle “accidentally” sends cartman “happy father’s day” picture every goddamn year

[luneariann]

Yall ever see a couple thats so happy together that it makes your heart hurt a little?

[kacchanrawr]

I don't really go here anymore, but with mha ending I think I'm gonna reread and catch up to it soon. But as of now, my stance on bkdk endgame is: "i don't think it'll happen but i hope it happens cuz god that would be so funny"

[loptrcoptr]

Ten years ago, a little baby loptrcoptr (then under the username daysoffuturepasta), freshly in love with Norse mythology, decided to make a few Norse-myth-meme valentines. I did seven rounds of these things (technically 6 and 1/2) for a total of seven years and I had a lot of fun. Even made some for my grad department to put around the place, and once shoved them into friends’ pockets on a night out to see how long it took them to find each one.

Now, in honor of the tenth anniversary of these trashy little things, have one more!

(Also totally message me to tell me which ones were your faves!)

[polysyndetonaddictsupportgroup]

hii 📓

Okay so the thing is that I wanted a “the Zenin raised Megumi instead of Gojo” fic but the thing is that I’m absolutely convinced that if the Zenin were the ones that took Megumi they wouldn’t actually take tsumiki too. The fandom consensus I’ve personally seen has been that she would have been taken and mistreated by zenin for being a female non sorcerer but I personally think they would have just straight up left her behind.

They only bought Megumi. They keep non sorcerers and women as servants in their compound but all of them are Zenin themselves. Tsumiki isn’t related and I couldn’t really see any reason why they’d want her. Which turned this into a fic where Tsumiki loses her brother, but she’s trying to find him again, she swears. I think of it as my “siblings doomed by the narrative desperately try to write a new one where they can be together” fic.

The thing is that Tsumikis mom was one of those people who thought love and consumption were synonymous. She had a habit of getting caught up with assholes and just… having both of them chew on each other for a while until it turns into this horrible fucking bloodbath.

Tojis just another loser her mom got caught up in, but he’s Tsumiki’s favorite out of all the losers, because he gave her her brother. Her mom marries this random guy she barley knows and Tsumikis pretty sure she does it so they can both ditch their kids twice as much, secure in the knowledge that there’s supposedly another person checking in. It works out great for them, because they both stop coming entirely. It’s fine, because Tsumiki has Megumi and Megumi has Tsumiki and they don’t need anything else.

It’s one of those things where they were in really unhealthy circumstances and it made their relationship a little bit unhealthy but not necessarily bad. They both had to grow up way too fast and deal with way too much too soon and become codependent on each other because they are, in the most literal way possible, dependent on one another. Neither of them know how to love in a way that doesn’t involve sacrificing themselves for their sibling, mostly because they don’t have a way that doesn’t involve that.

They’re in a sinking ship and tsumiki knows it. Their parents aren’t coming back. The money is going to run out sooner or later. Their problems are stacking up.

Megumi has confessed to her that he sees things that no one else does. When she asks him how he knows no one else sees them, he explains that they’d say something if they did and won’t say anything else. And she doesn’t know what to believe but she refuses to call him crazy. He tells her that monsters cling to her back and he fights them off for her. She patches up his bruises and cuts and tells him he’s brave and tries to figure out if she’s just imagining that her back feels lighter after. He tells her that there are dogs that only he can see that have started following him around, and she tells him she believes him and can never remember, later, if she meant it or was just saying it.

The last time Toji came by, he left them more money than tsumikis ever seen in her life, took them to ice cream, told them that he was sorry he was so shit at this and that the money was Megumi’s share in a payment. It was for something he was going to help daddy with later. Tsumiki and him were to use it to take care of themselves and be healthy, because Megumi couldn’t help him later if he wasn’t. And tsumiki was always afraid of what he meant by that, but in the end, she let it slip her mind. After all, Toji hadn’t been by in ages. He probably wouldn’t come by at all.

And he didn’t. But others did. Two men she’s never met before are waiting outside their building one day, and when they see Megumi, they laugh. But the thing that Tsumiki can never get out of her mind later is that she swears they weren’t looking at Megumi directly. They were looking at his dogs.

