#theme: speculation

[bthump]

this has probably been asked here before but how likely do you think it is that the author actually truly intended for Griffith and guts relationship to be romantic? How likely do you think it is we’ll get a blatant confirmation (eg a confession of love beyond being friends or even a tragic kiss) and if it does happen do you think it’s likely we’ll get an explicit confirmation on both of their ends so we know the feeling is reciprocated (because I know guts feelings can be underestimated sometimes compared to griffiths). Likelihood as a percentage or on a scale from one to ten lol. I think it’s already pretty obvious enough for me to be satisfied whatever happens but it would be nice if there was an undeniable proof of mutual romantic love. because I think no matter what happens if it’s anything less than spelling it out word for word people would still make attempts to deny their feelings which is kind of sad to me. But I could be wrong of course and romance wasn’t intended by the author. Either way I want them to reveal their feelings for each other whether platonic or romantic.

I'm cynical, so I feel like the odds of something textually romantic happening are like, 2/10 at best. Might've gone up to 3/10 if Miura was stlil alive since it's getting more and more common to confirm gay subtext and that might've influenced him, but since it's being written now by someone determined to adhere to the plans Miura told him, whatever happens is frozen in amber circa Miura and Mori's last conversation, with no room to evolve.

That's all pretty much a moot point anyway because again, I think the odds were always gonna be pretty miniscule anyway.

That said, I think the odds that Miura intended the gay subtext are like 9.5/10 lol. I think the romantic undertones are almost certainly deliberate.

I guess I just don't think it necessarily follows that the point of the subtext was ever to eventually become text. I think it was probably there for a lot of potential other reasons: to add a sense of depth and complexity to their relationship; to add more chemistry; potentially to appeal to women; to suggest that their relationship had the potential for romance that will never be realized therefore making their relationship even more all-encompassing and adding to the tragedy; serving the theme of childhood trauma fucking up your relationships; etc.

Of course I'd be overjoyed if it was acknowledged eventually, and I think the story would ultimately be better for it, like I'm not gonna say it's ~deeper~ if it stays subtext lol. But I think that considering the main target audience for Berserk is horny straight dudes, and while it's getting more common it's still very rare to have textual gay romances between two leads, and almost unheard of in legacy media properties, I just don't think the odds are in griffguts' favour.

Oh, though I do want to add that I'd say the odds of getting an acknowledgement of intense feelings between them post-eclipse is very high. I don't think it'd likely be a romantic confession, but yeah I think it seems very likely that Griffith and Guts are going to acknowledge the intense emotional hold they still have over each other. And if that happens I'll be happy even if it's not textually romantic. I'm sure it'll at least be homoerotic enough for me lol.

Thanks for the ask!

[llutik]

inspired by the last dany chapter in a dance with dragons

the empress card for twitter user toadpeee tarot deck. Big thanks to her for her patience with me

[tommykinard6]

Should I be eating and resting? Yes. Am I? No, so come join me for a dissertation on Tommy Kinard being lonely.

Edit to add a note since I saw a reblog about it: Tommy has no canonical age right now and Lou is 39, 40 later this year, so that is my basis for saying he’s 39.

Now when I say lonely, I don’t mean that he has no one whatsoever. I can picture him going for drinks with his team or having some Muay Thai buddies that he could call up if he really was inclined. Maybe an old army buddy or two.

But there’s something about Tommy that’s just achingly lonely, both when he was at the 118 and now at Harbor.

Tommy had a broken home, or some other kind of unstable childhood. Maybe his parents split, maybe he was mistreated, maybe he was in the system or was passed around family members. Maybe he was isolated as a child because he was a little overweight (I think Lou said something along those lines) and was bullied. I think Tommy didn’t really have any friends until high school, when puberty hit and maybe he started working out and probably joined the football team. I don’t know if anyone remembers what teenage boys are like, but I can imagine they were the same as they are today back in the 90s/early 00’s. Because around this time, Tommy might’ve started to realize that something was very different about him.

