#that we couldn't even include in 10 episodes

[anotherkindofmindpod]

Mocking Paul

Tune In’s take on Paul’s “Uncool” Musical Tastes

NOTE: The purpose of this analysis is not to exaggerate the severity of John’s onstage behavior which could have (at least occasionally) been conducted in good fun and camaraderie. The object is to determine whether or not Tune In is capable of presenting John’s disruptive and/or undermining behavior objectively in a way that allows the reader to judge the appropriateness of such behavior.

–

Multiple times throughout the book, Lewisohn writes with seeming approval about John undercutting Paul’s “soft” songs or musical tastes.

Here are five examples of this happening live, onstage:

On page 614, Lewisohn tells us how “Paul would flutter his eyelashes when he sang certain songs,” and calls "Somewhere Over the Rainbow” “one of [Paul’s] flutter numbers, guaranteed to go down a storm with the girls.”

Tune In describes John teasing Paul onstage: “John pointed to Paul, burst into raucous laughter and shouted, ‘God, he’s doing Judy Garland!’ Paul had to keep singing in the knowledge that John was pulling crips and Quasis behind his back or making strange sounds on his guitar to interrupt him.”

Of this, Lewisohn writes, “There were always several simultaneous reasons why an audience couldn’t take their eyes off the Beatles.”

About “Besame Mucho,” we get a quote from Lindy Ness: “When Paul sang ‘Besame Mucho,’ John used to stand behind him and make cripple faces. He had to: Paul was asking for it.” (p761).

During “A Taste of Honey,” John interrupts Paul’s performance by yelling at the audience. Lewisohn calls this behavior an example of “the Nerk Twins’ chemistry” (p1178).

When Paul sings “Till There Was You,” “[John] speaks most of the lines in a persistent piss-taking echo: ‘No, I never heard them at all’ (‘No, he never heard them’)” and Lewisohn writes, “[Paul’s] not even necessarily cross about it—he knows it’ll happen because this is John, and John is his fairground hero.” He also writes, “It’s part of the double-act, one among so many reasons they're special together” (p1178).

Also about “Till There Was You”: “John really had a go at Paul for singing this—but didn’t try to stop him doing it, recognizing there was scope for all kinds of music in this group, to please all kinds of audiences” (p615).

Does it sound like John is preoccupied with projecting a “cool” image? We think so. Perhaps his undermining behavior garnered the praise and approval of a few (like Lindy Ness), but it could hardly be described as supportive of his partner (or reflective of good “leadership”).

And yet, Tune In always assures us that John is being awesome. Sometimes even a "hero."

Instead of dispassionately framing John’s behavior as immature or insecure upstaging, Lewisohn calls John’s attention-seeking antics a part of John and Paul’s “chemistry,” which is “special” and a “[reason] why an audience couldn’t take their eyes off the Beatles.”

And, of course, we hear once again that John is Paul’s “fairground hero.”

Somehow, by mocking Paul doing his “flutter numbers” John is “recognizing there’s scope for all kinds of music.”

Note that, according to Tune In, Paul himself isn’t recognizing scope by choosing and singing the songs (even in the face of mockery); John is recognizing scope by allowing him to do it (while simultaneously making fun of him for it).

–

Our final example is one where John doesn’t even allow Paul to finish his performance, and Tune In uses this to pay John the biggest compliment yet.

Regarding the Beatles’ live performance of Elvis’s hit single “Are You Lonesome Tonight”, only days after its release:

“Paul set down his guitar, clasped the microphone and did his Elvis act, the great solo star crooning his new slow one. It was already going to pot when he went into the long spoken-word middle section about ‘all the world’s a stage,’ which he’d crammed into his brain inside a few hours … and then John just stopped the group dead.

Refusing to be involved in anything so corny, John completely took the piss out of Paul, ripping his close mate and bandmate to shreds in front of everyone. ‘They sent me up rotten,’ Paul says, ‘especially John. They all but laughed me off the stage.’”

So from this description and Paul’s quote, we can surmise that the Beatles had rehearsed and prepared the number, “spoken-word middle section” and all. Why then, did John not object to the corny, spoken-word interlude during rehearsal? Assuming John’s mid-performance "piss-take" was not a comedy routine pre-planned by all the Beatles, this anecdote suggests that John knowingly set Paul up for public ridicule and relished the opportunity to pull the rug out from under him onstage.

To be clear, this would be a perfectly fine choice if Paul was in on the joke and consented to the bit. But deliberately setting Paul up to fail is unambiguously un-cool.

Nevertheless, here’s how Lewisohn justifies John’s behavior:

“This was the way John dealt with things, and he also knew the Beatles must have a solid front line, not back a soloist. As he said, ‘Every group had a lead singer in a pink jacket singing Cliff Richard-type songs. We were the only group that didn’t … and that was how we broke through, by being different'” (586).

There’s no reason to connect John’s quote about “being different” to this anecdote (the footnote indicates his quote is taken from a December 1969 interview called “Pop Goes the Bulldog”) except to spin John’s behavior in the noblest way possible.

Paul wasn’t trying to be “a lead singer in a pink jacket”—he was merely taking the lead vocal just as John and George did in their turn. Did John also stop the band dead in the middle of his own solo spots, in order to ensure they kept a “solid front line” that would allow them to “[break] through by being different"? Of course not. John is simply covering his embarrassment here, insecure about perceived softness, and seeking negative attention.

(For readers who may think we're overblowing this topic, imagine for a moment if Paul was doing this to George Harrison onstage. Would Paul’s behavior be praised?)

It’s outrageous for Lewisohn to spin John's every behavior into something awesome (“audiences couldn’t take their eyes off”; “fairground hero”), visionary (“we broke through by being different”), egalitarian (“solid front line”) broad-minded (“recognizing there was scope for all kinds of music”), and indicative of a GOOD PARTNER, actually (“part of the double-act”; “Nerk Twins’ chemistry”; “special together”).

Meanwhile, Paul is “asking for it” by doing “flutter numbers” “guaranteed to go down a storm with the girls,” “making his eyes big,” being “so corny,” and trying to be “the great solo star,” like a Cliff Richard knockoff “in a pink jacket.” Does this portrayal look even-handed?

—//—

FULL EXCERPTS:

“[‘Are You Lonesome Tonight’] came out in Britain on Friday, January 13, and they did it the next night at Aintree Institute. Paul set down his guitar, clasped the microphone and did his Elvis act, the great solo star crooning his new slow one. It was already going to pot when he went into the long spoken-word middle section about ‘all the world’s a stage,’ which he’d crammed into his brain inside a few hours … and then John just stopped the group dead.

Refusing to be involved in anything so corny, he completely took the piss out of Paul, ripping his close mate and bandmate to shreds in front of everyone. ‘They sent me up rotten,’ Paul says, ‘especially John. They all but laughed me off the stage.’ This was the way John dealt with things, and he also knew the Beatles must have a solid front line, not back a soloist. As he said, ‘Every group had a lead singer in a pink jacket singing Cliff Richard-type songs. We were the only group that didn’t … and that was how we broke through, by being different’” (586).

—//—

“We always requested Paul to sing ‘Long Tall Sally.’ He used to say, ‘I can’t do it because it kills me throat,’ but then he would. He’d announce, ‘I’m doing this one for these two flossies over here,’ or something like that. Girls used to say his eyes were like mince pies. He had long eyelashes and would deliberately flutter them, and though you knew he was always aware of himself, he was so friendly to everybody that you couldn’t help but like him.’ —BERNADETTE FARRELL

One of the flutter numbers was ‘Over the Rainbow,’ guaranteed to go down a storm with the girls. The song from The Wizard of Oz seemed a strange choice, but the Beatles considered it valid because Gene Vincent did it. Paul sang it somewhere between the two versions, pausing impressively after the heightened ‘Somewhere’ and then sweetly rolling down. Cavern girls would get used to the sight: he made his eyes big, turned his face up and slightly at an angle and fixed his gaze above their heads on a brick at the far end of the center tunnel.

Sometimes John joined in with fine harmonies, but mostly he took the piss. Pete says that during one Cavern performance of ‘Over the Rainbow,’ John leaned back on the piano, pointed to Paul, burst into raucous laughter and shouted, ‘God, he’s doing Judy Garland!’ Paul had to keep singing in the knowledge that John was pulling crips and Quasis behind his back or making strange sounds on his guitar to interrupt him. Yet, if Paul stopped in the middle of the number, John would stare around the stage, the essence of innocence. There were always several simultaneous reasons why an audience couldn’t take their eyes off the Beatles.

Paul took such behavior from no one but John, but also he gave it back and was strong-minded enough to carry on doing what he wanted, knowing how much the audience liked it. He sang these songs well, and added one more to the portfolio at this time, the Broadway show number ‘Till There Was You,’ as covered in a new version by Peggy Lee—or Peggy Leg, as Paul called her. (He was given her record by his cousin Bett Robbins.) John really had a go at Paul for singing this—but didn’t try to stop him doing it, recognizing there was scope for all kinds of music in this group, to please all kinds of audiences … just so long as no one went near jazz” (614-15).

—//—

“LINDY NESS: ‘When Paul sang “Besame Mucho,” John used to stand behind him and make cripple faces. He had to: Paul was asking for it. But John wasn’t particular—he also took the piss out of George and Pete, mostly by imitations of some kind’” (761).