Tsumiki basically tries to get Megumi and powerwalk past them, but they’re a lot bigger and a lot stronger and there’s nothing she can do, really. They have a brief conversation about whether they should take her too, before one decides that Toji only sold him his kid and to leave the other behind. This makes both of them try to run, but there’s nothing either of them can do to overpower the men, and the men say that “Naobito would go ballistic if they left the ten shadows behind” so they take Megumi and leave her.

They put Megumi in a car and shove Tsumiki to the curb outside of it, and she tried to hold onto his hand, she swears. She grabbed at the car door even when the car started moving, and she banged on the windows, and she watched as Megumi kicked and punched and screamed inside, until one of them hit him and he went still. She ends up falling and hitting her head when the car picks up speed, and when she wakes up again, the cars gone and she has no idea where it went.

And it becomes a foundational moment for who she is. I think she was just intensely lonely before Megumi and poured a lot of herself into this idea of a family together. Tsumikis never able to shake the moment of her being outside the car and Megumi being on the inside, and not being able to get into him. She can never again get what she felt in that moment out of her head.

She goes to the police and tells them that it’s her little brother, his dad sold him but she wants him back, and they’re like “…”. The issue is that apparently her mom can pick up the damn phone if the police call and she shows up, spins some lie about how her and the stepdad split up and he took the kid with him, they never adopted each others kids so it was within his rights, Tsumiki was taking the separation hard and acting out. She lies, basically, because toji hadn’t kept up his end of the deal and dropped in to check in (neither had she) and his kid wasn’t her responsibility, he could do what he wanted with him. She doesn’t want the police poking around the way she lives. Just let the kid go because he’s probably dead and not her real brother anyway.

Tsumiki refuses to give up on him. They were both kids who no one cared about but they cared about each other and that had to be enough. But she’s seven with no support and zero idea on how to find him. She starts skipping school to look for him in random streets, puts up flyers, can’t go outside without looking for him. She gets held back a year in school because of how much she skips and she can’t bring herself to care. She buys him gifts on every birthday and writes him letters she can’t post because she’s going to find her brother and she’s going to prove to him that she never once stopped looking for him. She just. She needs him to know that she never stopped looking for him. She needs to find him and be able to honestly tell him she never stopped trying.

One day her mom comes back in clothes she can’t afford and comes with movers they shouldn’t be able to afford and announces a move they definitely can’t afford. Tsumikis absolutely opposed to going because if her brother comes to look for her, she needs to be in their old apartment so he can find her. She doesn’t have much of a choice in the matter. They have mysterious new benefactors who are setting up a trust to take care of tsumiki with a very generous stipend for her mom but they have to move to Sendai as a stipulation of getting the money.

It’s not until the attorney who’s managing her trust hands her a set of glittery blue butterfly hairpins that tsumiki realizes her mom sold her brother a second time.

The thing is that tsumiki had this one cheap set of butterfly hairpins she’d always stopped to look at in the store when she took Megumi to go grocery shopping. Shed never buy them, because they couldn’t afford it, but it was the thing she wanted most openly in front of him. She was always secretly really insecure about her hair, because they were the kind of poor where bar soap was a luxury they could only sometimes afford and kids at school made fun of how her hair was dirty and frayed. Megumi was the only one who ever saw how badly she wanted those stupid hair clips. If they had to give her a set of butterfly hair clips, it’s because he demanded that they did.

It’s basically implied that the Zenin are the ones paying for her care and upkeep due to an unspecified deal they cut with Megumi, but when they approached her mom with it, they added the caveat that Tsumiki had to be moved to a new city entirely and there could be no forwarding address left anywhere.

The zenins stance on tsumiki is, effectively, that she’s a weakness Megumi needs to be weaned off of. They honestly assumed he’d just like, forget she ever existed and he. Did not do that. He actually pitched a total bitch fit. Tried to scale the compound walls. Bit multiple people including the clan leader. But he’s got the ten shadows, he’s heir to the clan, and he can’t be caught up on some random non sorcerer who isn’t even a Zenin. They end up agreeing to pay for her to live very comfortably if he starts cooperating more but they want to make sure that he can’t ever find her again if he does ever succeed in running away.