Now this isn’t a meta about how I think Tommy dealt with his sexuality (maybe I’ll do one of those later) but I think he never would’ve risked his football friends knowing even if he himself could acknowledge it, which I doubt. So he messed around, got in trouble with these guys, hung out with the bros, and pretended to be interested in girl talk.

Of course, eventually, his buddies all got girlfriends and he was always the odd one out again.

He didn’t do college. The army was his next step. And I feel like this might have been the first time in his life he wasn’t lonely. He’d learned to blend in by this point and he worked with some great people. But as he started making real friends for the first time, he also started losing them as the war tore them away.

Tommy left the army and joined the fire department. There was an aching hole where the camaraderie of the army had filled previously and with no education beyond a high school diploma, Tommy thought the fire department would replicate that. Not the police though. He’d had enough of guns.

(And ohhhh now so many ideas on his thoughts during the sniper)

But he ended up at the 118 and quickly realized that his team had maybe more of a DADT stance than the army. He realized that he had to put on an elaborate act to fool his fellow firefighters, who had more time on their hands and more prejudice they were willing to wield to pick apart his life. Tommy, who maybe had only just started to acknowledge he felt differently about guys with less panic than before, had no choice but to backslide. He acted and acted and crafted a person he wasn’t until the day that maybe he was. Sal was his closest buddy at the 118 and Tommy had no doubt that Sal would be one of the first to make his life hell. Gerrard seemed to look at Tommy as some sort of mentee. Boxed in by two notorious bigots, Tommy had never felt more claustrophobically alone.

Chim was the first one to reach out a hand of friendship, or at least the first one that didn’t come with caution tape, but he was also an “other” and Tommy, who was confused and afraid and had just had his captain call his bluff on his fake girlfriend, lashed out. Then he allowed Chim in and Chim wasn’t interested in being besties but he was a great drinking buddy and movie buddy and Tommy felt safest around him.

Then Hen came and Tommy watched her get the same treatment he was afraid of. Not that he had to worry about the racism, and he was aware of the privilege, but Hen didn’t exactly hide herself and he watched them bully his lesbian coworker. He let himself get pulled into it all and hated himself for it, but was too cowardly to break away from it. He wasn’t sure why Hen had forgiven him, but she became the only other person on shift he felt even a little safe around other than Howie. But then Chimney and Hen became best friends and Tommy fell to the wayside. They still included him, sure, but they were always a pair and there was something there that Tommy didn’t know but longed for. A closeness he’d never felt.

A best friend. A juvenile idea to him, but one he’d never truly had.

Then Gerrard was gone and Sal got transferred and the 118 moved forward under Captain Nash, but Tommy felt left behind, even in what was the most united A shift team yet. Because he was over 30 and was starting to be unable to ignore everything that he’d had to hide under Gerrard, as he no longer had a distraction from it.

He’d been a pilot in the army, so he transferred to Harbor. And Harbor was great. He wasn’t best buds with anyone (he was starting to think that was never in the cards for him) but his team didn’t carry the same baggage that the 118 had.

So Tommy started to come to terms with himself. He started to date for the first time and came out to his team. And he had several boyfriends, but most couldn’t handle the job or his baggage or the desperate need he had to be wanted. His most long term partner cheated and the one he fell hardest for couldn’t deal when Tommy was injured on the job. Even within his own relationships, he felt like he was destined to stand alone.

Tommy was 39 years old and alone, as always, when Chimney walked back into his life, dragging an adorable and also extremely hot blonde and a stoic brunette that radiated ex military in a way only ex military could know. And then Hen was there and they were trying to rescue their captain and his wife and they clearly loved each other fiercely and like family.

And as Tommy listened, flying through the remnants of a cat 5 hurricane, he thought to himself that he should’ve never left. Simply just never found himself if only that meant being part of the family the 118 was now. However, he knew deep down that he still would’ve been alone and on the outside.