—//—

The tape throws great light on the Nerk Twins’ chemistry. While Paul is singing ‘A Taste of Honey,’ John suddenly shouts ‘SHUT UP TALKING!’ to someone in the audience, interrupting Paul much more than the chatterbox. Paul knows this, and is pitched into laughter. When he sings ‘Till There Was You,’ John—just a beat behind—speaks most of the lines in a persistent piss-taking echo: ‘No, I never heard them at all’ (‘No, he never heard them’). Paul chuckles and plows on; he can’t stop it, and he’s not even necessarily cross about it—he knows it’ll happen because this is John, and John is his fairground hero. It’s part of the double-act: the audience try to watch the singer but can’t tear their eyes off his mate, who’s probably also pulling crips. John couldn’t do this to anyone else without risking a thump, Paul wouldn’t accept it from anyone else; Paul gets to sing his song, John gets to undermine him. It’s just one facet of the complex sibling relationship they’ve always had, one among so many reasons they’re special together” (1178).

[c0rpsedemon]

when i saw 'cabin in the woods in middle of nowhere new hampshire' bad i mean it. i have a 65 year old father from northeastern mass that's the only type of vacation i ever go on (if you're wondering what it's like it's like a modern day yellow wallpaper btw) . i know my cabins in middle of nowhere new hampshire. i've been to multiple with better wifi than i currently have. that says a lot btw.

[tobyscloset]

I am going to talk about my favourite things from chaos theory and of course, the downsides, and my personal opinions!! (Opinions based around the benrius/yasammy topic) So major spoilers ahead under the cut!

Goodsides :D

While chaos theory is a kids show, it definitely displays more mature content, something camp cretaceous did not show! This includes blood, and visual character death (Daniel Kons was specifically gruesome), and description of mental issues, this is specifically PTSD, implied depressive states and breakdowns, the show dives deep into the world of surprise, watching it i was shocked in a good way when a scene came up. Kenji's breakdown was perfectly animated and portrayed.

Each character never faded into the background and they were all equally focused on throughout the season. The show also focused on relationships between the campers, and their families. Specifically Sammy's. Each character has their own comical relief line even when in a dangerous situation. The campers never matured, only grew, they stayed themselves and still act as a group! Same way they did on Nublar.

The plot twists are bonkers, I was not expecting the DPW to be up to sketchy business, nor did I expect suddenly blossoming romance between characters. The budget is definitely higher than it was with camp cretaceous, I couldn't tell if some scenes were animated or real. Beautifully portrayed landscapes.

Overall, the show deserved every amazing rating and my personal rating is an 11/10.

Downsides D:

My first itch was the one-sided romance with Darius and Brooklynn. It certainly was a plot twist but I feel that it was absolutely unnecessary and could've been kept platonic. I feel it would be more heartbreaking and deep if Darius sent her voice messages as a friend, telling her that he's sorry and telling her things about his day. That one scene threw me off on the episode, not because I'm an angry benrius shipper but because it very much could've been kept platonic and felt unnecessary, but was written and played into perfectly. I have absolutely no criticism of the actual writing.

(this was talked about on the discord) - It feels like Brooklynn used to be independent and a baddie in camp cretaceous until she started becoming the love interest, and then it felt like she just became dependent on Kenji and unable to do things herself, so I am hoping that if we get a season 2, that we really get to see Brooklynn not be the love interest and work independently. And I genuinely hope that it won't turn out into another klance situation with Brooklynn, because she was super overhated before, and some angry benrius/benji shippers WILL hate her for "getting in the way of a mlm ship", which is not the case.

My last point was with Darius' health. Darius never got that shine through and we really never got to see how he coped with Brooklynn's death or after the island. They show little cracks but never unpack his full health, which I do hope we get to see in future seasons.

Other than those three points, I really do have nothing to criticise because it was perfect.

Personal opinions/hopes on ships :3

I really do hope we get to see more yasammy content specifically how they build up their relationship more, especially comforting scenes like we got in Ben's soggy van. And Sammy telling Yaz about her family not being in contact, and I would really love to see their relationship play out further and elaborate on the family situation!! :)

-

As I autismed a little too hard and have had a hyperfixation on Benrius since 2021(?), it's not to say I didn't have my hopes up for their relationship in chaos theory, but I also can't say that I expected them to be canon. What maybe the directors could've done is provide that teeny bit of fan-headcanons, because from what I've seen, alot of people from the fandom headcanoned Ben as a gay man, so instead of a girlfriend he would've had a boyfriend. Or they could have Ben lie about the girlfriend because he may have worked out he likes boys, and has internalised homophobia. But back to benrius, they had ALOT of chemistry in camp cretaceous, and for me it was a little disappointing that their relationship dwindled down a little. What I am hoping (manifesting) is that Ben realises his feelings for Darius, and has issues coming out to him and confessing.

Despite my opinions and criticism, the show is definitely worth the watch and deserves every thumbs up from the viewers. I thank everyone who worked on chaos theory and put their best effort into it. 11/10 show. Thank you.

[lurkingshan]

I've been thinking a lot about the depictions of generational trauma and parental accountability being presented in dramas lately. Since you've watched way more than me, especially outside of BLs, what are some shows that present or include parental accountability?

This is such a good question and one I have been thinking about a lot since Last Twilight episode 10 aired. Westerners often assume that because of Asian cultural norms around filial piety, parental authority, and respect for elders, we can never expect satisfying parental accountability in our Asian drama narratives. But that's not true! It's been done and done well. It’s because these values are so deeply embedded in most Asian cultures that Asian creators are the best positioned to speak on the harms they can cause, and will often embed these themes in their work.

Now, there is an important distinction to make here: the difference between what characters do, and what the story communicates. A character may choose to abide by honoring their parents at all costs, but the story can still communicate how harmful that is. A character may never apologize for something they have done wrong, but the story can still make it clear they have fucked up and hold them accountable for that via tangible consequences. Here are a few examples from bl to illustrate what I mean, and the different ways this can show up in dramas.

Bad Buddy

One of the most obvious examples of parental accountability in genre, and also a pretty full metal version of it. This entire story is about the damage Ming and Dissaya did their sons with their decades-long feud and insistence on pushing that trauma down on their children, and we got some extremely cathartic scenes of Pat and Pran telling their parents exactly what they thought about that. Of course, even though they raged at their parents, they never got the apologies they deserved (and likely never will) and still had to hide their relationship to appease their parents going forward. But that doesn't mean there was no accountability here. The entire narrative held these parents accountable by showing us how they were harming their sons, forcing them to reckon with it, and ultimately showing them settling into a form of resigned acceptance.

Until We Meet Again

This entire show is about Korn and In's reincarnated souls healing from the trauma of their tragic ending, which was brought upon by the familial pressure and rejection they experienced from their fathers. We not only saw Dean and Pharm work through this trauma and forge new bonds with family members, we saw the direct aftermath of their first deaths, the despair and regret their families felt, and the ceremony that tied their souls together as a result. It's big karmic accountability on a grand scale, and the show never flinched from letting us see exactly how much harm was caused by these parents, or how the tenets of filial piety resulted in Korn's despair that he couldn't be what his father wanted. Even more crucially, we were shown, not just told, the counterpoint impact of good parenting, when Dean and Pharm were accepted by their families in their second life.

Blueming

A rare example of an Asian parent being called to the carpet, feeling the wrongness of their actions, and actually apologizing for it. This does in fact happen in drama! Si Won's mom raised him to hate himself, to be ashamed of his body, to fake his way through life so people would like him, and boy did it do a lot of damage. The story showed us how this affected Si Won and his relationships deeply, and brought him to the point where it finally burst out of him. And his mom, to her credit, was dismayed to understand what she had done to her son. This show also gets bonus points for Da Un standing up to his own mother after she interferes in the film contest.

Bed Friend

Uea's mother's sins against him are numerous, and I will not go into them all in detail to spare my own sanity. She is an abusive parent so horrific that she can never be forgiven, and doesn't need to be. An apology from her would be utterly meaningless. Instead, the drama holds her to account via showing us what she's done to Uea and the work he has to do to heal from the trauma she caused, and ultimately having her son cut her out of his life. It's the biggest consequence she can ever face for her choices and that Uea finds the courage to do it is the story's biggest triumph.

What Did You Eat Yesterday?

On the subtler end of the scale, we have our beloved KNT, which weaves parental accountability through its story in the long, slow journey for Shiro's mother to accept who he is and the partner he has chosen in life. What I love most about this particular depiction is that it's not at all linear in nature. We see her make strides by finally acknowledging Kenji and inviting him to her home, and then backtrack by rescinding the offer due to her own discomfort, and then include him in her family planning to ensure he will be cared for after her death. She’s homophobic and traditional, but she loves her son and sees how much happier he is with Kenji in his life. She is constantly reckoning with that tension. And Shiro and Kenji, being of an older generation themselves, don't hold it against her, even as the show makes sure we understand how much it hurts them. They are not okay with it, but they do understand why she's like this, so they take what she can give and forgive the rest. It's a really touching portrayal of this kind of impasse in a family.

Moonlight Chicken

There are several different vectors of parental accountability in MLC. There is Heart confronting his parents over their neglect and abuse and finally demanding to be treated with dignity. There is Li Ming directly calling out his mother for how her life choices have affected him. And there is Li Ming and his surrogate dad, Jim, working out their issues so that they can communicate better, and so that Jim can learn to stop pushing his own fears and anxiety down onto the next generation. All of it handled with deftness, with care, and with clear purpose to examine the ways intergenerational trauma can perpetuate in the absence of accountability.

[not-xpr-art]

Len and Tommy's life told through nine photos ~

A fanart based on the Inside no 9 episode 'Bernie Clifton's Dressing Room' because I loved it so much!

(09/2024)

See below for close ups and unnecessarily detailed explanations of each individual artwork lol

First wanna say that I spent wayy too long on these (like 25+ hours), especially trying to make them look like actual old photos lol... also trying to get their likeness right for the various ages was really bloody hard lol, but hopefully each photo has the essence of each character even if it might not look 100% right pfft...