Tsumiki is at once full of hope and hopeless, because on one hand, the butterfly clips prove that Megumi still loves her and remembers her, at least in her mind. But at the same time, she’s being moved to Sendai and doesn’t know how they’ll ever find each other again. She doesn’t honestly know if they’d recognize each other if they saw each other again. She wears the butterfly clips every day, even when she gets too old for the style, because she’s more confident about her brother recognizing them than her.

The thing about tsumiki is that she doesn’t understand hate. She just doesn’t. Her mom and toji always got caught up in these perceived slights and revenge and never once let go of the past. They’d destroy themselves if it meant taking down the people they hated with them. She never wanted that. She wanted to live with the people she loved and she’d happily turn around and forget everything, all the pain, all the searching, if it just meant she could go back to being megumis sister.

This isn’t about hate. This is about that moment outside the car, where her brother was inside and she couldn’t get in to him. This is about how helpless and small she felt when they shoved her to the curb and ripped megumis hand out of hers. She needs to make sure that when she finds Megumi, she can take him home again. So she decides she needs to learn how to fight.

Itadori Yuuji has the constitution of an ox and the strength to match it, and he is known for getting in fights with bullies and trouncing them so thoroughly that it’s never a question of who wins when the fight starts. He’s insanely physically capable and can hold his own in a fight with ease. He’s also nice and kind and Tsumiki’s comfortable enough asking him to teach her how to throw a punch or two.

She is bad at it.

So fucking bad at it.

But she never gives up, and Itadori is nice enough to keep teaching her despite how embarrassingly horrible she is at it all. He always asks her why she wants to learn so bad, she doesn’t seem to like it all, and she never answers his question honestly.

In their last year of middle school, their class has a trip to Kyoto. She, Itadori, and the rest of their group walk into some random restaurant in the city and have barely sat down when someone comes inside, starts searching every booth in the restaurant while shouting Tsumikis name.

And oh. They could recognize each other after all.

She looked for Megumi in every crowd she was ever in, but she didn’t consider that he was doing the same. Or that he would see her first.

Her brother grew up without her seeing it. Hes older, dressed in strange, expensive clothes, has a slightly bruised up face and split lip, but his eyes are the same, and he looks like the brother she remembered.

But a lot more nervous than Megumi ever was. He was a tiny, stoic child who didn’t take any shit and never showed fear, even when there were monsters that only he could see. But he’s nervous when he tells her that she probably doesn’t recognize him or remember him, but when she was a lot younger, he—

Megumi. He’s her little brother. Of course she remembers him. She’s been looking for him everywhere.

Megumi didn’t smile much as a child, but he smiles at her then. He tells her he doesn’t have a lot of time and she tells him that they can leave out the back, and he never let her hold his hand as a child but he takes her hand so easily in that second. And just for a second, she’s his sister again, and it’s everything she wanted.

They never make it out the back.

Two men come in. Megumi calls one of them uncle, and he goes stiff and flat the second he sees him. His uncle apologizes for his nephew, tells everyone that he always makes scenes when they’re out in public, tells him to apologize to the nice people and leave. Megumi was mistaken.

Tsumiki tríes to keep ahold of his hand. Really, she does. She tries to tell people to call the police. But megumis “uncle” steps towards her and Megumi slams him into a table, and then suddenly Megumi’s the one insisting that they leave immediately. They can go. It’s fine. They’re leaving. She loses ahold of his hand.

She tries to follow, but the other man restrains her. She learns that she’s better at slamming plates into peoples heads than she is at punching, and at this point itadoris Friend In Danger Override has been triggered and he fucking tackles the dude, which gives tsumiki the clearing that she needs to chase outside after her brother. She gets out just in time to see him be pushed into a car, and she’s had years to think about the last time this happened and figure out what to do differently. She throws herself in front of the car and refuses to move.

See her entire stance is that she’ll sooner get run over and killed in the street than let them do this a second time, but she also can see Megumi trying to fucking punch the drivers head in from behind because he’s about to hit his sister. His uncles trying to restrain him, and just for a second, she sees his hands make the shape of the shadow puppets he used to show her as children. Something invisible slams her out of the way just as his uncle knocks him out.

