#the foreshadowing... the way it was all so clear from the very beginning... this really is the only way it could've happened...

[oblako]

pain and suffering (finally caught up with noragami)

[stagefoureddiediaz]

Costume Meta 7x05

Hello, Hey, how we all doing??

Ready for another super long meta post??

There is so much to talk about this week - admittedly mostly Buck and Eddie related, but there is also plenty going on for Hen and Karen as well.

No Bobby this week as we only see him in uniform, and only the one costume for Athena as well. I also want to say that I am not doing any of the costumes from the Madney wedding that we saw at the end of the epsiode - I want to give them the space they deserve and I will probably write a separate pre episode meta for those costumes specifically! All I will say is Maddie looks stunning, Buck in white - hello! and Eddie in a just a collar making him look like a pink priest - hilarious!

The rest is under the cut as always 😎

Let's start with some of the guest characters.

Alien Hand syndrome man continues to prove the check means bad things theme, which makes me happier than you can ever know!!

Then we have Deidra in her very bright pink coat. If you read my promo meta for this episode you will have read a fairly sizeable section at the end on my thinking about the use of pink in this season (going to make a separate post during this hiatus so its all in one place). All of the times we see it in this episode, play into (and I guess prove) my thinking. Deidra is acting with good intentions and while I don't think she's naive or innocent in the strictest sense of the word, she is perhaps continually being naive in thinking that not revealing Mara's past is the right way to go (don't come at me about child protection etc I am fully aware of what the real world laws state, but this story arc really highlights the fact that in trying to protect children who are at risk and in the system, they can also cause ongoing harm if things are not taken on a case by case basis - its a whole other essay that I am not getting into here).

Then we have Mara herself who is never without pink - namely her pink blanket. The pink plays into the theme of innocence especially with Mara and while she may not be innocent of the act of maiming Denny, her innocence goes much deeper. Its meant as a very clear signpost of the innocence of childhood - that pink blanket and her clinging onto it is a symbol of her clinging onto her childhood, despite the fact that she has gone through a terrible loss and trauma. she is still a child and the show is clearly going to play into the idea that as she settles into the Wilson home and is able to work through the trauma, her need to cling onto her childhood in this way will diminish and we'll see her slowly become less attached to the blanket. We already have signs of progress with the colour journey her tops have been on - lavender, pink and then the turquoise one at the end. Lavender is also a colour associated with childishness or lethargy, pink the colour of innocence, and childhood. While turquoise is a colour of calmness and clarity. its signalling HenRen's breakthrough with Mara and that she's growing and beginning to feel secure.

Hen and Karen

Hen and Karen go on a real colour journey this week - I'm doing them together (along with Denny) because they very much work in tandem clothing wise (and also because I was running out of pictures again - whats new there!)

So first up we have Karen in this beautiful dip dye ombre dress in purple, pink and mauve. it also has this drip staining pattern which has deliberately been created during the dying process. The lavender at the top of the dress is representative of hope and serenity, this is Karen in a great place - about to expand her family and fulfil a dream. The pink as I've said is all about innocence and naivety - more innocence in this case - both the new baby being innocent and Hen and Karens innocent hopes for their future. The dark mauve at the bottom of the skirt - eating into the pink is such a choice - gathering storm clouds, foreshadowing the turmoil about to come - taking away the innocent hope. mauve can be standoffish and withdrawn, and in this context those are great descriptors for Mara and her struggles that Hen and Karen will need to help her work through.

Hen's in cyan blue trousers - which is a colour associated with clarity and balance. whilst the cream, black and blue jacket with stars on is the beginning point for a theme that runs through the Wilsons arc this week - black is a power colour, associated with many things, but for Hen and Karen in this arc it is very much about protection and strength. Here for hen it is mostly about protection - protecting this new baby they are about to take in. The cream is warmth and tranquility.

Hen is wearing check - foreshadowing the upcoming struggles with Mara. Karens bronze and black Jacquard trousers are a symbol of strength - bronze as a colour means strength and support, it's also a symbol of faithfulness. It's telling us that Karen will take the lead on supporting Mara and being strong for her.

We see a lot of white on Karen in this episode, white, like pink is a colour of innocence, but it is more associated with purity and balance. It is also a colour of neutral refelction. By this I mean that it amplifies other colours by providing a neutral background - allowing other colours to shine. I find this a really interesting thing when connected with Karen - it amplifies her strength and supportive nature when the Wilsons meet Mara.

Hen adn Karen in bed are in dusty versions of blue and pink - Karen innocently tries to touch Mara and that is when the screaming starts. Putting Hen in blue is about relaying her trustworthiness and sets her up as a soothing and calming presence for Mara - hence the sleeping on the floor of her room!

At the hospital, We see Denny in red - he was wearing it when Mara woke the house up and its an indicator of what is about to befall them (in the same way Bobbys red in the cruise ship disaster adn Athenas red in relation to Harry, or Bucks back in s5 when Eddie broke down).

We again have Karen in white amplifying the other colour she is wearing, which in this instance is this buff/brown oversized sleeveless coat in teddy fleece. The brown is stability, dependability and responsibility - playing into the fact this episode really highlights Karen's position in the family as this stable rock which Hen and Denny lean on when they need support. Karen's unswerving and solid personality is once more being shown off. Its really a key thing for them to show as it feels like a set up for Mara and how she is going to bond and rely on Karen and that dependability as she unpacks her trauma.

The orange jumper is a really interesting choice. I do love the loose threads on the design of it - paying into the idea that Hen and Karen are at a loose end and unsure what to do going forward. But, the orange itself is generally an open minded colour, its energetic and its also a colour of transformation. These are all things we know are true of Hen and Karen and it hints at the fact that they will fin a way forward. Once again we have Karen in white amplifying Hen's orange and the energy and idea of transformation the colour brings.

Denim jacket and white tee. I love the distressed nature of this denim jacket and the way it plays into both scenes we see it in - playing into the distress Hen feels over finding out what Mara has gone through and how it explains why she has become non verbal and incredibly protective over her pink blanket.

Again the white of amplification and purity. Hen has pure intentions and the white amplifies Karens black when they are at dispatch listening to the 911 call.

We also have the Karen necklace back - once more showing this ism't about Hen - its about Karen and their family.

Black on Karen for this scene is such a choice. Black is a power colour, it means strength and protection. Here it is showing Karens determination, as she gains understanding, to protect Mara and support her through her trauma - it is representative of Karen choosing to use the power she has been given through gaining information. The gold highlights hint at success.

I love these lavender pyjamas on Karen - lavender is a soothing and sleep inducing colour (along with its scent which is possibly where the association came from for the colour) along with a Japanese print of mountains and trees, which plays into the idea of serenity and peacefulness.

Hen in contrast is wearing fairly bright and bold black and green. The green is all about that growth and learning once more, the growth of Hen and Karen, learning more about the issues Mara faces and seeking a solution, but also the growth of their family. The black is a reflection of power - much in the same way Karen wearing black when they heard the 911 call Mara made, here it is Hen, representing the protection that Hen and Karen are offering Mara.

Athena in green - again with the mesh open weave knit - this may be a theme for her this season - potentially something to do with feeling caged or caging someone/something - especially children as both scenes we've seen it so far have been to do with young people and the law in some respect - ending up in the system - Harry through is crime and Mara through her parents death.

Chim

This dark bottle green with a fawn brown (what I think is a polo) shirt underneath is Chimneys only non uniform costume this week . This kind of dark green, is as always a signal of growth, but its also a colour of harmony, and right now - everything in Chim's world is harmonious.

Maddie

I don't thinkI've said it yet, but I am so happy to have Alayna back dressing Jennifer - I feel like we're really back on track with Maddie's costuming after last season where they somehow managed to make Maddie look terrible. The costuming overall last year was fine - not as good as Alayna's work, but it was for the most part good - except for Maddie where it was all over the place!

Anyway - Maddie in black here is very much about focussing the attention on Hen and Karen - like with CHimney's muted green, in tandem they are making the viewers eye focus on Hen and Karen - especially Karen - who is the brightest in the room.

Maddie wearing this sage green colour when Buck comes out to her is sheer perfection from my perspective - we, once more have the green of growth and renewal, the green of learning - Maddie learning more about her brother - this new thing that he is realising about himself and choosing to share with her (even if inadvertently). But this green is also sage green - sage as in the play on sage advice - which we see Maddie give him. Buck needs that good advice - he needs to hear that its ok, that he can take the time to figure himself out and that its ok that he's only just uncovered this aspect of himself and that it doesn't invalidate him being an ally up to this point!

Ok not going to lie - I got a little carried away from here on out - so sorry in advance for the rambling mess you're about to read!

Marisol

I'm doing Marisol in a weird order - because I wanted to talk about her date night outfit in tandem with Eddies - because its relevant. So we start of with virgin Mary Marisol! Honestly this outfit is just perfection from the costume department - they saw the brief and went to town and I love it. Its so good to see what they can do when they get to play!

One of the things I really love about this costume is the blue that they chose. Because that blue - that is Bucks blue! the virgin Mary blue is usually a much brighter royal blue. It really helps to place Marisol in parallel to Buck and we get the play on t he fact that Eddie seeing Marisol in this way changes everything for him, whilst later on, whilst Buck is in the same blue, he reassures him that nothing will change between them.

Look, I'm not going to lie, when I saw Marisol in blue and yellow for this scene I laughed because Blue and yellow (as I've gone on a million times about) means queer coding so to blatantly put Marisol in it - in a washed out form, and very much connecting her to Catholicism - genius move. It marks her out as a roadblock, but also puts her into the role of beard (unknowingly on her part) because Eddie is still in the midst of his repression, even if it is beginning to unravel now.

The black top with spaghetti straps is clearly a theme they're going with on Marisol, as are the ditsy prints. The yellow high waisted trousers are interesting because of the specific shade of yellow. Yes the whole communication theme still applies here -and we see it in action, but this shade of yellow is sallow and sickly (one of the reasons its called sickly yellow is because its the colour of a lot of medications!!) - this relationship and its restart are ill and that automatically means its going to struggle to survive.

It plays into the more negative meanings around the colour - uncertainty and idleness and cowardice. For me the cowardice aspect is an interesting one in relation to Eddie - he has behaved cowardly up to this point - hiding out and not having the conversations that need to be had, and even in this scene it is Marisol who takes the lead.

It's really giving us an indication of things Eddie needs to work on in regards to himself - and once more it comes down to communication. Communication has always been Eddies major flaw - that he isn't good at it, unless really really pushed into it - essentially under duress. The other thing with communication is that it plays really well into the catholic guilt aspect - this idea that growing up catholic has taught him to repress part of who he is - to go along with what is expected of him, but that it also taught him not to ask for what he needs, to not communicate. We see it in this episode with his inability to say no to Marisol (the whole hiding out at Bucks so he doesn't have to have sex speaks volumes) even down to suggesting there's a third type of guy - who just needs a minute. Because, while that might be true to a certain extent, the fact that he says this off the back of her expressing her distress and upset about how all guys are one of two things, speaks volumes - its not him saying this because that's how he actually feels, its partly him saying it because he is pushed into a position where he doesn't want to be the bad guy. its really not a good place to be restarting a relationship from.

We also have the ditsy print of doom in play again - like I've said before, ditsy print on Eddies girlfriends - never a good sign - its really playing into this idea of Eddie jumping in headfirst with gay abandon (pun intended) and then regretting his life choices. Shannon wore ditsy print a fair amount - especially in the I think I'm pregnant' and 'we should get a divorce' scenes. Ana wore ditsy print A LOT - she was wearing it when Eddie had his panic attack in the shop and at other key moments that marked the death knell for their relationship. And so this appearance of ditsy print here marks the same - the relationship is not long for this world

OK date night Marisol. The way this outfit played out more or less as I expected, She was very much an 'innocent' bystander in this scene (whilst also creating one corner of a triangle with Buck and Eddie) , and the ditsy print very much played into this. Like I said in my promo meta, both Shannon and Ana were costumed in ditsy print as well as in lots of pink!!!

The other aspect of this outfit that is making me laugh is the fact that the skirt is giving me 1980's/early 1990's teen vibes (not to out myself as old but trust me I had some just like this back then and I wouldn't be caught dead in it now as a grown woman!!) and the baby pink handbag looks like something an 8 year old would have to play dress up with - its all very childish and immature - naive one could say, and while it didn't play out quite how I was expecting, her being a novice nun, sure explains a lot of why she comes over as pretty immature.