Second thing is that the dates & locations are very much my own subjective thoughts on their life and not particularly rooted in the canon of the show lol

Also I did go really heavy with the colour symbolism lol...

Ravenhill School, 1965.

The year they met, both are around the age of 10 (give or take). Len is 3 from the left in the top row, Tommy 2 in from the left on the bottom row (also I tried to include references to the other 2 League Of Gentlemen guys... Though I think the only vaguely recognisable one is Jeremy pfft)

Also shout out to @lapis-lazuliie for the idea that they met at school!

(side note, this is the least detailed of all the paintings not just because I was too lazy to render all those children's faces pfft but ALSO because of the significance of them being less recognisable or prominent in each other's lives in this point...)

I was planning on making another childhood/early teen photo but couldn't really think of any good subject matter that could also fit thematically with the episode (also the fact both are coming from poor families who would have had limited access to cameras in this era means we can just pretend that there are just no photos that really exist of them at these ages pfft...)

Photo booth in Leeds, 1974.

Both in their late teens, they'd (well, mainly Tommy) gone to a photo booth in Leeds with the intention of getting some professional looking photos only for Len to immediately make Tommy laugh once they got in there lol

The middle photo is covered in lines as Tommy had planned on throwing it away, only to find he couldn't bring himself to do it in the end... Is it platonic? Romantic? Both? Who knows, you decide lol! I mainly wanted it to be a candid moment between two people that love each other lol

(final one is them play fighting because that's kinda just what 19 year olds are like pfft... also I think photo booths technically gave you 4 photos? so let's pretend there was another photo that they did throw away for whatever reason lol...)

Rehearsals, 1979.

Deep in the midst of practising their routine for some of their first performances!

I'll admit this photo was mainly me wanting to include something more episode specific lol and also to get in some much needed heavy handed symbolism (the crease in the photo separating them, the bottle in front of Len's face, etc)

Polaroids taken at Tommy's flat, 1985.

In-between shows the two often spent a lot of time at Tommy's place (featuring that god awful sofa the previous home owner had left). I did originally plan to have them in the sofa shot together, but was finding it hard to figure out who would have been taking that kind of photo so figured it made more sense to make it shots they took of each other.

Also marks the beginnings of Tommy's weariness (& Len's over drinking...)

Outside the Glasgow Pavilion, 1988.

The morning of that fateful performance...

Ok not much else I wanna say about this other than the reference I used for the pose had Reece sorta awkwardly clasping his hands in front of him which I really liked but unfortunately in my art it just looked like he was trying to cover his crotch so I had to change it pfft...

Tommy standing at Len's grave, 2024.

The sixth anniversary of Len's death, and the sixth time Tommy has travelled across from France to lay flowers at his grave. Photo taken by Leanne from the inside of a taxi (I'd like to have had more references to her in these photos but was unsure of dates/ages where it would have fitted...)

She couldn't get her phone to not focus on the raindrops on the window as she tried to take a picture of Tommy at her father's grave but then realised that she actually liked the pathetic fallacy and had it made into a print anyway lol (look I'll be the first to admit that this is the least 'realistic' in terms of a photo that people would take, but I couldn't resist the symbolism of it lol...)

There were a lot more ideas for photos I wanted to do but for obvious reasons had to keep it to just 9 lol

Also will be posting these on my ao3 with snippets of stories to go with each photo so keep an eye out for when I share that link!

[heretherebedork]

I have not been so disappointed by an episode 11 in ages. Because Last Twilight was a show I loved. I adored the characters, the growth, the relationship, the growing communication, everything. They weren't perfect but things were coming together and we were seeing external issues and, sure, Mhok's grief was being neglected but the show was focusing heavily on Day and his journey with his sight and I can deal with that.

But this?

This episode 11?

The one where Mhok finally admits he's carrying a lot of grief and guilt and blame on his shoulders and that it makes him worry for the people he loves and leaves him feeling like he should take responsibility and care for them because he literally lost his sister to suicide after not answering his phone call and is met with Day twisting that into pity and a reason to break up with him? The part where this supposedly loving relationship where Mhok has again and again shown Day how to be independent and supported him in learning his new life and has been at his side including literally sneaking him out of the city ends with Day breaking up with Mhok for struggling with feelings of guilt over grief?

An episode that literally starts with Day begging Mhok not to leave, to stay at his side, and ends with Day sending Mhok away to cry outside, alone, without any consideration for the fact that he genuinely admitted to his own struggles for the first time ever?

An episode that ends with a preview that shows Day adjusting happily to his new life surrounded by love and Mhok alone and dark and dismal and miserable because apparently Mhok is the one to suffer and now Day is just going to do better?

An episode where Day's mom started out telling Mhok she was 'just a mom with a disabled son looking for someone to take care of him entirely' and ends with her declaring that Day can totally take care of himself and Mhok is the one with the problem with that?

How the fuck did this show destroy over 10 episodes of confidence in the characters and trust in Aof as a director in under 10 minutes? How and why?! What even happened? Why is this the penultimate episode and how is this what we built up this whole time?

To Day refusing to do any emotional labor for Mhok? To Day deciding that if Mhok wasn't willing to literally live a world away from him after very traumatically losing his sister to suicide that meant he pitied him and couldn't possibly love him? To Day sending Mhok away knowing he'll be alone after he literally bears his soul to him desperately trying to explain his love?

This is what we built to? This is the conflict the show thought was going to make us want to come back?

How are they going to fix this? How can the next episode possibly make this pain feel worthwhile or make it feel like Day can support Mhok? Or are we supposed to take away a different message from this that I don't understand?

I am so, so frustrated because the show was so good and now it feels like it was all a waste, like the rest of the show that was leading us here was lying to us.

Why did we have the big speech at Aon's wedding about supporting each other if the first time Mhok needed support from Day he was met with being dumped?

[delulu-with-wandanat]

Mockingbird

Reader Description: He/him, adult, early 30s.

Pairings: Wanda Maximoff x Male!Reader

Warnings: Mentions of suicide, angst?

(Now now, i know i put out a poll. BUT i started writing this and... oh well enjoy :> I promise the next one will be a lighthearted Wandanat HS au eeekkk!!!!!)

Summary: America Chavez gave Wanda what she wanted, Wanda sees the love of her life again from another universe. However, her lover's variant already build a life without her...

Y/n sits on the sofa with a huff and turned on the TV to watch whatever was available on Netflix, "What a day..." he said to himself. He loved his new job, but of course like any other person he just needed some time alone.

He scrolled to the various crappy movies and series that he hadn't watch. Deciding that he just wanted something light, he put on a sitcom that he watched many times with his late wife a few years ago. It felt weird not watching it with her even until now, but he remembered how much his wife loved re-watching the sitcom over and over to the point where she could recite every single episode by heart.

Y/n smiled at the memory, when the two used to binge watch Brooklyn 99 at the common room of the compound. Wanda even got to the point where she hosted a 'Halloween Heist', but it ultimately stopped after two heist when Natasha won in less than 10 minutes, yes both heist. Honestly they should've known better than to have those kind of heist games with a well renowned international spy.

At least they still have a few rounds of 'Jimmy Jabs' games.

Except they dialed the extremeness to a 10 considering they were the Avengers. We don't have to get into details, but due to the techs that they have and the powers they own, things get very interesting quite quickly.

Well almost everything in his life was interesting, I mean he's surrounded by gods, witches, spies. Not a single day in his life was ordinary...

Including today, when a portal in the shape of a star appeared out of nowhere right in front of him. The portal it self did not shock him in the slightest. What did shock him though was the fact that the love of his life, his wife, his soulmate who died years ago, was now standing right in front of him in the flesh.

Y/n was speechless. Ever more so, the fact that Wanda was choking what it looks like no more than 14 year old girl. "Wanda, what are you doing?!"

"Y/n..." Wanda breathed out, her grip on the girl loosen. The 14 year old girl then fell to the gasping for air. "I- I didn't..."

Y/n stood up from the couch, he couldn't move. His dead wife was alive right before his eyes, either she had rise from the dead or... well, there was only one other possibility.

She was from another universe.

No doubt in his mind that she was. In Y/n's universe, they knew the existence of the multiverse. "I just wanted to see you again." Wanda said with teary eyes.

Being a former SHIELD agent, he was quick to piece the puzzle together. This Wanda must be from a Universe where he had died. He tried to stay calm for her, even though inside, seeing Wanda again brought back so many memories. Happy ones, but most notably the painful one.

Particularly, a memory of the day he lost her.

Wanda noticed that Y/n had been silent the whole time, she hung her head in shame. "I'm a monster..."

Y/n's heart broke at her words. "No... Lyubov, don't say that." He approached her slowly and gently lifted her chin so her eyes meets his.

Gazing into the eyes of the woman he loves that died years ago was something that would never have crossed his mind. It took every, by that I mean EVERYTHING in his power to not breakdown right in front of her.

Little did he know Wanda felt the same, however the difference was her wound was still fresh. Staring into his beautiful eyes again, it broke her. Wanda broke down and pulled him into a hug, taking in everything she could.

His scent, his warmth, his comfort.

She cried on to his shoulders, and Y/n simply held her. It felt good, really good. To be in his arms again. To have Y/n hold her like he used too.

“I miss you, so much." She told him between sobs.

"I miss you too." Y/n responded. Wanda pulled back and rested her forehead against his with her eyes closed. The two stayed like that for a little while, yet the question still lingers in Y/n's mind. Why was Wanda choking an innocent little girl?

It seems like his mind is louder than he thought as Wanda answered the question. "I... When you died, I couldn't- I couldn't move on." She told him hesitantly as she opened her eyes. Fear and guilt painted over her face as she thought of the potential reactions she would get from Y/n.