And they rescued the survivors and Tommy thought that was it but then Eddie wanted to hang out. And they liked the same things and had similar experiences and Tommy couldn’t help the hope. Because the loneliness had grown stifling and now he could breathe a little. And then Evan, the cute blonde, wanted a tour of the hanger and he thought that maybe he was being hit on.

And then at the end of it all, Tommy was left realizing that he’d wedged himself between two best friends and that was what happened when he allowed himself to hope. So he went to Evan to apologize. He would get Evan and Eddie to talk to each other and then would fade into the background.

But then Evan was sweet and apologetic and told him that he was part of the 118 family simply by helping them. Tommy couldn’t help it. Here he was, at 39, with a little boy still waiting inside of him to be soothed. And Evan was hot and sweet and Tommy couldn’t help himself.

And he really liked Evan. Evan was adorable. But their first date didn’t go as planned and Tommy knew he was already whipped. So he removed himself before someone could get hurt. Evan deserved better and so did he, even if the loneliness was stifling again.

But then Evan texted him and looked at him with sparkling blue eyes over too sweet coffee and wanted him. Him. He wanted Tommy and to have something with Tommy and he wanted him to come to his sister’s wedding with him.

And Tommy looked at him and saw someone who could finally fill the ache he’d felt his whole life. He saw a man who he knew he wanted to take a chance with. All he had to do was jump.

And he did.

And it wasn’t solved, not immediately and never fully. Too many wounds were left gaping for too long to ever heal. But for the first time in his life, at 39, with the 118 surrounding him and Buck as the sunshine at his side, Tommy finally felt at peace.

[conflictofthemind]

Thoughts on "Escape from Camazotz"

Oppressive Suburbia, Conformity, and Season 5 Themes

I've long thought that a major focus of Season 5 will be the contrast between the families of The Wheelers and The Byers, and exploring how non-traditional family environments can be freeing vs the oppressive structure of the nuclear family.

In a Wrinkle In Time, Camazotz is a planet controlled by the big bad of the book, the "IT", who forces the citizens into a conformity that resembles American suburbia. All of the houses the same, the citizens the same, doing the same things at the same time without individual identity. Without anything different. Different means a lot of things, but with Stranger Things dropping different in reference to Will's identity and the presumable themes of this season, it will heavily codify as queerness and how it threatens the cisheterosexual family model.

Henry was raised in the 1950s, a decade still revered by conservatives for it's traditional family dynamics that supposedly were the peak of culture and happiness for all. That was all a lie, of course, and Henry knew so as he shows to Nancy and Eleven during his monologue. The second most conservative decade aside from the 1950s in American society is widely considered to be the 1980s.

The Creels will serve in parallel to The Wheelers; the worst example of what they could become and the damage that this type of family could do to a child that is different in any way. Notice how Vecna selectively shows Nancy visions of The Wheelers dying, but not anyone else she may consider family or friends (like Jonathan).

That is; unless they change their ways and come together as a healthy functioning family facing their traumas, The Wheelers will be toast.

Karen has been moved up to a main character role this season. Ted's actor says the father starts to show up more for Holly (hold that) and realizes he wants to act differently. Holly has been recast. Finn has said Mike goes on a much more personal journey this season, and steps up as a leader.

Oh, also: the catalyst for all of this is that Holly goes missing. The contrast will help show how the Byers (including El and Hopper here) were able to pull together and help solve Will's disappearance, versus how the Wheelers as a closed off nuclear family grapple with Holly's vanishing.

Each of the Byers is in some kind of a non-1950s conformist relationship, but particularly Will (not in one now but we all know he will be). I think El might represent, after she breaks up with Mike, the fear of the unmarried woman being satisfied without a husband. The above shot really emphasizes my point.

I predict that Will will end up coming out to his family rather early on, and we will see all of them immediately accept him with little surprise or push-back. Will is a visible gay man who comes from an open minded non traditional family (divorced, non-married, adoptive) that is willing to have honest conversations.