She picks up a rock and tries to smash in the fucking window with it, and itadori has to pull her out of the way to keep her from getting her feet run over when the car finally tears out of the parking lot. She goes ballistic on him for stopping her because her brother was right there and she lost him again and she didn’t even get the license plate. He was right there.

The police basically do jack all again. There’s no license plate, no names they can follow up on, and they’re still half convinced this is a settled custody issue even though tsumiki insists her brother was sold by his dad and is very plainly getting hurt wherever he is. Itadori is now a devoted advocate of finding tsumikis brother and reuniting them, and both basically kind of end up becoming really close to the other? He’s taking care of himself and his grandpa alone, she’s alone while her moms awol again, and they both become the others support system.

At one point, there’s this random girl and boy who doesn’t speak who shows up to their school for indeterminate reasons. The girl is bored and twirling her glasses in one hand while the person in a suit that they’re with asks the principal questions, and when tsumikis eyes catch at the right angle, she sees an invisible monster clinging to a classmates back through them. She realizes it’s exactly what Megumi always talked about and still remembers that the people who took him could see his dogs. She corners the two others in a room and tries to demand information about the invisible monsters or see if they know her brother or the people who took him, and immediately gets blown off. The fight escalates until the girl tells him that actually, yeah. She knows tsumikis brother. He is a very special person to some very powerful people, and the only way she can ever help him is to tell him that she’s let go of him and that he needs to do the same to her. That’s the only message that the people who have him would ever let get through, and his life would get a lot better as soon as he got it.

The people who have him would give him anything in the world, except for her. He could be a lot happier and healthier than he is right now if he just agreed to stop trying to find tsumiki. If she really wants to help her brother, then she needs to let him go.

Tsumiki nails her in the back of the head with a milk carton when she tries to walk away. It sloshes out on her. Tsumiki did not intend this. She cannot admit that fact. There are some actions you just have to own when you do them. She tells the girl that he’s her brother and she’s never letting go of him. She’s going to find him. They can’t keep him from her forever. She doesn’t care how long it takes her.

For a second, tsumiki really thinks this girl is going to kick her ass, but she doesn’t. She wishes her luck and tells her she’ll need it, and it’s only later that tsumiki realizes she slipped the eyeglasses into her pocket.

And as it turns out, her brothers monsters were real all along.

There was a knife that toji left in the frame of his bed. Tsumiki confiscated it from Megumi as soon as he found it, and it was odd and strange and gave her bad feelings when she held it, and it can kill the things that gather on her back. When she follows Itadori to their local high school and joins the occult club in an attempt to find more people involved in this world of invisible monsters, she wears the eyeglasses and keeps the knife hidden in her bag.

It comes in handy when her senpais are trying to open this thing and suddenly there’s like a fucking portal opening and Actually Let’s Not Oh Too Late Let’s Run Let’s Fucking Run.

They run.

Meanwhile at the hospital Megumi found out in very quick succession that his sister has fucking sukunas finger and also that there’s a very over enthusiastic himbo who is the self appointed vice president of the Find Fushiguro Megumi And Bring Him Home Club who absolutely fucking refuses to leave his side. Sorry who are you. Why are you so enthusiastic about finding him. Megumi sort of was the one doing the finding there was a whole tracking situation and him waiting dramatically in the shadows like they just did it.

Anyway they run very very quickly to tsumikis school where she is dodging she is serpentining this is a fuckton of monsters oh holy fuck is that her brother?

The fight goes bad.

Tsumiki manages to follow itadori and her brother out at a much slower pace because she’s not a freak of nature like itadori and shows up just in time to see her brother shouting at itadori to not eat the fucking finger while itadori is absolutely trying to eat the fucking finger.

She chucks her shoe at him. The finger goes flying.

Then the monster eats it instead.

Tsumiki: :o

Yuuji: :o

Megumi: fuck

Now there’s a bigger monster and the fight goes even worse. There’s a lot of shouting. Itadori ends up with her knife. Then he ends up getting eaten and they’re down both a knife and itadori, who’s probably fucking dead. Then megumis insisting she run and she’s insisting he shut the fuck up because it’s sort of taken a decade to get this close to him again and she’s not fumbling the bag now because of a monster on the rampage. Have a sense of fucking priorities here.