The other aspect of this childish style we're seeing on her plays into Eddies narrative of looking for magic and trying to recreate what he had with Shannon. He's attracted to Marisol because she is immature and childish - it reminds him of what he had with Shannon when he was young, and when you're trying to recapture that, its easy to fall into the trap of thinking someone behaving in a naive manner is you finding what you'd been looking for. Eddies journey, along side his catholic guilt, is about learning that he cannot recapture or recreate that magic he had when he was young - that the love of youth - in all its innocence is not something that is sustainable or actually what he wants in the present.

Then we have Eddie in white. I spoke in the promo meta about how the white set him and Marisol as opposites and that remains true - very true on more than one level. What I especially love about it and something I could not have predicted is how it plays into the novice nun aspect of their story this episode - truly this show is a comedy! Because nuns wear black and white this is an obvious play on that, but it is also a play on the fact that Marisol is still a practicing catholic, whilst Eddie is very much not. The other aspect of this white is that of Eddies two non uniform costumes, it is the first one and we get this black and white play on religion - the black and white of nuns and priests - the black and white of being religious or not. Eddie never questions if he wants to become a practicing catholic again - he is lapsed and that is how he intends to stay.

Eddie in uniform, with his green trainers, blue towel and water bottle. the blue towel and bottle play into the buck and Eddie blue green theming we see with them. But what is interesting is though is that Eddie is fulfilling all the colour theming on his own - he is both blue and green - to me this is about Eddies own struggles within himself as well as foreshadowing the Eddie Marisol break up down the line (green shoes suggest a road needs to be to walked before we get there) - it hints at Eddies internal struggles and implies that its will ultimately end in a break up a bit further down the line.

I also think it's only when in Uniform that Eddie can admit to his catholic guilt. Because we all know when Eddie is struggling with some form of emotional turmoil, he wears a black singlet - and he could've been wearing the same here, it would've been totally fitting with the situation - he is going through something emotionally and struggling with it.

But he's in his uniform. Part of it is to have him on a different level to Buck - they are both struggling with something in this scene. When we have previously had Buck and Eddie scenes like this one at work, the one dressed in uniform, tends to be the one offering advice to the one not in uniform. That isn't the case here. Part of it comes back to Buck not actually needing advice, but needing to reveal something about himself - to confess. Eddie is the one who needs advice.

This is a flipping of the traditional narrative for these scenes and is proof that even though Eddie might later tell Buck that nothing is going to change between them, that it has in fact already changed, it is just that neither of them are fully cognisant of that change at this moment in time. It is a key indicator to use the audience that this has happened before but that things are not going to play out the same way this time.

Put it this way - Eddie has form for doing something extreme with his relationships with women in the aftermath of Buck doing something dumb - its one of the manifestations of his repression. This time its asking Marisol to move in with him in the immediate aftermath of Buck going full green monster over Tommy.

Last time it was in the aftermath of Buck begins and then doubling down with Ana after the shooting when Buck had hooked up with Taylor and before that in the aftermath of Shannon's death and Buck suing the department he went and joined a fight club - but he has form. Its completely in character for him to pull this sort of a move. I know he says he's going with his gut but I argue he is in fact ignoring his gut - or at the very least confused about what his gut is telling him, because that would mean actually looking at why his gut reaction to Buck doing something dumb makes him do something dumb in turn connected to these women in his life.

Eddie in black - this is the same shirt as the white one - just the reverse colour - which is important. This shirt has several layered meanings to it. its about the reversal of what Eddie wants - from him being bubbly and excited about Marisol moving in, to the dread of her having moved in and wanting her to move out - his feelings go from white to black - light to dark - happy to unhappy and it all sums up the relaity of that relationship - while it was new and unserious, it was fun and light, when things got real - it becomes dark and oppressive.

I'll go into more detail about this shirt when I get to Bucks costume for this scene - because they are connected!

The other thing about this outfit is that the green trousers have been replaced with jeans. Now I see a couple of reasons for the wardrobe department doing this. Firstly is that it plays into the 'nothings is going to change between us' of it all. Its a visual indicator that in fact things have changed (along with Buck wearing a brighter shirt than we normally get in these buddie heart to hearts that take place in Bucks loft but more on that later) the Buck being bi and going on a date with Tommy of it all aside, this is the first time we've actively seen Eddie hiding out at Bucks to avoid his girlfriend - this was a barrier that had existed between them previously that has now been broken down. Then there is the fact that Eddie does go home to Marisol - and he couldn't be wearing green at that point because she was wearing blue and Eddie in green would've meant break up time - only the Marisol as a plot device arc isn't yet over (it will be soon I promise - all the costume signs are there!) so that couldn't happen.

Tommy

This dark olive green shirt that is almost brown. The brown undertones hint at the stability he represents while the green is hinting at his military past and once more paralleling him with Eddie. One of the things about green as a colour is that its not only a symbol of growth and renewal, but its also a colour of learning, and in an episode titled 'You don't know me' it feels like all the green is very much about education - learning about other people - and the growth that results from it. It feels especially important here for Tommy and Buck - that is after all what going on a date it all about - learning about one another and seeing if you're compatible.

The other fun thing about this green shirt is though that the green plays into the blue green colour theory when it comes to Buck and Eddie and their partners and the end of relationships. This one before its had chance to begin.

For Coffee we have a grey Henley and a blue zip front hoodie with a grey striped undertone to it (I am pretty sure this is actually a hoodie we've seen on Chimney but I can't remember when and I don't think it would be the very same one as pretty sure Lou would not be fitting into Kenneths clothes ever, but Chimney has definelty worn the same style!!). Again Henley's are an Eddie thing, so we once more have the parallel with Eddie being drawn.

The interesting thing here is that the grey blue is the same colour combo Buck wore on their first date attempt - the costume department played a lot with flipping colour in this episode, so to have it done here as well is really fun - the fact there is more grey than blue is also interesting. It's a neutral colour, it is seen as a colour of stability, but is also a colour of uncertainty. It really plays into that theme of uncertainty running through the Buck and Tommy arc. The blue hoodie is actually pretty important because we've had one of Buck and Tommy wearing something dark blue in every scene they've had together - usually the one on the back foot. Tommy in this scene is relatively neutral in terms of position for most of this scene - they are equals - but he is put onto the back foot by Buck asking him to be his date to Maddie and Chim's wedding.

Buck

Where to start with our beloved bi disaster!

I obviously spoke a fair amount about the date night shirt in my promo meta. The navy blue knit bowling shirt with these silver/grey close together pinstripes running down the front playing into the Buck wearing vertical stripes theme we've has running with him for at least the last 2 seasons.

What I said about false starts and this date absolutely played out - in the same way the sperm donation shirt represented a false start on that donation, this shirt also represents a false start on Bucks dating life as a bi man. The white trainers are also carrying on the theme of Bucks Journey towards happiness

What I find most interesting about this outfit though isn't colour theory related. its all about the fit of the clothes. Because these are ill fitting on Buck - not something we see from him very often - in fact I think the only time we see him in anything close to ill fitting to this extent is back in season 1 when he was figuring out who he was and if being a firefighter was the right for him and exploring relationships and what he was trying to find in that arena. The trousers are the most ill fitting of it all, but I'll come to the trousers later on as they are part o a wider Buck costume theme we have going on!

The shirt is a little roomie, but not overly so, it just stands out more because we're so used to his shirts fighting for their life, here this one is baggy and really helps to sell the idea of defeat, but also that h was trying on this new part of himself for size and that it doesn't quite fit. It's the only time this episode we see his clothes not fit him in this way and its a really small but expressive part of costuming that I love to see.

Then we have this blue broadcloth jacket over a white tee and with these plum/brown coloured trousers - they're a bit blink and you'll miss them so its hard to be sure what type of trouser they are, but I think they are essentially smart joggers - jersey material but trousers!

We all know that Buck in white means trouble, I'm putting him outing himself to his sister as the bad thing - along with the fact that the date didn't work out.

I'm really fascinated by the fact that we really seem to be leaning into navy blue and Buck being bi. Navy has always been a colour we've seen a lot of on Buck in general, but there is something about the fact we've seen him (or Tommy) wearing it in every single scene that is about his bisexuality. I'm talking from the kiss scene onwards, not anything before that as Buck wasn't aware of his bisexuality before the kiss. I can't wait to see if it continues!

The green shirt jacket is an interesting one. it obviously helps to play into the buck and Eddie blue green theory, but it does in a smaller way play into the blue green theming we see around Buck and Eddie and their relationships - specifically around issues arising. Both Buck and Eddie wear green when they break up with their significant others and while there is no break up here, there is a break of sorts. This was Buck about to try and tell his Best friend that he was actually out on a date with Tommy and that he's bi

symbol of growth - Buck went in with a goal - to tell Eddie he was on a date with Tommy, but changed tack when he saw Eddie needed to go through something - this is Buck growing as a person - not making something about him.

The other thing about this outfit is that its basically the same as the one Eddie wore at the airfield (even down to the badding of the trousers) - just in reverse - Eddie black trousers, black jacket, green top, and here Buck is black trousers, black top and green jacket - I find this fascinating as a metaphor for where the two of them are on their respective journeys.

Buck is now bi and out (he's told his sister) and has been on a date with a guy (regardless how successful it was - he cannot put it back into the box) - his growth is externalised and therefore expressed through the wearing of a green jacket. We get a lot of storytelling through the various Jackets Buck wears (we've seen him in over 35 at this point!)

While Eddie - who we could say was being taken on a date by Tommy - even if he didn't know it (because who flies someone to Vegas to a sold out fight if its not a date??) wearing a much brighter green that we've seen on him before now (pretty much all of his greens are more army green with a couple of exceptions - much darker greens akin to Bucks jacket in the below picture) - still in the army green wheelhouse, but much bolder. Eddie's queer status is still very much internalised - hence it being underneath the black jacket.

Buck coming out to Eddie from a costume perspective was a glorious parallel that I have already mentioned in the promo meta (I've run out of pictures so you'll have to go watch the scene yourself if you want to see what I mean). Its actually a bit deeper that I appreciated in that promo meta, but that is in part because at the time of writing the meta I wasn't 100% sure it was a coming out scene and I didn't get to see the way it was shot and how that also played into the paralleling.

Costume wise - I already spoke above about Eddies black shirt and how it is reversing him in the episode. But what I didn't mention is that fact that it parallels in colour terms, what he was wearing when Buck informed the firefam that Connor and Kameron were pregnant. Eddie wore a black marl henley - black with flecks of dark grey running through it, and Buck here is wearing a slightly darker blue version of the same top he wore in that same scene. He is standing in the same place at the counter of his kitchen, or sitting very close to the same position and we get similar camera angles. As a whole the parallel is very loud - Buck was happy and proud of something he had done and wanted to share it with his friends - wanted their approval. He was feeling good about himself and confident in his decision.

The biggest thing about the blue - this shade specifically is the way it play into the blue theme we saw last season with Buck - the theme that started in the 5x18 finale at Hen and Karens vow renewal, when he was free of Taylor and moving forward and essentially restarting his search for happiness. We saw it weave a thread through the entirety of season 6, being worn at key moments that played into that theme - after Lev died, at various points in the sperm donation arc, and a key points in the aftermath of his death and rebirth.

The successfully helping create life aspect of this is so interesting. It on a low key level plays into the you don’t find it you make it manifesto that’s been at the heart of bucks arc since s2. the whole year if yes was supposed to be about this very thing - about Buck creating the life he wants for himself  - the sperm donation isn’t about the baby it’s about Buck and about him figuring out what he’s missing (which comes back to not only Thomas and Mitchell, but also Lev).

The other thing that ties into this theme is that Eddie isn't really changing but Buck is. Whenever we have a scene at the loft between Buck and Eddie Bucks costume and colour varies, but Eddies stays more or less the same. Bucks colour Palette for these scenes goes - dark grey in the you want to go for the title scene, then we have the grey blue on the balcony and now this much lighter blue. This is highlighting Bucks progression while Eddie who remains in his black shirt and that progression - while Eddie essentially remains steadfast - is key - it’s showing us that while buck is still doing dumb things, he is learning - he is listening to whatever Eddie is telling him - that he’s accepting Eddie’s absolution of his sins more and more - growing and understanding. 