But this theme will place the most focus on the Wheelers. Mike is the main character of said family and this will particularly focus on his arc, and his acceptance of his queerness in the midst of suburban conformity.

He is not visible, he comes from a Reagan-supporting family who don't communicate with each other. He is not particularly close with his family like Will is. He pushes his feelings down and tries his damn hardest to be normal despite it all. His trauma hasn't really been addressed at all. He is falling back into his usual habits - the one thing he dared to do different (grow his hair long) has gone back to how it was.

It's not all doom and gloom though. This season above all will be a redemption arc of the American nuclear family, how they choose to escape their conformity and learn to be there for each other, thus overpowering Vecna. Not that the Wheelers are going to end this personally.

"Great, more hysteria. Just what we need". "It's the news, now indistinguishable from the tabloids".

[raayllum]

So I was thinking about the infamous

Seems to me that love's got a tighter grip on you than those chains around your wrists, so I'll do you a favour and set you free.

cut lines from "Finnegrin's Wake." And I've said before that I totally get and agree with why these lines got cut, because they just verbalize a dichotomy that is (hopefully) obvious to the audience anyway, i.e. giving Callum the choice to

'Be freed' by losing Rayla OR remained 'chained' by refusing to lose her

Obviously this isn't literal because 'being freed' means staying in his chains, and 'staying chained' means removing his chains. However, it is somewhat true from an emotional and a thematic standpoint. Callum knows what he's risking in giving Finnegrin the spell, and he knows what he's risking — playing into Aaravos' hands in ways he can't quite understand, but is deeply afraid of — in doing dark magic to get out of his chains. It's been theorized for years now by many people that Callum's desire to protect and help his loved ones is going to be what leads him into doing Aaravos' bidding / possessed again.

We also have good reason to believe that, ultimately, Finnegrin is going to be wrong. There's solid evidence that Rayla is going to be what helps Callum break free of Aaravos' control, and this line is a pretty pointed indicator. Callum's love for her is stronger than his current, literal entrapment. That can very easily take a positive turn and I expect that it will in coming scenes.

But I want to point out something that's like... specific and obvious and yet overlooked (myself included) about this line.

If Rayla being there can keep Callum chained down, and removing her can free (unlock him), then Finnegrin is stating that Rayla is the Key to Callum. She's his Key, capable of both locking and unlocking. And this makes perfect sense, given all the duality she represents for him ("Now you're back, and that's kind of good, and it's kind of bad" / "So they might kill you or they might save you?" / light vs dark with light not always being good).

We see this more literally in 5x08 itself with Callum's love for her being his motivation to do dark magic (locking himself) and being part of his motivation / ability to understand the Ocean arcanum (unlocking himself from Finnegrin's hold, literally). You can read more about that here if you'd like.

It also bodes well for the theory that the Key of Aaravos is his chest piece and has something to do with getting him out of his prison, because it was involved in locking him away (and therefore, can be involved in unlocking whatever led to him being put in there):

and that its presence in Callum's life is at its most pronounced when Rayla comes back, because — just as the Key of Aaravos is the key to Aaravos, she is the key to Callum.

[earlgraytay]

I'm having a certain amount of weird cognitive dissonance about partycoffin's Welcome Home (not tagging them because this is kinda speculation...)

I normally absolutely loathe the "the cute thing was EVIL ALL ALONG" genre, especially with Muppety puppets. I have a very strong squick about it. The Henson Workshop was one of baby's first hyperfixations, and The Dark Crystal is so important to me that it's hard to describe how without invoking religion.

... It's important to me, for these reasons, that the Muppets, especially the Sesame Street crew, are... innocent. Not in a Calvinist way, in an ... autistic hippie way. They're joyfully weird. They're not cruel for cruelty's sake. Some of the Muppets are grumpy and mean because it's what they were made to be, but they're not...