He glanced at the 14 year old girl behind her, Wanda noticed the way his eyes shifted. She felt the need to explain herself, he deserved to know the truth. To know the extent she went just to be with her lover again.

"I... I chased down, America Chavez. She was the key..." He shifted his eyes back to hers. Key?? "I tried to-" The words got stuck in her throat. "I tried to kill her..." She cried, hanging her head in shame. Y/n's eyes widen at her words.

Wanda... a killer? How bad was her universe treating her to the point where she goes to that extent??

An embrace, was the last thing Wanda had expected to receive from him. She expected a look of disappointment, shame, anger, yet all he did was simply pulled her into a hug.

"I understand."

That was when Wanda started crying against his chest. He was taller, so he kissed the top of her head lovingly. With her ears pressed against his chest, she could listen to his heartbeat. It was the calmest sound she hasn't heard in a while.

"I... I lost you, In my universe. I understand how you feel." Y/n remembered the day Wanda sacrificed herself for the soul stone. After the battle he begged, begged the Avengers to use the stones to bring her back. To have her in his arms again. To hold her...

Wanda felt his emotions. Anger, sadness, grief, Wanda felt it all as memory of her own death came back flooding his mind like a tidal wave. She held him tighter, knowing that he needed this just as much as she does. After a long while, they pulled back resting their foreheads against each other. Both with tears streaming down their eyes.

Wanda cupped his face, she felt Y/n leaning to her touch. When they gazed into each other once again, Wanda, without a second thought, pulled him down for a kiss.

Y/n reciprocated just as quick. Wanting to feel her soft lips after 4 long years. He missed it. Her soft touches, the taste of her lips, her beautiful voice. He missed her so dearly.

Wanda wrapped her arms around his neck to deepen the kiss. Holding onto his figure almost desperately. They held onto each other as they poured all the love they couldn't express with words through their actions.

After a long while, Wanda broke the kiss. "Let's not leave each other again."

Y/n clenched his jaw, he moved his hand from her waist to her face, caressing it. "I want that, more than anything..."

Wanda smiled, a genuine smile that she haven't had for the longest time. Yet... she noticed a hint of hesitation on Y/n's part. "What is it, love?"

He had to tell her, but he didn't know how. Y/n could tell she was broken, broken beyond repair that she goes to this extent. He doesn't know how to break the news to her. "Wands... I want you back, more than anything."

Slowly her smile fades. God he wishes he could bring it back.

"But... you can't stay here..."

That shattered Wanda's heart, "W-why?" Did he not love her just as much? He was a variant of her lover yes, but surely they would share the same love. Did he find someone else?? "What makes you say that?" She asked, from the tone of her voice Y/n could tell his words broke her heart.

"You can't... stay in my universe. And I can't- I can't stay in yours."

"W-why?"

"It would cause an incursion. It will destroy my universe and maybe even yours. I can't let that happen, Wands. I'm sorry." He told her gently while caressing her cheeks.

Her eyes started to pool again as she leaned to his touch. "Why... Why does it have to be like this- Why is the universe to cruel..."

Y/n wanted so badly to erase her sadness, her grief, to see her beautiful smile again. "If I was as powerful as you, I would've ventured across the multiverse for you. But, I'm just a human. The only thing I could do was... move on."

Move on

The word echoes in her head. Y/n had moved on. She looked at him in disbelief. "Move on?" Wanda breathed out.

Y/n clenched his jaw again, "Move on isn't the right word. You will always have a special place in my heart, but... I couldn't stay like that forever. I'm sorry, Wanda." He remembered the countless times he almost took his life, just to be with her again.

Wanda was... angry? Sad, heartbroken, deep down she understood. If she had died, she would've wanted him to live on. The same way her Y/n told her too. Yet part of her was still corrupted. How can he move on so quickly when she would destroy everything just to be with him again?

Anger was boiling inside her, before she could ask any further, they heard a little girl's voice. "Daddy?" Wanda was shocked to her core. Y/n... has a daughter.

Y/n quickly wiped his tears and turned around to face the 4 year old girl. "Heyy pumpkin." The little girl ran over to her father as he bent down to pick her up. "What are you doing up this late huh?" He asked her.

"Bad dream..." The little girl said while rubbing her eyes, yet it was clear she was still sleepy. Y/n turn to face Wanda with a gentle smile as he held his daughter.

Wanda was speechless, the sight... warmed her shattered heart. She was happy for him, but devastated that he had built a life... without her. The thought of Y/n having a kid, a family with someone else felt like a stab in her heart.

"Who's that?" The little girl asked, pointing at Wanda who was standing a few centimeters away from them with her hand on her chest. Trying so hard not to burst into tears.

Shit... how should he say this. "Honey, this is..." He wanted his daughter to know. But, she was too young. "...a very dear friend of mine. She has magical powers and came to visit me."

'Dear friend', so Wanda truly is out of his life.

The little girl waved at Wanda. "Hello!"

"Hi..." Wanda whispered. She wanted to hold the little girl. Wanda felt some sort of connection with her that she couldn't quite pin. It seems like the little girl felt the same as she leaned towards Wanda with grabby hands. Y/n took a few steps closer to Wanda, slowly.

"I think she wants to be held by you." Y/n said, looking at his daughter lovingly.

"May I?" Wanda asked, glancing at him. He nodded and gently moved his daughter onto Wanda's arms. The first thing the little girl did was reach up to touch her crown while giggling. “Oh-“

The action caused Wanda to laugh a little too. His daughter is beautiful. She definitely has her father’s hair. But her facial features probably leaned more towards her mother, whoever it is. Probably someone she knew as the little girl looked so... familiar.

“Magic?” The little girl asked.

Wanda smiled gently as she hovered her hand in front of the little girl. She projected a tiny rabbit that hopped around her hand, causing the little girl to giggle while clapping her hand. The bunny hopped around the little girl as well before disappearing into a red mist.

Unbeknownst to Wanda, Y/n doing everything in his powers not to break down at the sight before him. “Are you friends with my mama?

Wanda didn’t know how to answer that. “Um…”

“My daddy says my mama has magic powers, like you!” The little girl explained.

“Has your Mama talked about me?” Wanda asked, trying to keep her voice steady. The only other person who she know was a witch is Agatha.

"No..." The little girl said sadly. "Dad says she's somewhere up there." She pointed at the ceiling, Wanda understood what she meant. "He said we'll visit her one day!"

"Oh... I see." Well, what was she supposed to say. The little girl then played with her crown again, and Wanda lets her. Loving smile plastered on her face. It seems like the little girl was studying her face as well??

"You look a little bit like her?" Y/n's daughter blurted out. Could it be? No it can't be. "My mama had brown hair though, yours is red."

Deciding she didn't want to get her hopes up, she asked the girl a question. Hoping to steer the subject. "What's your name?"

"Wanda." The little girl answered, she was too pre occupied with Wanda's crown to notice the shift in Wanda's expression. "My daddy says my mama has the same name too." The little girl added.

Oh... It all makes sense now. The connection she felt toward the little girl.

Wanda finally glanced at Y/n who had a sorrow look plastered across his face. That was when she finally noticed the difference, this Y/n indeed looked much much older than the one from her universe. Her heart stammering in her chest. This wasn't just Y/n's daughter... It's their's.

Y/n approached the two of them, they didn't know how long time had passed. Probably a while, as little Wanda had decided to nestle on the crook of her mother's neck with her eyes closed. Wanda searched Y/n's eyes for explanation.

"You-" He corrected himself, "Her mother, had complications with pregnancy." He explained while tucking a hair behind his daughter's ear, watching her sleeping form with a small smile. "So, Tony made us an artificial womb to carry this little devil."

Wanda looked at his- her daughter's sleeping form. It felt surreal.

"But uh..." His voice cracked slightly, "Wanda and I got sent on a mission, to bring everyone back from the snap. We won... but I lost her." It was clear that the memory brought so much pain to him. "Not long after that this little bug was born. Wanda... never got to meet her. So I named her after her mother."

No wonder the girl looked familiar, she had took on most of Wanda's facial feature. Her nose, her face structure, but most notably her eyes. She looked exactly like how she was when she was younger.

"I would never forget you, Wanda." He whispered so only she could hear. Wanda glanced at Y/n who had tears in his eyes.

Wanda was at lost for words, the only thing she could came up with was. "She has your hair."

Y/n chuckles, "Yeah... that's kind of the only thing she got from me." He had a longing look as he stared at little Wanda holding onto her mother. A sight he wished he could've seen with his Wanda, but she was taken away from him before she could ever meet her own daughter. "I was lost for days, but then when she was born I-" He stopped himself, trying to find the right words. "I had to be strong, for her sake."

Y/n slowly wrap his arms around the two of them, the sight of the family was perfect. America, who had been watching their whole conversation was touched by the image. To see the contrast of how Wanda used her powers in front of her daughter. How tender she was, the power that caused so much chaos to be used in such a gentle way. It reminds her a little bit of her own mothers.

"If she wasn't here I-" Y/n's words got stuck in his throat, "I think I would've..." Yet Wanda knew what he meant, her heart shattered for him.

"Y/n..." Wanda closed the distance and rested their foreheads once more with their daughter sleeping soundly on her shoulder.

They stayed there for a few minutes, just enjoying the warmth from each other. Wanting so badly to be the perfect family that they could've been if the universe wasn't so cruel. Another thought creeped into his mind, how was he supposed to explain this to their daughter when she remembers?

Surely it was probably because of sleepiness that she couldn't properly remember her mother's face. But she has seen multiple pictures of her mother, how was he supposed to explain that this Wanda was a variant.