It’s building on his long running arc - his fear of being left behind, of not being important enough for people to stick around for - and showing us he’s increasingly understanding that that fear is unfounded - that he’s found his personal- the one who will stay and who is steadfast in that. That’s why we see Eddie unchanging in his black shirt green cargos while buck gets lighter - more unburdened by that fear.

Before you think all is lost on the Eddie front though, we are seeing change - the army green trousers are gone and have been replaced with jeans - perhaps, in the same way Bucks growth into his bisexuality began with his beginning to wear jeans again, Eddies own growth into his own queer identity also begins with jeans - moving him away from Eddie the soldier - fighting for others - being a rock for others and now into a position where he can do his own growing.

In the sperm donation arc, Buck was finally able to donate and was wearing that super pale mint green polo. we don't see the same with the outcome here at this point in the story (although the beige/mint green jacket from the bachelor party is making me👀👀👀 at this moment in time!) - we get this cream open weave linen shirt with black and terracotta and golden brown vertical stripes.

I love that they went with a shirt that has such an open weave - playing into the whole concept of Buck being open and embracing this newly revealed part of him that he's discovered. But what I love most about this shirt is the way it ties back into the Buck learning to accept himself and find his happiness.

Because this shirt is so similar to the one from 6x01 - when he decides he doesn't need a new couch, what he needs is to be ok on his own and with himself.

lets talk Buck and his trousers because the trousers are a whole thing this season and I am truly in love with the long game the wardrobe department have been playing on this one. They know that we have all been out here raising eyebrows at Bucks trousers for the past few seasons as they've gotten shorter and shorter and ill fitting. I know I've made comments in previous costume metas about the fact they must be doing something intentional with them being so short in the leg - that them doing this is giving the appearance of a child who is still in short trousers and isn't fully grown - hasn't moved on to wearing full length trousers yet.

Well it would seem I was right and thats exactly what they were doing, putting him in short trousers to show that he wasn't his fully formed self - that he was growing and learning and figuring things out. because - I've gone back through my spreadsheet and checked his trousers out for all of his scenes and there are only a handful where he has trousers on that are well fitted and the correct length. One of them is at the start of season 6 - at the end of the episode where he moves his armchair instead of getting a new couch - the one time in season 6 we see him most at peace with himself

I remarked in the 7x04 meta that we only saw Buck in his too short trousers in the one scene at the airfield, and from then on, he was was in jeans. Now the jeans are a mimicking thing - Buck hasn't worn stone wash jeans since Eddie appeared on the scene back at the start of season 2, so for him to start wearing them again as soon as he becomes jealous of Eddie and Tommy - and Tommy is wearing jeans - was pretty telling in its own right. It's Buck trying to get Eddies attention (not Tommys - Eddies) because, we do not see Eddie in jeans in 7x04 - but we do see Tommy in them - and in Bucks head he is loosing Eddies attention to a guy wearing stone wash jeans - so if he wears stonewash jeans then maybe he'll get Eddies attention back.

That obviously didn't work out how Buck thought it would, but it did lead to him figuring a new part of himself out.

We can see how his trousers are all now sitting at the correct length, I grabbed this still of the black ones, and you can see in the full length still from the date those are as well (even if they're too big more generally) but the others are all sitting at the correct length as well.

We also see the jeans back for his scene with Tommy - I truly am fascinated by the choice to put him back in stonewash jeans aafter so long as a theming choice for his bisexuality, I really am enjoying this more relaxed looking Buck from a costuming perspective - the journey we've been on with his costumes is great - the increasingly formal style thats just a little too small and tight we've seen over the seasons now slowly relaxing once more into something much more comfortable and well fitted - showing just how far he has truly come.

And thats me out for another week! Sorry it turned into another epic - it would seem `i cant stop myself! Not sure if this has come out longer than last weeks, I think it might've, but I can't be bothered to check! Thank you as always for reading this monster and I hope you enjoyed this deep dive into the costumes for 7x05. I'm off now to hyperfixate on Bucks bathroom door and get myself though this mini hiatus!

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[actual-changeling]

I was once again re-watching good omens, and I once again realized something incredibly painful, so welcome back to

Alex's unhinged meta corner.

I really need to make a masterpost at some point.

You see, the very first episode not only foreshadows their last argument, it also tells us exactly why it will happen and what problem/offer they will have to face.

We don't usually pay much attention to it because it's a) in the very first episode and then doesn't come up again and b) we know that Crowley would never accept it.

My realization is that Beelzebub's offer mirrors the Metatron's. Both Crowley and Aziraphale are given the same kind of opportunity—but one says no and the other says yes.

Let's have a look!

This is not going to be chronological but more of a go with the flow thing because the aspects are the same but they don't appear in the same order.

The most obvious part first: the job offer itself.

Beelzebub offers him a promotion and later on specifies that he can be a Duke of Hell, one of the few people in charge. I believe that if Gabriel and Beez' plan had been to run away together from the very beginning, ze would have offered Crowley zir own job as Prince of Hell. Still, being a Duke would probably put him in a standing similar to Michael or Uriel's.

The Metatron obviously offers him the job of Supreme Archangel, which is the highest possible position for an angel to hold, aka it's the same promotion, just different colours.

Both offers also stem from the exact same problem—Gabriel is gone.

Now, Beelzebub and the Metatron aren't stupid, they know that they need to convince them to take it, they have to embellish it and play with their wants and fears.

Beelzebub presumably makes the correct assumption that Aziraphale is hiding Gabriel or that the two of them are somehow involved (because they always are), and while ze uses it as a threat/warning, the Metatron takes what is now fact and uses it in the opposite way.

Additionally, ze trusts Crowley to not only deliver Gabriel back to zem but to take care of him until he's safe and sound with his partner.

'I trust you with him' -> 'He trusted you with himself'.

I will now do a little jump to the last part of Aziraphale's conversation with the Metatron right in front of the lift. Once again, they appeal to a characteristic Crowley and Aziraphale share.

'You know earth and that is a useful asset.' What has previously been punished and was seen as a weakness—what is he, he has gone native, you've been down here for too long—is now praised.

It's good that you know earth, we see that you are worth something, you are different but that is good now.

Crowley does not care about that at all, he gives exactly zero fucks about what hell thinks of him, but Aziraphale? Who has been trying to impress the Archangels for six thousand years and been humiliated by them during Armageddon? This is what he has been craving all along, respect for his job on earth and to be recognized as a Good Angel.

Well, that was the carrot, time for the stick: threats.

They remind them of their respective status—they're both traitors, personae non gratae, and they could still be punished for that. After the trial, they were largely left alone, but they drew attention to themselves again, they became a problem.

The Metatron is more subtle, as usual. He knows that Aziraphale lied his ass off several times, including directly in front of God. This is not a just compliment, it's a threat—I know who you are and I have the power to make you feel that

'You don't just tell people what they want to hear.' Again, they are sitting at this table and both know that the opposite is true, and the Metatron is both using it to threaten him and to establish the clear expectations he will have for him should he take the job. Also, by saying he thinks Aziraphale is those things, he gives him more praise, more respect.

Both sides know that Aziraphale and Crowley are each other's biggest weakness; they want to be safe and together. I think it is clear what kind of threat/danger Beez is presenting Crowley, but we rarely talk about the fact that the Metatron also threatens him, just not as explicitly.

Aziraphale will be destroyed if they find Gabriel with him, and Crowley cannot let that happen. However, contrary to heaven, hell has more or less known about the two of them for decades, and they never actually cared about the arrangement as long as the job got done. They punished Crowley when he did good deeds aka not his fucking job but the opposite.

'I know you care about him, he's at risk if you don't help me find him.'

The Metatron on the other hand makes it clear that HE specifically knows about him and Crowley, and Aziraphale did not know who exactly was privy to that information and if it reached the Metatron. Not just that, he emphasizes that he has been doing research on them, he can dig up whatever dirt he likes and then kill them both.

No one would be able to stop him.

This next part is going to be interesting because it is a parallel that Aziraphale doesn't and currently wouldn't be able to see, while Crowley does see it very, very clearly.

When the Metatron tells Aziraphale he can take Crowley with him to heaven and make him an angel again, that is good news to him! It is PERFECT! It would solve out of his problems, and who wouldn't want to be an angel, on the side of good?

Everything the Metatron did up to this point, from 'saving' them from punishment at the hand of the Archangels, over getting him coffee, to giving twisted praise, has had one primary objective: Get Aziraphale to trust him.

It worked. Consequently, Aziraphale does not question what he tells him now, and believes that he truly could take Crowley with him and make him an angel again. He has no concept of what falling actually means, and what it meant for Crowley in particular, so he cannot discern the threat within it.

Yet when he presents it to Crowley, who is horrified and rightfully so, we are once again shown that no, Aziraphale does not understand. Crowley does, though. That angel he was no longer exists, he cannot go back to it because they're gone, and he would not want to either. Everything they have built on earth their life, their existence, would mean absolutely nothing and cease to exist.

Do you see the threat yet?

Here is what Beelzebub tells him, and what we are told over and over and over again throughout the season.

Erased from the book of life, gone from existence, everything they were, had, owned, lived—gone.

Erased from the book of life vs. turned back into an angel that doesn't exist anymore, that CAN'T exist again.

Put the threat and the 'offer' next to each other, and Crowley sees the same fate in both: His existence will be destroyed. Aziraphale, like I said above, doesn't. The book of life is a threat, but turning him into an angel is a blessing.

Right now, it doesn't matter whether the book of life really exists or if a demon can be turned back into an angel. What matters is that they both BELIEVE those things are real and possible, because that is what they act on, belief.

Beelzebub sends him away with bad news, the Metatron pushes Aziraphale to tell Crowley good news. Same offer, same possible outcomes (either they get to live together or one of them/both get destroyed), but entirely different responses.

Crowley says no. Aziraphale says yes.

Aziraphale thinks Crowley should have said yes.

Crowley thinks Aziraphale should have said no.

So. We know what happens next and personally, combing through all of this in detail only made it hurt worse!! If it did the same for you—you're welcome, I love my job.

[awkwardtuatara]

okay so. various takeaways from Space Babies and The Devil's Chord (in which I have vague dweu brainrot):

The Doctor can regenerate butterflies and manipulate time to some degree without the TARDIS. And that's not wholly new information, but still. How did you do that.

Star Trek the show exists within the DW universe, and the Star Trek universe (as in the people and the ships) also exists

LOOMS????? Kind of???

The Doctor will speedrun his backstory to literally anyone. Sometimes this even helps the situation.

Wow, reality's fragile. They're living in a story now and the Doctor knows it

All these years and the Doctor still can't park the TARDIS. Never change. just please clean up the kitchen.

And for The Devil's Chord:

An enemy who's the embodiment of sound/music begins playing the theme song between parts. sounds oddly familiar - IS THIS THE SOUND CREATURE AGAIN

"If you take away music..." you mean like if music is banished from your kingdom? and people don't have the words to express how they feel but they know it's wrong? you know what other Doctor Who media is inextricably connected to the concept of music, and also has a title connecting to music? That's right, Scherzo-

Still not sure if that scene is supposed to foreshadow Susan appearing but that would be such a possibility. Wonder what happened to her and First with the reality shenanigans going on in 1963.

ELDRITCH DOCTOR ELDRITCH DOCTOR ELDRITCH DOCTOR ELDRIT-

the Doctor only gets really mad when someone tries to harm the TARDIS, and that really doesn't change

WHAT DO YOU MEAN YOU CAN HEAR NON-DIEGETIC MUSIC. DOCTOR. DOCTOR. SINCE WHEN COULD YOU DO THAT.

Extradimensional presence in this universe Doctor????? is that still a possibility? I mean, he also goes by a title that defines his very being, and the way he told Ruby about his name made it sound like other Gallifreyans gave it to him, but really he's the one that chose to be the Doctor. A title that, in terms of power and significance, seems to be closer to the all-encompassing roles of the Toymaker and Maestro than, say, the Master or the Rani. On the other hand, this could just be a normal Time Lords are Aliens kind of thing.

So it's clear that he knows he's in some kind of story, but how long has he known that?

Also how diegetic was that musical number at the end? Was that like. residual energy from Maestro's banishment or something?