Look, it's hard to explain, but there's a very specific kind of Mean Comedy that, before Henson's death, the Muppets just did not do. Even Statler and Waldorf's heckling doesn't push that button for me. The Muppets shouldn't be capable of that kind of interpersonal cruelty. And that's important enough to me that I can't watch something like Avenue Q (much less Actual Puppet Horror) without getting sick to my stomach.

But *thus far*, the horror elements of Welcome Home haven't gotten to me in the same way. And I think it's because... Clown respects that aspect of the children's puppet genre?

Like, I know we're still in early days, and That One Fucking Picture Of Maisie freaks me the fuck out (for, uh, different reasons). But so far, it seems like at least part of the horror aspect... Is that innocence, and how it can't survive contact with humanity.

So far, at least in the newest version of WH, we've seen very little to indicate that the Home crew's joy and innocence aren't genuine. Everyone has Depths to their character, obviously, that can't be plumbed without going into the Gruesome Shit. But like.... with the possible exception of Wally, they don't seem Cruel. Fuck, even Wally seems Oblivious and Earnest, just... willing to do horrible things for the sake of Keeping Home Intact.

And that LACK of malice is ironically where the horror comes in! Because the sunny days of a kids' puppet show can't survive contact with a reality where people are cruel and ableist and homophobic, and once the show ends, there's nothing left but that reality... and everything falls apart.

Agh, I don't know. I might have to drop this fandom if I get that button pushed too many times. But for now, it's interesting to see an adult take on the genre that isn't gleefully mean and disrespectful towards one of the things I love about puppets.

[orcelito]

I know trigun is the Religious Symbolism Anime but smth u must understand is that i love it in the most sacrilegious way possible. Yes religious themes r cool to study etc etc etc but I'm over here rocking out to the objective sacrilegion that is having our Jesus figure be a hyperactive punk that loves donuts and is also not so subtly also an angel & his slutty priest boyfriend who is also an assassin and has a giant cross machine gun and Also constantly has his tits out. Also they're trans.

Like. This is not a Christian anime to Me, even with the symbolism and themes lol

[youthofpandas]

I keep coming back to how in Hell Screen when Yoshihide is torturing his apprentices for reference material, that he uses a snake and then a bird, and the two animals eventually attack each other and vanish after escaping the room. Two very Sinclair coded animals... Given Sinclair's already established understanding of Ryoshu + the fact in Demian he is, of course, also an artist even if that aspect of his character has yet to be shown in Limbus, I just really like to imagine in Ryoshu's canto we might get a former apprentice character who she had mistreated before and has now grown up to hate her and consider her an enemy and that Sinclair will get an Identity based off of them...

Relevant passages below for anyone who hasn't read Hell Screen or wants to look at them again.

[gayofthefae]

You know how they're always drawing and putting shit on the walls? And the whole "Will drew Castle Byers before making it x the upside down was manifested as Hawkins because of Will" and the drawing of a dragon we see from him in season 1 and the dragon he paints again and all those theories?

What if there's a plot pertinent reason for them to be like "everybody run to your houses and grab all your art from Will and we'll collect and go through it to understand the upside down better etc." and we Lucas and Dustin run home and take drawings off of their bulletin boards (canon if you look) and out of frames and off of desks and things and El only has a few but she kept them and she brings them out and then of course Jonathan has a bunch of course and then Joyce opens like a giant drawer of course stuffed to the brim and Mike just drops a giant ass 10 year old binder as full as the Byers' on the table with a thud like "where do we start?"

[stagefoureddiediaz]

Ok so I’ve been chatting on discord with @theladyyavilee @mistmarauder and like you do I had a lightbulb moment!! Jess is an enabler and made me make this post so I’m sorry everyone in advance!!!

We are talking tsunami and the next level layering the writers have been doing. I really love that this show rewards us for rewatching and really looking at the details! 

I was rewatching the tsunami arc for watery reasons and it got me thinking about the line the incident command dude says (3x02 15:29 if you want to watch for yourself!)