His thoughts was so loud that Wanda could hear it clearly. "It's ok." She said, giving him a reassuring smile. Wanda raised her hand slowly, little red mist emitting from the tip of her fingers. She tapped their daughter's temple ever so gently. Causing little Wanda to nestle further into her neck with a faint smile.

"Rest your head and go to sleep, little one. When you wake up, this will all just be a dream." Wanda whispered.

ᗢ

"Hey, pumpkin. Time to wake up." Wanda Y/l/n, slowly opened her eyes. She yawned and stretched her arms. Her father was smiling softly at her, she sat up on her bed and rubbed her eyes.

"I had a dream..." The little girl told her father. Unknown to her, Y/n tensed slightly.

"Was was it about?" He asked.

"Mama came to visit us instead." The little girl didn't understand why, but she felt extremely sad as she started to cry. Y/n was quick to pull her into a hug.

"Shhh... It's ok little one, don't you cry." He held his daughter as she cried in his arms. "Everything's gonna be alright."

"Why couldn't she stay?"

He thinks for a second before answering, "I know mommy's not here right now, but I promise she's gonna be alright."

And if you ask me to, daddy's gonna buy you a mockingbird. Imma give you the world. Imma buy a diamond ring for you, Imma sing for you, I'd do anything for you To see you smile

[vvanillavveins]

On the WTNV finale:

Look, i like Brinknor. They helped me fall back in love with Night Vale when i was feeling particularly uninspired. It's hard to put it into words; i have adhd & i struggle to remember big intricate plots unless something reoccurring has really grabbed hold of my attention, and before Brinknor, i was struggling to sink my teeth into anything attention-holding, so to speak. I guess i was becoming less enthusiastic in Night Vale's storyline as time went on, even though i couldn't really work out why. I just couldn't stop tuning out. But, with Brinknor, there came a bunch of shiny new plotpoints- at a faster pace. The show could actually hold my focus properly, and my wtnv fixation was suddenly up & running again.

All this is to say that i know it's just my impatience talking when i say that i wish that the loose ends of those new, interesting plotpoints had been tied up a little more by episode 250. I adore the way they write about Cecil's childhood and his family, and i want Kevin & The Boy's arc to be given the same amount of love, and attention, and time that the Palmer siblings' arc got. The same goes for Tamika. And Carlos. And Lauren, actually. Yes, i know she was a central figure in the last 2 episodes, and i loved that because she's one of my favourite characters. I fucking adore eldritch Mother Lauren. But still, it was all too vague to really learn anything new about her or the desert otherworld. And, above all else, i can't help but think of how wonderful it would've been if Charles and Donovan were included in the finale- especially Donovan.

When Kevin first came back in 2023, one of my silly little hcs as to why he was apparently in the Smiling God's bad books (and why he didn't mention Charles or Donovan) was that because Charles & Donovan aren't from Desert Bluffs they haven't devoted themselves to the Smiling God like the rest of the townsfolk. They wouldn't "smile" properly. One of my darker ideas at the time was the possibility of Kevin having to choose between making them part of his faith, i.e., making them "smile" like the rest of Desert Bluffs (which i doubt he'd go through with after his mudstone abyss arc), or having Charles & Donovan leave town (which i doubt they'd go through with), or, doing neither & keeping quiet about his life with them to avoid drawing attention. If he chose the latter and then got found out, it would make sense that he'd stop being the Smiling God's favourite. Obviously, i never thought any of that was correct- i was just having fun- and i was excited to find out the real story further down the line.

But that didn't happen, and we still don't really have many answers. Everything to do with Kevin, and Lauren, and The Boy got wrapped up in about 10 minutes flat. We've already had an emotional Fatherhood themed episode with Cecil & Abby; we didn't need another one just for the sake of it.

With the context of what we already know about Kevin's father, the ending of episode 250 was just uncomfortable. Sure, Kevin's talked about his father positively before, but that's always been in contrast with the actual content of his memories. It's always been made clear that the script/the writers disagree with Kevin's sunny outlook, and therefore the listeners should too. Those moments are there to demonstrate just how fucked up Kevin really is, and that his positivity is just a coping mechanism. But this time Cecil spoke for him, so we didn't get Kevin's usual sing-song rambling. It was calm, and collected, and matter-of-factly. And this time there were no sugar-coated descriptions of abuse, only genuine praise. We were actually supposed to agree with him this time, and it made the whole speech (and ending) sound hollow and forced.

I really didn't like this episode. It felt rushed. It tried to cover far too much far too quickly, and it failed. But, despite all that, i am hoping that future episodes will bring some sort of clarity about what happened. And hopefully some closure about Kevin and his family, too. I want loose ends to get tied up properly and i believe that maybe, with time, the important ones will be. Slow burning subplots are kinda quintessential to Night Vale's writing at this point anyway. Brinknor definitely missed the mark with this one, but they're still incredibly talented writers and i'm not ready to give up on them like some of the other fans on here.

Besides, i think that some of Night Vale's worst episodes are still incredible pieces of writing in their own right. The bad episodes are only bad in comparison to the dozens upon dozens of absolutely phenomenal episodes that make up the rest of a show that is, for the most part, a joy to listen to. So, here's to some hopefully better episodes in the future, i guess.

[fifi-afterhours]

Telephones and Their Possible Connection with the Audience

So some time ago l was scrolling through @/partycoffin’s blog as one does when you fall into the fandom hole of welcome home, and I wanted to do a little speculation post about telephones and this picture:

Or more specifically, Eddie's and Howdy's ones, and their different rotary dialers.

[Supposed tiny post turned into long theory ramble below cut!]

(I have checked that this was made on 4 December, 2022, so I think this could be speculated on!)

As we can see, not only are the phone types different (with theirs presumably being portable), the numbers used for dialing are replaced with colours instead. Now, a simple explanation could be made that the colours simply replace the numbers, but that's not the case:

(I know they're not buttons, but let's just use that as a placeholder name for now-)

Neither of them seems to match with the 10 buttons needed for a a normal rotary dial, so the only explanation I could think of is that each colour corresponds with a neighbor.

@softestvine made a post about this before, and if you take a look at the guestbook signatures, the missing purple button on Eddie's phone makes sense since purple should represent him, and therefore his phone number in a sense.

The real question is why would Howdy have his own phone number. Maybe an extra set of hands means he owns two phones? Or maybe it's normal to have your own contacts to ring yourself up, and Eddie is actually the odd one out? For that I'm not sure.

Continuing on, there's also the curious addition of a black button, which doesn't seem to connect to any neighbor at all. My first thought was that it could be related to Home, but considering that it communicates through onomatopoeia that even Wally couldn't understand sometimes, I feel like it's doubtful that it's meant to be for Home. (though I'm not saying that it's impossible, just unlikely for now).

Which leads to the second theory: it's to represent us, the audience, the viewers of the show. My speculation is that there was a segment on the show that would involve the characters calling or receiving a phone call from a fan of the show, similar to how irl children shows that includes audience participation will show off fanworks in their episodes. (the closest example I could think of is Blue's Clues right now since my sister used to watch that).

Admittedly this feels like a stretch, but phones seem to be important to the show in some manner. In some old posts, we have audio of what prank calls to some of the characters are like, and although they're definitely not relevant to the work now, it's interesting to note that the concept of a way to communicate with the puppets exists.

Another thing is that on one of the secret pages of the website, you're sent to this page:

An error page that shows altered text and a phone gif instead of the one with Home. Perhaps I am looking too much into this, but compared to the other hidden links, why would this one take us to an error page first, albeit a different one?

Some people have pointed it out here that if you inspect the phone gif, it says "It's for you". When you click on it, you're taken to a page called 'duet' where Wally is singing to Home.

Don't you think it's coincidental that the only page with an audio file was only found through a phone? And why is the page called 'duet' when Home only responds after Wally finished his song? That's because the duet isn't sung by Wally and Home, it's supposed to be sung by Wally and you. By clicking on the phone, you're answering Wally's call, hence the "It's for you" file name.

My conclusion is that the phones were used to talk to the audience back when the show is running, and now Wally is using them to try to reach out to us.

[corrupted-nightshade]

List of things that point towards Gojo Satoru & Geto Suguru being kissers of boys with connections to eachother

(If they did kiss though is another story)

Note: the list will be divided into different sections with space in between. So don't go speed scrolling through if you don't want spoilers. :"3

Some of these are less serious, but are still included because all the more content for these two sillies.

--- Last updated: April 26th, 2024 Note: Make sure to check the original post if viewing a reblog version in case Tumblr does not update things under the "read more" like it used to be able to.

Various

572. This number is used frequently as a ship number for the two as "GoGe" the ship name can also be produced as "GoNatsu". Go means 5 and the rest sound similar to 72. These numbers ironically show up accross the series a few times and also in official merch. (Some examples being a clock in season 2 episode 1 stopped at 5 hours 7 minutes 20 seconds or a Gojo teddy bear priced at ¥57,200)

JJK official fanbook

"Q: Please tell us his first impression when he first met Geto. A: Bangs."

"Q: He seems to be aware that he is handsome, but doesn't he want a lover? A: I can't imagine Gojo being faithful to a particular woman."

"Q: Is there anything you are particular about Geto's character design? A: Bangs"

One of Gojo's songs & one of Geto's songs given to them. "Shame on you" by "Avicii" (a break up song) for Gojo and "Come back Home" by "Two door cinema club" for Geto. Stated in volume 3 chapter 24.

The sheer amount of times Geto shows up in MMVs for Gojo and how they display the impact Geto had on Gojo (For example, the latest MMV for volume 26's release)

Their birthday's solar terms tying in with parts. (Geto being "Risshun" beginning of spring & Gojo being "Taisetsu" heavy snow.)