Anyway. Wild episodes. I do like how they're leaning into how Doctor Who has developed into something of an abstract mythos; to me it's the most unique part about this show.

[ladyzirkonia]

Until your song is written.

I must shamelessly take this opportunity to thank you all. Yesterday I reached 100 followers and I can't believe that there are so many people who enjoy reading my stuff. I would like to take this opportunity to open my question and request box. Don't be shy to send me questions or ideas you want to discuss, whether it is Dinbo stuff or something about Mandalorian culture.

This is the way.

The scene starts with a completely shattered Bo-Katan. You can tell that she has to pull herself together not to burst into tears. Her confession about the night of a thousand tears and the memory of it seem to torment her. She hears Din approaching and tries to compose herself by briefly closing her eyes.

I think Din apologizing to Bo is one of the most beautiful things in this scene. He admits once again in this season that he was wrong. Din Djarin knows no false pride and has no problem admitting mistakes. And he admits what's been said about her being selfish and uncaring isn't true. It seems to have touched him that Bo-Katan gave up the darksaber for her people, gave up the claim to the regency.

Din steps up to her after she repeatedly blames herself for everything. He tries to build her up, not downplay what she did or what happened, just making sure that he wants to help her. He says: ''WE will rebuild it.'' A foreshadowing that you both should bring the future for Mandalore?

She doubts herself, still. She has made so many mistakes, mistakes that are unforgivable, that she cannot undo. How is she supposed to be the one to hold her people together in all the animosity?

Din repeatedly makes it clear that this weapon means nothing to him and his people. I think it's really ironic that so many have a problem with Din giving up the darksaber. He just doesn't care. It's just a story, a legend that doesn't matter until people believe it. And he also makes it clear what really matters to him, he basically tells us what it means to him to be a good Mandalorian.

When Din mentions the term honor, she seems to sigh slightly and raises her head. She's heard those words from him too many times. For a short break it seems that his words are bothering Bo-Katan. Honor... This is the way. It seems to be a constantly repeating mantra.

Din appreciates Bo-Katan's loyalty and character. These things that have been most important to him since we saw him first time in season 1. And Bo seems to appreciate his words as you can see a very faint smile on her lips. It's good to hear such words after years of being reminded of her failure by others.

That's why I serve you Lady Kryce. After this words I really think Din Djarin's love language is act's of service as he showed many times to different people who he cared for. He is not a man of many or fancy words, but of deeds. So what's a better way to show his affection than to offer his services to her. She doesn't have to go through this alone, he wants to stand by her side.

Bo-Katan turns her head to him after his words. It's obvious that she wanted to hide her feelings before and remained with her back to him. Now she shows him her face for the first time in this conversation. Din Djarin has managed to amaze her time and time again, and her expression softens because of his words to her.

Din gives her hope. Your story is not over yet. Her song is not yet written. The Mandalorian's main musical theme sounds in the backround. He begins to weave his fate irreversibly into hers.

I know some people have wrote, more or less jokingly, that this could be Din Djarins wedding vow. But it's not that exaggerated and ridiculous. We must not forget that the Mandalorians are based on a clan system of warriors. If Mandalorians are one thing, it's very pragmatic. Marriage is consummated between the two partners alone and in any place. Just before or after a fight, the couple doesn't even have to be in the same place. The marriage can even be consummated via voice or text messages. (if you are interested in this kind of topic, please tell me!!)

Honor and loyalty means everything to Din. He would not lightly pledge his life to someone. It means exactly what you suspected, he stands by her side until death.

Screenshots are mine. Gifs made by the wondeful @itberice. Please go and leave a follow and some love there!

[candycorncrave]

So. Let's talk about Penacony and birds.

-Spoilers for the 2.1 quest (and possibly some of 2.2 if my theories and findings are correct)

Hey all! I'm not too good at starting these essay type things, so we're just gonna dive right in. Disclaimer, these are all just theories complied from random (not very in depth) research I did, and my own thoughts, so take it all with a grain of salt. I just wanted to put this out here for funsies!

With that out of the way, let's dive in!

From very early on into the Penacony quests, there was something that just kept nagging at me. Robin's name, (mixed with the fact that shes a singer.) The family's crest being a Nightingale. Aventurine's design very clearly representing a peacock. Ratio's owls.

There were just too many bird references for this all to be a coincidence, so I decided to do some research on bird symbolism and meaning.

And here are some very interesting things I found!

Now a lot of this is quite clear cut, so I won't go into alot of explanation, but I do find the "rebirth" part quite interesting, especially since it is hinted during the 2.1 quest that she came back from "death".

Let's start with Robin, since she's one of the more obvious ones: "Above all, the robin red-breast is a symbol of spring song and good fortune. Additionally, it also symbolises passion, a new beginning, and re-birth. Therefore, if the bird flies into your life you will be blessed with happiness and joy. Subsequently, most of the symbolism of robins is centred on their spiritual meaning which is believed to be a symbol of divine sacrifice." In native American culture, Robins also have strong ties with family and "heart centered connections."

Next up are Owls: Now this one is also pretty obvious. Dr Ratio's design has very heavy Greek inspiration, and owls in Greek mythology are very clearly tied with Athena, knowledge, and wisdom.

The thing I found interesting about this was all over Sunday's mansion, there are owls decorating a lot of the furniture. Could this have been foreshadowing for his "betrayal" and assisting Sunday? I'm not sure. In my opinion, that seems like quite a length to go to mislead players- especially since it's such a niche detail that most people probably won't think twice about. Maybe it will have more meaning in 2.2. Guess we'll wait and see!

3rd, Another obvious one, Black Swan: They symbolize the opposite of what the white swan does, naturally, so death, danger, destruction, suffering, chaos, mystery, etc.

Even more than that though, "The black swan theory of events is a metaphor that describes an event that comes as a surprise, has a major effect, and is often inappropriately rationalized after the fact with the benefit of hindsight."

Another one I don't feel the need to dig that deep into. It all pretty much checks out with what we've seen of her character and the events of the story so far. Black Swan is a scary lady....

4th, Let's talk about Peacocks: Now we all know peacocks are commonly associated with general wealth, pride, and flamboyance. I thought that was all there really was to it being such a big contributor to Aventurine's design. But I decided to dig a little deeper and. Oh boy.

Peacocks can also symbolize both death, and life. Now at face value this is quite contrasting, but when you apply it to Adventurine's character- it makes quite a lot of sense. A single coin flip between life and death that keeps landing face up, and yet, it's a gamble he never hesitates to make. Moreso, peacocks can symbolize the freedom and liberation of the soul. (OUCH)

And Let's finish off the doozy. Nightingales: The symbol of the family and the bird constantly following Sunday around and watching everything the entire quest without a sound.

"Nightingales are symbolic of beauty, melody, creativity, purity, and the expression of oneself freely. They are also symbolic of darkness, mysticism, spiritual awakening, and renewal."

Now I found that the latter is often meant when you see a nightingale in your dreams. It is also mentioned if they do not speak back to you in a dream you will soon be betrayed.

,,,, How intriguing.

Also intriguing, Bloodhounds are very well known to be hunting dogs, and birds are prey for dogs.

And speaking of prey,,, are fish not considered birds' prey? And Sparkle, who we see fish around every time she shows up, was the "victim" in Black Swan's quest.

Anyways. I could be grasping at straws with that last part, but I do feel there is alot of stuff going on here with animal symbolism, especially more to dig into with Gallagher and Sparkle. It's all very intriguing

If you read all this here's a cookie! 🍪 Thanks for your time :) I hope you enjoyed the ramblings of a madman. Please feel free to add anything or comment your thoughts! I'd love to discuss

[gothicfairytopia]

How act two of The Sound of Music might foreshadow Good Omens season three ~

I was reading this post about Aziraphale’s ball idea coming from The Sound of Music rather than Jane Austen, and remembered that I’d meant to make a post about parallels between Aziraphale and Maria. The romantic plot of Good Omens has a lot in common with the plot of The Sound of Music, and season two just so happens to leave off at the very end of act one. So, is there a chance that act two could provide some clues about season three? I find the idea very compelling, so here’s my analysis of the movie and how I think it compares to what we’ve seen so far, as well as what we can hope to see in season three.

In the beginning we have Maria at the abbey, where it is made clear that she does not fit in because she has a hard time abiding by the rules. She also has a tendency to prioritize the natural/material world over her spiritual duties, which is represented by the opening song (“The Sound of Music”), the singing of which literally makes her late to return to the abbey. This has obvious parallels to Aziraphale’s difficulties conforming to Heaven’s way of life, as well as his worldly attachments.

(A fun bonus parallel is in the song “Maria,” when the nuns say “she’s always late for everything / except for every meal.” Aziraphale-coded fr.)

Maria leaves the abbey to be the governess to the von Trapp family, and this is where she begins to really learn about herself as an adult outside of a tightly controlled religious environment. She still doesn’t conform to the new world she lives in, but begins learning how to retain her selfhood without feeling ashamed of doing so. This period is obviously a parallel for Aziraphale’s time on Earth—although the time frames are quite different, the same general lessons are learned.

At the end of act one, as addressed in the linked post, there is a ball where the Captain and Maria dance, and this is the moment where Maria discovers her feelings for the Captain. Although this scene is an obvious parallel for the Jane Austen ball scene, I think it’s honestly more similar to the kiss in the final 15. Maria, mid-dance, stares into the Captain’s eyes, freezes, and backs away, saying she can’t remember the dance anymore. The Baroness is watching from the doorway, and when Maria runs upstairs to get changed for dinner, the Baroness follows her.

Up in Maria’s bedroom, the Baroness confronts Maria about her feelings for the Captain, which Maria denies initially. The Baroness convinces her of her own feelings and of the Captain’s, and essentially encourages her to run away—I’ll get into why in a second. Without a word to anyone, Maria returns to the abbey. This is a super obvious parallel to the end of season two, with the Baroness acting almost in the role of the Metatron by pulling Maria aside and reminding her of her “duty.”

Now into the more speculative side of things, trying to think of how The Sound of Music might offer hints as to what’s coming in season three.

When Maria returns to the abbey, she remains in constant silent prayer for the first several days before being called upon by the Abbess. Maria confesses that she ran away because she was frightened, and admits that she had accidentally developed an attraction for the Captain. She gives her reason for not telling the Captain about her feelings and choosing to return the abbey: “I was there on God’s errand. Oh, I couldn’t stay, I just couldn’t. I’m ready at this moment to take my vows.” This sense of misplaced duty might not be all of it, but again, we’ll get to that in a second.

The Abbess responds with probably more kindness than we’d expect from anyone in Heaven: she says that romantic love can be holy, that Maria needs to discover how God intended her to spend her love, and assures her that “if you love this man, it doesn’t mean you love God less.” With this, she commands Maria to return.

While this may seem incongruous with Heaven’s general business model and something unlikely to be paralleled in season three, I think it’s important to think back to the conversation at the end of season one immediately following the failed apocalypse, when Crowley asks, “Angel, what if the Almighty planned it like this, all along? From the very beginning?” People joke about God trying to set them up from the beginning of time, but I don’t know that it necessarily has to be a joke. The question of God’s ineffable plan is a constant throughout the series—the whole point is that it’s impossible to say what exactly God intends.

This is the exact same conflict Maria faces in the scene with the Abbess. When she objects to returning, she says, “But I pledged my life to God, I — I’ve pledged my life to his service.” The Abbess rejects the idea that this is the only possible plan that could have been intended for Maria, saying, “You have to live the life you were born to live.” Perhaps there will be something similar in season three, some way in which God communicates the same thing to Aziraphale—that loving Crowley doesn’t mean loving Her any less, that their love is holy, and that the life he is meant to live is not one pent up behind heavenly walls, but rather out in the world with Crowley.

After Maria returns, she’s reunited with the children, the Captain and the Baroness break off their engagement, lots of little plot things. What I’m interested in is the song “Something Good” (which I would just like to emphasize is sung in a gazebo... anyway). The song introduces an additional reason for Maria’s departure—namely, that she did not feel worthy of the Captain’s love, a sentiment that he returns. They both come to the conclusion, though, that they must have done “something good” to deserve having found each other. Here are some lyrics:

For here you are, standing there, loving me

Whether or not you should

So somewhere in my youth or childhood

I must have done something good.