 ‘we’ve already had two [waves] so far and can expect another 4or 5 before it starts to recede’ 

Well that got me thinking about it being deeper than a throw away line about the fact that tsunamis aren’t just a single wave of devastation, but actually multiple waves. We’re currently doing so research to establish when the water theme actually starts but I’m currently wondering if this line is the possible beginning of the water metaphor - the two waves we’ve had being what precedes the tsunami - so the truck bombing and Shannon’s death. 

Then the 4-5 expected waves to come after being the show telling us that there will be 4-5 things happen before we get to canon Buddie - before the water finds it’s level. The waves we’ve had since then are the well, the shooting and the lightning strike making 3 and we can maybe include Eddie’s breakdown as another one (although I’m not sure) which makes 4. We also know there’s going to be some big disaster at the end of the season (two trapped dads theory my beloved) which could take us to either 4 or 5 (depending on if we include the breakdown or not) suggesting that perhaps water will find its level the the end of this season/ the beginning of the next season and therefore Buddie canon will happen shortly thereafter!

If we think about everything in a little more detail and think about how those 4-5 more expected waves would decrease in strength each time (as the water settles back to its level) and them being key marking points in their relationship - the most intense ones that have the biggest impact - being at the beginning and clearing a path for the subsequent ones which are no less important, but having seemingly less dramatic results as they are just building on what’s already there.

But lets, for a minute, go right back to the beginning - back to season two - things then begin to make even more sense - tsunamis are started/created by underwater earthquakes which means the earthquake in s2 is the starting point for everything (If that’s how this came about the writers of this show are so genius I can’t even begin to put into words how much I love them and their insane cleverness!) it is the big event that sets everything that comes after into motion - and it is the event that actually establishes buddifer (Buck mets Chris post earthquake when he drives Eddie to pick him up from school).

Then you get that vacuum where all the water heads away from land as the tsunami builds its strength - Christophers line ‘Where did all the water go’ is kind of a metaphor for the vacuum created with Shannon’s death. She was Christopher’s previous water level - his having two parents (even if she was absent he still carried hope that she would return - then she did. Her loss creates turbulence for him (and Eddie and by extension Buck) and his waters are no longer level. I love the idea of this vacuum being created at this moment, but the events leading to it had already been set in motion before she even came back into the picture - that this massive change was already incoming. 

The truck bomb is the first wave - and actually thats when we see Eddie’s attachment to Buck in a physical way - the hand holding - and it leads to our first Buddie hug (and technically the second as well). It also marks the point where we end up with both of them being single.

The tsunami is wave 2 - the big shift here is obviously the deepening of  Buck and Christopher’s relationship - the biggest and most important pivotal thing after Buck and Eddie’s own developing relationship - because Buck having an independent and strong relationship with Chris is a requirement if buddie are going to work - the show needs to establish them having their own special bond which is separate from Chris and Eddie and from the 3 of them together as a unit.

With those two things established - the two big waves - then the smaller waves can surge in - they don’t need to reach as far because the base has been created by the first two waves - their path has already been cleared making these subsequent waves’ jobs are ‘easier’.

So wave 3 (or wave 1 of the 4-5 further waves) is the well - with it comes the big and key change of the will - and we continue the link to water.

Wave 4 (wave 2 of the further waves) is the shooting which as well as revealing the will, independently continues to further the father-son relationship between Buck and Chris. I can’t think of any obvious watery connections here - beyond the pool of Eddies blood we see spilling onto the asphalt. 

If we assume Wave 5 (wave 3 of the further waves) is Eddie’s breakdown - which ties all 3 of them closer together and establishes just how deep the level of trust is between Buck and Eddie. there isn’t an obvious water connection to Eddies breakdown - beyond the tears - but the episode itself involves several water related accidents or scenes (Shark cage rescue, and all the fish from the freezer and we get Maddie playing with Jee in the bathtub as well).