Rings for them that were released on August 8th, which is "Pairing day" in Japan

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Jujutsu Kaisen 0

Geto's kesa is specifically a Gojo kesa

Gojo stating in 0 that

"I've always believed... ...Love manifests the most distorted curses." / "This is my personal theory, but there's no curse more twisted than love."

Even after 10 years, Gojo recognized Geto's smell. (The mall scene after Yuta & Toge fought the curse)

Geto renaming someone to "Sato" because

"That's what I've decided, so Sato is better."

This sunset scene

Gojo's veil is black & Geto's veil is white. Gojo's veil causes darkness, Geto's does not. [Peep who reminded me]

The song "This is pure love" not only plays over Yuta & Rika vs Geto, but also plays over Geto & Gojo's conversation

The way that Geto looks at Gojo & says his name, and how Gojo looks at Geto & says his name

Geto's blushing face at Gojo that we were robbed of in the anime

Some of the lines from the JJK 0 light novel lines

"Yet Gojo's bandage-covered eyes kept watching, kept following the shape of Geto's soul."

"But to Gojo Satoru, he was —— '————, ————' '...ha.' When he heard the words Gojo blurted out, Geto couldn't help but laugh. Such embarrassing [...] words. Even why they were students, those words had never been said before. 'You should've at least cursed me a little before the end.' December 24, 2017. The curse called Geto had been well and truly exorcised."

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.

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Season 1

JJK Juju stroll

"Q: What kind of person is your type?" Gojo: "[...]The one who seemed nice. With the notable bangs."

yes, i know who he stated but the way he answered was so half arsed as he struggled to come up with an answer as an example of his type. 💀

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Season 2

Again, the way they look at each other and say each other's names (There's another picture with Gojo looking at Geto, but I'm missing it right now)

THE HECKIN GOJO & GETO VALENTINES CAKE??

They literally even have a themed honeymoon place???

Geto makes sure Gojo has his favorite soda. :3

Part 1 / volume 8 - 9

The intro for season 2 part 1

"Even after I got to know the smell of you, different from mine"

"In such a color as if it were a silent love"

"I've got a curse word for you stuck in the back of my throat"

The outro for season 2 part 1:

"Even trivial conversations are fine Show me your blushing face once more"

"It only exists here I want to touch you"

The fish in the outro

The flowers in the intro & outro. [Peep who reminded me]

The purple ones (Located on table in the part where older Gojo is sitting in a chair by a window) are possibly Primula/Primrose flowers. They can represent young love, beauty, desire, desperate, and can be a symbol of spring and renewal/new beginnings. etc.

The yellow ones (Located in the part where Gojo & Geto are sitting together with their hands & cans of soda surrounded by the flowers) are possibly osmanthus flowers. They can represent love, passion, happiness, beauty, etc.

[See here , here, here , here , here , here ]

Geto not answering Tsukumo Yuki's question of what kind of woman is his type more than once

When Geto is asked by Haibara if he would like a sweet or savory souvenir, Geto says

"Satoru will probably have some too, so maybe something sweet."

Part 2 / volume 11

This whole image (Geto in the glasses on the left, and Kenjaku's silhouette on Gojo's face on the right)

Season 2 part 2's "Specialz" intro hidden meaning

Despite the following about Geto's state, Geto's body still instinctively reacted to stop Kenjaku from hurting Gojo.

"Q: Fake Geto's arm was moving during the Shibuya Incident, but how much of Geto's consciousness remains in the body? A: Not much. He was moving like how a dragonfly whose neck was torn off can move."

Fun fact: Some owls pair/bond for life (Whether the owl is supposed to be Geto's because Kenjaku is using Geto at the time or it's not Geto's animal because that is Kenjaku is up to you)

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Volume 26

The Camilla flowers with snow. Not only do they represent Gojo well with their meaning, including one meaning being unchanging/strong love alongside modest love / beauty for pink, but flowers are given to different dates. The birth flower of February is this flower, said to bloom on the 3rd of this month. Aka Geto's birthday.

Chapter 236

Gojo actively chose to fight on December 24th (a day considered romantic for Japan) which is now the day both Geto and him have died on. Even Kenjaku acknowledges the days significance with

"Ha ha! How romantic. Isn't it gross to make plans with each other on Christmas eve?"

These lines

Both Gojo & Geto's volumes' numbers can have bad meanings in Japan. 4 can mean death & 9 can mean to suffer/agony. (I put this under volume 26's section because of the spoiler)

---

There's likely more, but this is what we could think of right now. XD If you have anything you want to add on, feel free to send it my way because the more help the better & easier this is. (^w^ ) Same for any corrections to the list (as it's just me writing up this post and I may make slip ups)

[poughkeepsies]

Buddie Secret Relationship Conspiracy Manifesto

Hello. Welcome to possibly the most delusional buddie theory yet. This is a collaboration with @swiftiebuckleys, and as such I would like to cite our sources accordingly: dude, trust us.

Okay so I know a lot of people have talked about the theory of buddie possibly being in a secret relationship that is even a secret from the audience during season 6. For me, this started during 6A. It started because I was thinking about how 601 started with such a poignant and domestic Buckley-Diaz family scene that, as a part of a premier that was meant to establish where the characters are after four months of hiatus, told us Buck, Eddie and Christopher are living in each other's pockets as their own little family at the start of the season (I even wrote about this in this meta I posted while 6a was airing lmao).

But then for the rest of 6A there really wasn't any significant on-screen buddie or Buckley-Diaz moments, even though there was plenty that was implied at, including: Buck and Eddie planning to go to Marisol's house to help with repairs without the rest of the firefam, Buck and Chris hanging out so Chris potentially telling Buck the secret about skipping school even though he didn't tell Eddie, Buck and Eddie sitting in the back of the waiting room together separate from the rest of the firefam while they waited for news about Karen, and Eddie giving Hoover to Buck and convincing him to keep him even though his building doesn't allow dogs. What do all but one of these moments have in common? They're moments where Buck and Eddie were either alone or away from anyone who would know them from the rest of the gang and wouldn't feel the need to hide their relationship. When at work, Buck and Eddie had a reasonably normal amount of on-screen interactions, but it was only their moments happening outside of work that was pushed to the off-screen. (Bonus: one on-screen 6A moment that lives in my head rent-free and screams of secret relationship is that shot of them stepping into frame together and holding eye contact while the song lyrics in the bg go "I want your sex and your affection when I'm holding you close" in 609.)

However, while this^ is all well and good, it's 6B that really gives the secret relationship theory its wings.

Episode 10 gave us the lightning strike with a sequence that was shot almost entirely from the perspective of Eddie. While in the initial aftermath of the strike we see the shock on Hen, Chimney, and Bobby's faces, the scene is in slow-motion and muted until Eddie realizes what's going on and we watch every minute facial expression on his face as the horror dawns and he snaps into action. Eddie's reaction is what sparks everyone else's movement and then we see him completely forgo his own injuries and his own safety to save Buck. In the secret relationship trope, the near-death experience is a lot of the time what forces the couple to blow their cover and reveal their relationship. That didn't happen here as buddie were already close enough to warrant the strength of Eddie's reaction and Buck was unresponsive and there wasn't any time to lose. HOWEVER, episode 11 and the absence of a scene with Eddie alone at Buck's bedside can be explained by the fact that he couldn't be shone there or his bedside confessions would have given them away to the audience. As it is, other than Margaret and Maddie, Buck's mother and sister, he's the only one dressed in all black, his composure crumbling and unable to make eye contact with Buck's body in the hospital bed, the perfect picture of a grieving widow.

Episode 12 has the infamous couch scene which is meant to signal to the audience that Eddie is the couch Buck has been searching for, even if Buck himself doesn't know it. However, in the context of the secret relationship theory, what if the total lack of reaction from Eddie about Buck falling asleep on his couch is because they already know this?

Episode 13 has the infamous poker scene and this is where the theory actually diverges for a lot of people. Going with the original theory that buddie have been together since before 6A, this would explain Buck's lack of reaction to Eddie telling him to get dressed up and taking him out on what is essentially a date - he wasn't surprised or suspicious because it wasn't unusual. If you go back and watch the scene, you'll notice that it opens right when Buck and Eddie are approaching the door and about to be in the presence of other firefighters, but initially they're walking away from a dark alley while fixing their clothes - why would they need to fix their clothes unless they got messed up in the first place? Why wouldn't they show us the before or after of the poker scene, why only the parts where they're in the presence of other people from the department? Plus, Eddie really was looking TOO blatantly hungry in that entire scene, and he wasn't really hiding it from Buck - maybe because he's allowed, and expected, to look. This isn't even to mention the scenes of Buck, Eddie, and Christopher being a family, but I will go back to those later.

Where this episode splits this theory is the alternate potential for them to have gotten together after the poker game (my initial post after the episode first came out.) This would have been the perfect opportunity because there's really no way that if they weren't already together, the thought that this might be a date hadn't crossed Buck's mind (and, again, Eddie really did look too fucking horny in that scene it wasn't something you could ignore.) The next outside of work scene we see the Buckley-Diaz' in is the baking scene with Buck and Christopher. Eddie's location is completely unknown - he could be on shift, he could be running errands, he could be with Pepa - but the fact that Buck and Chris are together and baking for his class and planning dinner really drives home the fact that they are a family once again. However, the easy confidence of Buck parenting Christopher and the way he glowed with happiness in that moment would make even more sense if he had had his place in the Diaz family as Eddie's partner and Christopher's other parent confirmed to him.