The basic theme of the song is self forgiveness, and the acknowledgement that past imperfections do not make a person unworthy of being loved. Rather, both characters here have felt themselves to be inadequate, but view the other’s love as a sign that they must, in some way, be good.

I love the idea that Crowley and Aziraphale might have a moment like this, because I think it would be massive in terms of their own self acceptance. For Crowley, Aziraphale’s love (and possibly God’s endorsement?) is proof that his fall did not make him irredeemable, that he remains a being who can love and be loved in return. For Aziraphale, Crowley’s love is an affirmation that he can honestly be forgiven for his transgressions, rather than marked forever by them (like removing the stain from his coat, allowing it to be forgotten).

Unfortunately, the movie does not end with their marriage—they still have to escape Austria after the Captain is called to serve by the Nazis. I think we can assume the Nazis parallel Hell, and say that perhaps Aziraphale and Crowley really will have to establish “their own side.” Maria has to break free of the abbey, and the Captain has to break free of the Nazis. They do this by running away, and I’m not sure Aziraphale and Crowley would ever flee Earth in the wake of the Second Coming, but I will say that it does immediately evoke the idea of the pair running away to Alpha Centauri. I do think that given the “they are bad at their jobs and did very little to seriously prevent Armageddon” joke from season one, it would be a little funny if humanity managed to save itself during a momentary retreat from Aziraphale and Crowley.

I don’t mean to imply that the blueprint of season three is found in act two of The Sound of Music, but I do think that the movie being canonically a favorite of Heaven’s, the recurring theme of the ineffability of God’s plan, and the sheer number of parallels within the plot so far make it a fair place to look for clues. Who’s to say that God’s plan wasn’t hidden in plain sight?

[lorcandidlucienwill]

I'm not even a Gwynriel but how can you read the line "You're the new ribbon, Az" and not immediately realize something is brewing? I wasn't here for the TOG ship wars. I read the series and in Heir of Fire I was almost certain Rowaelin was endgame. I was salty about it, but I knew it would be endgame because I'd already recognized how SJM writes her stories by that point. Imagine my surprise when I found out there had been an insane debate about it before Rowaelin became endgame. I'm not even salty about it anymore; imo Yrene is a way better fit for Chaol and honestly the cadre is 🧎‍♀️🧎‍♀️🧎‍♀️🧎‍♀️🧎‍♀️(especially their former commander 🥵). Imo, the Aelin/Chaol/Rowan dynamic is similar to the Elain/Azriel/Lucien dynamic. Every Ewriel "moment" has been nullified by something else happening in the text. But by the end of ACOSF, several things are still true: 1. Rhysand stopped Azriel from kissing Elain. Azriel then rejected her and Elain returned the necklace. Azriel went to the library with the intention that Gwyn receive it, even if he didn't hand it to her directly. 2. Lucien and Elain are still mates. You can argue all you want that it's a spell, but SJM uses the same mating language to describe their bond as she does with any true mating pair. Besides, do you really think SJM is going to make Lucien spend decades convinced his first love was his mate only to hand him a fake mate? Pls be fr. The only fake mating bond SJM created was with Rowan and Lyria because of the dark powers of Maeve, but Lyria was Rowan's FIRST love, fake mating bond or no. Lyria is somewhat like the Jesminda in this situation, not Elain. 3. Azriel ended the bonus chapter thinking of Gwyn. No he didn't express sexual thoughts yet, I'd be disturbed if he had. But he was at ease with her in a way he wasn't with anyone else, his shadows danced with her as opposed to the skittering it does with Elain and Mor. Secret, lovely beauty. 4. Elain is bothered by the cruelty of the Hewn City. She also was "ridiculous" in black, which is CLEAR foreshadowing. The Spring Court was described as being "made for someone like her." You're always talking about foreshadowing and shit but then ignore the foreshadowing that Elain will be leaving the Night Court. 5. Feyre WANTED Elain to get to know Lucien. She may have doubted the Cauldron's decision initially, but the fact that she was supporting Lucien and encouraging Elain to interact with him shows that at the very least she's CONSIDERING the possibility that the Cauldron IS right. To be honest, I don't give a shit who Azriel ends up with. I'm here for Lucien's story. But I read that bonus chapter and I instantly knew Gwynriel was endgame. Gwyn is not going to be used as an obstacle between Azriel and Elain; she's part of Nesta's chosen family and has been through enough, she deserves better than being the girl in the middle. And SJM doesn't even write love triangles, which is honestly a relief, because love triangles are so cringey. I don't think Elain and Azriel are going to get "closure," because honestly they barely had a relationship to begin with. They didn't even kiss.

[the-heart-of-a-monster]

hi hello i haven’t played sonic unleashed but i watched gameplay years and years ago but its been a minute so bear with me here

so i stayed up all night reading through this entire comic in one sitting and i absolutely adore the way you showed the panel borders distorting and even becoming monstrous themselves as Shadow reaches his breaking point (which is symbolically shown through the icy walls fracturing around them during his and Sonic’s argument leading up to the fight) and the way the influence of Dark Gaia becomes more prominent as purple flames to emanate from him, growing more and more vivid

and then the rising action reaches a fever pitch when Sonic says he has no heart and we see Shadow finally reach his breaking point when the borders of the panel shatter around him

and while he processes this the borders soften (although not entirely) and we see Sonic realize the mistake he made and his regret, but it’s already too late because we can see the color red slowly start to overtake the borders as Shadow is overcome with rage

and we can see the red borders turn to pink and the glimpses of pink in Shadow’s text bubbles take over completely as the force that’s corrupting him takes control of him in this vulnerable state

it tries falteringly to communicate with Sonic, a desperate plea for him to fix what was broken and to make Gaia whole again

in this moment Dark Gaia as an entity is effectively lashing out and it latches onto Shadow’s rage here especially because that’s something it can empathize with, or at the very least something it recognizes given its own circumstances. Dark Gaia seems to understand (at least within the constraints of its limitations as one part of a whole) that it is fundamentally broken and in order to make that right it wants to be “fixed” but it doesn’t know how and it can’t really do that on its own

I don’t know if Dark Gaia even knows that it can’t mend itself by itself and if its just sort of reacting to the cosmic existential horror that is being split into two separate entities (i’d be cranky too if that happened to me regardless of whether or not i was some sort of ancient deity)

but then in a pivotal moment, Sonic reaches out to Shadow, to Dark Gaia, and the borders straighten out once more. They’re still pink mind you, but Sonic has managed to ground Shadow/Dark Gaia or at least shock him long enough to absorb the darkness within.

Sonic promises that the lies stop here and that he and Shadow/Dark Gaia are going to make this right together and in an eruption of purple flames, we cut to Shadow’s time on the ARK.

It’s a brilliant transition and the pay off for this moment is amazing as it was set up spectacularly via foreshadowing (ha get it) in earlier issues of the comic.

The technical aspects of the comic continue to blow me away during this sequence as we as readers are able to measure the passage of time through the timestamps in the upper righthand corner of each panel.

We see Shadow’s turbulent upbringing and the unrelenting kindness that Maria showed him. We see how his unpredictable powers affected his life aboard the ARK and how his struggles mirror the ones Sonic has been grappling with throughout the comic.

We even see Shadow start to embrace his own innate capacity for violence at one point and not in a good way. After months of testing, covered in blood, Shadow calls himself a monster and to the reader (and perhaps even Shadow himself given the abstract nature of the background in this panel) At this point it’s not immediately clear exactly what he’s done, but the blood is a pretty good indicator that it can’t be good.

Finally, reality sinks in when someone begins to shout and Shadow sees the look on Maria’s face. As members of G.U.N. close in on him with their arms outstretched to seize him, Shadow’s body language (particularly his ears and his face) tell us that Shadow is horrified by what he’s become and so he runs.

Maria calls after him, desperately trying to quell his fears and I love the framing of Maria in the next page and how she stands in the doorway, surrounded by light while Shadow is hunched over in the darkness, staring at the hands that he used to take away the lives of those soldiers.

Shadow is crying when Maria approaches him and places a hand on his shoulder. The light and the dark meet and with tears in her eyes, Maria utters the very same words that were spoken earlier in the comic when Shadow comforted Sonic (well not the very same because they’re speaking german here but i digress)

Color returns to the pages anew and just like Sonic, we see Maria in a brand new light both symbolically and literally. All of this happens before the purple flames we saw earlier can even dissipate and when they do we see him holding Shadow, cradling the ultimate lifeform to his chest.

As we return to the present, the background gradually returns, fading in from swathes of blue. Sonic expresses his remorse for his blatant misunderstanding of Shadow’s character, crying as he holds him close.

With Shadow in his arms, Sonic restores the chaos emerald and through the chaos emerald we’re able to catch a glimpse of Sonic’s daytime form shining through and we see that at the end of the day, he’s still Sonic the Hedgehog in spite of all these changes as he and Shadow exchange a friendly glance and the scene ends.

Have I mentioned how much I love this comic? I literally cannot stop talking about this comic. The fact that you’ve been working on it for 6 years is just incredible. Thank you so much for all your hard work. I love what you’ve done with the story. This is one of my all time favorite fan works and I will never shut up about it.

If you’ve made it this far, thank you for reading my hastily made analysis on issue 7. I love your work. I don’t really know how to end this so yeah *fucking dies*

this is so wonderfully said thank you so much augh im so happy people appreciate the complex subtext i put into my art ♥

also man. that really happened issue 7 huh. time flies. i remember drwing that scene like it was yesterday

[avelera]

The Three Act Structure as Foreshadowing in Across the Spiderverse

I re-watched Across the Spiderverse yesterday, as its a perennial favorite in our household, and once again found the crafting of the story so rich that there's always something new to discover. In this case, whether or not we've left Miles in a good place or a bad place at the end of the film is left ambiguous, and this ambiguity is built into the very structure of the film.

In a Shakespearean comedy or tragedy, one easy way to chart which one the story takes place in is whether it begins in a good place or a bad place. If the story opens with happiness and triumph, bad news, you're in a tragedy. And vice versa, if something bad happens at the beginning, good news, you're in a comedy.

For example, Othello begins with Othello's triumphant return to the city after a successful military campaign, honored and adored by the city, and ends in the destruction of everything and everyone he loves. Whereas in Much Ado About Nothing, Beatrice's best friend Hero is falsely accused of infidelity, creating the dramatic action of the story (gross simplification) and unlike poor Desdemona in Othello, by the end her name is cleared and all the happy couples can get married.

Right, so back to Across the Spiderverse, Act 1 opens with Gwen and Miles, our co-protagonists, in a bad place. Their secrecy around their Spider-Person identities are leaving their family lives in shambles, with Gwen estranged from her father and Miles feeling alienated from his parents. However, Act 1 ends on a happy, hopeful note in the form of the Spiderverse HQ. Miles finally got his wish to reunite with his Spider-family, and the future (literally, 2099) seems bright.

But watch out. Because Spider-verse brilliantly uses story hooks to pull you from one Act to the next. Act 1 really follows its own plot structure, with The Spot as action, A-plot villain being battled throughout. The emotional, B-plot story is around family trust and loneliness. By the end, Mumbhattan is saved, though the Spot got away, tugging us along through the story, and Miles and Gwen's loneliness is at least temporarily solved with all the new and old Spider-friends they meet.

However, this means we go into Act 2 in triumph. Which means we've got tragedy on the horizon. Act 2 has Miguel as our villain, they don't make much secret of it, and the encounter with him as Miles eventually flees the Spiderverse HQ is the action climax of Act 2. Our themes of belonging reemerge and echo Into the Spiderverse, (sometimes with direct visual call-backs, flashes of the younger Miles while he flickers between universes, as well as with the return of Peter B.).

Now, this is where the structure gets interesting. Because I argue that Act 2 ends with Miles escaping Spiderverse HQ and Gwen being forcibly kicked out. Act 3 is a shorter Act, but not as short as it seems, from when Miles ends up in Universe 42 to the end credits is actually a pretty long sequence. In that sequence, we close out other important beats in the story, like the dangling thread of Gwen and her father's estrangement.