Then itadori bursts out of the monsters stomach with the knife like the fucking Kool Aid Man and the fight is suddenly very over. Good job, team.

Gojo rolls up to his most stoic and eternally pissed off student having a dramatic and emotional reunion with his sister.

Yuuji, in a very bad whisper: no no so like she’s been looking for him for years but he saw her in the restaurant

Gojo: :o go on

Yuuji: and then he got caught by like, I don’t know, he said he was his uncle or something but the dude acted so weird and creepy and they put him in a car and Tsumiki tried to stop the car but they got away

Gojo: *gasp* what no

Yuuji: I know! Anyway then I start helping her look for him but we can’t find him anywhere until I’m at the hospital and he just walks up to me right?? And I’m like “dude I have been looking everywhere for you” and he’s like “I have no idea who you are, I’m here about that fucked up demon finger” and I’m like—

Megumi, really trying to have a moment here: we can both hear you

And megumis like “this is uh. My new teacher. I guess. I am his only student. And he is uh. Enthusiastic. Do not linger in conversation with him.”

Tsumiki is lingering. She needs fucking intel so he can’t disappear again. Where does he go to school and can she transfer there. It’s fucking wizard school? Will they take her even though she’s not a wizard? She cannot emphasize enough that she will study any fucking subject they want so that way she can be close with her brother again she does not care if it’s applicable to her education or life. She can throw things at people itadori tell the man tell him how enthusiastically she will throw things at monsters for their weird fucking wizard school.

Itadori: she hit me in the face with her shoe like five minutes ago

Tsumiki: see???

Megumi keeps trying to forbid her from wizard school but she’s technically the older sister so she has override rights. She will go to wizard school. How does she get wizard school to accept her.

And Gojos just really weird and off and keeps looking at Megumi and saying that he “didn’t know he had a sister.”

He really didn’t know that Megumi had a sister he wanted to stay with.

And then suddenly it’s like a switch is flipped and he’s back to his normal self telling them to leave everything to him, because he’ll make sure tsumiki can come back with them. And uh? Itadori? Weirdly physically capable kid who will apparently eat anything? Is he going to be good getting home after all this?

Itadori: actually if it’s not too much trouble can I go to wizard school too my grandpa sort of died half an hour ago and I don’t have plans for the rest of my life. Tsumikis kind of my best friend and I’d like to make sure she’s all good at wizard school. I’m a really good fighter and I stabbed the last monster so like can I come too because you know. Dead grandpa. No family or future to speak of. Haha.

Gojo:

Megumi:

Tsumiki, softly: dude

There’s more after they make it to jujutsu high but this is already really long so we leave it here

[intertexts]

mildly insane thing ive been thinking about incessantly is that flint didn't get to bury either of his lovers.

[jennyandvastraflint]

Ok so since I literally could not avoid the fucking TenAgain bullshit (since some people, not many but some) couldn't tag their posts with even ONE of the like 15 tags I've filtered, all this has proven to me is that yeah RTD is indeed just erasing Thasmin and Yaz as a love interest of the Doctor (while bringing up fucking ROSE like time to fucking MOVE ON.), and is generally making some really icky moves... I was right to say the vibe if just OFF. I'm not surprised to be proven right but part of me is... disappointed. Like. What the actual fuck.

[mrsoharaa]

being blindfolded, wrists tied behind your arched back and being mindlessly fucked on Satoru's lap while Suguru stands behind you, gently caressing your extended throat with gentle touches and watches you intently get ruthlessly slutted out by his former best friend.

[chirpsythismorning]

I haven't been active in the byler fandom, why would redditors be mad at the play being canon?

Most, not all, but most active reddit users on the ST sub have been bombarded with byler evidence for the last year. So to remain sane through it all, they have resorted to insisting that almost every detail fans come across and try to share on the sub, are just mere coincidences.

This is because they've realized that if they are considering other really minor details meaning something bigger, that means they might have to start considering the possibility that the details pointing to byler are also intentional. This is how they cope.

You would think after saying 'it's just a coincidence' for the hundredth time, they might be starting to rethink their position on things, but the reality of the situation just isn't setting in I guess (aka they don't want it to happen so they are refusing to let themselves truly consider it until they have no choice).