Then wave 6 (wave 4 of the further waves) is the lightning strike - which just continues to build on all that’s come before - it doesn’t really reveal anything new just leads to a big jump in the amount of buddifer scenes we’ve had since. again we have a watery connection with the heavy rain!

And the potential final wave is the one we haven’t seen (which would be wave 5 of the further waves)- but could be the two trapped dads of it all - both of them being at risk at the same time and the realisation that potentially comes out of that - it not necessarily being a confession moment, but the moment before it - before the waters calm and find their level and then they’ll be in the right place to move forward - together!! We know there is a watery connection to whatever this happens to be from the bts we’ve had - filming at the Queen Mary and the road collapse is next to/ over water.

So there we have it - either the writers set out the roadmap to Buddie way back when, or I’ve gone insane and should probably be locked up in an institution - I leave it to you to decide which!

[lovesickeros]

thought abt focalors + tsaritsa sagau fic bc it'd be funny as hell to throw them in a room together but now its actually got me thinking a little too much.......similar but only in the barest sense and complete opposites..one of them fearing celestia and the other trying to bring celestia down.

[theneighborhoodwatch]

whenever i talk about wally and home's relationship on this blog, it is Usually in the context of the relationship being borderline if not explicitly romantic, just bc i think that has the potential to be all sorts of poetic in a very tragic way. downwright shakespearean, even.

HOWEVER - i am also drawn to the alternative idea that ronald dorelaine is currently possessing home, creating a New and Avant-Garde form of the classic haunted house, and that's (partially) why shit has been getting Weird in town since welcome home was taken off the air. bonus points if this is also paired with the whole idea of wally having been based off of dorelaine when he was first created, bc then it's like

wally: -alright so that's my plan for getting everything back on track! there have been some Side Effects so far but you know. i think it'll all work out in the end. thanks for listening, home @:)

dorelaine, desperately trying to remember what morse code he knows and realizing that in his efforts to create a Better Self according to a molotov cocktail of internalized -isms, he has instead saddled his protagonist with a quite literally world-shattering level of psychological hang-ups and has made it so that said protag feels like he can only exist under a very specific set of circumstances:

[mayasaura]

There's a stanza from Annabel Lee that's been tickling my brainstem for a while, and it feels even more relevant now that we know how John and Alecto are bound together, and that their love was and still is mutual:

But our love it was stronger by far than the love    Of those who were older than we—    Of many far wiser than we— And neither the angels in Heaven above    Nor the demons down under the sea Can ever dissever my soul from the soul    Of the beautiful Annabel Lee;

That's the heart of it, isn't it? The source of all of John's power, the reason he's God, it's because his soul is connected to his Annabel Lee's. To end all of this, they'll need to be dissevered.

I'd say that the angels have already tried and failed, and the demons look like they're winding up to take a shot. Odds are that'll go about as well for them as it did for Augustine and Mercy. But there's someone the poem doesn't ask. It doesn't account for Annabel.

I think that may be why it matters so much that that Alecto still loves John, and where the true horror of love comes in. If Alecto's soul is going to be seperated from John's, Alecto has to want it. No one else can do it for her. Annabel Lee has to become the subject, and not the object.

[raayllum]

Was rewatching the scene under Avizandum's grave in 3x06 for another meta, but stumbled across something I was interesting, re: the broyals.

For Callum, as he says, "I hate him. He's the one who took my mother. Looking at him, seeing him, it makes me sad and angry and... confused." Meanwhile Ezran is clearly less affected, too busy playing and being happy in his reunion with Zym; and judging by his closeness with Zubeia and defense of Avizandum to Rex in S4, it doesn't seem as though Ezran harbours the same messy storm of emotions regarding the former Dragon King that Callum does, even as Callum still settles on, "But that was Zym's dad."