So, Gwen's story in Act 3 begins with a tragedy: she's been kicked out of Spiderverse HQ against her will. This consequence she's feared since the beginning, that she'll be forced to return to her home universe, is finally realized. However, note that structure again, because she starts in a bad place, we can fully expect her to end in a good place. And she does! She reconciles with her father, defeats the bad guys like 90's Spider-Man (Ben Reilly) and gets the band back together. She has finally resolved her emotional story, which began in tragedy and thus moved towards comedy/happiness. She is full-actualized with her allies by her side and her father back in her corner.

Miles though? Miles story gets really interesting in Act 3.

Because at first glance, his story would be the opposite of Gwen's. She was kicked out of HQ, but Miles fled which means his arrival should be a triumph. That would mean he's set up for tragedy, and that is what it appears to be at first. He ends up imprisoned by the Universe 42 Miles Morales and Uncle Aaron, apparently getting ready for a fight for his life and for the life of his father.

However, it's actually a bit ambiguous if he opens tragically or comedically. Because Miles doesn't know where he is. So arguably, you could flip the truth of the opening of Act 3 - Miles begins tragically, because he tried to go home but he's actually far from it, in another universe.

But here the flipping gets even more interesting and complex, because I'm not convinced Miles is the good guy in Universe 42. His speech to Universe 42 Rio about how he "beat them all" in terms of his former Spider-friends sure sounds a lot like a villain speech. Miles also dives in by making a lot of assumptions when he arrives there, like that Uncle Aaron is a bad guy here too, that he's the Prowler, and that this means he's a supervillain. When he learns that Universe 42 Miles has assumed the mantle of the Prowler, he continues to try to talk them into joining, "the good side" all based on almost zero information. They laugh at him. But why are they laughing?

All we know about Universe 42 is that they never had a Spider-man. That Miles was supposed to be the Spider-man of this universe, but the collider transported the radioactive spider so it bit our Miles instead. Miles knows nothing about what this unprotected universe suffered as a result but at first glance, it's clearly bad. Indeed, on that point alone as Miguel pointed out, our Miles is a villain in this universe because his becoming Spider-man robbed them of their Miles Spider-man.

And actually, knowing that Miles is Miles, that he's a good kid at heart, there's just as much evidence that in this universe, Miles is already a good guy, that Uncle Aaron is his mentor (after all Uncle Aaron was always a bit on the fence about evil and in a world that's gone to evil, it's easy to imagine that he leans good). Thus, 42-Miles and 42-Aaron's anger and dark amusement at Original Miles speech about good vs. evil could be because they're offended to be labeled as villains by this privileged kid who never lost anything, who indeed comes from a privileged universe where his father never died.

So going back to the Act 3 structure, from the Miles perspective, which is subjective and not objective, the Act begins with a triumphant escape, and therefore must be headed towards a tragic defeat - capture by his evil alternate universe self. But Miles didn't know at first that he was tragically in the wrong universe. Which means that he could actually be in a structural comedy: beginning the Act with something bad happening, a transport accident gone wrong, and ending it exactly where he needs to be: surrounded by heroes who can help him, his own alternate universe self who is a good guy in this universe, along with Uncle Aaron. All of the darkness is in Miles's head, because he just came from a place where he was betrayed by supposed allies, but actually it's much more complicated than that, ending in ambiguity.

[empressofthewind]

i rewatched the japanese version of the death note musical for the third time today and i just NEED to talk about how well rem’s character arc is done. because my god, her fate is foreshadowed SO well and i love how you can see her feelings for misa developing in real time.

the first song she sings in the musical is "they're only human", and she has a very clear fascination with the idea of love. the line "looking down from above / i'm intrigued by their love" is the most clear indicator of this, but mentions of love are included in various places throughout the song, which establish the theme for rem’s arc. in the beginning, she is fascinated by the concept of love but feels removed from it, believing that love is merely a mortal concept and one that she herself will never experience.

this is then reiterated in her duet with misa, "mortals and fools". misa sings about how wonderful love can be, whilst rem sings about the dangers of it, and asserts that she "never will understand it". in her view, anyone who falls in love must either be a mortal or a fool. this song goes especially hard with the foreshadowing, particularly in the lines "love can make you come alive / or take your life away", and "love makes you break all the rules".

there's a small reprise of this song where ryuk sings most of rem's initial lines, and rem instead sings some of misa's, showing the subtle beginnings of a shift in her attitude. this is where we really see her feelings for misa start to develop, which brings with it the big conflict of her arc - she knows, based on her prior observations, that love only ever ends badly. ryuk even says at the end "rem, don't break the rules", seeing how attached she's already become to misa. side note, i also love how much ryuk and rem interact in the musical. they have great onscreen chemistry and their differing attitudes towards humanity make for a nice contrast.

and rem's final song is "when love comes", which closes out her arc as she accepts that she has fallen in love with misa and starts to consider the possibility that she may need to sacrifice herself ("share a kiss and then surrender / when love comes"). there is also a very tender moment here when L has misa tied up, and rem kneels at her feet and hugs her legs. it's similar to the scene in canon where rem brushes misa's bangs away from her eyes, but takes the tenderness up several notches and it's so so sweet.

there are also so many small moments throughout that show her affection for misa, both through her general protectiveness and physical acts like putting an arm around her or touching her cheek. the way misa’s character is presented as very vulnerable and lost as a result of her parents’ death also helps make rem’s feelings understandable and convincing. when rem first sees her and misa faints, rem comments on how pure she is. it’s like rem is so jaded from her many, many years in the shinigami realm that seeing misa - a young girl with such pure, mortal feelings of love and genuine hope for the world - triggers a protective instinct in her that later blossoms into her own kind of love. but it’s bittersweet, because the reason misa has that hope and love to begin with is because of kira, and he’s the one person rem wants to protect her from most.

[woodlaflababab]

@chocomd 's rewatch of atla reminded me of one of my favorute details abt the first episode: the symbolism of light in Zuko and Aang's connection

So, Zuko's very first introduction to Aang is a beam of light. Like, can you be any more on the nose? It's an angelic beam of light that represents the end to Zuko's search. Almost painfully obvious foreshadowing in hindsight. I've made a different comparison before that I'll repeat here, but Aang's light is very similar to a lighthouse.

Think about it, a tall light that can be seen for miles around (close to the shore of the land). And Zuko, in his little boat, is the sailor that has been lost at sea for three years. It shows multiple things, 1. Aang is Zuko's way home (though not in the way he expects) and 2. Aang is the symbol/person that beckons Zuko out of the mess within himself and calls forth that little burnt kid that got stowed away.

He is the light in Zuko's darkness.

And then later you have Aang calling to Zuko once again with a light, this time a flare, and I love this because while the first light hints at what Aang will be to Zuko, this one can be seen as hinting at what Zuko will be to Aang. A flare is a call for help, a call for rescue. Even before joining him, Zuko rescues and helps Aang in different ways. He shows up when Aang is the most backed against a wall. (Pohuai, The fight with Azula when Aang is all alone, getting appa out). And then of course, his final rescue in showning up to teach Aang firebending right on time, something Aang couldn't have learned without him bc he didn't really have any other options, at least not ones that wouldn't take forever to track down and Aang doesn't have that kind of time.

Aang is Zuko's lighthouse and Zuko is Aang's rescue.

Also, I love that Aang's story starts and ends with light. It begins with a beam of light, and ends with an all consuming light (the energy bending in case that wasn't clear), and I think it's especially interesting that the first light is a beckon to the very beginning of Zuko's journey, one that will free him from the pain of his past and father, and the last light is Aang defeating, once and for all, the man who caused all that pain for Zuko, laying the final piece in truly freeing Zuko. Aang's light is the beginning and end of his story, but it is also the beginning and end of Zuko's.

[grifters-rockininthe-bone]

Revisiting this blog for the soul purpose of offering my first thoughts on TMAGP because I haven't been on Tumblr for weeks to avoid spoilers and I'm ready to fucking go

(TMA/TMAGP Spoilers)

-Gives us characters with traits from TMA lineup. Obviously not copy for copy but close enough to draw parallels. Gwen (snarky and obsessed with doing the job right, sorta like Jon?? That one's kinda a stretch tbh), Lena (suspicious boss with clear experience and just so Elias coded, it'd be so funny if Gwen pipe murdered her I know it won't happen but wouldn't it be so funny??), Sam (idk tbh, also a stretch but maybe Martin? Because empathetic? Drinks = affection? Will see), and the one I draw most similarities between: Alice (snarky, carefree, sarcastic: Tim to a T PLUS a younger more successful sibling she obviously loves and is very proud of, honestly warms and hurts my heart at the same time). Maybe it's to foreshadow similar fates for us who've listened to TMA (most of us) OR that's just what they WANT us to think and they're trying to throw us for a loop!! Orrrr I'm looking too far into things and they're just silly character tropes which'd also be cool :) we'll seee!!

-I've noticed they're wayy more up front with the more visceral gory statements. Still has the good old Jonny Sims writing style I oh so desperately missed, but at the beginning of tma, they were way more muted and psychological in the beginning, didn't get to one like the ones in TMAGP until well into the first season but they're really coming out swinging with this.

-Look I know everyone is talking about Chester and Norris and how they're Jon and Martin. Idk if Jon and Alex just wanted to keep voicing characters because they like playing that part in their work or if there's genuinely some sorta lore reason but I HAVE SO MANY THOUGHTS ABOUT IT.

-My theory is that either 1) the Mag Institute that burned down in RedCanary was a different one than the Mag Institute London WE know and is just a red herring or 2) the actions at the end of EP 200 actually did reverse the eyepocolypse so that no one remembers it and the world went back to normal somehow and the timeline got fucked up so in the eyes of the public, the institute from TMA burned down as a sorta cosmic cover-up. Either way, same universe! Just different timeline/fucked up memories.

-in TMA, the statements happened behind closed doors with Jon, so his paranoia wasn't too "understood" by anyone in the archives. However, in TMAGP, everyone around can hear the "statements" read out so most of the lineup is sorta on the same page except Collin and Lena (honestly just Sam, Alice, and Gwen). This. I don't know if this observation has any meaning but I think it's neat and gives us a cool new dynamic.

-All the fears seem to be here? Idk why they'd try to deviate from them, that wouldn't make any sense considering ALL OF SEASON 5 and the cosmic explanation for all the fears. All I'm saying with this is that they're easy to sort and attribute the individual feel to so they're obviously keeping that. Again. Not a groundbreaking observation but as of when I'm writing this all out, I have gone 27 hours without sleep and counting so eh they can't all be winners for best essay analysis bullshddf lol whatever

Like I said, this is just my opinion and it's not very well thought out, just wanted to get this out there to celebrate the release.

[yourartmatters-itswhatgotmehere]

(LONG POST!-WEDNESDAY THEORIES!)okay I REWATCHED Wednesday and YES TYLER WAS GROOMED AND ABUSED AND LITERALLY TURNED INTO A MONSTER BY this psycho woman and he needs help(and he actually sends many signals to his dad during the season, but his father never hears them). And YUP, he thought Wednesday was sending him signals, but in a way W subconsciously kind of was. Oh, and I’m happy to report that i still ship Wednesday both with Enid and Tyler(still), AND YES THERE WERE SO MANY SIGNALS ABT TYLER BEING THE HYDE(like the anger and hurt we see on his face while he talks to his father, or when he waits for Wednesday and stares at the picture where His Mom is too, not only Morticia, or when we see him scream in the bath-just to name a few/same for Ms.Thornhill/LaurelGates MANY signals if you know what to look for).

But THIS POST is going to be about Tyler and his feelings for Wednesday, because I thought about it a lot, and paid so much attention while rewatching.