One way to possibly combine the two theories is if we assume that Buck and Eddie were actually fwb throughout 6A (an idea given to me by @captainragtag) but actually got together after the poker scene. ANOTHER way is if we assume they've only been fwb, even after the poker scene. Them being fwb would potentially explain some holes in the theory, moments where they should have had a bigger reaction to something or known something beforehand if they were in a relationship (kind of the sperm donor arc and Eddie's reaction, but that could also be explained by Eddie's lack of reaction being because he already knew and was just pretending to be finding out for the first time with everyone else.)

Going into episode 14, all of these theories could explain the *gestures vaguely* everything about Eddie's storyline in the episode. If they're hiding a relationship, the absence of any mentions of Buck when talking about Eddie (and Christopher) being alone would make sense, especially after how pointedly the previous episode showed that Eddie is always spending his free time with Buck, with or without Christopher. It would also explain Buck's extremely unsubtle date-ruining advice - either they're together and Buck just doesn't want Eddie to go on the date because he doesn't want to share even to keep up pretenses, or they're fwb and Buck is jealous and afraid to lose Eddie and their relationship if Eddie starts actually dating. Also, considering how many pure fanfic tropes the writers have used before, it's safe to assume they have at least a baseline knowledge of how buddie are written by fans and what's the first trope every fanfic reader in this fandom learns about? Christopher's first and foremost wingman duty is to pack his stuff and go to a sleepover so his dads can do unholy things to each other. Christopher being at a sleepover when Pepa told Eddie to come over and him insisting that he was alone at home when just last episode we saw buddie spending all their time off shift together is just a little too sus if you ask me. Another secret relationship moment in the episode is Eddie going for the wrong gear shift in his own car. He initially reached for the gear shift on the center console when that's not where it is in his truck. But do you know where the gear shift is in a jeep? I'll give you one guess. Do we know anyone who owns a jeep? I'll give you another guess. This would make total sense since we know Eddie is a passenger princess and Buck would be driving them everywhere if they were in a relationship. Even when Buck isn't the one driving, Eddie would be much more likely to borrow his car more often if they were in a relationship and basically living together.

If this all doesn't convince you, I would like to leave you with the reminder of a moment that I'm sure has haunted all of us since 614 came out:

Actors are always aware when they're on camera and even if they aren't, the dozens of production people, including the director, would be. Do with that what you will.

(If anyone has anything they'd like to add to this feel free to message me or send me an ask and I'll make edits! And, I mean, this is all just for fun not to be taken seriously, but if there is a point that you think really brings the theory down also feel free to send me an ask about that lets see if I can provide a suitable explanation.)

edit: another thing to keep in mind as pointed out by the brilliant @swiftiebuckleys is the precedent set by 606 "Tomorrow" for flashbacks showing the start of a relationship.

[seventeenlovesthree]

@digimonadventureweek Day 6, March 6th - Favourite episode: #31 - "Raremon! Surprise Attack on Tokyo Bay"

I have once made a list of my "Top 16 favourite Digimon Adventure episodes" and no matter what I do, I always come back to this one. Not only is this one of the episodes my dad had recorded for me when I was a kid because I couldn't watch it when it first aired on TV, but it also basically contains everything that I love about Digimon Adventure as a whole. It also justifies a lot of my biases and headcanons in the process, but that's just a side note.

This is the closest we've ever gotten to a "slice of life" anime that includes the original cast, as it contains several of its typical elements while focusing on and mirroring primarily Taichi's and Koushirou's experiences on their first evening back home in the real world. I could have taken approximately 100 screenshots of it, because the storytelling and pacing are just so marvelous to me:

Even though it definitely IS a slice-of-life-ish episode, it doesn't lose the main plot at all, but intertwines it perfectly into the story: The kids are looking for the eighth child and Taichi, rightfully, suspects Hikari, since she had been with him during the Hikarigaoka incident. Thus he and Koromon ask her if she owns a Digivice already, which she denies. The viewer can tell that she does own one, it was just stolen and played with by their housecat Meeko/Miko - and she is the reason we're gonna get an action-packed chase scene later down the line of the episode...

Then there's the secondary plot - I refuse to call it B plot, because it is so in the forefront of everything that happens. As mentioned, it's all about Taichi and Koushirou reuniting with their families and trying their best to hide their Digimon from them. They're both having rather warm, heartfelt and happy moments that feel light-hearted (and even a bit comedic) on surface level. The difference here is that Koushirou's personal backstory is also given more space to bloom; while both Taichi's mother, Yuuko, and Koushirou's mother, Kae, sense that something about their sons is off, the latter seems to be ridden by melancholy and guilt about it. Koushirou has been acting nothing but polite and grateful towards her, but she feels like this is not how he should be like, that he is hiding something - which, as her husband, Masami, puts it, "is nothing we can blame him for, since we're hiding something from him as well".

It's the first time the viewer actually hears that Koushirou was adopted - we have seen him having flashbacks and getting somewhat distraught and sad about something, but we didn't know what it was. One can tell that he means it when he tells his mother that he's grateful - we see it when he keeps smiling happily to Tentomon about everything -, but there is that barrier. He IS hiding something from them - and we know it's not just Tentomon, even if that is perfectly mirrored with Taichi hiding Koromon as well -, but she cannot grasp what it is. And he is burdening himself with it, everything: Caring for and hiding his partner, sneaking out of his room to deal with a rampaging Digimon in the middle of the night while (potentially) chasing the eighth child around town - on his own, because the others are already fast asleep -, having a one-on-one fight with an evil Digimon and almost gets impaled, while also trying to reassure his parents that everything is alright. A lot to bear for a 10-year-old, huh...

And why was he prompted to act in the first place? Not only because he was notified of Raremon being a threat, but also because the Yagami cat went on a stroll with the eighth child's Digivice and lost it several times over.

This episode simply has it all: It has a sense of happiness and peacefulness, it has comedic elements, it has a suspenseful fight and chase scene; the main plot and character development are perfectly intertwined and even though there is so much going on, it doesn't feel rushed, bloated or like anything shouldn't be there. The characters are pretty unreliable narrators while the viewer can see everything that happens - nothing gets resolved in this episode, it consists of a repeated "Almost!", but that is fine, because it contextualizes everything that will happen from now on.

It also tells us so much about the Yagami and Izumi family dynamics, including the fact that the mothers are very familiar with the fact that their sons are close friends who call each other at very odd times...

The adoption topic is rather heavy, not downplayed and presented in a light that makes you hope that all of this will eventually resolve.

It's just very dear to my heart and I would absolutely love a whole anime that deals with all of the kids and their backstories similarly, giving them all temporary main-character status.

[distantlaughter]

THE SECRET NICO ROSBERG (IN HIS KARTING DAYS) TOLD BY DINO CHIESA

originally written by Luca Barnaba for TKART magazine 5 March 2022 (x)

The 2016 F1 world champion as you've never seen him before. Through the anecdotes (which are about destroyed hotel rooms, prostitutes and much more!) of those who knew him well, before he became a star.

After winning the Formula 1 world championship in 2016 and retiring from racing at the end of that same season, Nico Rosberg has shed his driver's shoes to take on those of an entrepreneur-influencer. In recent years, the former Mercedes driver has been involved in a variety of areas, such as promoting projects aimed at environmental sustainability, creating teams that participate in international electric racing series (such as the Rosberg X Racing team in Extreme E), and posting vlogs, track analyses, and stories on social media and about his life and memories. In short… About what Nico Rosberg is today, one really knows or can know everything.

But to know who Nico Rosberg was before F1, world triumph and fame, one has to rely on the stories of the people who saw him grow up and take his first steps in karting, people who know him well, like few others. Dino Chiesa is one of them. A prominent figure in the world of karting, founder of Kart Republic, over the years he has been manager and mentor to some of the promising, later to become undisputed stars, in karting and beyond, including: Alex Zanardi, Vitantonio Liuzzi, Lewis Hamilton and… Nico Rosberg himself.

Of Nico's karting period there are several "stories," especially about the emergence of the friendship-rivalry with Lewis Hamilton (another phenomenon of that generation), but very little is said about who (and how) young Nico was.

It is Dino Chiesa himself who reveals: "I remember him as a child, perhaps smaller than others his age. In the sense that he was more innocent than other peers: 'mannered,' polite." Kids, you know, at 10 to 12 years old begin to develop their character, on and off the track. And, basically, they divide into two groups: those who are less…mischievous and those who…are a little more so. If of Nico we can safely say that he fell into the former, his friend and teammate at the time, Lewis Hamilton, just as quietly we can say that he was part of the latter: "I have an episode that explains how Nico was, even compared to Lewis. I picked them up at the airport. When we arrived in Padua, before dropping them off at the hotel, we passed through a street where there are several prostitutes. Nico, naively, asked me 'What are those women doing there'. And I, considering that he was only 13 years old, replied 'They are waiting for the bus.' Nico did not reply. After a few seconds, however, Lewis said 'Can I take the bus tonight?'"

The genuineness of Nico's era, goes hand in hand with his goodness, which, according to the manager, could also be a flaw, especially when it related to races and competitions, although "Like all good people," Dino Chiesa recounts, "he later bursts."

"And he goes further, erring twice. The first time because out of his goodness he suffered. The second time because by blurting out he then overreacts."

If the portrait of little Rosberg you are getting from these stories looks a lot like a blond angel, know that it is not so. Even Nico - as a teenager - had a chance to show himself reckless: "One morning," Chiesa says, "he comes to the track before the race, makes me promise not to say anything to anyone, and shows me a wound on his foot. I ask him, 'How did you do that?' He said, 'Lewis started hitting me with pillows last night. I responded and we ended up throwing mattresses at each other outside the window of our hotel room. To avoid getting caught by my father and you we went to get them back only to climb over a net…I cut my foot!' I couldn't bring myself to scold him!"