On the one hand, this makes sense; Ezran, as he says, lost his mother before he ever really got to know her. That doesn't make his grief any lesser, but it would mean holding onto anger for a different kind of transgression and one where the alternative - a life where his mother lived - would be infinitely harder for him to conceptualize than for Callum, who can and does remember.

And we see Callum struggle a little in the instances he's first presented with Runaan's bow in both his short story Inheritance and in 5x01, but ultimately he's able to handle it and give it to Rayla happily and has no real reservations about it. Yes, "It was the weapon that killed his father" but it is also "the weapon of someone Rayla had loved" and the latter is what clearly wins out, since upon seeing Runaan again... He has a decidedly different reaction than he did upon seeing Avizandum.

But given Ezran's anger in his short story...

That Moonshadow elf upon the castle ramparts, skulking toward his father’s chambers. The blood upon those exquisite elven blades. The red-tailed arrow armed with a mission declared by Zubeia herself— [...] Ezran felt a coldness twist its way around his heart. It took his lungs, too, and for a long moment he could not breathe, could not feel anything but an unfamiliar anger so potent it seized the whole of him, inside and out. Ezran stepped towards the arrow— —and stomped down on it as hard as he could. He wished he were bigger, stronger, he wished his boots were made of iron and not something soft. Still, it was enough. When he pulled his foot away, Ezran glared down at the arrow’s hawkish head, flattened and broken.

It makes me wonder if Runaan's presence / freedom will force Ezran to contend with all his big feelings much the way Avizandum's resting place forced Callum to. If Ezran's comparatively lack of negative reaction with Avizandum was the trade off for Callum having a more positive one with Runaan, and hence the brothers are going to be Switching, accordingly.

Either way, I think it's an interesting potential parallel for the brothers, and I'm excited to see where it's taken in S6/7.

[kierreras]

JIARA WEEK [3/7] -> day three, underrated

expressing love

«i know your whole life, you freak when people get close. and i get it, i don't blame you»

«you're right, i flipped. you know how i'd be»

[carnivalcarriondiscarded]

So Howdy is basically that one annoying ass kid in high school who’d call everyone around him ‘queer’ as an insult when it’s pretty obvious that he was gay himself and self projecting? Lmaooo i love it and it really does explain a lot!

Ngl though and I’m not trying to bash on laughingstock but i think it’s EDDIE that Howdy might be crushing on since in the banner on the previous update, Howdy’s icon is looking at Eddie’s.

I think he treats him hostilely is because he has feelings for him and he doesn’t know how to process them and so it comes out as anger and passive aggressive resentment.

Ofc I don’t think he’d be the best partner for Eddie due to this… I do think though that when it’s revealed that Eddie and Frank are madly in love that it’s going to cause Howdy to feel more anger and maybe even hatred towards the two.

ehhhh.... not buying it, sorry!

i'd be willing to hear this theory out if there was any evidence other than "Howdy is looking at him in the banner" (and Home is looking at Howdy, and Barn is looking at Wally, and Wally is looking at Us, and Julie is looking at Frank - it doesn't necessarily connotate romance) and the idea of Howdy's treatment of Eddie being a "get out of my school" type of thing.

but if that were the case, wouldn't we have seen more evidence by now? like... Any?? Howdy and Eddie have had minimal interaction, and in each one Howdy was fully disinterested and dismissive of Eddie. there is literally nothing in his behavior or dialogue that implies romantic feelings, repressed or otherwise. you'd think that Howdy would at least get a little flustered or defensive, but he doesn't! all he expresses is disinterest and slight annoyance.

and this just... doesn't feel like a story where a major plot point is "character A is jealous of the established relationship because A is in love with one of them". it's a bit... how do i say? Tacky, perhaps? a touch basic? a teeny bit uninspired...

and character-wise, Howdy having feelings for Eddie doesn't make much sense (the thought that Howdy's treatment of him stems from romantic feelings Definitely doesn't). it doesn't really fit him and what we know about him? there's a reason Howdy views Eddie as a rival, i think.