Let’s begin from the very end. Season 1 ends with two cars passing each other, Wednesday in one, and Tyler in the second, and it’s such a clear foreshadowing by the writers of the series that these two will be very closely involved one way or another in the future seasons for sure. Then the beginning of the final episode. When Tyler is still lying about being Hyde and letting Xavier be blamed for it all. He says, “I’m not a monster and even if you really thought I was-Why would you risk bringing me out to the woods to confront me alone?” (he’s so WEDNESDAY IF YOU THINK YOU KNOW WHAT I AM WHY THE HELL ARE YOU HERE ALONE WITH ME RIGHT NOW? like PLS. there’s a part of him that CARES A LOT.) “Fine my mom was a monster but..” and “You stole her medical records?” and “Wednesday, please” and he’s begging Bianca to not leave him alone with W. She’s literally torturing him to get the truth out and he just won’t say it. And I don’t think it’s because he can’t do so. If his “master” would forbid it, he wouldn’t tell Wednesday later at the sheriff’s station. He’s hurt and emotional and just, in general, being his usual teenager Tyler, who’s being tortured but won’t stop it (he has a way to stop it) because he wants to spend more time with Wednesday?? as messed up as it is, there’s no other explanation. He wants to be the normie Tyler for a little bit longer, and not a full Hyde 100% yet. There’s this scared kid in him and yeah, he’s still there. We see his full confession in this vid, in this post. But before that there’s “We-Wednesday, wait-” and he runs after the girl who has just tortured him! And he tells his father that he needs to talk to her because she was his friend. And I don’t think he’s lying there. He could have confessed all and be like Ms.T/LaurelG, be like “Okay fine ENOUGH OF THE HIDING what the hell I’m this and I did that because..” and Tyler didn’t confess. He lied. Holding on so much to this old version of Tyler, and even now confessing, there are tears and the look on his face, as if he’s heartbroken because he knows this is it. The end. The moment when he loses Wednesday as a friend, the moment he loses himself as just a normie Tyler completely when all he’s about is to listen to “his master” because he HAS TO listen. But about that one, in the final episode as well. She told him to wait by the boat(?-what was that about was she planning to escape with him after bringing Crackstone back to life or?) BUT TYLER WASN’T BY THE BOAT. He was in the woods. Alone. Not in the Hyde form. And he said to Wednesday, “Laurel said you’re dead” and he obviously didn’t believe it since he was in the woods literally WAITING FOR WEDNESDAY, and he goes to her telling her she’s like a cockroach, and there’s this moment when he’s just kinda staring intensely BEFORE turning into Hyde and actually (for the first time FOR REAL I believe) trying to HURT Wednesday, and then Enid comes and he fights with her BUT that was the moment when he had no other choice but to fight Wednesday and he still slowed it down. If this doesn’t mean he actually likes her alive I don’t know what that means truly.

you can see this scene HERE: https://yourartmatters-itswhatgotmehere.tumblr.com/post/702717033699311616/i-could-name-tons-of-weyler-scenes-that-showed

Now, Let’s go back to the very beginning ep1, when they meet. He doesn’t know WHO SHE IS yet, we see his sarcasm in the way he talks with her, and his interest too, while she fixes the machine. And then he decides to help her leave town FOR FREE. So like, ep1 we have like.. his 3rd victim I believe. We see his face break for a moment when he tells her that he WISHES HE COULD LEAVE TOO, and that AT LEAST ONE OF THEM WILL GET OUT OF THIS TOWN. and then he steals her father’s files from his father. I doubt LG would tell him to do this since she only wanted to mess up Wednesday and Sheriff’s investigation later when they had some actual proof. And then at the festival(?) W runs after Rowan, and Tyler as Hyde comes and attacks Rowan BUT NOT WEDNESDAY. and it’s the first sign he likes her (funny how Wednesday herself called it out-Monster liking her and not attacking her-only to Xavier bc she thought he’s the monster). Because at this point-so early on-I doubt Ms.T would tell him who Wednesday is and what she needs from her in the finale to resurrect Crackstone AND the whole “made you feel special” miss T mentioned to Wednesday was for sure abt her own doing and this kind and helping teacher and not Tyler’s. Yes, he was probably supposed to watch what W does and when, but I doubt he was supposed to get as romantically involved as he had. (but more about it later)

Ep.3. Outreach day. Tyler proposed he would go with Wednesday and she said no. And then THE HYDE SHOWS UP to the very place where W went. And i’m sorry-but Ms.T/LG would NEVER send a monster to hurt Wednesday if she needed her at the end to succeed with her agenda. This means Tyler as the teenage boy-whom he still was and is-was just angry Wednesday wouldn’t take him along, so he went along as the monster??

And one more thing-I’m not sure if it was episode 3, 4 or even 2, but he was so smiling and happy when he told W “You’re really becoming obsessed with this monster in the woods kind of thing” and he WAS SO HAPPY because-again-as messed up as it was-he was the monster and she was obsessed so as a teenage boy who’s clearly interested in this girl he’s happy because she’s IN A WAY interested in him. It’s such a small detail but I find it hilarious and it actually proves so deeply how Tyler, even as The Hyde listening to the “master” was just a normal teenage boy as well.

ep.4. The dance. Yes, Thing kinda invited Tyler who was angry TRULY that W was going with Xavier. Yes Wednesday had more important stuff on her mind-searching THE CAVE. Yes, Eugene came and said it. And yes, Tyler probably had let Ms.T/LG know. BUT HE WAS AT THE DANCE with Wednesday, dancing with her, looking at her the way he was, and he told her THE TRUTH about what he did to Xavier and “why”. And what i TRULY LOVE about this small talk was that he admitted he was checking her, and he learned what she has done to get expelled from her last school and when she said she would have done more, he said he KNEW THERE WAS A REASON HE LIKED HER. And at this moment there’s a connection between them, just two very messed-up kids who sometimes enjoy doing bad things. I think this scene was very essential to their entire relationship. Because at this moment W knew Tyler isn’t just a “sweet and kind normy” and Tyler knew for sure that Wednesday is a strong adversary.

And THEN the HYDE attacks Eugene after Ms.T/LG burns the cave. AND THE HYDE DOESN’T KILL EUGENE. why? Because Wednesday is close by? It hasn’t stopped him before. So why then? Maybe because he KNOWS Eugene is important to Wednesday?

ep.6. Tyler “delivered” the cake, knew what Wednesday liked and he MADE it himself. He went investigating with her and Enid to the Gates House. And YES he did this entire misdirect “I’m not the Hyde, look, he has hurt me” but he didn’t hurt Wednesday. Enid. Or Xavier. He didn’t hurt anybody then. Maybe because nobody ordered him to. Maybe because he didn’t want to.

And finally ep7. Which I believe is the most crucial in Wednesday-Tyler’s relationship. The ep begins with the Mayor’s funeral (who Ms.T/LG killed completely THIS TIME) and I don’t think Tyler pretends to be upset. The Mayor is one of his father’s friends. So he knew the man his whole life. This loss hurts. He’s upset and he glances toward Wednesday, even more upset he can’t talk to her, since his father is watching and he doesn’t want them to talk after Tyler “got hurt because of her recently”. AND THEN WE HAVE Ms.Thornhill/LaurelGates doing. She wants the diary from W’s room. So she needs W out (and stabs THING IN THE BACK), but I’m certain all she told Tyler was like “distract her so I could blah blah blah” and not “Throw this whole movie night and after you two can kiss” because NO. That’s unrealistic. and Tyler WENT ALL THE WAY TRULY.. (would he really REALLY try this hard just to gain something from Wednesday?? We’re talking about a teenage boy here. He LIKED HER TRULY.) preparing this wonderful date/picnic in the crypt with all these lights(so many lights there) and THE MOVIE, Legally Blonde, which he KNEW would be torture to Wednesday, and he knew she will like it. Because he has taken so much damn time to GET TO KNOW WEDNESDAY. and honestly, between working as a barista? and listening to his “master” and killing as The Hyde? AND all the arguing with his father? Plus, we didn’t see it, but Tyler had to go to some normy school, correct? So I just REFUSE to believe he went after Wednesday just to make her distracted, due to order. No. Too much hard work. Too much wasted time. And it’s a teenage boy. Just NO. There was a genuine interest. And some real feeling involved.

What has he gained by not telling his Father about Wednesday’s Uncle Fester being in town and hiding? Nothing but her TRUST. And yes, Wednesday shared SO MUCH with Tyler only because he was so patient and kind and because he gained her TRUST. And her trusting Him means NOTHING to Ms.T/LG final plan. She didn’t need Wednesday liking Tyler or trusting him or whatever. She needed Wednesday in some places, and that’s all. And the whole “patient emergency” Dr.K told Wednesday about? I think it was Tyler, because then she opens the bathroom door(?) I believe, and THERE’S THE HYDE. Because, yup, Dr. was figuring it out. And also Tyler and Wednesday almost kissed before and it’s a LOT for a teenage boy. I can’t even fathom how does it feel to a boy who has two personalities inside and who knows somebody else is completely controlling him and he can do nothing but listen. Plus, he’s SURPRISED when Wednesday comes to him, and when she says, in her words, I guess, that she wants to be more than friends. And she kisses him first. He never forced himself on her. And even before when Sheriff interrupted them in the crypt, they were BOTH going for a kiss. And definitely, Ms.T/LG wasn’t “making Wednesday feel special” by ordering the teenage boy she controls to kiss W. Because that would be another level of psycho.

So yeah, I believe Tyler sees Wednesday as a lethal adversary, and he has a lot of respect for her because of that. As both Tyler and the Hyde. Then as Tyler, he likes her truly and he sees many similarities between them and this part of him truly thought of Wednesday as a FRIEND, and as a teenage boy, OF COURSE, he simply wanted more than friends, which is normal. But as he goes deeper and deeper into Hyde and all the anger and hatred and crazy.. he’s also upset because he realizes he just can’t be like other normal teenagers. As Hyde, he sees Wednesday as the problem. An intriguing one, but still, a problem. I’m really curious about where his storyline goes in the future seasons when Ms.Thornhill/LaurenGates is no longer “master” and he’s just Tyler/Hyde traumatized, angry, hurt, and abused teenage boy. I would love to see him reaching out FOR HELP to Wednesday or W reaching out to him, to help, and both ot them acknowledging how they are in so many, many ways similarly fucked-up.

CONGRATS IF YOU READ IT ALL. I wrote it mostly for myself to sort my thoughts about this, but yeah CONGRATS.

And absolutely NO HATE toward Tyler Galpin, he’s just a traumatized teenage boy who was groomed and abused by a super psycho woman, and just right under his father’s nose. And Wednesday’s-who was supposed to be his friend-kinda too.

+UPDATE: what reason Tyler had to talk to Bianca to ask her to take a gift from Enid back to Wednesday and what reason he had to obviously get upset when Bianca asked, “Aren’t you her boyfriend” and he said, “Definitely not”(ep6). Was this a part of MissT/LG plan to “make Wednesday feel special”? while Wednesday wasn’t even there?

Please.

/

THIS POST-100% agree: https://at.tumblr.com/darklinaforever/tyler-galpin/puo1261b0q7c

AND !!!: https://at.tumblr.com/darklinaforever/me-remembering-that-seemingly-insignificant-scene/hb4t07kgk133

AND THIS POST-SO SMART: https://at.tumblr.com/chrisevansstitties/the-more-i-watch-the-more-interesting-it-gets/2gfiegqk2x5m

THIS. so funny BUT SO TRUE: https://at.tumblr.com/thingaddams4/help-tyler-leaned-in-to-kiss-wednesday-again-when/ivofk0jouorr

also YEAH: https://at.tumblr.com/diamantdog/okay-but-hear-me-out-here-theres-something/tu0phjwpe6j7

ALSO THIS POST: https://at.tumblr.com/natliecole/listen-its-the-way-she-doesnt-like-physical/9rhqfo5g3cul

ALSO THIS POST: https://at.tumblr.com/chrisevansstitties/tyler-i-cant-be-bought-galpin/l6a8o0ftlotk

AND THIS: https://at.tumblr.com/np-c/im-a-strong-believer-that-both-tyler-is-truly-in/mb34izrz584s

AND THIS POST: https://at.tumblr.com/thingaddams4/what-do-you-mean-wednesday-asked-xavier-to-the/mt99vfrem63m

.

https://twitter.com/ThisIsGSage23/status/1603436131906994183?s=20&t=q7ZmF4U8B-Tf6kWpE4B2IQ

https://twitter.com/ThisIsGSage23/status/1603437605869080576?s=20&t=q7ZmF4U8B-Tf6kWpE4B2IQ

[alloutofgoddesses]

Percy Jackson TV Thoughts

(I’m a book reader so I know things and will reference them in this)

EPISODE ONE

THE WORD FOR WORD OPENING FROM THE BOOKS!!!!! GOD I love it

(all of us the moment we see a black Pegasus) BLACKJACK!! He’s looking after Percy even as he’s a baby 🥺

The actor for young(er) Percy does such a good job at being Percy

Who let an armoured Rhino loose in the city?