A "naughty" little boy, like many others, then. Unlike many, however, Nico had to handle an unusual challenge early on, that of carrying a "heavy" last name on his shoulders: "Certainly having a father like Keke must not always have been easy. Every time, especially as a child, the comparison was automatically triggered, even though Nico was someone who never abused his surname and did not seek advantages just because he was famous.

"Indeed, as I know him, he is someone who would even go and sleep in a 2-star hotel without necessarily needing to have the suite. Also because, to be honest… He is someone who is very careful about spending."

His distinguishing features over the years have not changed: "For me he is still Nico, the kart guy. He hasn't changed. As he was then he is now, so much so that we talk very often by text or phone. And I for him, in my opinion, am still the one in the kart, his boss. So much so that he still calls me 'boss' today." Also because in his interpersonal relationships he has always maintained that good dose of genuineness: "He's not one of those people who has to have his friends who are soccer players or who are stars. If there is a need to go for a bike ride to train, he even goes with his neighbour."

Impossible, however, to talk about Nico Rosberg without putting his innate talent under the magnifying glass: "I put him among the best in the dry lap! In behaviour, however, he is a gentleman. One of those who does no improprieties, never over the top. Fast, but correct. Not a common thing." But his strong point was undoubtedly working on the kart and finding the best set-up: "He was The Best. In the sense that he was the first to do the dirty work, to prepare the material, to do whatever was necessary to develop chassis and engines."

[kitnootkat]

See you later sk8er !

Episode 2. ; Dinner with the Neighbors ... Previous || Show List || Next

Checking your phone, you notice that it’s already been about ten minutes since you’ve been in the bathroom. If you stay any longer your parents are bound to get suspicious which means that you’ll probably get a lecture. Something you want to severely avoid.

If you were being honest with yourself you really did expect dinner not to go too well, but the thought applied to your whole family; not only to you. Conversations were seemingly lively except for the one with the boy sitting across from you which was very, very dead. You had both tried to start conversations but honestly nothing really stuck. You’re sure that if your parents weren’t there it would have gone better but that doesn’t change the fact that it wasn’t working out. 

Yet right as you think that dinner couldn’t get any worse the topic of comparison had landed right into both mom’s palms. This made things even more awkward for you and the older kid Suna, who you know as Rintarou now, who were already struggling to talk. How do you even talk to someone easier if your moms are asking you to tutor him and your mom is asking him to teach you to let loose. One answer: you can't. 

It ended up getting way too awkward for you to handle to the point where running away was your best bet. That means the bathroom was the perfect place to go. Which is where you are now.

Letting out a fairly deep sigh, you stare at yourself in the mirror before smacking your cheeks. Get your head into focus YN. It’s time to face the world. 

OH SHIT. Eyes widening and trying to hold back a deep breath, you feel your soul jump out of your body. Why was Suna Rintarou leaning on the wall outside of the bathroom door and why did he seem just as spooked at you. “I- Ahem. Why are you standing outside the bathroom?” Your arms are crossed at this point and you have an eyebrow raised, eyes looking him up and down. But maybe that was a bad idea because now you could finally take in him, and the situation, but mainly him. And his- stop.

“Well, whenever we have people over I usually show them to the bathroom and then wait for them so I can lead them back to the dining room but…” The black haired boy takes a pause and takes a good look at you before putting on an annoying smirk “someone decided to take ten minutes in the bathroom.” Ooh! The nerve of this boy. Huffing, you give back a very passive aggressive smile. What the hell was his problem? Were all damn middle blockers like this?! Right as you’re about to reply though he pushes himself off the wall and starts walking back to the living room. “Oh, ln-san, by the way your mom was right, you are smart. Maybe next time don’t wait in the bathroom for so long though.”  Ahaha. Actually die Suna Rintarou. You wanted to shove that stupid look off his face. Thank god you wouldn't have to fraternize with him too much though. Right...? Maybe not.

As you walk our of the door of the Suna household, your phone feels heavy as his contact was already in your phone.

Notes !! : -> Episode two is done!! Woohoo!! -> I really couldn't decide whether to end the chapter after the writing portion but i feel like what i added worked fine -> Bro i hate writing the word smirked but knowing Suna bro does that shit often -> There there yn, i would get pissed off from Suna too -> Suna was actually waiting outside of the bathroom for 10 minutes scrolling on like idk tiktok -> His mom asked him why he waited for her since that wasn't something he normally did and his reply was a shrug and a "just felt like it" -> yn did not avoid the lecture and got one on politeness when they got home except her dad said "you shouldn't be shitting in other peoples bathrooms." she could not leave her room after that -> Theres two Nekoma closets and one of them is abandoned bc it was "haunted" and i really wanted to include that in this chapter and who better to get stuck in a closet that bokuto and kuroo -> Also im thinking about adding kuroo and kenma bc there isnt enough people here

taglist : open ! ft.ft. @lcvemiyuki @cannibalsrider @skazewrld @thvvluvr @snail-squasher @mfcherry @sereniteav @cocoforkuroopuffs @causenessus @yuminako @starsagainsthearts

[naranjapetrificada]

Izzy becomes a "real boy"

So obviously I haven't been able to shut up about the way Izzy has been written in season 2 and I stand by my disappointment and criticism, even knowing that the writers were given a herculean task of cramming 10 pounds of season into an 8 pound bag. Even knowing that, his "arc" such as it is has felt very off to a lot of people, present company included. I'm a cogitator at heart (thanks AuDHD!) and that can turn "make it make sense" into a prime directive sometimes. So here I am, trying once again.

I felt a particular way about Izzy after the end of season 1, which I would describe as "not especially strongly" because I primarily saw his character as a storytelling tool/useful foil more than anything else. But his presence and characterization in season 2 have been haunting me this time and not in a good way, because I've spent this season trying and failing to make it make sense. But something just occurred to me that I hope I can explain in a coherent way:

If season 1 Izzy was more a storytelling tool than anything else, maybe season 2 was an attempt to turn the puppet into a Real Boy. And if so, maybe things did not go as planned.

There are so, so many good posts going into the things that don't work about how Izzy has been handled this season, to the point that I'm not gonna try reinventing the wheel. Some of the reasons it hasn't worked for some of us include:

Much of his alleged growth apparently happening offscreen, most likely due to the reduced budget and episode count.

The lack of connective tissue between many of his scenes, some of which can be attributed to the previous point about corporate fuckery but other parts of which are hard to explain beyond "idk I guess the writers felt like it?"

The unfortunate connotations of sidelining nonwhite characters like Jim, who was the only character beyond the central pair to receive a detailed backstory, flashbacks, and a multi-episode character arc

The unchecked racialized comments he gets to drop about Edward (calling him a "wild dog" or seemingly mixing him up with Roach) that in season 1, would have resulted in violent retribution as a sign of the story's disapproval

The lines we get from Izzy that feel like they should have been said by other characters, and maybe that would have been based on the expectations of the show that we left season 1 with

The way it seems like Izzy's suffering is being used as a stand-in for actual moments of reflection or atonement, which is a pretty fucked up dynamic to set up as precursor to redemption

The way Izzy now gets to partake in the very behaviors he denigrated in Ed last season, which would be a cool and moving character beat if there was a single, solitary narrative acknowledgement in the harm caused by his treatment of Ed in s1e10. Ditto for him apparently just being cool with shit that once would have been his worst nightmare.

The fact that so many of these issues could have been addressed in a quick throwaway line or two that showed that the narrative understood what was wrong to reassure us all because by definition if a character is getting a redemption arc, it's because they did something wrong, right?

There's plenty more of course, but that's not why I made this post. I made this post because regardless of why the decision was made to handle Izzy this way this season, the attempt was made to flesh him out in ways that his role last season may not have been initially written for. Con's performance and certain production choices hinted at a depth to his character that may or may not have been on the page, but helped make for a pretty interesting season 1 antagonist.

For season 2 they decided to make Izzy a real boy, but the combination of a reduced budget, a lower episode count, and whatever creative darlings they couldn't seem to kill in order to give us more development of his transformation made sticking the landing impossible because we're lacking certain elements for basic comprehension.

Imagine you know almost nothing of the story of Pinocchio and someone starts up the Disney movie version of it for you but it's a weirdly edited version of it. There's no narration from Jiminy Cricket, mostly because there's no Jiminy Cricket at all. We see Geppetto crafting a wooden puppet, but not the part where he wishes for him to be a real boy, which makes it kinda weird to then see the part where the fairy brings him to life and says he can become a real boy but okay, let's go with it.

Now let's say the one thing you've always heard about the story is that Pinocchio's nose grows when he lies. So we get to the scene where he lies to the fairy but for whatever reason, his nose doesn't grow. No one comments on the inconsistency, and when you mention the nose thing all anyone wants to talk about is how great Pinocchio's nose looks.

Then Pinocchio goes to Pleasure Island and while the animation and acting seem great as usual, and the language of cinema appears to be setting up something dark on the horizon. Then Pinocchio's new friend Lampwick starts transforming into a donkey, this random well-dressed cricket shows up to admonish Pinocchio, and our puppet friend is randomly immune to the thing turning other kids into donkeys. No one comments on that either. Maybe Pinocchio even gloats about it a little, which seems like a weird storytelling decision that merits a follow up discussion later.

And I guess this is the part of this over-extended metaphor where you remember you have somewhere to be but you'll finish the film later, because as an audience we won't know how things shake out for season 2 Izzy until the finale. Presumably we'll still get the scene where he magically turns into a real boy, but there isn't exactly time for anything else like all that stuff with the whale. Maybe the real boy scene will happen, but for whatever reason the animator kept drawing him like the wooden puppet and every time you point it out no one will take you seriously.

Wouldn't that be a weird thing to experience?