The reason I still partake in the reddit sub, despite losing braincells over half the takes on there, is bc there are still a handful of users that are really smart and do great analysis on the supernatural side of the show, in particular things I have no knowledge on at all and would greatly benefit from looking at to expand my understanding of things and different perspectives.

The really smart ones that exist are usually indifferent to the romantic arcs in the show, although they do have a milkvan bias bc the straight bait is straight baiting. And so these are the few posts theorizing, that consider the details meaning something more, that just so happen to get support from the hardcore milkvans on there. And it's bc as long as it's coming from someone who doesn't think byler is going to happen, they will listen.

I will say the one thing that is sort of obnoxious about all of this is that regular fans without any ship bias, will pop on there semi-regularly with a post, accompanied by basic common sense questions like, 'wait this makes no sense...' or 'why did they do this this way?' in many cases, with the confusion surrounding the build up of Mike and El and Will's role in all that. These people aren't milkvans or bylers, they are just fans picking up on obvious subtext and they are looking for insight about it from fans. And every time they get bombarded with condescending and bitter milkvans that are having to defend mike and el's honor, and s4 really made this a full time job for them lmao. That sort of resentment has manifested into hating anything and everything that considers deeper meaning in relation to Will and Mike, but especially in Will's case. Because that's the thing, they have to deny any importance of Will's role bc Will being important fucking terrifies them. It means that everything could be important basically. It's their worst nightmare and they will hound you for even speculating something. It's insufferable to watch unfold honestly.

I say all of this bc it's important in the context of the play, given that there are a lot of theories out there swirly around, theories that mostly reside on Tumblr. Many of those theories are viewed by redditors as being crack theories that have no evidence supporting them (bc they come from bylers), like the weirdness around Alice not being in the play (and potentially connecting to Karen), or the fact that they insisted the silhouette of Henry's actor right before the cast announcement couldn't be him bc he was too old to be Henry (umm time shenanigans, duh), or that the truth about Brenner's involvement runs a lot deeper than everyone assumes.

And so naturally, leading up to the play, a lot of active (very vocal) redditors in both the main sub and the Hawkins AV Club sub, have commented on posts related to the play, trying so hard to convince others (themselves) that this play is not canon and we shouldn't waste our time with it because it wont matter in the context of everything going on in the literal show. They go as far as to insist it's not canon, even though it already was said to be canon.

And now with this post, they are again having to face the reality this show is a lot deeper than they have had to insist it to is combat byler speculation. All byler evidence is seen as reaching to them. And they'll do everything they can to insist anything bylers are speculating is delusional, which includes theories surrounding the play. All of that denial has led us to this moment, which will only hurt their ego as time goes on and they are being hit with sign after sign after sign... that it might just be that deep.

[bertoyana]

"i want to see this in gomens s3" "i want to see that in gomens s3" well *EYE* personally want to see a nanny ashtoreth and brother francis flashback. i just know their flirting was insane. i jst know their romantic tension was shattering the house's windows

[givemewallywestorgivemedeath]

Feeling very violent rn so here's a very controversial opinion:

Everything after season one of Young Justice sucked.

Look, I know I'm obsessed with the show but that doesn't mean it's good, it means that I'm too deep into it at this point to get out. There are good moments within the other seasons but in general? They were not good.

I'm sorry. I understand that they wanted to be creative and have a neat narrative and deep lore and all that. And they do! The narrative and lore is extremely deep.

But the plot? The characters??

Season one was an actual functional show that balanced character development, plot and dialogue with world building, lore and messaging.

The other seasons do not do that.

Season two bounced back and forth between like 16 characters. We got some development for some characters but even that was minimal compared to the character development in S1. And this isn't me complaining that the og group wasn't in S2 enough. That's not my issue. I would've loved to focus on a new group and I think that Jaime, Bart, Ed and Gar would've been super cool to focus on. I loved what character development they did have and I craved more.

But the problem? The problem is when you have 16 fucking characters that you are trying to develop and shove into a coherent plot and have actual meaningful scenes. There just wasn't enough focus on S2. Imo, S2 was meh because the characters got left by the wayside. The plot, dialogue, world building, lore and messaging was fine, there just seemed to be a lack of heart/warmth in the show because of the characters. It's hard to get invested.