THE MYTHOMAGIC CARDS

Every time I look at Mr. Brunner’s wheelchair I just think about how eventually he’s going to be #pranked by the campers changing his fake legs out for Rocky Horror inspired legs

SALLY JACKSON MOTHER OF THE YEAR 17 YEARS RUNNING

Oh Percy oh my baby someone take his suffering and give it to Octavian

Mrs. Dodds is SO GOOD I desperately wish we had more of her

He doesn’t know that he can actually write with it though

Grover and Percy exchanging the stuff in their sandwiches is such a good little detail to add in there

Walker is an incredible Percy and Aryan is an incredible Grover

I LOVE the way Mrs. Dodds transforms into her Fury self (do we know which one she is? I always forget)

Is that Rick on the other side of the headmaster? Hey dude

Grover selling out Percy is WILD like I know they had a time limit for moving the plot along but I’d be mad at him too dam

Eddie yelling at Gabe was so funny… Gabe eat more fruits you don’t know how much time you have left to do so

People saying Gabe’s awfulness have been reduced aren’t necessarily wrong but… he answers Sally’s phone which suggests some stuff. I do hope they sprinkle in some of his terribleness throughout the season though

D’Angelos you say? 👀

As my mom said, his bags were already packed

what on earth is this little Kronos dude and why is he holding a lantern. I love his voice though

Did. Did they make Percy in a bunk bed? Sally. Please tell me there’s another bed in this cabin

I do appreciate Sally TV version being more forthcoming than Sally book version

My parents Did Not laugh at the Jesus joke which is unfortunate, it’s hilarious

Percy littol baby it IS okay honey

Aryan is doing an AMAZING job of acting like an adult who’s Done This Before… it was always hard for me to remember Grover being older than Percy in the books but Aryan has made it clear from the beginning

SALLY JACKSON BAMF OF ALL TIME

The boundary looks so far away y’all how are you gonna get there

What are we swearing on guys? Certainly not a river

Sally I love you SO MUCH all mothers, current or future should be TAKING NOTES

When is Chiron going to explain Anaklusmos if Percy kept it?

The Minotaur has such soft looking ears I cannot lie to you. I would try to pet them probably

Chiron he IS the one though. Both in the way Annabeth expects him to be and not

Oh my god these end credits??? Amazing they’re incredible! And so chalk full of spoilers

Omg a little teaser at the end!

EPISODE TWO

Annabeth that’s dramatic as HELL I love you bby girl

What is that thing on the nightstand next to Percy? It looks like someone fused a hairdryer to a kettle

PERCYYYYYY

I WISHED that’s how this worked my dude

I have seen this clip on the internet before so I knew it was coming but it’s Very Funny

“But did you?” PERCY

The first and last time Percy will ever be respectful to a god

Mr. D is so goddamn funny, thank you to the casting director, the actor, and the actor’s friend’s child who told him how big of a deal this is (if you don’t know what I’m talking about, the actor went on a talk show for press)

I’ve never experienced a New York summer but how is Chiron wearing THREE layers

They’re ancient and they’re COWORKERS it’s amazing

Helpful little ‘gods make demigods do stuff they can’t’ sprinkle there good foreshadowing

These cabins are beautiful

THE HEARTH IN THE MIDDLE HI HESTIA

Not Percy thinking he’s immediately going to get bullied 🥺

YES love that we get to see a dryad and a little of Grover talking to the Cloven Council!

TRANSITIONS

They would get really squishy you’re right Grover

I can’t wait to see Mr. D do some god shit

Ope Kronos is back hey dude. Is he wearing a cloak?

Me, turning to my cat, named Hermes: You’re a FATHER?!?!

Seriously though what is Clarisse’s deal? Why bully the new kid? I have to assume it comes not only from her dad being Ares but other stuff

WHEELCHAIR!!! Disabled rep is AMAZING

Hey I’m pretty sure I won that lighter

I love that Chris is like “Yeah technically but she’s the goddess of failure” like that’s helpful but not helpful

Percy trying to talk to his mom is adorable!!! I wonder if it actually got to his mom or if someone else heard it, like Hades or Poseidon

He’s made some friends!! Oh Percy you don’t even KNOW how many friends you’re gonna make

Perseus I love you

Okay but who’s fixing the stall

Glad Annabeth got to stay dry this time

SPEAKING OF ANNABETH GOD I LOVE HER SO MUCH!! She was one of my IDOLS as a kid and now I get to experience her being a kid and watch Leah crush it

Luke you stay away from her you don’t get to call her your little sister

The forbidden kids? Different from The Big Three but I don’t hate it

Oops well I’ve been pronouncing Thalia wrong more times that I have pronounced it right

The actor for Luke, Charlie, is showing just enough subtle dislike for the gods and his life at camp that it’s only obvious if you’re looking for it. I can’t wait for people to be able to go back and see the hints being laid out

How many generations of campers did it take for the rope bridge to get full of ribbons, and do they serve any purpose

I can’t wait for the armour adjusting moment to be paralleled. Even more so, I can’t wait for the gif sets that will come out of it

I also floss if I am made to stand still. It’s a great stim, I can’t blame Percy

AND HE GETS TO PET A LITTLE CREATURE?!?! Honestly he’s living his best life

The only rule you paid attention to maybe

FIGHT CHOREO MY BELOVED

Sorry Clarisse but maybe you shouldn’t go after the new guy with unknown skill levels

ANNABETH THAT WAS SUCH A HARD SHOVE

Omg the lake, the infamous lake, the very important lake

Honestly I’m sad that 1) no hellhound 2) we don’t get to see Chiron pronounce him the Son of Poseidon? I’d like to know why they made that choice

Love that Chiron went “Congrats on the dad reveal you have to go solve his problems now”

HE IS SALLY JACKSON’S SON FUCK POSEIDON

Grover Underwood you will always be famous

Give me more immediately!! Next week I’ll be at my grandparents house with EIGHT other people, including a five year old. I’m hoping his mom will give me permission to indoctrinate him into the fandom. If not I’ll just make everyone still awake watch it after the kid goes to bed

NEXT WEEK TEASER!!! Very exciting

[neversetyoufree]

So while I know it sounds a little counterintuitive on the surface, one of the reasons I'm really hoping VnC goes down the Vanitas/Noé path is that, out of all the routes the romantic plot could take, VaNoé is by far the most interesting outcome for Dominique.

It's been made pretty clear that Noé is going to end up with a crush on somebody in the long run, and the beginnings of that foundation have been in place since all the way back in chapter 12. And of course, given how Domi has very strong feelings for Noé, whoever Noé ends up pursuing is going to have a huge impact on her as well.

Personally, I'm just not very interested in the stories we'd get out of Noé having feelings for Jeanne or Dominique.

Although Domi's crush on Noé is often played for fluffy comedy, it's also clearly tied into a lot of the less than healthy aspects of her character. She tried to completely rewrite herself and transform into her brother to make him happy. She tried to kill herself because she thought it would save him, and the only thing that could snap her out of her suicidal mindset was the fact that her death would make Noé sad. It is incredibly unhealthy to tie your self worth so deeply to another person like that.

Domi's had a crush on Noé since before things got so unhealthy, and she'd probably still have these problems to some degree even if she weren't in love with him, but the fact remains that the two issues are inextricably linked right now. And going further with DomiNoé would mean either leaving Domi's issues about Noé worsening/unresolved (which I doubt will happen), or writing her working through her baggage and learning to value herself outside him, then coming back to her crush with a new, healthier viewpoint. And that could technically happen!

However, I think we would make a much cleaner narrative break if Domi's learning to live for and value herself coincides with her finally moving past her feelings for Noé. Her moving on romantically would be a really good way to symbolize her moving on from her unhealthy dependence on him, and I don't want to pass that up. She needs to have something in her life that isn't connected to all her baggage about Louis.

Also, from the Noé side, I just don't see much practical evidence of him having feelings for Dominique. Chapter 12's romantic foreshadowing coincides with Noé's obvious jealousy over the whole Vanijeanne situation, so I'm pretty sure his eventual crush is going to be on one of them. And that brings me to the issue of NoéJeanne.

As I've said before, I do think there's a small amount of evidence that could support Noé's eventual crush being Jeanne, so it wouldn't be completely out of left field. However, I'm personally hoping this isn't the route Mochijun takes, and the biggest thing that turns me away from this idea is what it would mean for Dominique.

When Misha manipulates Domi during the Amusement Park arc, he uses not just her crush on Noé, but specifically her jealousy over Jeanne as ammunition against her. Because Dominique has noticed Noé's jealousy over VaniJeanne, and she fully believes that Noé has feelings for Jeanne. But the thing is, the Amusement Park arc is almost entirely a story about the destruction and pain that comes from falsely assuming that you understand a loved one. Dominique almost dies because she mistakenly thinks it's what Noé would want. Misha's whole motivation as an antagonist is trying to bring Vanitas back to a family dynamic that Vani no longer wants or believes in. And Noé's big turning point is the realization that he has to look at Vanitas clearly and think about how he actually feels, rather than judging based on his personal feelings.

So with all that said, Mochijun turning around and saying "Domi's right about Noé's feelings for Jeanne, actually" would be really weird and out of place. I'm fairly sure that, although it's implied earlier, the first time "Domi thinks Noé has a crush on Jeanne" is called out explicitly is when Domi and Jeanne talk in chapter 45. This comes immediately before the start of the Amusement Park arc, and that scene in particular serves as the buildup to Domi's imminent breakdown, so her jealousy and the themes of the Amusement Park are pretty inextricably tied.

"Domi makes a false assumption about Noé's feelings, and it leads to her fighting with her dear friend Jeanne for no good reason" would fit very well with the rest of the arc. "Domi is right about the jealousy, but wrong to fight with Jeanne anyway" would be a much clumsier from a thematic and storytelling perspective, and I'm inclined to think Mochijun knows better than that.

In short, Noé having feelings for Jeanne is possible, but it would make Domi and Jeanne's part of the amusement park arc a lot worse.

So would Noé having feelings for Vanitas be better?

For starters, Noé having feelings for Vani would make Dominique's jealousy of Jeanne incorrect, which solves the thematic problem outlined above. Beyond that, though, Noé having feelings for Vanitas would also allow for the most interesting interpretation of the original "Noé is jealous" scene from chapter 12.

In that scene, it's obvious that Noé is jealous over Vanitas and Jeanne's new romantically/sexually charged blood drinking situation. Noé thinks it's because he's jealous that Jeanne gets to drink Vanitas's blood, and Domi thinks it's because he's jealous that Vanitas is getting close to Jeanne sexually/romantically. Noé being correct is frankly not worth considering, and we just addressed why Domi being correct creates problems. However! If Noé is jealous that Jeanne is getting close to Vanitas in the romantic sense, then Domi and Noé are each half right in a way that I find both logical and compelling.

Noé struggles to understand his own feelings on a deeper level, but he can understand his own physical cravings for blood, so it makes sense that, even when feeling other types of attraction, blood is the one thing that gets through to him. Meanwhile, Dominique dislikes Vanitas and is pretty obviously attracted to Jeanne, so it follows that she'd assume Noé thinks the same way. They each have an insight into Noé that the other doesn't, and they're both also a little bit misguided, which seems pretty in keeping with their characters and VnC as a whole.

Then, on a wider scale, a "Noé's in love with Vanitas" angle would also do some really interesting things for Dominique. My best guess right now is that Domi's arc will eventually end with her finding some self worth/reason to live beyond Noé, but she'll have a long and painful process getting there. And Noé liking Vanitas would help facilitate exactly that! It could force her to accept that she's not going to get with him, which could in turn help her move on and find her self worth elsewhere, but it would also put her through. just. so much suffering. On the pettier level, she'd have to watch her dear friend and crush fall in love with someone she finds rather despicable (and for the second time!!). And on the more serious level, she'd have to watch Noé once again link his heart to a doomed man and have to reckon with the aftermath of his death.

That sounds about like the kind of growth to angst ratio that Mochijun likes to go for.

So tldr: Noé's eventual crush is almost certainly going to be on Domi, Jeanne, or Vanitas, and out of those three, Vanitas is the only option that wouldn't get in the way of what I think/hope is Domi's narrative arc. In order for her to accept that she's been misunderstanding Noé and properly start building self worth, she can't end up dating him, and Noé can't have feelings for Jeanne. That leaves VaNoé as the best and only option for Dominique.