Then holy shit. S3 introduced more characters. And the plot got more contrived and 'big picture' to the point that it started to abstract. It felt like nothing mattered. There were no stakes, you were just watching things happen. There was 50 fucking things happening an episode and 80% of it was lore/world building. It felt like I was studying for a fictional history exam.

I'm pretty sure the main character in S3 was earth 16. Just the entire universe. Because goddamn. We checked in on almost every living being and EVERYTHING was a plot point. Most of it wasn't even relevant to anything happening in the season. Man it was.... it was bad.

And at that point it just wasn't enjoyable at all to watch. I probably should've stopped watching but at that point the sunk cost fallacy had already kicked in. I knew it could be good. Maybe it could be good again. And people were constantly praising it as cinematic genius so I was like 'okay well maybe I'm missing the point? Maybe you aren't supposed to enjoy shows? Maybe this is fine?'

But season four broke me.

The creators heard that people were frustrated by the lack of character focus and the episodes following 72 characters and the episodes switching between 50 different subplots every episode and their solution? Their solution was to take allllllll the different unconnected plots and, instead of evenly spreading them throughout the season, jam them all into 'arcs'. So you had a bunch of mini seasons consisting of 3-5 episodes dedicated to a cast of ~5-8 characters (some of them new). And each of these episodes had unconnected a plots, b plots and c plots.

THAT IS NOT A SOLUTION

Holy shit that is not a solution.

Not to mention the overarching plot of the season, in which we had no fucking clue what was happening until the final episodes where everything became a speedrun to wrap everything up. We literally had no idea what the main plot was until it was ending.

Good god it was bad. It's bad writing!

I know people liked it and good for them. You should like what you like and you don't have to justify it. But for me it was insanity. I'm sorry I actually don't want a season long subplot where Beast Boy is depressed and sleeps all day. I would be cool with it if it had anything to do with the larger story but, surprisingly, spending five minutes watching Beast Boy sleep every episode didn't make for compelling storytelling.

I'm still not over how we didn't even know who the main villain was until the end of the season. And then all of a sudden he does a villain monologue to tell everyone his evil plan and his motives. Super cool actually. I love it when I have no idea what the stakes are for the majority of a show. It's incredibly good storytelling when you leave the audience in the dark about a major player in the plot for all of the plot. And then doing an info dump evil monologue in the final episodes to rush through the explanation??? Fucking fantastic and not a sign of terrible pacing at all.

I'm just so frustrated. The show isn't about being a show anymore. The show is an entire cinematic universe shoved into 20 something episodes. It's desperate to tell every single story at once, audience, pacing and good writing be damned.

I'm so tired of the constant praising of Greg. His whole 'i don't write endings because life doesn't have endings' and 'i don't write cliffhangers, I just leave things open ended' thing is pretentious bullshit. I'm tired of pretending it's not. A good story has an ending. Stories are not life! Some of the best shows I've ever watched had planned endings. And oh my god. The cliffhanger thing... that's just semantics my guy. Greg you write cliffhangers. You can insist they aren't but I'm going to call a spade a spade.

It's also.... I'm fine with explaining things, in fact I love it because it's an excuse to talk about the stuff I love, and I have a fairly decent knowledge of comic book lore. So, I could not only understand what was happening in the show but I was also super enthusiastic about explaining it to people. But hey Greg? Hey buddy? If 90% of your audience doesn't know what the fuck is going on and needs to be familiar with super specific obscure comic characters from the 70's then you might have a problem.

I think I realized halfway through s4 that the most enjoyment I got from an episode was when an obscure comic character would cameo in it. But then I realized that a) they generally weren't explained at all and b) 50% of the time they weren't just hanging out in the background and they were vital to the plot. So to understand who the fuck they were and what the fuck was happening you had to be familiar with... well all of DC comics actually.

Anyway this rant is getting long and unhinged and I don't think there's a point so I'm going to cut myself off even though I have so much more to say on the topic. I think my general point is just that I didn't enjoy watching the later seasons and it's chill if you did and we should all respect each other's opinions ✌️